tag:blogger.com,1999:blog-30892711537352881842024-03-10T11:54:20.645-04:00A March Through Film HistoryA study of cinema, its history and cultural impact, film by film in chronological order of release.Ryan McCormickhttp://www.blogger.com/profile/13560952178103637506noreply@blogger.comBlogger589125tag:blogger.com,1999:blog-3089271153735288184.post-37824240573468460922023-03-06T14:57:00.005-05:002023-03-06T17:27:41.514-05:00Europe '51 (1952)<div class="separator"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgd_ZgbjnVLCs95g3NWVLBbbZv8KohhqAWkDhFFavyMXpNKb8qA4s203Zz06f095SWey6ZKAXnybSMipJgpF0uxvep37yK-dFBntF2DC1n4yk32cx0Lv7mhnjsq2o_y0oa1ZCGirTnmy43f5thE2SMXFhPrGlmIM4wLXrGQEEWMBDgPaCRq77EsPYR5mw/s1332/Europe%2051%20(1952).jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em; text-align: center;"><img border="0" data-original-height="1332" data-original-width="1000" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgd_ZgbjnVLCs95g3NWVLBbbZv8KohhqAWkDhFFavyMXpNKb8qA4s203Zz06f095SWey6ZKAXnybSMipJgpF0uxvep37yK-dFBntF2DC1n4yk32cx0Lv7mhnjsq2o_y0oa1ZCGirTnmy43f5thE2SMXFhPrGlmIM4wLXrGQEEWMBDgPaCRq77EsPYR5mw/s320/Europe%2051%20(1952).jpg" width="240" /></a></div><a href="https://ryanmccormickfilmhistory.blogspot.com/search/label/Lux%20Films">Lux Films</a><br />Director: <a href="https://ryanmccormickfilmhistory.blogspot.com/search/label/Roberto%20Rossellini">Roberto Rossellini</a><br />Starring: <a href="https://ryanmccormickfilmhistory.blogspot.com/search/label/Ingrid%20Bergman">Ingrid Bergman</a>, <a href="https://ryanmccormickfilmhistory.blogspot.com/search/label/Alexander%20Knox">Alexander Knox</a><br /><br />
<p class="MsoNormal">Marking the first official collaboration Ingrid Bergman and Roberto
Rossellini as star and director as a wedded couple came as a controversy, not for
their scandalous relationship that proceeded it, but for the film’s subject matter.
<i>Europe ’51</i> takes a step back to critique social morals from both
religious and political points of view in a tale of discovery in the aftermath
of loss. A product of post-war Europe, where a social, emotional, psychological,
and physically scarred nation was reevaluating life in a changed world,
Rossellini makes this picture as a observation on what history does to individuals
in the moment compared to legacy.<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTLcrm-4XQeImXf9RJmgkBi43lqs_t2TPPXfnSgNBfYOu7ZpssYnN3_dWMkcY2gsVUoMdbEKd5vZmCxI-c8ATQ70EVG39SEPbrFyJmCxaGkn8p7Ywi1p9AW1HojLOPvqSob8GK8sJm3aI2Ubo3t51Ok1VoxhTz_WwASUZQBF5wNrf3Pe2R-pjbwtMuOg/s1200/europe%2051-%20bergman.jpeg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="900" data-original-width="1200" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTLcrm-4XQeImXf9RJmgkBi43lqs_t2TPPXfnSgNBfYOu7ZpssYnN3_dWMkcY2gsVUoMdbEKd5vZmCxI-c8ATQ70EVG39SEPbrFyJmCxaGkn8p7Ywi1p9AW1HojLOPvqSob8GK8sJm3aI2Ubo3t51Ok1VoxhTz_WwASUZQBF5wNrf3Pe2R-pjbwtMuOg/s320/europe%2051-%20bergman.jpeg" width="320" /></a><i>Europe ’51</i> is an Italian neorealist drama about the wealthy
woman finding solace in humanitarianism in the wake of her son’s death. The wife of an American industrialist living in Rome, Irene Girard (Ingrid
Bergman) is met with the tragedy of her young son’s apparent suicide spurred by
her neglected affection. Inspired to look beyond herself Irene observes the misfortunes
of the less fortunate, sacrificing to help others, the likes include a
prostitute, an unwed mother, and children, acts that disturb of her husband,
George (Alexander Knox). In aiding one young boy in need avoid the police Irene
lands herself in trouble with the law and is sent to a mental institution, where
authorities and her husband deem her unstable from effects of her son’s death. Despite
being declared unbalanced, she is considered saintly by those whom she helped. <span style="mso-spacerun: yes;"> </span><o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal">A picture observably not as polished in production in comparison
to a Hollywood feature of its day, <i>Europe ’51</i> remains a solid Italian
neorealism feature with a strong message like many other films of Europe’s
post-war era. Hindered by sound design resulted from its production simultaneously
produced in English and Italian, the picture is jumbled at times. However, once
the story picks up steam is plows through with its social message with a
conclusion about society’s ills with a hope for change. Its heavy leftist outlook
can create a polarizing product, but with the passage of time can be digested
for what it was, and somewhat still relevant in the generations that followed.<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal">Inspired by Saint Francis of Assisi, Rossellini wanted to produce
a story about a saint-like person living in the modern post-war Rome and how
even though such saintly beliefs are edified a modern world one’s actions would
still look upon as those of insane person. Such a tale was meant to present a
mirror to society and create a negative reflection that was sure to not sit
well with many in one way or other, but it was the idea that drove the
filmmaker creatively. Presenting the idea to his wife, Ingrid Bergman, it was to
be their first project together as husband and wife with her portraying the saintly
lead.<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal">From near beginning to end <i>Europe ’51</i> for a turbulent
production. After a lengthy period of in pursuit of backers for the project which
led to script rewrites shuffling plot location to Paris and later back to Rome for
its setting, the filmed moved into the troubled casting process. Bergman would
carry the picture, but filling in the surrounding cast for the film marred with
controversy would be difficult. This was thanks in part to the Bergman/Rossellini
marriage attached to the feature along with the contentious subject matter,
making it was difficult to find people willing to fill the roles.<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKdJueRfeK1QoIk7gWOMY61JgofGxr4TVW8i1AELfOV8SOOmzSuUU9sg7uGOlqqQe2ATbjQaBV_-sdSXNqDrjlNE6kcMvlEfG6bX49vjqERIiSZIXnPJrQhOFTf81WDz0k5irLFNukW14dNT1fnEjOCc6QJjCdbzHrT2gzSqaEyZIqR5PkvPQIdScFLw/s677/europe%2051-%20bergman,%20knox.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="381" data-original-width="677" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKdJueRfeK1QoIk7gWOMY61JgofGxr4TVW8i1AELfOV8SOOmzSuUU9sg7uGOlqqQe2ATbjQaBV_-sdSXNqDrjlNE6kcMvlEfG6bX49vjqERIiSZIXnPJrQhOFTf81WDz0k5irLFNukW14dNT1fnEjOCc6QJjCdbzHrT2gzSqaEyZIqR5PkvPQIdScFLw/s320/europe%2051-%20bergman,%20knox.jpg" width="320" /></a>Canadian born actor Alexander Knox was cast as troubled
husband George, whom disagrees with his wife, only to have her declared insane
than to see the world from her angle. Taking upon the role Knox was experiencing
his own a period of Hollywood shunning thanks to his sympathies towards socialism
while McCarthyism overtook America. Fellow Italian filmmaker Ettore Giannini
provides intriguing role of a Communist intellectual in a rare acting
appearance. Perhaps the most rapturing performance in the picture comes from
Giulietta Masina as the unabashed cheerful unwed mother, ever poor, but sacrificing
and tender because of her love for children. The wife to Italian filmmaker Federico
Fellini, Masina has a way in her performance that is gravitating, a performance
style that led even Charlie Chaplin to consider her the most moving actress he
had ever seen.<o:p></o:p></p>
<p class="MsoNormal"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrEJd69BykC4A_cSY0cKWz8O0P8dLnMY0VGEny05U-cMo74x7I-ZWTkoEukekRyjFTfF3uHw2UjBwYdSWpNyjSMbW3v8UhfXvQorSYRzbZRT1IcNjiSN8POqjXs-9xTOWyFObkbBxUmgd9cXUew0-DnZ3gjwxJpISJk5bIZakybnpIm_TKi4kelmB8rw/s2126/europe%2051-%20masina,%20bergman.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em; text-align: center;"><img border="0" data-original-height="1571" data-original-width="2126" height="236" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrEJd69BykC4A_cSY0cKWz8O0P8dLnMY0VGEny05U-cMo74x7I-ZWTkoEukekRyjFTfF3uHw2UjBwYdSWpNyjSMbW3v8UhfXvQorSYRzbZRT1IcNjiSN8POqjXs-9xTOWyFObkbBxUmgd9cXUew0-DnZ3gjwxJpISJk5bIZakybnpIm_TKi4kelmB8rw/s320/europe%2051-%20masina,%20bergman.jpg" width="320" /></a><o:p> </o:p></p>
<p class="MsoNormal">Once the picture moved into production things were no less chaotic.
Shot around Rome, reporters and photographers hounded the filming locations as
Bergman and Rossellini were subjects for headlines. Despite most of the cast
being Italian the picture was being produced in English, creating language
issues and leading to plenty of recorded dialogue in post-production. Much of
the filming was rushed due largely to Bergman being pregnant at the time with
the couple’s twins. <span style="mso-spacerun: yes;"> </span>Hoping to capture
the scenes before signs of her pregnancy was showing the crew worked as fast as
they could, leading to frantic nature of production. Despite all the chaos,
Bergman remained calm, most times being seen knitting for her eventual children
even in preparation for the most emotional scenes of the picture.<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal">When <i>Europe ’51</i> premiered on the final day of he 1952
Venice Film Festival it was met with generally positive reviews, winning an International
Award from the festival. However, that appeared to be the peak of the picture’s
success as wider release of the feature saw its decline. To meet certain
aspects of Italian film codes, parts of scenes were edited out of the movie geared
negativity towards religious and the political establishment. It would not get
any better at the feature found its way overseas. America would not get a
release until 1954 where it would be retitled <i>The Greatest Love</i>, with nine
additional minutes shaved off from the Italian release. In great part the film lacked
positive critical publicity, and what attention it did get may have been
because of the names of the star and director attached.<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggJnYa2cGSx3BKcoutKCuC8f37dVZmrlfqsTsG5aXBb7GuvTdDxGaiZTuKQ38y3Q9pF0gQ1lfllDJoSokoXDePHkKOYYQkOw5qkk_wHjMrTRzvLpZ1j9RlHmP4oItcP1Y69VsrLXS4k1IEEsFEMQg8T6IIIhbMQmBuzW8fRKMu__9GgLxOcvo55i40kw/s1200/europe%2051-%20bergman2.jpeg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="900" data-original-width="1200" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggJnYa2cGSx3BKcoutKCuC8f37dVZmrlfqsTsG5aXBb7GuvTdDxGaiZTuKQ38y3Q9pF0gQ1lfllDJoSokoXDePHkKOYYQkOw5qkk_wHjMrTRzvLpZ1j9RlHmP4oItcP1Y69VsrLXS4k1IEEsFEMQg8T6IIIhbMQmBuzW8fRKMu__9GgLxOcvo55i40kw/s320/europe%2051-%20bergman2.jpeg" width="320" /></a>It would take decades until film scholars were able to begin
to view the picture for the production it was, giving the film more favorable
reviews as a work of Rossellini and Bergman. Decades removed from it release <i>Europe
’51</i> can be observed as Rossellini’s view on the then modern world. Through
its sadness its message is clearer the more an audience is able to step back
from it, and sadly it took decades before many were far enough away from it to
properly digest it. That being said, it remains a well-produced neorealism
picture, but its technical flaws can be a distraction. However, don’t let that interfere
with your viewing as both star and filmmaker deliver a wonderful picture together
during this period of their relationship.</p>Ryan McCormickhttp://www.blogger.com/profile/13560952178103637506noreply@blogger.com0tag:blogger.com,1999:blog-3089271153735288184.post-25264913001626092232023-02-06T14:05:00.006-05:002023-02-06T14:08:18.640-05:00Hans Christian Andersen (1952)<div class="separator"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmfOtQJ1tZ1vePooC4NrtQYA63HTZSvo3H8eYqZXT_Mzy6Zbc22Y5Ea35wYK5NC8H_dSYS7f0pVv_0nViPnBas_Bvadmp-wuJiNZWfNg1W_a-9CUqAPQj6a9MXnjBVTqQPDDOOymXCdQ511jQVEyYm77DpSCoC7kY3FbcfhBCIQ4NFOPemoAUE96QGeA/s2870/Hans%20Christian%20Andersen%20(1952).jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em; text-align: center;"><img border="0" data-original-height="2870" data-original-width="1863" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmfOtQJ1tZ1vePooC4NrtQYA63HTZSvo3H8eYqZXT_Mzy6Zbc22Y5Ea35wYK5NC8H_dSYS7f0pVv_0nViPnBas_Bvadmp-wuJiNZWfNg1W_a-9CUqAPQj6a9MXnjBVTqQPDDOOymXCdQ511jQVEyYm77DpSCoC7kY3FbcfhBCIQ4NFOPemoAUE96QGeA/s320/Hans%20Christian%20Andersen%20(1952).jpg" width="208" /></a></div><a href="https://ryanmccormickfilmhistory.blogspot.com/search/label/Samuel%20Goldwyn">Samuel Goldwyn Pictures</a><br />Director: <a href="https://ryanmccormickfilmhistory.blogspot.com/search/label/Charles%20Vidor">Charles Vidor</a><br />Starring: <a href="https://ryanmccormickfilmhistory.blogspot.com/search/label/Danny%20Kaye">Danny Kaye</a>, <a href="https://ryanmccormickfilmhistory.blogspot.com/search/label/Farley%20Granger">Farley Granger</a>, <a href="https://ryanmccormickfilmhistory.blogspot.com/search/label/Zizi%20Jeanmaire">Zizi Jeanmaire</a><br /><br />
<p class="MsoNormal">Not every dream project or prestige production makes for
truly beloved film. Such is the case with movie mogul Samuel Goldwyn’s vision with
1952’s <i>Hans Christian Andersen</i>. Perceived to be his lavish Technicolor
musical by Goldwyn, the picture would be a massive financial triumph initially,
but a critical disappointment and forgettable feature in the long run of cinema.
By whatever means one measures the importance of the film’s status in movie
history, it ultimately provides as one of the many examples of star Danny Kaye’s
position as being one of the most successful performers of this period.<o:p></o:p></p>
<p class="MsoNormal"> <o:p></o:p></p>
<p class="MsoNormal"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglEINasJD2-95ju4aieB86xZ7xF-ZWQPqpdCXypSgx-kI_KtDNX49M3eooUZFveOpg0TCU70r-zpEJseK3i8Z0n9zCrRj2cEyk2mS5uNUN-vHu9iYiSm8k6JBOhP5IFhTvT93SOwYcPkSZ6rEqPfvMrYrzntvBSpy9LP31Ff1ZlRWYz7ZWIiNiCYZLzw/s2073/hans%20christian%20andersen-%20kaye.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="1080" data-original-width="2073" height="167" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglEINasJD2-95ju4aieB86xZ7xF-ZWQPqpdCXypSgx-kI_KtDNX49M3eooUZFveOpg0TCU70r-zpEJseK3i8Z0n9zCrRj2cEyk2mS5uNUN-vHu9iYiSm8k6JBOhP5IFhTvT93SOwYcPkSZ6rEqPfvMrYrzntvBSpy9LP31Ff1ZlRWYz7ZWIiNiCYZLzw/s320/hans%20christian%20andersen-%20kaye.jpg" width="320" /></a><i>Hans Christian Andersen</i> is a fictional musical biography
of the famed Danish author known for his many classic fairy tales. The story
follows the small-town cobbler and story spinner, Hans Christian Andersen
(Danny Kaye), on his stay to the big city of Copenhagen, where he muses
inspiration towards creating and sharing many fairytales, including
“Thumbelina” and “The Ugly Duckling.” Hired for his cobbling by the Royal
Ballet, Hans is smitten by its lead ballerina Doro (Zizi Jeanmaire), whom he believes
is mistreated by Niels (Farley Granger), the manager the ballet and her husband,
stirring Hans to pen a metaphoric fairytale based on Doro, “The Little Mermaid.”
Hans’ stories begin to gain him a bit of fame, with tales being published and
the ballet working The Little Mermaid into its latest successful production.
Despite his new excitement Hans is heartbroken when Doro explains he
misunderstood her friendliness as an opening for romance, and that she is still
very much in love with Niels. Dejected, Hans returns to his village in defeat
only to be greeted as a celebrity for his newfound accomplishments as a famed
author.<o:p></o:p></p>
<p class="MsoNormal"> <o:p></o:p></p>
<p class="MsoNormal">Initial perception of this 1952 motion picture delivers a
sense of Samuel Goldwyn attempting to produce his own Technicolor
fairytale-based feature in a similar fashion as Walt Disney did with <i>Snow
White and the Seven Dwarfs</i> (1937) or MGM did with <i>The Wizard
of Oz </i>(1939). Danny Kaye is a delightful entertainer with many short
scenes delivering rousing classic tales by Andersen. However, with all is
goofiness and hamming that makes him fun in his own way it is difficult to take
him seriously as a dramatic actor, hindering any romance or sorrow the
narrative attempt to deliver. The film contains moments of childlike heart, but
lacks a true connection with audiences as those who are familiar Hans Christian
Andersen’s tales lack any emotion with the author, even this fictional version
of him. Although a decently production in most respects, the film lacks the
ability to transcend being just another color musical attempting to mimic the style
of pictures from 10-15 years prior as main plot lacks drama, merely moments
between creative telling of the fairytales, which are the best scenes of the
picture.<o:p></o:p></p>
<p class="MsoNormal"> <o:p></o:p></p>
<p class="MsoNormal"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2dp2oabdI6lAV66XENN_BtOGlvKZY2Tvf_FHpaPAn0-6rENKczm-0PmzEhQXCL1SdBtQlWeQOzScXaEdAM5XMQqZ3zqZSYBbdDUdoKd4MtkBRBah_w7BSitDSFDoBGA6J2tlfGFIPqv9biFyvu2QAVi6iaDYRT4bQYdE-XwgKNhkRIvQrr3mfF3URKA/s1589/hans%20christian%20andersen-%20little%20mermaid%20ballet.png" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em; text-align: center;"><img border="0" data-original-height="944" data-original-width="1589" height="190" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2dp2oabdI6lAV66XENN_BtOGlvKZY2Tvf_FHpaPAn0-6rENKczm-0PmzEhQXCL1SdBtQlWeQOzScXaEdAM5XMQqZ3zqZSYBbdDUdoKd4MtkBRBah_w7BSitDSFDoBGA6J2tlfGFIPqv9biFyvu2QAVi6iaDYRT4bQYdE-XwgKNhkRIvQrr3mfF3URKA/s320/hans%20christian%20andersen-%20little%20mermaid%20ballet.png" width="320" /></a>Samuel Goldwyn’s dreams to produce a feature based on Hans
Christian Andersen’s tales date as far back as 1938, which may suggest that he
saw promise of creating a lavish Technicolor fantasy from observing the rousing
success of Walt Disney’s <i>Snow White and the Seven Dwarfs</i>. A passion
project for the Hollywood producer, Goldwyn commissioned several scripts about
the author and his stories hoping to bring them to the screen. Of course, World
War II shelved plans for the extravagant motion picture until the early 50s
when a script was fleshed out into the feature that became what we see here.<o:p></o:p></p>
<p class="MsoNormal"> <o:p></o:p></p>
<p class="MsoNormal">Sparing no expense Samuel Goldwyn did all he could to hire
some of the best talent to realize his dream. Pulitzer Prize winning playwright
and screenwriter Ross Hart would was hired to pen the script. When failing to acquire
the talents of Rodgers and Hammerstein to write songs for the feature, Tony
Award winner Frank Loesser would be secured at compose ten original songs.
Danny Kaye, whom Goldwyn import from Broadway to Hollywood over a decade prior was
now one of the biggest names in entertainment, embodying the energy the
producer looked for out of the feature hired to be the face of the picture as
the titular famed storyteller. Not to be overlooked is director Charles Vidor
was tasked with bringing Goldwyn’s vision to the screen, believing this accomplish
director would do it justice.<o:p></o:p></p>
<p class="MsoNormal"> <o:p></o:p></p>
<p class="MsoNormal">Through all of production Samuel Goldwyn was over the moon bringing
this dream project to life. Some of the most expensive and elaborate sets for
any of his features were constructed. Hundreds of bright, intricate costumes based
on old Danish garb and the timeless fairytales knowing they would be captures
in the vibrancy of Technicolor. The passion project coming together was so
extravagant and sumptuous that Goldwyn was unable to see the flaws in the
script and production. The screenplay was choppy, lacking a heartfelt narrative.
Meanwhile issues with actors on sets would cause concern for most studios with
their largest budgeted picture. Goldwyn, although, was just tickled with
excitement that his dream prestige picture was finally coming together,
providing as blinders towards the troubles that lied within.<o:p></o:p></p>
<p class="MsoNormal"> <o:p></o:p></p>
<p class="MsoNormal"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHstJMYJawKgSrwIgHii8DY0YqNtebRTQyXUn3RU077TqyRjbpBnxsc4qSh3eeta2wBKbxbsbPSVYuNfB8qEr3um3uYh3HiCalrQbxxCM2ocMWtyl7_rsbORhDSMf55qdD0CW5n7fFyMgNs0edPqqv-3MJs7_qui2sif2aV4FRmFFpoJJ4any4pQIJIw/s1480/hans%20christian%20andersen-%20jeanmaire,%20granger.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="1080" data-original-width="1480" height="234" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHstJMYJawKgSrwIgHii8DY0YqNtebRTQyXUn3RU077TqyRjbpBnxsc4qSh3eeta2wBKbxbsbPSVYuNfB8qEr3um3uYh3HiCalrQbxxCM2ocMWtyl7_rsbORhDSMf55qdD0CW5n7fFyMgNs0edPqqv-3MJs7_qui2sif2aV4FRmFFpoJJ4any4pQIJIw/s320/hans%20christian%20andersen-%20jeanmaire,%20granger.jpg" width="320" /></a>One of the highest paid actors in Hollywood thanks in part
to this project, Danny Kaye was noted as being difficult to work with through principal
photography. An intricate perfectionist as a performer, Kaye was demanding that
his fellow cast members be as finely tuned as himself. Zizi Jeanmaire was a
French ballerina turned actor, but with English was not her native tongue communication
with her on set would be slow to understand, especially when being given direction
by Vidor. Kaye had little patience with how long it took for her to get her
lines correct or understanding directions, leading to instances of him snapping
or storming off set.<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal">Farley Granger was not a fan of his casting in the picture, believing
the bright and often goof picture was beneath him. His contractual obligations to
Goldwyn left him with no choice as the film served to satisfy the final needs under
the employment of the movie mogul. Granger too found working with Kaye
troubling, one moment Kaye would be his best friend and the next Kaye would be
yelling and complaining unprovoked due to Kaye’s frustrations. It was the skill
of Charles Vidor that kept everything on set together and under enough control
to get production though to completion.<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal">The result of <i>Hans Christian Andersen</i> was the
culmination of Samuel Goldwyn’s vision finally making its way to the silver
screen nearly a decade and a half in the making. Taking in $8 million the
feature was a massive triumph, ranked the sixth highest grossing film for 1952.
The film was even nominated for six Academy Awards, focusing on music, sound, and
other aspects typically praised in expensive color features such as
cinematography, art direction and costume design. While failing to win any
categories Goldwyn felt justified by the passion he had for his picture.<o:p></o:p></p>
<p class="MsoNormal"> <o:p></o:p></p>
<p class="MsoNormal"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnEEFcRejHHvSZVUvn56nfLMB2QCO5s2D68eeZpqf0oPwrzk7Izxey17inEmut89-iEAcpEFDqdxayaZUgNnKuf9Zv_IMr4ikvMJICKtCrFdyTD9kRXQ2Eyo1SFNuCka5aST8dCXe_121NnipTht0_F8bJqFpnza4MkYAqeRfnbhxYqdA4dk8a2HCNuQ/s1200/hans%20christian%20andersen-%20kaye%20in%20coopenhagen.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em; text-align: center;"><img border="0" data-original-height="675" data-original-width="1200" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnEEFcRejHHvSZVUvn56nfLMB2QCO5s2D68eeZpqf0oPwrzk7Izxey17inEmut89-iEAcpEFDqdxayaZUgNnKuf9Zv_IMr4ikvMJICKtCrFdyTD9kRXQ2Eyo1SFNuCka5aST8dCXe_121NnipTht0_F8bJqFpnza4MkYAqeRfnbhxYqdA4dk8a2HCNuQ/s320/hans%20christian%20andersen-%20kaye%20in%20coopenhagen.jpg" width="320" /></a>Back in Demark, the land of Hans Christian Andersen, locals
were very disappointed in the feature. Feeling a lack of respect for the man in
this entirely fictitious movie and the perception of the country many Danes
were against the picture form the very beginning. To quell the protest of the
picture before production Goldwyn sent Kaye on a goodwill visit to Copenhagen
where he attempted to save face by a honoring of the man he was about to depict
in a public ceremony. An adoring mob would cheer on the event as a piece of
Hollywood made an appearance in their home country, softening the initial publicity
blow.<o:p></o:p></p>
<p class="MsoNormal"> <o:p></o:p></p>
<p class="MsoNormal"><i>Hans Christian Andersen</i> for all accounts was a
very well received picture for the early to mid-1950s. Critically it was liked,
but never held in high regard, somewhat quickly brushed aside, despite its box
office numbers. Its colorful appeal made it desirable to TV viewership when
color televisions became more affordable for the common home in he 1960s. The
problem with its TV broadcast would be the near two-hour original runtime
leaving no room for commercials. This warranted special extended airings to
avoid editing out sequences for ad breaks. The film was a hit, yet in time it
falls behind in the memory of beloved features of the era. <i>Hans Christian
Andersen</i> simply lacks the timeless charm of other timeless fairytale
classics.<o:p></o:p></p>
<p class="MsoNormal"> <o:p></o:p></p>
<span face=""Calibri",sans-serif" style="font-size: 11pt; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">Like Danny Kaye, the film is an acquired taste
for many. It is well made, charming, and at times entertaining, but it lacks
the prolonged hook that brings audiences back beyond Danny Kaye fanciers,
having become not much more than a footnote in his body of work.</span>Ryan McCormickhttp://www.blogger.com/profile/13560952178103637506noreply@blogger.com0tag:blogger.com,1999:blog-3089271153735288184.post-55988794531215329042023-01-06T15:06:00.004-05:002023-01-06T15:07:54.545-05:00Limelight (1952)<div class="separator"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9FQRf3DeJhXQkTf945A061jRL2ti5-UdC3yQHirR8IxN-2sPXQp04soutuegXnYZzQLTuR_AkjZ46kRGohurpl2138p_RQIsLocxM6_QGkY3XYmD1urRfmeS7FTnirNTCAwQNwTKlAHHcnjozH1-ZBXdm6fCnPf3ZK8YRcEl7BSz5iEh9m3_qgGfsmQ/s3000/Limelight%20(1952).jpeg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em; text-align: center;"><img border="0" data-original-height="3000" data-original-width="1980" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9FQRf3DeJhXQkTf945A061jRL2ti5-UdC3yQHirR8IxN-2sPXQp04soutuegXnYZzQLTuR_AkjZ46kRGohurpl2138p_RQIsLocxM6_QGkY3XYmD1urRfmeS7FTnirNTCAwQNwTKlAHHcnjozH1-ZBXdm6fCnPf3ZK8YRcEl7BSz5iEh9m3_qgGfsmQ/s320/Limelight%20(1952).jpeg" width="211" /></a></div><a href="https://ryanmccormickfilmhistory.blogspot.com/search/label/Celebrated%20Films">Celebrated Films Corp.</a>/<a href="https://ryanmccormickfilmhistory.blogspot.com/search/label/United%20Artists">United Artists</a><br />Director: <a href="https://ryanmccormickfilmhistory.blogspot.com/search/label/Charlie%20Chaplin">Charles Chaplin</a><br />Starring: <a href="https://ryanmccormickfilmhistory.blogspot.com/search/label/Charlie%20Chaplin">Charlie Chaplin</a>, <a href="https://ryanmccormickfilmhistory.blogspot.com/search/label/Claire%20Bloom">Claire Bloom</a><br /><br />Honors:<br /><a href="https://ryanmccormickfilmhistory.blogspot.com/search/label/Best%20Score">Academy Award for Best Score</a> (1972)<br />
<p class="MsoNormal">A film Charlie Chaplin produced as a nostalgic look at the
industry he grew up in, <i>Limelight</i> would be known for being the
feature that won the filmmaker his only competitive Academy Award. As tribute
it also captures the only time Chaplin performed alongside fellow silent era
funnyman and perceived rival Buster Keaton. Sadly, the picture would also be
infamous for Chaplin’s banishment from the United States, capturing how
wrongfully shunned by an industry he once dearly loved. The somber tale
portrayed on screen belays a far sadder tale off screen, for this movie,
produced out of passion, was banned stateside for years while its creator was
exiled from his adopted home. It would take a later generation of Hollywood to
publicly embrace the film and its famed auteur once again.<o:p></o:p></p>
<p class="MsoNormal"> <o:p></o:p></p>
<p class="MsoNormal"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhoKC8RVAnF4jzKbIOxj2WVosFDND16LeKi9yKxMBxJOQnTao2rRSsBpZLNfZ69JboKRDNeMdmhHs-soyDxF96279OZDaGratDje_c4VXR9eXwn3jdx_JcfLKUsABHSekNw8I0wo8hLVINEcCApmfxGrECwfQm6hDvATAR0_5TXVBaIGku44RMo4U5_FQ/s1200/limelight-%20bloom,%20chaplin.jpeg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="900" data-original-width="1200" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhoKC8RVAnF4jzKbIOxj2WVosFDND16LeKi9yKxMBxJOQnTao2rRSsBpZLNfZ69JboKRDNeMdmhHs-soyDxF96279OZDaGratDje_c4VXR9eXwn3jdx_JcfLKUsABHSekNw8I0wo8hLVINEcCApmfxGrECwfQm6hDvATAR0_5TXVBaIGku44RMo4U5_FQ/s320/limelight-%20bloom,%20chaplin.jpeg" width="320" /></a><i>Limelight</i> is a comedic drama about a broken-down
comedian who sacrifices for the carrier of a young, rising dancer. In 1914
London, a drunk, out of work, aging clown, Calvero (Chaplin) saves “Terry”
(Claire Bloom), a down-on-her-luck ballerina, from a suicide attempt. He takes
her in to his home, nurses her back to health, and instills in her with
confidence, a trait he has been losing, to achieve her performing dreams on the
famed London stage. Through the trials Terry falls in love with her caring
savior Calvero, but in effort to do what is beloved best by not holding back her
career, the aging comedian leaves the young rising starlet. Sometime later,
Calvero reconnects with Terry who invites the clown to perform in a benefit
revue where he is able to relive the accolades of an adoring audience, only to
suffer a heart attack off stage, passing away while watching his beloved Terry
dance from the wings.<o:p></o:p></p>
<p class="MsoNormal"> <o:p></o:p></p>
<p class="MsoNormal">A mixed bag of a motion picture, <i>Limelight</i> contains
the heart and passion of production and performance admired from Chaplin’s body
of work. However, the oversentimentality longwindedness of the picture tends to
bog down the production, making it clear that the once legendary filmmaker was
not quite in step with cinema as he once was, and perhaps the film could use a
little tightening. An obvious love letter to entertainment of the early 20<sup>th</sup> century
for which he grew up in, the picture comes away with a touch of
autobiographical sentimentality, inspired by moments he may have observed or
experienced in his early years of life and casting himself as character
encapsulating those he once admired. However, the films slow pace and inability
to unnecessary moments creates a picture that drags as it served more the
creator rather than the audience. In the end, it is the backstory of film and
filmmaker following its release that made <i>Limelight</i> the
interesting subject it is in history, a swan song of sorts for its creator,
while also being the subject of one of Hollywood infamous unspoken apologies
years later.<o:p></o:p></p>
<p class="MsoNormal"> <o:p></o:p></p>
<p class="MsoNormal">In the five years since Chaplin released <i>Monsieur
Verdoux</i> (1947) and it was clear he was no longer the man once
fulfilled by filmmaking back in the silent era. Having evolved into a stubborn
maverick that creative twisted his ways through early talking features, he was
a silent star that found his voice in sound era through making content with
progressive messages that proved to not always be popular in what was a
relatively conservative industry at the time. <i>Limelight</i>‘s concept
which focused about a washed-up comedian/clown sacrificing his modest being for
the sake of someone younger and more elegant than he was perceived sparked his
every creative being. Spending over two and a half years working out the
script, he obsessed over the story and its characters, even penning
comprehensive backstory for the two main players envisioning their tales could
be published as companion novels to the film he was composing. Taking elements
of his own life, as well as memories of his parents and other entertainers he
knew from days on the stage, the story became an outlet that allowed him to
reminisce and restructure the joys and struggles of early 20<sup>th</sup> century
entertainers. The nostalgia rejuvenated a Chaplin who had been long separated
from his success under the tramp persona, exhilarated with the idea to reenact
and share it with others. The film was truly a work of his heart.<o:p></o:p></p>
<p class="MsoNormal"> <o:p></o:p></p>
<p class="MsoNormal"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtWhbNaCRXgHhzwx4Ly-AlYDQCUqyDiKR5cjfZQn77P2V775qWpZHUIMTRaCU2CvISYdqP3gatolL8XCEX2guL-XHg6Hh6ybLYx-SnICxv1fvRnkDkZU2LEDBLDYl5FmORhViJ22hl5eP7HbKiLrNN_VTTlIeWNGOL9cn9rp8bxm8g790nf0dxAeeeuw/s1279/limelight-%20chaplin,%20bloom.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em; text-align: center;"><img border="0" data-original-height="980" data-original-width="1279" height="245" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtWhbNaCRXgHhzwx4Ly-AlYDQCUqyDiKR5cjfZQn77P2V775qWpZHUIMTRaCU2CvISYdqP3gatolL8XCEX2guL-XHg6Hh6ybLYx-SnICxv1fvRnkDkZU2LEDBLDYl5FmORhViJ22hl5eP7HbKiLrNN_VTTlIeWNGOL9cn9rp8bxm8g790nf0dxAeeeuw/s320/limelight-%20chaplin,%20bloom.jpg" width="320" /></a>Claire Bloom recalled how Chaplin from the moments meeting
him, through auditioning, and into production, he would constantly reference
moments of his life to be evoked what the ideas and feeling he hoped to achieve
within the picture. Recommended to Chaplin from her London stage work, the 20
year-old Bloom was the latest young beauty as the object of his character’s
affection. Fortunately, unlike he had done decades before, Chaplin was a
different man than he once was, happily married and three times her age, making
this a time where he would not use a film to woo and marry his leading actress.
Bloom’s performance would only provide for the dramatic aspect of the picture
as was no ballerina and was doubled for in the dancing sequences. This
limitation unfortunately leaves a bit of a sour taste in the mouth when
compared to other movie musicals that share stars that can both act and dance
while here Chaplin chooses to utilize the old movie trick of the actress in
close up and doubles for full body dancing shots.<o:p></o:p></p>
<p class="MsoNormal"> <o:p></o:p></p>
<p class="MsoNormal"><i>Limelight</i> was somewhat a family project for the
old Tramp as he included many of own children is roles, including his three
youngest (including Geraldine Chaplin) in the picture’s opening scene, while
Sydney Chaplin portrays a love interest for Terry, young music composer
she admired before meeting Calvero. Perhaps he was hoping to get his children
into the industry, get them some work, or just wanted to include his family in
his movies, but the appearance of his children in the picture a bit shoehorned,
albeit gesture of kindness for his family.<o:p></o:p></p>
<p class="MsoNormal"> <o:p></o:p></p>
<p class="MsoNormal"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_RDLUZ3czyJ-lTRXaOBhdoQaY5Xay-SwB1cc8KlR8B3tKPmKOmnsu8G70ANAyFVSVrEi6uQD4hxWtMU2pSgR2R3v8qkwai1hEyip4AaznFNjzrTUipfCp_kO4phEOC2kkzKQgu9VdnHaNhoBh_cFT3rZMvrRhf8Dv9M2Blm0g9MUW7O6kI24dPlByNA/s3500/limelight-%20keaton,%20chaplin.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="2280" data-original-width="3500" height="208" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_RDLUZ3czyJ-lTRXaOBhdoQaY5Xay-SwB1cc8KlR8B3tKPmKOmnsu8G70ANAyFVSVrEi6uQD4hxWtMU2pSgR2R3v8qkwai1hEyip4AaznFNjzrTUipfCp_kO4phEOC2kkzKQgu9VdnHaNhoBh_cFT3rZMvrRhf8Dv9M2Blm0g9MUW7O6kI24dPlByNA/s320/limelight-%20keaton,%20chaplin.jpg" width="320" /></a>References to Chaplin’s famed Tramp character are clearly
present in the feature with Calvero’s stage performances, which mimic or
recreate acts akin to what he had performed or experienced in his old
vaudeville days, giving us a glimpse of the star in his most comfortable
environment and in full sound. As a special treat we get to experience a
segment with Chaplin performing alongside Buster Keaton, the only time this
would ever occur. Once perceived as silent comedy rivals, the two were never
shared any animosity towards each other in their heydays, but rather they were
two creatives producing their own material. Keaton experience a far more
challenging time with his career and personal choices, leaving him down on his
luck. Having heard of Keaton’s financial troubles Chaplin invited “Old
Stoneface” to play a role to him out. The result is a gift for those who were
fans of the two men from the peak of silent comedies championed by these once
titans of the silver screen. It may be brief and the two do little actual
interacting, but it is a wonderful touch for the picture.<o:p></o:p></p>
<p class="MsoNormal"> <o:p></o:p></p>
<p class="MsoNormal">Like many of his recent films, Charlie Chaplin did
everything for his production. From writing, directing, editing, to even
composing the music, he was in control of every aspect of his feature. An
eccentric creative mind that plotted over and over his work, Chaplin rethought
and revised every word, movement, and note until he was pleased with the
product. His family recalled how he was like a lunatic when it came to
creating, but everything he did for <i>Limelight</i> made him happy
and enthusiastic as it was not just a movie, but a story close to his soul.<o:p></o:p></p>
<p class="MsoNormal"> <o:p></o:p></p>
<p class="MsoNormal"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjK72LgVypZWb7fPGwiJk4WnndiPogHjDPiDrwCuTYRavzSAbYuGe6TX-mZnrAJP2bYAliUfcMYJ-Rna1vdAg02btc7OcD-mnsqtrqV734L61-WeS3lWGd4cdEoXznau5DC3fQCYZykEhwzJn7i8IxD0iV94VlcQ0bBEd4lf2vXhzkQ522II9X9u2sTHA/s1200/limelight-%20chaplin.jpeg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em; text-align: center;"><img border="0" data-original-height="900" data-original-width="1200" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjK72LgVypZWb7fPGwiJk4WnndiPogHjDPiDrwCuTYRavzSAbYuGe6TX-mZnrAJP2bYAliUfcMYJ-Rna1vdAg02btc7OcD-mnsqtrqV734L61-WeS3lWGd4cdEoXznau5DC3fQCYZykEhwzJn7i8IxD0iV94VlcQ0bBEd4lf2vXhzkQ522II9X9u2sTHA/s320/limelight-%20chaplin.jpeg" width="320" /></a><i>Limelight</i> premiered in New York City in late
October 1952, but when Charlie Chaplin flew to Britain to promote the picture
the US government and FBI having long considered him dangerous as a possible
socialist sympathizer, formally rejected his return visa, essentially banning
him from the US. Heartbroken to be shunned by his adopted home and an industry
he helped deliver to prominence Chaplin would choose to reside in Switzerland,
never to return to his Hollywood studio or residence. Because of the
filmmaker’s sanction <i>Limelight</i> was pulled by theater owners
and unofficially banning it in America for the foreseeable future.<o:p></o:p></p>
<p class="MsoNormal"> <o:p></o:p></p>
<p class="MsoNormal">It was not until 1972 when <i>Limelight</i> received
as nationwide release in America and which therefore qualified it for Academy
Award consideration. Recognized the disservice Hollywood and the United States
government did to Charlie Chaplin this new Hollywood generation recognized the
brilliance of the man by honoring him with a Oscar for his score. This win
would represent far more than the man writing music, but the appreciation of a
creative genius of his age. Chaplin would finally make visit to United States
to accept his award, establishing one of the ceremony’s most heart touching
moments as he received a lengthy standing ovation by a warm audience upon his
acceptance.<o:p></o:p></p>
<p class="MsoNormal"> <o:p></o:p></p>
<p class="MsoNormal">In the end <i>Limelight</i> made over $8 million
from its 1952 original run and 1972 American release. Critical acclaim was
primarily positive following the 1972 run which was most likely the result from
the resurgence of Chaplin praise. However, observing deeper critical notes are
more mixed with critiques towards the film’s lengthy run time and Chaplin heavy
wordy script which feels composed more in the manner of a novel than listening
to movie dialogue.<o:p></o:p></p>
<p class="MsoNormal"> <o:p></o:p></p>
<p class="MsoNormal">Standing alone <i>Limelight</i> is not the most
entertaining or touching picture. Appreciation comes to <i>Limelight</i> more
form understanding the background and backstory for Charlie Chaplin and the
events surrounding the picture. When one seeks out a Chaplin picture this one
may be one of the least likely to grasp for, but it does contain the same
heart, only it is more sentimental, nostalgic, and dramatic than the humor that
established him as a star.</p>Ryan McCormickhttp://www.blogger.com/profile/13560952178103637506noreply@blogger.com0tag:blogger.com,1999:blog-3089271153735288184.post-43408989359172736652022-12-20T15:12:00.007-05:002022-12-20T15:18:01.250-05:00Ikiru (1952)<div class="separator"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEha97uo_ai_rfHVN5szav3AwK-afx4Dsa8YVKV6cwR8Bayc4hbYlRdm7_UFXUZamEtM3OIhW80buzyZYOHIhVNXcB20-g3Y1YX4PIw5khQSlqw9xQdBW-R_Nt9N5Lbkydy53AB8qm9qC-3B2gANoGT_TOvZYxoFzEXuZqoqT9HGOB_97-kexmBVRAiHCg/s1200/Ikiru%20(1952).jpg" style="background-color: white; clear: right; float: right; margin-bottom: 1em; margin-left: 1em; text-align: center;"><img border="0" data-original-height="1200" data-original-width="853" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEha97uo_ai_rfHVN5szav3AwK-afx4Dsa8YVKV6cwR8Bayc4hbYlRdm7_UFXUZamEtM3OIhW80buzyZYOHIhVNXcB20-g3Y1YX4PIw5khQSlqw9xQdBW-R_Nt9N5Lbkydy53AB8qm9qC-3B2gANoGT_TOvZYxoFzEXuZqoqT9HGOB_97-kexmBVRAiHCg/s320/Ikiru%20(1952).jpg" width="227" /></a></div><a href="https://ryanmccormickfilmhistory.blogspot.com/search/label/Toho">Toho Company</a><br />Director: <a href="https://ryanmccormickfilmhistory.blogspot.com/search/label/Akira%20Kurosawa">Akira Kurosawa</a><br />Starring: <a href="https://ryanmccormickfilmhistory.blogspot.com/search/label/Takashi%20Shimura">Takashi Shimura</a>, <a href="https://ryanmccormickfilmhistory.blogspot.com/search/label/Miki%20Odagiri">Miki Odagiri</a><br /><br />
<p class="MsoNormal">A motion picture that lies within the realm of both deeply
sad, yet inspiring, <i>Ikiru</i> is considered by Akira Kurosawa to
be his finest work. A film about life, death, loneliness, and revelation,
Kurosawa delivers a melancholic story that studies the meaning of what it is to
“live.” Though not of his best known, or attention-grabbing features, <i>Ikiru</i> has
been near universally admired, hailed as one of the great, exceptional films in
cinema history by critics and filmmakers all around the world.<o:p></o:p></p>
<p class="MsoNormal"> <o:p></o:p></p>
<p class="MsoNormal"><i>Ikiru</i> is a Japanese drama about a bureaucrat’s
struggle to find self-meaning after discovering he has cancer. Kanji Watanabe
(Takashi Shimura) woefully discovers he has but a short time to live with a cancer
diagnosis and is devastated to how little he has accomplished in his personal
life. After failing to find joy indulging in the city nightlife or answers in
examining the youthful exuberance of a former subordinate (Miki Odagiri), Kanji
is inspired to accomplish something meaning for others in the form of a pushing
through bureaucracy the construction of a park before he succumbs to his
illness. At his wake, co-workers and family members ponder that which changed
in Kanji, vowing to be as inspiring as he was before his death, but sadly
falling immediately back into emptiness of bureaucracy.<o:p></o:p></p>
<p class="MsoNormal"> <o:p></o:p></p>
<p class="MsoNormal"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhynwCsKkcXTWKUQLeSfjRYgpogMM6IlAsUhz0bWgZ6ueQFWn3GudWybHJ6vNXGrtgGwh34fcqh6vv8tDSfYnLvgRl8t9V7yN-bDC4fb-iKe29c3GdLh5qaVJkWzR9DYinVWlTwgDLlkQGWhoMCblsl5W-iwYddqoU3gBvvNSPvBHVN6ca5eB9_YfeeHQ/s1600/ikiru-%20shimura%20at%20park.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="900" data-original-width="1600" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhynwCsKkcXTWKUQLeSfjRYgpogMM6IlAsUhz0bWgZ6ueQFWn3GudWybHJ6vNXGrtgGwh34fcqh6vv8tDSfYnLvgRl8t9V7yN-bDC4fb-iKe29c3GdLh5qaVJkWzR9DYinVWlTwgDLlkQGWhoMCblsl5W-iwYddqoU3gBvvNSPvBHVN6ca5eB9_YfeeHQ/s320/ikiru-%20shimura%20at%20park.jpg" width="320" /></a>This Akira Kurosawa film is a sad, slow tale that studies a
man’s self-discovery of what makes life worth living. Focusing on a plain
character with a painfully slow, frustrating job where little is completed and
mostly leaves many frustrated comes to be the perfect setting for reflection on
life’s meeting in this case. Just pondering this last sentence describing the
feature makes me wonder how difficult it is to even consider watching this
picture, but Kurosawa accomplishes a film of such grace with skill as only a
master craftsman of cinema can do. Accompanied by the amazing performance of
Takashi Shimura we are given a performance easily understood the world
throughout in a film with much to say beyond its time.<o:p></o:p></p>
<p class="MsoNormal"> <o:p></o:p></p>
<p class="MsoNormal"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzL7OwbVk-kCq9QHsSRv3gNKGkE89jJ_qvy5JnV0jFWzIFW37ziuLLbwAPq1c4TTrJbSN5gQbD_9PF9C7lmbD_Ux3Fj_e_APvnN6F7wvbAWTaSiRW4C2QqW3YEyS9hMrA6wC5-8VbCHY0rMBYXknvd2-lxjVxuhPpAOJOGhluXD__gjru89EbA8x_pdg/s1200/ikiru-%20shimura%20beauracrat.jpeg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em; text-align: center;"><img border="0" data-original-height="900" data-original-width="1200" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzL7OwbVk-kCq9QHsSRv3gNKGkE89jJ_qvy5JnV0jFWzIFW37ziuLLbwAPq1c4TTrJbSN5gQbD_9PF9C7lmbD_Ux3Fj_e_APvnN6F7wvbAWTaSiRW4C2QqW3YEyS9hMrA6wC5-8VbCHY0rMBYXknvd2-lxjVxuhPpAOJOGhluXD__gjru89EbA8x_pdg/s320/ikiru-%20shimura%20beauracrat.jpeg" width="320" /></a>With a plot concept of a man who knowing he is has but a
limited time to his life, Kurosawa collaborated with writing partner Hideo
Oguni to structure the story of a man bound to find significance where there
was none before. Consulting Leo Tolstoy’s novella “The Death of Ivan Ilyich,”
it was decided to have the main character die half the way through the film and
creating more dramatic effect by observing those pondering the actions of the
main character directly before his death while still allowing us to visit the
character through flashback.<o:p></o:p></p>
<p class="MsoNormal"> <o:p></o:p></p>
<p class="MsoNormal">Akira Kurosawa has a way with using his camera where even in
still shots, with little action to frame within them carry such emotion and
language, even in somber silence. Utilizing the talent of one of his favorite
performers in Takashi Shimura, Watanabe ca be seen as being similar to a Willy
Loman in <i>Death of a Salesman</i>. There is very little disconnect of
West and East in how the story is presented, both are men coming to their end
and looking back at what they considered is accomplishment t to them. Here, in
Ikiru the definition of accomplishment dramatically shifts with his impending
death and his hope do what he can in his short time to achieve something,
insignificant as it may be with what time he has. Shimura delivers a
performance that evokes the sadness of life hollowed of true joy or
achievement. A bureaucrat focused on process and duty, not understanding that
life has passed him by until it is too late, Shimura captures a shell of a man
desperate to fill it before his life closes.<o:p></o:p></p>
<p class="MsoNormal"> <o:p></o:p></p>
<p class="MsoNormal"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-qK0NetVrzsS5661b3jNFQ2uvjyifWz4kZrQluoJTFXcCN9AOticEZSJ51cRJ1i2SXlEnmQl-2dA8BWTMFAVNWugBXPWVNEixOeRn5tXLOlfIFrzxOTYtIEwOiTBeVanWVwIrfzR_w2nQBhTnzZKx_Q4RXD8zlEH4-8bZYl4EKZs-BdEOoRSI41YYDg/s1235/ikiru-%20odagiri,%20shimura.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="900" data-original-width="1235" height="233" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-qK0NetVrzsS5661b3jNFQ2uvjyifWz4kZrQluoJTFXcCN9AOticEZSJ51cRJ1i2SXlEnmQl-2dA8BWTMFAVNWugBXPWVNEixOeRn5tXLOlfIFrzxOTYtIEwOiTBeVanWVwIrfzR_w2nQBhTnzZKx_Q4RXD8zlEH4-8bZYl4EKZs-BdEOoRSI41YYDg/s320/ikiru-%20odagiri,%20shimura.jpg" width="320" /></a>So much of the movie revolves around Shimura that it is easy
to forget the slew of characters that pass through the film quickly, yet
effectively. Miki Odagiri stands out capturing the joyful young lady that works
under Watanabe with whom he takes interest in studying. Her exuberant
performance is as attractive to us, the audience, as it is to Watanabe,
providing an understanding of one who is willing to leave a steady job that is
empty for something else more fulfilling. Her performance is so lively, yet fragile
that it is surprising to find this was Odagiri’s first movie role.<o:p></o:p></p>
<p class="MsoNormal"> <o:p></o:p></p>
<p class="MsoNormal"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9drmPQgNIWpa_FSY-dAQdvnLRF1QsOwLU-YjXIuR9Vmsv1IZW756eVWO2LduhV_pAYyfBup_YTkq-isM4dxPVY3g4ZVTqhAHbjo0FFhUqQsX7t67XedGjnDS0oH0dsrWF08Fwf5em6MLDR7agFjgqa9OIoNa5LQJ5VzU547zwb22yAQDqF7YdQ5Oj_Q/s1600/ikiru-%20shimura%20night%20out.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em; text-align: center;"><img border="0" data-original-height="900" data-original-width="1600" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9drmPQgNIWpa_FSY-dAQdvnLRF1QsOwLU-YjXIuR9Vmsv1IZW756eVWO2LduhV_pAYyfBup_YTkq-isM4dxPVY3g4ZVTqhAHbjo0FFhUqQsX7t67XedGjnDS0oH0dsrWF08Fwf5em6MLDR7agFjgqa9OIoNa5LQJ5VzU547zwb22yAQDqF7YdQ5Oj_Q/s320/ikiru-%20shimura%20night%20out.jpg" width="320" /></a>In post war Japan some citizens perceived <i>Ikiru</i> negatively,
as a slight to the society that prided on honoring parents, following
procedures, and their nation who was coming off seven years of American
observed occupation. However, many film critics would praise the picture,
director, and star while the feature would slowly make its way through the
international market after success within the film festival circuit.<o:p></o:p></p>
<p class="MsoNormal"> <o:p></o:p></p>
<p class="MsoNormal"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJDzaW4-jcnjOlxJJibjRgpzJUmwNv1O65u0QLXlDb6e9xRCpO735YVB9RwTxxrtrVidht-2uuHCdQ5tmhEjSfW9n9UX6Yjif3zCtfhgPLf228rJ8KCssQFkEJwon1SSxEPJx_WFMv794iZujrcDcoxGPue-vWBcCuS4asyRHInxJL8fxsYWR7SUCCqQ/s1172/ikiru-%20the%20wake.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="829" data-original-width="1172" height="226" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJDzaW4-jcnjOlxJJibjRgpzJUmwNv1O65u0QLXlDb6e9xRCpO735YVB9RwTxxrtrVidht-2uuHCdQ5tmhEjSfW9n9UX6Yjif3zCtfhgPLf228rJ8KCssQFkEJwon1SSxEPJx_WFMv794iZujrcDcoxGPue-vWBcCuS4asyRHInxJL8fxsYWR7SUCCqQ/s320/ikiru-%20the%20wake.jpg" width="320" /></a>With the passage of time Akira Kurosawa would become one of
the great praised filmmakers of all time and <i>Ikiru</i> considered
one of his finest, landing significant praise by filmmaker and admirers
including future cornerstones of the industry a generation later Marin Scorsese
and Steven Spielberg. Other Kurosawa films like <i>Seven Samurai</i>,
which was his very next feature, or <i>Yojimbo</i> would become
all-time classics, but <i>Ikiru</i> holds on an emotionally deeper
state as the filmmaker is able to dig beyond the surface to present a picture
that last so well all these years later.</p>Ryan McCormickhttp://www.blogger.com/profile/13560952178103637506noreply@blogger.com0tag:blogger.com,1999:blog-3089271153735288184.post-13029943441607934482022-11-23T15:36:00.003-05:002022-11-23T15:37:37.265-05:00This is Cinerama (1952)<div class="separator"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPF-seBXp1fEIi-fazk9iCj64x-NZH970ElfWbpyNXdqL_XssXE3VcA4XkKTsfJscpPKKJV0bI8fMWtfvKI_aSzGeUx9lD3Yta1CPfSrfUmHEb9W_G_nesRpkHHuff2Kigm2K53zcPuxdyVxwS2_Gxjlq7DGksk2DfFFidEoU-XnDxdajSc8HcJaHXZg/s2048/This%20is%20Cinerama%20(1952).jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em; text-align: center;"><img border="0" data-original-height="2048" data-original-width="1365" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPF-seBXp1fEIi-fazk9iCj64x-NZH970ElfWbpyNXdqL_XssXE3VcA4XkKTsfJscpPKKJV0bI8fMWtfvKI_aSzGeUx9lD3Yta1CPfSrfUmHEb9W_G_nesRpkHHuff2Kigm2K53zcPuxdyVxwS2_Gxjlq7DGksk2DfFFidEoU-XnDxdajSc8HcJaHXZg/s320/This%20is%20Cinerama%20(1952).jpg" width="213" /></a></div><a href="https://ryanmccormickfilmhistory.blogspot.com/search/label/Cinerama">Cinerama Productions</a><br />Directors: <a href="https://ryanmccormickfilmhistory.blogspot.com/search/label/Merian%20C.%20Cooper">Merian C. Cooper</a>, <a href="https://ryanmccormickfilmhistory.blogspot.com/search/label/Gunther%20von%20Fritsch">Gunther von Fritsch</a><br />Starring: <a href="https://ryanmccormickfilmhistory.blogspot.com/search/label/Lowell%20Thomas">Lowell Thomas</a><br /><br />Honors:<br /><a href="https://ryanmccormickfilmhistory.blogspot.com/search/label/National%20Film%20Registry">National Film Registry</a><br />
<p class="MsoNormal">It was a showcase of two “new” innovations that helped push major
motion pictures to its next evolutionary phase. It was not just another movie,
it was Cinerama, a special widescreen experience that expanded the view of
audiences punctuated the yet to be embraced stereophonic sound. Neither a
narrative, nor a true documentary, this feature spectacle was a pageant for this
new company and motion picture medium looking to change movies as they were
seen by transporting audiences to places most had never seen with stunning audio
and visuals. The “groundbreaking” process featured would ultimately give way to
the future of widescreen picture and stereo sound, but this picture lives on a testament
of how medium would push itself technically in the mid-20<sup>th</sup> century.<o:p></o:p></p>
<p class="MsoNormal"> <o:p></o:p></p>
<p class="MsoNormal"><i>This is Cinerama</i> is documentary feature
showcasing a brand-new form of wide screen filmmaking, taking audiences to
various locations and scenes all over the world. Unlike other features this
film was presented as an experience where viewers could only visit specially
constructed or fitted theaters to view it. Audiences were seated in theaters
with a specifically curved screen where upon three projectors were used to
present a fused extra wide image. The film opens with a standard sized black
and white prologue by our host, the popular newsman Lowell Thomas, where he delivers
a brief history of motion pictures before introducing the new medium to unfold
before their eyes, exclaiming “This is Cinerama!”<o:p></o:p></p>
<p class="MsoNormal"> <o:p></o:p></p>
<p class="MsoNormal"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijWCfG9MlWv9qgkVxL0C4wgoLpKjwW1njqai9H73hK8c6G25c1UeOMWvMJv-RAFHm3PE8b6n60VsFfpE2y5w2ImEx5Lm78hNZEWDl-vrpIjTKCGVVhNkMHj9eGvUg8v3DWFA8p4Ik6MwuNtcjJMYOWieydg8D0j68AmcuMgcA7SQ6uf6LsXrDcxhKWoA/s1920/this%20is%20cinerama-%20rollercoaster.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="1080" data-original-width="1920" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijWCfG9MlWv9qgkVxL0C4wgoLpKjwW1njqai9H73hK8c6G25c1UeOMWvMJv-RAFHm3PE8b6n60VsFfpE2y5w2ImEx5Lm78hNZEWDl-vrpIjTKCGVVhNkMHj9eGvUg8v3DWFA8p4Ik6MwuNtcjJMYOWieydg8D0j68AmcuMgcA7SQ6uf6LsXrDcxhKWoA/s320/this%20is%20cinerama-%20rollercoaster.jpg" width="320" /></a>The black and white image gives way to ultra-widescreen,
color splendor and surround sound as the audiences are taken for a ride, in
this case literally, with a point of view upon a rollercoaster, giving
audiences the first of many immersive experiences. Thomas continues to narrate viewers
through places and events as Cinerama transports audiences all around the
world. Included are scenes from then famous international operas, visits to
Venice, Edinburgh, and Spain where we visit an authentic bullfight before a
traditional theatrical intermission. The second half showcases the sights and experiences
of America, first of the Florida tourist destination Cypress Gardens, featuring
its beautiful grounds and water ski show, before giving way to breathtaking
visuals of many American landscapes shot from the nose of a plane, grazing over
and under impressive sights to a stirring score as the picture swells to it
close.<o:p></o:p></p>
<p class="MsoNormal"> <o:p></o:p></p>
<p class="MsoNormal"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhuQce_j8gtxEl2sO5ajWdNNBWQ8Z6aV7Af4s5ioqVue8p3HpzaIqDKT9A2I662ZNCl4eDWVGWd62BCBYq02QgsUNj2uRq0d9AEcYoUaxVJU3-GpXoBPo4wDpfjCmxeiaKRqQIBY8Q-zI3IAVTJ4ueetOZs_42o2pUskD7S9gc7MglSo35WR8DfA6RhFA/s1920/this%20is%20cinerama-%20cypress%20gardens.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em; text-align: center;"><img border="0" data-original-height="1080" data-original-width="1920" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhuQce_j8gtxEl2sO5ajWdNNBWQ8Z6aV7Af4s5ioqVue8p3HpzaIqDKT9A2I662ZNCl4eDWVGWd62BCBYq02QgsUNj2uRq0d9AEcYoUaxVJU3-GpXoBPo4wDpfjCmxeiaKRqQIBY8Q-zI3IAVTJ4ueetOZs_42o2pUskD7S9gc7MglSo35WR8DfA6RhFA/s320/this%20is%20cinerama-%20cypress%20gardens.jpg" width="320" /></a>Lacking any true narrative elements, this feature is not a
typical motion picture experience. It also genuine message, making it difficult
to truly name it a “documentary.” At its core the film is a showcase of
Cinerama as a new medium. With its large scope, visuals, and sound it was sure
to take the breath away from those that saw in the early to mid-1950s. An event
one would have to seek out, plan their day around, and experience in a
theatrical setting. With visuals were vast with crystal clear stereo sound to
match, Cinerama was something new and exciting, a bit rough around the edges,
but innovative, ushering in a new age in filmmaking.<o:p></o:p></p>
<p class="MsoNormal"> <o:p></o:p></p>
<p class="MsoNormal">Inventor Fred Waller helped innovated the use of
multi-camera recording first in the form of a domed show at the 1939 New York
World’s Fair and refining his idea with use in constructing American World War
II bomber simulators for the armed forces. Taking what he learned from these
motion picture ventures Waller fine-tuned a three camera synchronous system which
filmed across each other that when played back on curved screen with synchronized
projectors would to mimic an average person’s field of vision of 146 degrees. The
idea of widescreen processes for movie companies was nothing new, but with the
rising interest in television to rival for audience attention<span style="mso-spacerun: yes;"> </span>it appeared time for a widescreen idea such
as Waller’s to become a viable idea to attract people to the theater.<o:p></o:p></p>
<p class="MsoNormal"> <o:p></o:p></p>
<p class="MsoNormal">Cinerama was not cheap, as it needed a specially constructed
rig of Waller’s own design, and theaters to build or retrofitted with
specifications to showcase this new synchronized projection system. Everything
was over three times the cost in making a single film with three cameras, three
reels to edit, and three projectors to play back on. It was clearly a costly
investment that no Hollywood studio would undertake. It was film entrepreneur
Michael Todd and popular news figure Lowell Thomas who came aboard to invest
and make the dream a reality and together delivered to the world Cinerama.<o:p></o:p></p>
<p class="MsoNormal"> <o:p></o:p></p>
<p class="MsoNormal"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjyCeFlMso0DqGmmrd7jqHRIXPy0yEImqBZva1yD9gP_9O_b6fA75N6ApsH5uR2pwOFQuKD8BuAl4mdROr4F0lMBJIRYRU_6PjjksaFMZ9tzIEhvEIQ8NfB3Um33meeKSu5Gw1PwkjYDdj6n3gaoL5o48CaMDSnkZrxpDcDk5m0frNKV066ObHUoSBw-Q/s1920/this%20is%20cinerama-%20bull%20fight.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="1080" data-original-width="1920" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjyCeFlMso0DqGmmrd7jqHRIXPy0yEImqBZva1yD9gP_9O_b6fA75N6ApsH5uR2pwOFQuKD8BuAl4mdROr4F0lMBJIRYRU_6PjjksaFMZ9tzIEhvEIQ8NfB3Um33meeKSu5Gw1PwkjYDdj6n3gaoL5o48CaMDSnkZrxpDcDk5m0frNKV066ObHUoSBw-Q/s320/this%20is%20cinerama-%20bull%20fight.jpg" width="320" /></a>The hefty investment was a gamble, and <i>This is
Cinerama</i> was the trail to prove this new process could work. On the
filmmaking side ideas started of simple, first test the camera and stereo
equipment with simple setting of a church choir assembling around a large organ,
which one finds in the picture as the only black and white segment. With proof
of concept working the influence of Lowell Thomas’ world traveler image
inspires what the rest of the picture is. The Cinerama camera and crew is taken
all around the world capturing the sights and sounds most average viewer could
only dream of seeing in real life. Recorded are scenes from famous European performances
of Aida and the Vienna Boys’ Choir while elsewhere the camera is used to capture
the sights and sounds from Italy, Spain, and Scotland to name a few, allowing audiences
as close as they can to experiencing the authenticity of being in these
historic places.<o:p></o:p></p>
<p class="MsoNormal"> <o:p></o:p></p>
<p class="MsoNormal"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXnWNEhgmL6smxv-CU1Lszda3hR-Ku91GSPiLF1pLMMM5Gh6ckMhcp9e-SgHDZ_mKiVLlg_IvMs1d4U6AV9-_uM6imPYOxZzb-OOPYelCDzweHzYT_j1na9buCfiEdsZq-laYcHJo3HRP4LXNMaNthuUL3ksrD9nsBr82pk660l_yER_MIEot8Tg2nxQ/s1280/this%20is%20cinerama-%20new%20york.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em; text-align: center;"><img border="0" data-original-height="720" data-original-width="1280" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXnWNEhgmL6smxv-CU1Lszda3hR-Ku91GSPiLF1pLMMM5Gh6ckMhcp9e-SgHDZ_mKiVLlg_IvMs1d4U6AV9-_uM6imPYOxZzb-OOPYelCDzweHzYT_j1na9buCfiEdsZq-laYcHJo3HRP4LXNMaNthuUL3ksrD9nsBr82pk660l_yER_MIEot8Tg2nxQ/s320/this%20is%20cinerama-%20new%20york.jpg" width="320" /></a>Finally, and perhaps most famously, Cinerama’s cameras were
installed on the nose of an American bomber to capture a wonderous bird’s eye
views of many American landmarks that with the arial maneuvers of an
adventurous pilot to help create some of the most stirring visuals of the picture.<o:p></o:p></p>
<p class="MsoNormal"> <o:p></o:p></p>
<p class="MsoNormal"><i>This is</i> <i>Cinerama</i>’s directorial credit was
attributed to fellow producer Merian C. Cooper, the filmmaker best known for
directing <i>King Kong</i>, who too was excited about the new widescreen
process. Cooper would not be hands on with the actual filming, but did deliver
the visual idea for the various segments, leaving the camera technicians with
the task of carrying out the true performance works, as well as Gunther von
Fritsch who directed the Venice scenes.<o:p></o:p></p>
<p class="MsoNormal"> <o:p></o:p></p>
<p class="MsoNormal"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEib0Uo6363zZwxc_zLAmRpRY138nRDous6muPnEbMWPALKAHeynJn0rmCjYe7lvS20bOpHYcudPtHZ91v3YqAa2YGbt0kETIbjbBILAJbW4D6iZDxiiwacUCWLf2RvIPgHm1lsNBDap5BkYLWsaRZK5wdiyOLJuY1Zk0TV-tMuEgIRg6Gmf7mY-JymLUQ/s1020/this%20is%20cinerama-%20proccess.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="1002" data-original-width="1020" height="314" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEib0Uo6363zZwxc_zLAmRpRY138nRDous6muPnEbMWPALKAHeynJn0rmCjYe7lvS20bOpHYcudPtHZ91v3YqAa2YGbt0kETIbjbBILAJbW4D6iZDxiiwacUCWLf2RvIPgHm1lsNBDap5BkYLWsaRZK5wdiyOLJuY1Zk0TV-tMuEgIRg6Gmf7mY-JymLUQ/s320/this%20is%20cinerama-%20proccess.jpg" width="320" /></a>A costly and troublesome endeavor Cinerama called for
special theaters to be viewed in, meaning hefty upfront investments and
troublesome mechanics to even watch the picture. This meant <i>This is
Cinerama</i> was going to play to very limited audiences, primarily larger
metropolitan cities. Despite the limitations <i>This is Cinerama</i> was
presented in a roadshow format which proved to be highly successful, attracting
multitudes with runs that extended for weeks, month, and in some cases years.
The impressive box office numbers lead to more theaters being retrofitted with
projection and sound needs as the feature practically ran until Cinerama would develop
a follow up production.<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal">The biggest detractor of Cinerama was the cost of the
production and the limitation of the theaters since a dramatic amount of
theaters would never entertain retrofitting their single projector and flat
screen with a Cinerama specification. Studios would not want to over triple the
cost of production with the three cameras and reels over the traditional motion
picture means that had led to this point.<o:p></o:p></p>
<p class="MsoNormal"> <o:p></o:p></p>
<p class="MsoNormal">Michael Todd, one of the original champions of this
widescreen process would leave Cinerama before release, attempting to find a more
cost effective way of producing similar effects, developing the large format known
as Todd AO. Widescreen would become a popular means to make movies appear
bigger with the eventual development of CinemaScope at Fox and VistaVision at
Paramount as examples of how studios adapted, utilizing anamorphic lenses to
expand the frame while still using the common 35mm film reels. Cinerama’s three
film strip process would allow for more clarity from using more celluloid
space, but the blending of the three images would be a great hinderance as the
melding of the images would never be perfect, always leaving two blurry lines
on the screen.<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHE9G1yDuZ-405uKx8P4WMClpkE7nHr1mlufnQUZxrr7QHgo6dSkLkjaEexLYHjX-yyjP1OvMvc9EUKHFZr96aLX6i0GF6Tj9hzk0YVfsvTsTVmymAnA7KPXCKupA-UvNuGTnguWC133iqjuiGGHgmKuXONo99VY1n6IyDxEDBn6U4qoifWKW9lY7F2A/s1920/this%20is%20cinerama-%20thomas.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em; text-align: center;"><img border="0" data-original-height="1080" data-original-width="1920" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHE9G1yDuZ-405uKx8P4WMClpkE7nHr1mlufnQUZxrr7QHgo6dSkLkjaEexLYHjX-yyjP1OvMvc9EUKHFZr96aLX6i0GF6Tj9hzk0YVfsvTsTVmymAnA7KPXCKupA-UvNuGTnguWC133iqjuiGGHgmKuXONo99VY1n6IyDxEDBn6U4qoifWKW9lY7F2A/s320/this%20is%20cinerama-%20thomas.jpg" width="320" /></a>It may have been expensive and cumbersome, but <i>This is
Cinerama</i> was a resounding success. Cinerama would begin to work on
follow-ups instantly leading to 1955’s <i>Cinerama Holiday,</i> a sequel that
follows a similar structure style. Despite the grandeur and success of the
format, it would soon become clear Cinerama had limitations with the bulky
camera housing, theater limitations, and visual imperfections making it difficult
to conceive of a use for a narrative feature. Cinerama would eventually produce
a couple of narrative features, most famously 1962’s star studded western How
the West Was Won, but the process would eventually be abandoned for a single
film strip format of Cinerama.<o:p></o:p></p>
<p class="MsoNormal"> <o:p></o:p></p>
<p class="MsoNormal">Cinerama in a way would be the predecessor to large format
films that rose in use and popularity decades later, leading to 65mm, 70mm,
85mm, and IMAX formats. On a contemporary level it was moving from standard
definition to high definition, but with more flaws. Cinerama was but a step in
very important growth period for movies when they were experience identity
issues while dabbling in other theatrical promotion s use as 3D or smells being
pumped into audiences, with widescreen and stereo manifesting how movies were
still larger and worth going other to the theater instead of staying home to
watch television. <o:p></o:p></p>
<p class="MsoNormal"> <o:p></o:p></p>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMY4WCWL-5hYxtfmvk0018ynJbiiptQSiX6JlmWMXY9-ghf24CJfi9iaOdDFbmGOH20XODNQ9avf5_kLr1dLENfJ-OQiQWceLl_Y3CG7s8bDfK25j8IkM-UEpdxTCsosvgYgKc973Kh9TY2XksFiIx2ivol6FZlCQkowL4mXNLf5IurpEmuIHf172Q1Q/s1600/this%20is%20cinerama-%20cinerama%20dome.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto; text-align: center;"><img border="0" data-original-height="900" data-original-width="1600" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMY4WCWL-5hYxtfmvk0018ynJbiiptQSiX6JlmWMXY9-ghf24CJfi9iaOdDFbmGOH20XODNQ9avf5_kLr1dLENfJ-OQiQWceLl_Y3CG7s8bDfK25j8IkM-UEpdxTCsosvgYgKc973Kh9TY2XksFiIx2ivol6FZlCQkowL4mXNLf5IurpEmuIHf172Q1Q/s320/this%20is%20cinerama-%20cinerama%20dome.jpg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">The Cinerama Dome in Hollywood.</td></tr></tbody></table><p class="MsoNormal">Cinerama may be mostly forgotten now, but it was an event of
its age. Being in the audiences when the curtains opened up on the
rollercoaster scene must have been the closest thing one could experience that
was similar to people watching images of <span style="mso-spacerun: yes;"> </span>a train coming rolling by in a storefront nickelodeon
in the late 19<sup>th</sup> century, when Al Jolson first spoke in 1927,
or when Dorothy walked from sepia tones into Technicolor Oz. Cinerama was, but
only a step in movies, but an exciting one for those lucky to have experienced
it in 1952 when the theater opened up a world to them.</p>Ryan McCormickhttp://www.blogger.com/profile/13560952178103637506noreply@blogger.com0tag:blogger.com,1999:blog-3089271153735288184.post-29582050595961037882022-11-09T19:33:00.008-05:002022-11-09T19:44:49.665-05:00Snows of Kilimanjaro, The (1952)<div class="separator"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMwA-mmoCXhN-7VeSoBvWBY-ks2prId2ka9XymyUnfjquPytOC7NRQaTTGakBTXHFKRIkTpKCaHNKfMccmLYTBSDghM54YIs-SUWyCf34rSJJtWoQe0nLYhGOtCBYLrqu4dKMEeSuuDYHS6IqBPSWj_m522EZxBwKOzj_gAsfoDwsuTiBXT_dmMo4K8w/s1538/Snows%20of%20Kilimanjaro%20(1952).jpg" style="background-color: white; clear: right; float: right; margin-bottom: 1em; margin-left: 1em; text-align: center;"><img border="0" data-original-height="1538" data-original-width="1000" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMwA-mmoCXhN-7VeSoBvWBY-ks2prId2ka9XymyUnfjquPytOC7NRQaTTGakBTXHFKRIkTpKCaHNKfMccmLYTBSDghM54YIs-SUWyCf34rSJJtWoQe0nLYhGOtCBYLrqu4dKMEeSuuDYHS6IqBPSWj_m522EZxBwKOzj_gAsfoDwsuTiBXT_dmMo4K8w/s320/Snows%20of%20Kilimanjaro%20(1952).jpg" width="208" /></a></div><p class="MsoNormal"><a href="https://ryanmccormickfilmhistory.blogspot.com/search/label/20th%20Century-Fox">20th Century-Fox</a><br />Director: <a href="https://ryanmccormickfilmhistory.blogspot.com/search/label/Henry%20King">Henry King</a><br />Starring: <a href="https://ryanmccormickfilmhistory.blogspot.com/search/label/Gregory%20Peck">Gregory Peck</a>, <a href="https://ryanmccormickfilmhistory.blogspot.com/search/label/Ava%20Gardner">Ava Gardner</a>, <a href="https://ryanmccormickfilmhistory.blogspot.com/search/label/Susan%20Hayward">Susan Hayward</a><br /><br />One of Ernest Hemingway’s favorite short stories receives
the lavish Hollywood treatment featuring a star-studded cast in a Technicolor
spectacle taking audiences on an adventure across the world. With all its
attractiveness the adaptation would be an immediate critical and commercial
success finishing the year as one of the top highest grossing films of 1952.
However, Hemingway would loath the final product, a bastardization of his
original story, and with time the picture rapidly faded in favor and in the
minds of audiences until the point of being a neglected relic of the period.</p>
<p class="MsoNormal"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi42UxpjFjMTsi4mmGwM-B8wc6YmzUxSBBHl7-xH8_GM7DW_7lGjktj383IZDs4ucRuCr1ErIGhbVNxtSJOx6j0Lj4jIRzG2BlV3C2DMarClIe1vIcKHwH6t4z_pNlkEV6wLtjBKhEHi7Gggfb6WsJKN2sV7avJsA8BQwnFAElIVlo1anDOQgQ20KPubA/s1280/snows%20of%20kilimanjaro-%20gardner,%20peck.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="720" data-original-width="1280" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi42UxpjFjMTsi4mmGwM-B8wc6YmzUxSBBHl7-xH8_GM7DW_7lGjktj383IZDs4ucRuCr1ErIGhbVNxtSJOx6j0Lj4jIRzG2BlV3C2DMarClIe1vIcKHwH6t4z_pNlkEV6wLtjBKhEHi7Gggfb6WsJKN2sV7avJsA8BQwnFAElIVlo1anDOQgQ20KPubA/s320/snows%20of%20kilimanjaro-%20gardner,%20peck.jpg" width="320" /></a><i>The Snows of Kilimanjaro</i> is an adventure/drama about
a writer recounting key life moments as he lies on his death bed in the heart
of Africa. Disillusioned American writer Harry Street (Gregory Peck) stricken
by a terrible infection while on safari near Mt. Kilimanjaro is cared for by
his wife Helen (Susan Hayward), left with nothing but his thoughts of his life.
The recounting of his past generally focused on his romance with Cynthia Green
(Ava Gardner), a love he shared at the dawn of success as a writer, but would sour
when his personal aspirations collided with her desire to settle down. Harry
was left chasing after happiness, but is hinds himself ever pinning for
Cynthia, who even after her death finds himself reminded in Helen. Harry’s
selfishness and firm attachment to his past troubles Helen as he lies dying on
the safari, but it is Helen’s love that cares for and saves him, snapping Harry
back to realize the love before him.</p>
<p class="MsoNormal">A rather slow and monotonous melodrama, one must be reminded
that this feature was released in a period when the spectacle of the silver
screen in glorious Technicolor alone was enough to attract audiences from all
around. The visuals of Europe and Africa, culture and animals, with a cast that
included Peck, Hayward and Gardner, and a Hemingway story made for a picture
that brought many to the theater for this 20<sup>th</sup> Century-Fox
feature. Despite all its initial critical and commercial success, the picture
is clearly segmented for this contemporary viewer and easily understood as to
why it is a mostly forgettable feature.</p>
<p class="MsoNormal">Nearly ten years after Ernest Hemingway published the short
story “The Snows of Kilimanjaro” 1936 it was considered for an adaption by an
independent film producer who would eventually sell the rights to 20<sup>th</sup> Century-Fox
for hefty profit. The studio would attach to the project the names of director
Henry King and stars Gregory Peck and Susan Hayward, the three having come off
1951’s <i>David and Bathsheba</i>. Like the biblical epic this picture was
to get the prestige treatment by the studio with Technicolor and plenty of
location shooting.</p>
<p class="MsoNormal"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiy2Q8zvAXNXx-pkadMuSVJ2GVBJczGAafP4EZvAerG6eXu8K0ihAKrsBxbNCCaNxZpXi9T8eK7-wKJ_NRE8pZpeYZH-eWzHcaTISmfspaIrkCWapdYKC00azMMCHJMXktAENIyhna4BcdhRP1Lr3ZT6HvrlvzNtJarR1pghct7c_gxv-b-pkKyG-UKpg/s476/snows%20of%20kilimanjaro-%20establishing%20shot%20africa.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em; text-align: center;"><img border="0" data-original-height="360" data-original-width="476" height="242" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiy2Q8zvAXNXx-pkadMuSVJ2GVBJczGAafP4EZvAerG6eXu8K0ihAKrsBxbNCCaNxZpXi9T8eK7-wKJ_NRE8pZpeYZH-eWzHcaTISmfspaIrkCWapdYKC00azMMCHJMXktAENIyhna4BcdhRP1Lr3ZT6HvrlvzNtJarR1pghct7c_gxv-b-pkKyG-UKpg/s320/snows%20of%20kilimanjaro-%20establishing%20shot%20africa.jpg" width="320" /></a>Hemingway’s original text was only a short story and Fox
would flesh out plot to fill up enough story fit for a feature length picture.
Screenwriter Casey Robinson added several new pieces to Harry’s story, creating
most notably a new character in Cynthia Green, an early love interest of his whose
relationship would leave a lasting, emotional impact and major plot point. Furthermore,
Fox altered the ending in favor of a more positive, happy ending over Hemmingway’s
original where Harry Street dies. For the film, Helen saves Harry’s life and
those rejuvenates their love for each other, a far cry from the original’s
intent. Immediately Hemingway was upset with the direction Fox was taking his tale,
voicing his objection, but with absolutely no creative control on this adaptation
he would distance himself from what he saw as a ruining of his original story.</p>
<p class="MsoNormal"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-yk0Lip526FZaFq8-Ybj4iRLQGB3wCZa6gmARRy5YbxNjCNgPv6Idp_gYAXVZfhsL9pvct6jbbLBYGmXmd_4mmR75FEK71G8q7m6JQSMo4tVh5ogg1Z3vPjABAjB9ZZbipM46oMtp-Fl4_ga2RldHyiJCRS4p2j3qSP6szyEczC5V5VdFvifq2tTpVw/s1200/snows%20of%20kilimanjaro-%20hayward,%20peck.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="675" data-original-width="1200" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-yk0Lip526FZaFq8-Ybj4iRLQGB3wCZa6gmARRy5YbxNjCNgPv6Idp_gYAXVZfhsL9pvct6jbbLBYGmXmd_4mmR75FEK71G8q7m6JQSMo4tVh5ogg1Z3vPjABAjB9ZZbipM46oMtp-Fl4_ga2RldHyiJCRS4p2j3qSP6szyEczC5V5VdFvifq2tTpVw/s320/snows%20of%20kilimanjaro-%20hayward,%20peck.jpg" width="320" /></a>Ava Gardner’s role in the production would serve primarily
as another attraction to the marquee as her appearance in the picture and her
character are swift, lacking, and forced into story that did not call for her.
The new Mrs. Frank Sinatra, Ave Gardner was a hot ticket item in popular
culture as the beauty was known more for her looks than serious talent in most
cases. Sinatra was not too keen on his wife working at the time as his
possessiveness did not allow her to be out of his sight. To appease Gardner Sinatra
insisted on chaperoning her to Hollywood, taking time off his Las Vegas
residency to accompany her to Hollywood for what was planned as only ten days
on set. As it turned out she would be needed for a little time longer, further
upsetting Sinatra.</p>
<p class="MsoNormal"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibzp7WWOwNRa3kIqifViVzO6IueHaFTarSeRLIzxnSovJ7xij_RkJOBSdkGLDZLKjDZTOZKPdQfW5u5jkY2MJHh2byX1FDdRv0ycxOCXjZCdmzEyy8yBHSWaSHg9ihTJkYH_oN0ZeM5vwcrmsatzdUfPcKd1-C70NFjCqcBzVvMTYwdNfUvlYsfTS9nw/s1920/snows%20of%20kilimanjaro-%20safari%20with%20background.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em; text-align: center;"><img border="0" data-original-height="1080" data-original-width="1920" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibzp7WWOwNRa3kIqifViVzO6IueHaFTarSeRLIzxnSovJ7xij_RkJOBSdkGLDZLKjDZTOZKPdQfW5u5jkY2MJHh2byX1FDdRv0ycxOCXjZCdmzEyy8yBHSWaSHg9ihTJkYH_oN0ZeM5vwcrmsatzdUfPcKd1-C70NFjCqcBzVvMTYwdNfUvlYsfTS9nw/s320/snows%20of%20kilimanjaro-%20safari%20with%20background.jpg" width="320" /></a>Despite all the drama and adventure of the picture would
have us believe, production for the picture was rather safe. Location shooting
was made most notably in Africa, but director and talent would never have to
leave Hollywood. Cameramen on location captured mostly establishing shots,
background plates, and staged shots with stand ins from a distance while Peck,
Hayward, and Gardner shot all their scenes comfortably in California at the Fox
studio or ranch. The film also utilized the old trick of reusing captured
footage from other films to flesh out the setting. For instance, the bull
fighting scene from time Harry Street was in Spain were assembled from footage
captured from the 1941 bullfighting movie <i>Blood in the Sand </i>(1941).</p>
<p class="MsoNormal"><i>The Snows of Kilimanjaro</i> was an enormous success for
Fox. With primarily positive critical reviews, thanks in large part of the
constructed majesty of the production, the film experienced more than its share
of commercial success, amassing the studio’s top box office numbers that year
and the third highest grossing picture of 1952. Nominated for Best
Cinematography (Color) and Art Direction, the feature succeeded at portraying
the prestige of lavish color feature showcasing far off places and sights many could
not even dream of. Time would change that as future features made visuals
clearer, brighter, and took stars closer to the action, and audiences feeling closer
to the settings with this film’s simple point and shoot establishing shots.</p>
<p class="MsoNormal">Hemingway openly despise <i>The Snows of Kilimanjaro</i>,
cracking wise to friend and star of the picture, Ava Gardner, that his favorite
parts were her and the hyena that stalked Harry Street in the picture.</p>
<p class="MsoNormal"><o:p></o:p></p>The lack of interest for <i>The Snows of Kilimanjaro</i>
becomes evident in cinema history with its overall lack of interest in the film
itself by not just viewers, but by its own studio. Many Hemingway stories would
find their way to the silver screen, but this one flopped with the passage of
time, even falling into public domain and a lack of genuine preservation.Ryan McCormickhttp://www.blogger.com/profile/13560952178103637506noreply@blogger.com0tag:blogger.com,1999:blog-3089271153735288184.post-72192839223267971062022-10-18T18:12:00.004-04:002022-10-18T18:22:11.467-04:00Ivanhoe (1952)<div class="separator"><br /></div><div class="separator"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsakeh0q7pul5_yC5wocA7VT5CK4JfPzdkCrC7HHFJjKpp0akehvbolon2gKay6WNGF_W32TjEQ8eQmp1ScJV2Tk9d3YIQ8XGmWBfolnF0qW0DIcPUMQiQP89Z8LDrIqjkgoJV6mdj7mtlQSKYYadT_vT5zrfczCtbkdEnM_Gz8_klN5PEWNrYszLk-g/s1559/Ivanhoe%20(1952).jpg" style="background-color: white; clear: right; float: right; font-family: "Times New Roman", serif; font-size: 16px; margin-bottom: 1em; margin-left: 1em; text-align: center;"><img border="0" data-original-height="1559" data-original-width="1000" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsakeh0q7pul5_yC5wocA7VT5CK4JfPzdkCrC7HHFJjKpp0akehvbolon2gKay6WNGF_W32TjEQ8eQmp1ScJV2Tk9d3YIQ8XGmWBfolnF0qW0DIcPUMQiQP89Z8LDrIqjkgoJV6mdj7mtlQSKYYadT_vT5zrfczCtbkdEnM_Gz8_klN5PEWNrYszLk-g/s320/Ivanhoe%20(1952).jpg" width="205" /></a><a href="https://ryanmccormickfilmhistory.blogspot.com/search/label/MGM%20British">Metro-Goldwyn-Mayer</a></div>Director: <a href="https://ryanmccormickfilmhistory.blogspot.com/search/label/Richard%20Thorpe">Richard Thorpe</a><br />Starring: <a href="https://ryanmccormickfilmhistory.blogspot.com/search/label/Robert%20Taylor">Robert Taylor</a>, <a href="https://ryanmccormickfilmhistory.blogspot.com/search/label/Elizabeth%20Taylor">Elizabeth Taylor</a>, <a href="https://ryanmccormickfilmhistory.blogspot.com/search/label/Joan%20Fontaine">Joan Fontaine</a>, <a href="https://ryanmccormickfilmhistory.blogspot.com/search/label/George%20Sanders">George Sanders</a>, <a href="https://ryanmccormickfilmhistory.blogspot.com/search/label/Emlyn%20Williams">Emlyn Williams</a><br /><br />Transporting audiences to a romanticized Medieval Europe, MGM shares a tale of knights and chivalry with plenty of sword fighting. In the style of <i>Quo Vadis</i> (1951), the prestigious studio continues to push the size and scope of motion pictures in effort to keep viewer eyes on the silver screens of movie theaters as television infiltrated the world of entertainment with its free programing. With all the grandeur of a Technicolor period costume feature this Hollywood picture produced in England did everything in its power to attract admirers of cinema to attend showings, resulting in one of the top money makers of 1952, but thereafter became all too cliché for its genre.<br /><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5ystf5SKJgqWH4bqV7oNj-58hiUNYl1YbVkkdOSGmAOr2nrY96TfcpOzvAvfZXN39hfQ4l6gGpGH_GWZ-WaCl2-SNJCckeTggFwhekKiIxSNn2oOrhOfQGpqTD7fqDLIMezlEsNpnSaQbJPBDOhcDeWOkdBSMvLYsQVeIEyjZMlgMbi0FTvvgO5oU2A/s1736/ivanhoe-%20rolfe.jpg" style="clear: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5ystf5SKJgqWH4bqV7oNj-58hiUNYl1YbVkkdOSGmAOr2nrY96TfcpOzvAvfZXN39hfQ4l6gGpGH_GWZ-WaCl2-SNJCckeTggFwhekKiIxSNn2oOrhOfQGpqTD7fqDLIMezlEsNpnSaQbJPBDOhcDeWOkdBSMvLYsQVeIEyjZMlgMbi0FTvvgO5oU2A/s320/ivanhoe-%20rolfe.jpg" /></a><i>Ivanhoe </i>is a Medieval period drama about a knight’s effort to restore King Richard to the throne of England. In 12th century, following the third Crusade, Saxon knight Wilfred of Ivanhoe (Robert Taylor) discovers the mysteriously disappeared King Richard is being secretly held prisoner in Austria while the nefarious knowing Prince John (Guy Rolfe) ignores the idea of paying the ransom in effort to rule over England. Ivanhoe yearning to right the order of things attempts to raise the ransom with aid of many friends despite the Prince John’s efforts to stop him, lead in large part by Sir Brian de Bois-Guilbert (George Sanders), his devoted Norman knight supporter. Just when funds for the ransom are accrued troubles are compounded with Rebecca (Elizabeth Taylor), the daughter of one of Ivanhoe’s best loyalists, captured and held for ransom by the prince, leaving him no choice by to fight for her freedom against Bois-Guilbert. The two foes battle spare in a climactic fight for Rebecca and the honor of England just as King Richard returns, vanquishing the imposter sovereign and uniting all of England.<br /><br />Carrying over the feel of classic Hollywood style of the Medieval period pictures of prior decades, <i>Ivanhoe </i>utilized its unique circumstances to deliver a majesty movie goers pf the early 1950s could only get in a theatrical experience. Full of bright costumes, plenty of men on horseback, castles, the flailing of swords, numerous extra, a large score, all captured in the glory of Technicolor, the picture evokes the vastness that only major motion pictures could provide at this time. In the years since cinema has matured to expect more than superficial grandeur, but for audiences of the of the early television age this was height in filmmaking, or so they thought. One of the most expensive features produced up to this time, <i>Ivanhoe </i>can be enjoyed by those that love this type of genre picture, but tends to be viewed as being well lapped by the evolution of cinema since.<br /><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDTN4_bDW-uDcfE14YM5pbhcwHB0QYIkDaXfbnr9UwACKPZLS6cTwP0M61ZW5mmqzLTTqlE7GoSPwsUAC5pp-9PLxP2qem5AjY-r1gwqPlgqRak5xT8fZEMTEHUKg2R6dqXQIpRyiiN1WBJFWOzZ8Z1kaCI14kCYWrlBNc64fFnEoJ0qA1xvgZRGPCfQ/s720/ivanhoe-%20tournament.jpg"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDTN4_bDW-uDcfE14YM5pbhcwHB0QYIkDaXfbnr9UwACKPZLS6cTwP0M61ZW5mmqzLTTqlE7GoSPwsUAC5pp-9PLxP2qem5AjY-r1gwqPlgqRak5xT8fZEMTEHUKg2R6dqXQIpRyiiN1WBJFWOzZ8Z1kaCI14kCYWrlBNc64fFnEoJ0qA1xvgZRGPCfQ/s320/ivanhoe-%20tournament.jpg" /></a>Based on the 1819 novel by Sir Walter Scott, <i>Ivanhoe </i>was a production put in place as MGM’s answer to the problem of profits locked behind the borders of the United Kingdom due to World War II era sanctions implemented that kept money for being taken out of the country by foreign businesses. Because of this MGM had to use what profits it made from its features within UK boarders. Despite having produced a number of small pictures from their British based studio MGM decided to capitalize on its surplus within the borders to produce a lavish prestige motion picture that would surely attract vast attention.<br /> <br /><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYDdgNW52XnDHtbo5hdnBACnHDGNwDTX9URPINk6IlcavvDkfYiQnyyt7VbNXx0BIaoCju_BGE9DUA7LK2lbTDx9-E4AeQiHVpVpQuTJ3PVe7aIwriMBH00Ywi721AZPCwKoNWGU3s-QDugzFmcgeAI68Bbqk0yUQk9wzHfgoE1YmaUOk04_1YaFAxyg/s1280/ivanhoe-%20douglas,%20sanders.jpg"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYDdgNW52XnDHtbo5hdnBACnHDGNwDTX9URPINk6IlcavvDkfYiQnyyt7VbNXx0BIaoCju_BGE9DUA7LK2lbTDx9-E4AeQiHVpVpQuTJ3PVe7aIwriMBH00Ywi721AZPCwKoNWGU3s-QDugzFmcgeAI68Bbqk0yUQk9wzHfgoE1YmaUOk04_1YaFAxyg/s320/ivanhoe-%20douglas,%20sanders.jpg" /></a>The production was shot entirely in Great Britain, mainly that the MGM-British Studios and a number of locations through England and Scotland. With strict sanctions on working visas most everyone that worked on the picture were British as well. To make things easier even most of the starring cast had British citizenry, including Elizabet Taylor, Joan Fontaine, George Sanders, and Emlyn Williams. The idea of the film crew being made up of talent from the UK would attract some of the finest craftsmen in England’s own film industry, including renowned cinematographer Freddie Young who earned himself an Oscar nomination <br /><br />Leading this vastly British production would be a long time MGM studio director, American filmmaker Richard Thorpe. Perhaps best known to cinema history as the original director of <i>The Wizard of Oz</i> (1939) before being fired after only two weeks of shooting, his eye for color and costume drama was the guide for the picture for better or for worse. Thorpe was a very visual director, working hardon the details captured within frame, so much so that actress Joan Fontaine would complain he worried more about how the horses acted over the performances of the human actors. <br /><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgI0xYRkHcNYlZWF-t-LM32oVtmwaTljAqVM6W1v2V28LYxzdr3xcD0zfcDYJKtzUavjVW6Y6hBZElj4XAy-hI35F8-8WM9KNl56wdjAshVQ8xEC1p01X-t0nq7YbEM0qz9RR9NlnSRr5NTJ-6-7ylutXv7XMieGD26yE0lNUh7CWkBlH_z0ulXd0-tmQ/s1400/ivanhoe-%20taylor,%20taylor.jpg"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgI0xYRkHcNYlZWF-t-LM32oVtmwaTljAqVM6W1v2V28LYxzdr3xcD0zfcDYJKtzUavjVW6Y6hBZElj4XAy-hI35F8-8WM9KNl56wdjAshVQ8xEC1p01X-t0nq7YbEM0qz9RR9NlnSRr5NTJ-6-7ylutXv7XMieGD26yE0lNUh7CWkBlH_z0ulXd0-tmQ/s320/ivanhoe-%20taylor,%20taylor.jpg" /></a>Coming off of <i>Quo Vadis</i>, Robert Taylor was cast yet again as the star of another prestige color picture for MGM, becoming a face of such features at the studio. For co-star Elizabeth Taylor, <i>Ivanhoe </i>was not a happy experience for her. Coming off a recent divorce, of which she had many, the young Taylor was being somewhat reprimanded by the studio as the still teenage starlet was beginning to attract negative tabloid attention. Her feeling here was of being shipped to England to be kept under better control in this large feature in a role that had little for her to do other than being eye candy. She disliked the role of Rebecca, the Jewish beauty, as her character had very little in substance for her to work with, doing more to fill costumes than she did acting. <br /><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUqhWzMG_nO4OqZhoKM4t_WZhKhQVXYmGh4zCxBHcZ5Vr2bjGuAlti0fII4e2WsCxvsdxoi0-R3xmvXQI_WlluncHzVlopX70_2Jqm52NKfIJssWlyv52yeCDkhdsL4clUslyHJ-35_uQAgNG01cJQjiS8G_XFw1cyB1MDs6hjOuvutLRFxSNxvdRS3A/s1000/ivanhoe-%20taylor,%20fontaine.jpg"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUqhWzMG_nO4OqZhoKM4t_WZhKhQVXYmGh4zCxBHcZ5Vr2bjGuAlti0fII4e2WsCxvsdxoi0-R3xmvXQI_WlluncHzVlopX70_2Jqm52NKfIJssWlyv52yeCDkhdsL4clUslyHJ-35_uQAgNG01cJQjiS8G_XFw1cyB1MDs6hjOuvutLRFxSNxvdRS3A/s320/ivanhoe-%20taylor,%20fontaine.jpg" /></a>Joan Fontaine’s appearance as Lady Rowena, Ivanhoe’s love interest, can also be considered a rather muted character. Starring alongside of Elizabeth Taylor, Fontaine’s appearance in the feature is easily overshadowed as MGM made sure to focus more on 19 year-old Taylor over the 34 year-old Fontaine. Adding to English authenticity were the performance of George Sanders, as the villainous Bois-Guilbert, and the silly comedic appearance of Emlyn Williams as Wamba, Ivanhoe’s bumbling squire. <br /><br />From a wide view <i>Ivanhoe </i>can be an impressive motion picture. It is large, bright, full or extras, with elaborate set decoration, manifesting the vast budget utilized to produce it. However, with closer inspection the picture does reveal hints of creative lethargy. Sword fighting was more of a novelty in acting at the time, but even the stage fighting here comes away looking like children swinging swords at each other, aiming only to hit metal on metal rather than looking as if men are fighting to the death. There also contains an impressive number of arrows being fired through many scenes. However, it is oblivious the arrows are fired simultaneously from some sort of offscreen contraption as a bundle of dozens of arrows come from the same direction at the same time at the same speed, making it a bit distracting at times. Yet, these are quibbles for those that enjoy filmmaking thinking that which goes unseen along with that on frame, focusing on details aside from story. <br /><br /><i>Ivanhoe </i>was a massive success for MGM in 1952, its prestige picture hype warranting a New York premiere, record setting ticket sales at theaters, and becoming one of the top grossers of the year. Nominations of Best Picture, Best Cinematography, and Best Score manifested how much of an impact the film had on popular culture of the period as being one of the largest films ever produced to that time. MGM immediately perceived the success of Ivanhoe as a formula they could recreate into comparable pictures in hope of similar box office outcomes. The result were two more Robert Taylor vehicles in 1953’s <i>Knights of the Round Table</i> and 1955’s <i>The Adventures of Quentin Durward</i>, both proving to be financial failures. <br /><br />The success of the film demonstrates how movie studios were moving to large productions to keep the attention of audiences that were increasingly being distracted by the free entertainment of television. Here the formula worked, but it was not always so. The medieval picture would win eyes for some, but interest would eventually fade. Ultimately Ivanhoe would lose interest in cinematic history, overshadowed by other period features, even by those years prior to it such as <i>The Adventures of Robin Hood</i> (1938). Today it remains a footnote, all but forgotten in the tapestry of motion pictures, a remnant of an industry so desperate to keep attention, but missed the mark on substance.<o:p></o:p><p></p>Ryan McCormickhttp://www.blogger.com/profile/13560952178103637506noreply@blogger.com0tag:blogger.com,1999:blog-3089271153735288184.post-26621248561200646922022-09-16T15:49:00.001-04:002022-09-16T15:57:07.093-04:00High Noon (1952)<div style="text-align: left;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVsLbQRfWsxRrjwUrEawxD4vVU9nx7EAWb5v6u4S7w56ptKX3i9PvJ7CG4RLM4YKj45g0kmzll_Ep_OB8SB3iAgzUQmfwNRkNGtItTwMaZxJd34P63-G5z0DvWtz3b1aFOApuJ2zb5cswtKhTtsRy9uGU1sYFmVej1ghciebvigsecR5gqgLuxuNi7YQ/s3000/High%20Noon%20(1952).jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em; text-align: center;"><img border="0" data-original-height="3000" data-original-width="1937" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVsLbQRfWsxRrjwUrEawxD4vVU9nx7EAWb5v6u4S7w56ptKX3i9PvJ7CG4RLM4YKj45g0kmzll_Ep_OB8SB3iAgzUQmfwNRkNGtItTwMaZxJd34P63-G5z0DvWtz3b1aFOApuJ2zb5cswtKhTtsRy9uGU1sYFmVej1ghciebvigsecR5gqgLuxuNi7YQ/s320/High%20Noon%20(1952).jpg" width="207" /></a><a href="https://ryanmccormickfilmhistory.blogspot.com/search/label/Stanley%20Kramer">Stanley Kramer Productions</a>/ <a href="https://ryanmccormickfilmhistory.blogspot.com/search/label/United%20Artists">United Artists</a><br />Director: <a href="https://ryanmccormickfilmhistory.blogspot.com/search/label/Fred%20Zinnemann">Fred Zinnemann</a><br />Starring: <a href="https://ryanmccormickfilmhistory.blogspot.com/search/label/Gary%20Cooper">Gary Cooper</a>, <a href="https://ryanmccormickfilmhistory.blogspot.com/search/label/Thomas%20Mitchell">Thomas Mitchell</a>, <a href="https://ryanmccormickfilmhistory.blogspot.com/search/label/Llyod%20Bridges">Lloyd Bridges</a>, <a href="https://ryanmccormickfilmhistory.blogspot.com/search/label/Grace%20Kelly">GraceKelly</a><br /><o:p> <br /></o:p>Honors:<br /><a href="https://ryanmccormickfilmhistory.blogspot.com/search/label/Best%20Actor">Academy Award for Best Actor</a><br /><a href="https://ryanmccormickfilmhistory.blogspot.com/search/label/Best%20Editing">Academy Award for Best Editing</a><br /><a href="https://ryanmccormickfilmhistory.blogspot.com/search/label/Best%20Score">Academy Award for Best Score</a><br /><a href="https://ryanmccormickfilmhistory.blogspot.com/search/label/Best%20Song">Academy Award for Best Song</a><br /><a href="https://ryanmccormickfilmhistory.blogspot.com/search/label/New%20York%20Film%20Critics">New York Film Critics Circle Best Film</a><br /><a href="https://ryanmccormickfilmhistory.blogspot.com/search/label/AFI%20Top%20100">#33 on AFI Top 100 (1998)<br />#27 on AFI Top 100 (2007)</a><br />#20 on AFI 100 Thrills<br />#25 AFI 100 Songs (“High Noon [Do Not Forsake Me, Oh My
Darlin’])”<br />#10 AFI 100 Scores<br />#27 AFI 100 Cheers<br />#2 AFI Top Westerns<br /><a href="https://ryanmccormickfilmhistory.blogspot.com/search/label/National%20Film%20Registry">National Film Registry</a><br /><o:p> </o:p></div><p class="MsoNormal"><o:p></o:p></p>
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<p class="MsoNormal">A picture produced during a tumultuous time in the history
of filmmaking during a political landscape of post war America it turned the preconceived
notion of the western genre upside down. Upsetting a good many, while thrilling
far more, especially in the critical community, the film<span style="mso-spacerun: yes;"> </span>went onto <span style="mso-spacerun: yes;"> </span>establish itself as the most influential
westerns of the 1950s. Trading action and bravery for a battle of conscience
and cowardice, this feature quietly shook the Hollywood establishment on its
way to becoming an all-time classic.<o:p></o:p></p>
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<p class="MsoNormal"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXPVFdZtUdGNTHZCyK4w3uKPcBiH6pAg0QEbFfjpeXdNc4xbgIVxhHYaEfgsenu7XaL3knPOg6y0VTptl_mk5EdxQib9KMWnem0P4ZVnqAfbdJ5dzDfJkiKyg-xk97xrlGaKcIfnwPMxs4XPaDGBKZVslZuDKRE2Rn2vT77V9YRVEGhhhOn0sBr8niDg/s1200/high%20noon-%20cooper.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="675" data-original-width="1200" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXPVFdZtUdGNTHZCyK4w3uKPcBiH6pAg0QEbFfjpeXdNc4xbgIVxhHYaEfgsenu7XaL3knPOg6y0VTptl_mk5EdxQib9KMWnem0P4ZVnqAfbdJ5dzDfJkiKyg-xk97xrlGaKcIfnwPMxs4XPaDGBKZVslZuDKRE2Rn2vT77V9YRVEGhhhOn0sBr8niDg/s320/high%20noon-%20cooper.jpg" width="320" /></a><i>High Noon</i> is a western about a marshal’s struggle to
protect a fragile frontier town from the threat of killers on the day he was
set to leave his position. On the day Mashal Will Kane (Gary Cooper) is to give
up his star and start life anew elsewhere with his blushing bride he hears word
of the eminent return of an old nemesis with an agenda of revenge for him, the
man that put him away. Despite the advice of townsfolk and his wife Amy (Grace
Kelly), Will elects it important to stay and stop the murderous man and his
gang from taking over the town if he were to leave. Though Will believes what
he is doing is right, Amy fears of his life and threatens to leave him for
choosing the job over her, while all his friends and perceived allies in town
he attempts to recruit refuse to help, leaving him the soul protector of the
town and his being. At the strike of noon Will finds himself in a deadly face
off with Frank Miller (Ian MacDonald) and his gang, taking them down with final
help from Amy. As a crowd surround Will as the tired victor, he casts down his
star in disgust and departs with Amy.<o:p></o:p></p>
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<p class="MsoNormal"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjihGywKASyv4gQuVYrT_ZaMRIbQlOKR6i6xyj-7abjkAyO-ux_cX_QYsdePoiRFX-wKozKDhbGoR_LGyv9BEya4W8lUVrXnqhNnMplFefMBem3MSvUIikQfEBcmAHsGhrJ09lMJRcbPh0cKBc6w16k5e4tl64mzrQN6qnOla5Wp4thnCFDySvy5Q5bjA/s1344/high%20noon-%20miller%20gang.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em; text-align: center;"><img border="0" data-original-height="1000" data-original-width="1344" height="238" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjihGywKASyv4gQuVYrT_ZaMRIbQlOKR6i6xyj-7abjkAyO-ux_cX_QYsdePoiRFX-wKozKDhbGoR_LGyv9BEya4W8lUVrXnqhNnMplFefMBem3MSvUIikQfEBcmAHsGhrJ09lMJRcbPh0cKBc6w16k5e4tl64mzrQN6qnOla5Wp4thnCFDySvy5Q5bjA/s320/high%20noon-%20miller%20gang.jpg" width="320" /></a>Unlike common westerns that preceded <i>High Noon</i>, this
picture forgoes much of the high action to build anticipation and suspense. Constructed
within the running time of the feature is the sense of a clock counting down in
real time the waning minutes until the moment Will Kane must face his fears as
he tries to rally allies to fight off the murderer on his way to face him. Also,
unlike many prior westerns this film is populated with men unwilling to fight,
partly out of cowardice and partly out of accepting the lawlessness that is to
come, ideals not typically embraced by the full force pro-American post war
culture. This picture puts up a brave new look at the genre as it displays a
story about conscience and corruption of individuals rather than focusing on the
usual hypermasculine, squeaky clean, do-gooder action films that came before
it. Featuring a strong leading man in Gary Cooper, an early appearance of
newcomer Grace Kelly, all directed by filmmaker of some of the more thoughtful
films of the era in Fred Zinnemann.<o:p></o:p></p>
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<p class="MsoNormal"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhet4NF2g8_lr_C-4eAwv-7_NkrU-RnxiljcdHf94Y2qJUnKwwh0JaUSlQXiORl_QXdi9VWRxlBw3Rb4u9S8kz_w085SZh-7GqGcjbeRuzDGEdoUsMzqKw55HqkMIR_rOyaIZAcwdSr0E6iCAj3M47Xj1iP7MYaElI61TgDLHoYBv8ycJHq6Gz_gf4RRQ/s1472/high%20noon-%20cooper,%20kelly.png" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="1072" data-original-width="1472" height="233" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhet4NF2g8_lr_C-4eAwv-7_NkrU-RnxiljcdHf94Y2qJUnKwwh0JaUSlQXiORl_QXdi9VWRxlBw3Rb4u9S8kz_w085SZh-7GqGcjbeRuzDGEdoUsMzqKw55HqkMIR_rOyaIZAcwdSr0E6iCAj3M47Xj1iP7MYaElI61TgDLHoYBv8ycJHq6Gz_gf4RRQ/s320/high%20noon-%20cooper,%20kelly.png" width="320" /></a>In the shadow of House Un-American Activities Committee, the
story that would become <i>High Noon</i> was an adaption from a John W.
Cunningham short story by the name of “The Tin Star” in a screenplay penned by Carl
Foreman. With a screenwriter deemed an “uncooperative witness” by the HUAC and
on his way to being wrongfully blacklisted by Hollywood, the picture would meet
several obstacles in preproduction by the Hollywood establishment that looked upon
the project as communist propaganda. Before joining Columbia in his final
independently produced picture, Stanley Kramer appointed Fred Zinnemann to
direct the film that served as an allegory towards McCarthyism. The veteran
director having made some of the more successful off-the-beaten-path yet very thoughtful
pictures of recent memory, would deem he did make the picture as an allegory,
but a story of one man’s struggles in a dangerous situation.<o:p></o:p></p>
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<p class="MsoNormal">Breaking the “rules” of westerns Zinnemann’s picture was not
only slow, but dirty and gruff. Shot in black and white it clashed with
westerns that gain interest by being shot in brilliant color. Instead of being
picturesque, as if photographed like a living painting, the camera lacked
filters to highlight the dirt and sweat on the actors who in many cases did not
wear makeup. It was an anti-western for its time, but helped establish what
westerns would be as the decade moved forward.<o:p></o:p></p>
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<p class="MsoNormal">John Wayne was the originally envisioned leading man for the
role of Will Kane, but the highly conservative actor known for his stance on hype-masculine
roles, staunch clean American values, and current president of the Screen
Actors Guild emphatically declined, damning the project as being disgraceful
and un-American. Other great leading men such as Gregory Peck, Marlon Brando, Montgomery
Peck, and Charlton Heston all turned down the role of Will Kane for similar
reasons, considering the film potential poison for an actor’s career. Gary
Cooper, a “friendly witness” to the HUAC and political conservative would accept
the role with a differing outlook on the story’s core from his counterparts. His
performance as the troubled Kane was so well praised, he would be honored with
the Academy Award which he ironically had John Wayne, his good friend, accept
on his behalf as he was working in Europe at the time of the ceremony. <o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJzskYQ1uNDYaTpSIYDhrzHYHP6cHKtuQvO4UqP3od_kD9ltZg6yOkC3w95iDBV_vlHUim5xVok6LB3YqslvTEpdkrzkNMzzIEAqhFfQV2Uxw4UlbhYbUi_QmmDxavaqxVQhN9CpmyUOVO9pNHZcYP1TEWKV7FwsO87ZCJKABA2trpUJiClQwEc2jVyw/s1400/high%20noon-jurado,%20kelly.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em; text-align: center;"><img border="0" data-original-height="1016" data-original-width="1400" height="232" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJzskYQ1uNDYaTpSIYDhrzHYHP6cHKtuQvO4UqP3od_kD9ltZg6yOkC3w95iDBV_vlHUim5xVok6LB3YqslvTEpdkrzkNMzzIEAqhFfQV2Uxw4UlbhYbUi_QmmDxavaqxVQhN9CpmyUOVO9pNHZcYP1TEWKV7FwsO87ZCJKABA2trpUJiClQwEc2jVyw/s320/high%20noon-jurado,%20kelly.jpg" width="320" /></a>The 21 year-old off Broadway actress Grace Kelly was
discovered by Kramer appears as co-star with Cooper as the troubled bride that
worries she will lose he husband to his sense of duty on the day of their
wedding. With her performance and beauty her career launched quickly into the
spotlight. Other players of note through the feature was the likes of Llyod Bridges
coming into his own as a more mainstream actor after a time in Republic
pictures as the jealous deputy that abandons Kane. Mexican born actress Katy
Jurado delivers a striking performance as the lusty and exotic former love interest
of Kane, foil to much of the background friction in the story. Other greats
that pepper the cast include Lon Chaney Jr., Harry Morgan, and Thomas Mitchell to
name just a few.<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal">A significant piece to the construct of the picture is that
of Dimitri Tiomkin’s score including the titular song that serves to capture in
short the backbone plot within its lyrics while delivering a tone and pace mirroring
that of the film. Tiomkin would receive Oscars for score and song while his
tune would go on to be a hit song for Country-Western singer Tex Ritter.<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal">Despite the film being met with initial political controversy
it would quickly become a successful film loved by many, including politicians
and members of the Hollywood. For a great many it was considered one the
greatest films of the year and all-time. Nominated for seven Academy Awards, it
would win four, while finding itself honored throughout the award circuit for
1952.<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5L1fLXoaPCTCRBngm_1QzmHUiR0Pl5mCBfO3YgSgPSkOAuOMJWuA6aBQFeDgRzf1mDbYdH2l4KXDuBOOHHK8ehdOfnsKfHyVqOfKdwxsRQMrvBwVn-0kOFZDEc7_rsT5IVo3Ej_0srYzdpt_M8LDXm1q-atxWbeMuZYhg_-v18mmIN8evL326BwHK2g/s1052/high%20noon-%20one%20man.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="768" data-original-width="1052" height="234" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5L1fLXoaPCTCRBngm_1QzmHUiR0Pl5mCBfO3YgSgPSkOAuOMJWuA6aBQFeDgRzf1mDbYdH2l4KXDuBOOHHK8ehdOfnsKfHyVqOfKdwxsRQMrvBwVn-0kOFZDEc7_rsT5IVo3Ej_0srYzdpt_M8LDXm1q-atxWbeMuZYhg_-v18mmIN8evL326BwHK2g/s320/high%20noon-%20one%20man.jpg" width="320" /></a>The legacy of <i>High Noon</i> penetrated movies, the
western genre, and popular culture, becoming one of the highest praised films
in American cinematic history. Futile attempts had been made in remake the
story and even sequalize it, but the original <i>High Noon</i> is near a
perfect feature. Among the very first class of preserved films at the Library
of Congress in 1989, <i>High Noon</i> remains one of the finest pictures that
is rather simple by production standards, but powerful in suspense and execution
as it left a lasting impact on the cinematic world that continues to be seen
today.</p>Ryan McCormickhttp://www.blogger.com/profile/13560952178103637506noreply@blogger.com0tag:blogger.com,1999:blog-3089271153735288184.post-8123348641537445782022-08-25T17:14:00.007-04:002022-08-25T17:17:53.596-04:00Quiet Man, The (1952)<div style="text-align: left;"><p class="MsoNormal" style="text-align: left;"></p><div style="text-align: left;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2XHuNJA6wVz_59HBy0yZaKvK7j7fueQnGUaqdQFw7ARyNct0H5iCSrjbf50HBaBRIGiG8YFyFk9mLCOrPKXjx9N1T_zLc1A2BzJoKxklBKHnn5Vn2ZyDPOoICJgJjl0Spy2Mldc15e55SB8Blzj5EhGYxOPHG5Hx42c2RAnxxC6PaXLjqa_ljYYM86w/s1500/Quiet%20Man%20(1952).jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em; text-align: center;"><img border="0" data-original-height="1500" data-original-width="962" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2XHuNJA6wVz_59HBy0yZaKvK7j7fueQnGUaqdQFw7ARyNct0H5iCSrjbf50HBaBRIGiG8YFyFk9mLCOrPKXjx9N1T_zLc1A2BzJoKxklBKHnn5Vn2ZyDPOoICJgJjl0Spy2Mldc15e55SB8Blzj5EhGYxOPHG5Hx42c2RAnxxC6PaXLjqa_ljYYM86w/s320/Quiet%20Man%20(1952).jpg" width="205" /></a><a href="https://ryanmccormickfilmhistory.blogspot.com/search/label/Republic%20Pictures">Republic Pictures</a>/ <a href="https://ryanmccormickfilmhistory.blogspot.com/search/label/Argosy%20Pictures">Argosy Pictures</a><br />Director: <a href="https://ryanmccormickfilmhistory.blogspot.com/search/label/John%20Ford">John Ford</a><br />Starring: <a href="https://ryanmccormickfilmhistory.blogspot.com/search/label/John%20Wayne">John Wayne</a>, <a href="https://ryanmccormickfilmhistory.blogspot.com/search/label/Maureen%20O%27Hara">Maureen O’Hara</a>, <a href="https://ryanmccormickfilmhistory.blogspot.com/search/label/Barry%20Fitzgerald">Barry Fitzgerald</a><br /> <br />Honors:<br /><a href="https://ryanmccormickfilmhistory.blogspot.com/search/label/Best%20Director">Academy Award for Best Director</a><br /><a href="https://ryanmccormickfilmhistory.blogspot.com/search/label/Best%20Cinematography">Academy Award for Best Cinematography (Color)</a></div><div style="text-align: left;"><a href="https://ryanmccormickfilmhistory.blogspot.com/search/label/National%20Film%20Registry">National Film Registry</a><br /> </div><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal">Stepping out of their usual westerns, star John Wayne and
director John Ford team up once again, but this time in a romantic comedy set
in idyllic rural Ireland. Captured in brilliant Technicolor, Ford projects the
beauty of the vibrantly lush countryside, a tranquil and charming setting of a
romanticized Irish culture. Far from the gun-toting, gruff characters of his
prevalent western persona Wayne manifests a kinder, slightly more playful side
as be delves into a role of a man looking to settle down and falling in love
with his common on screen romantic interest Maureen O’Hara. Evident for helping
to establish the romantic visuals and style of an Ireland in the 20<sup>th</sup> century
the film would be a favorite for many cinema fans of the era.<o:p></o:p></p>
<p class="MsoNormal"> <o:p></o:p></p>
<p class="MsoNormal"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQUASdKCSFISfJsMJN5TFRLwNPhx_ZrvmrKq71qvj29MVUQLtwWNxKk1Hi--pw6wFFATI88KJg0Qv6xNuiLvtMqJg0IARJGhlbDbHgqqxgjArlMP1by-SNcAtEf6U6q_eI2INxEj6ufVW3MuQNctaE8JpHMRpa33kNIK-U1NVD1CpQRPKaziqBpRWA7Q/s600/quiet%20man-%20wayne,%20ohara,%20ireland.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="390" data-original-width="600" height="208" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQUASdKCSFISfJsMJN5TFRLwNPhx_ZrvmrKq71qvj29MVUQLtwWNxKk1Hi--pw6wFFATI88KJg0Qv6xNuiLvtMqJg0IARJGhlbDbHgqqxgjArlMP1by-SNcAtEf6U6q_eI2INxEj6ufVW3MuQNctaE8JpHMRpa33kNIK-U1NVD1CpQRPKaziqBpRWA7Q/s320/quiet%20man-%20wayne,%20ohara,%20ireland.jpg" width="320" /></a><i>The Quiet Man</i> is a romantic comedy/drama about
an Irish born American returning to his homeland to settle down, discover love,
and mask his mysterious past. Retired American based boxer Sean Thornton (John
Wayne) returns to his hometown of Inisfree, Ireland to settle down into a quiet
rural town life when he falls in love with a beautiful fiery red-head Kate
Danaher (Maureen O’Hara). Following a humorous courtship, the two wed, but to
odds when Kate is denied her dowry and Sean sees no need for it. Kate’s
attachment to her inheritance was withheld by her brutish and disagreeable
older brother Will (Victor McLaglen) who strongly dislikes Sean, but Sean is
unwilling to fight him as he is haunted by the memory of taking the life of his
final opponent in the ring leading to his retirement. After consulting man
townsfolk including his friend Michaeleen (Barry Fitzgerald), Sean wins the
dowry for Kate, stirring an amusing knockdown, drag out brawl between he and
Will, winning him favor with both his brother-in-law and adoration of his wife.<o:p></o:p></p>
<p class="MsoNormal"> <o:p></o:p></p>
<p class="MsoNormal">Upon initially viewing this feature one may not come away
thinking this is a John Ford picture. Its much lighter tone and comedic lean
appears divergent from the more masculine centric, confrontation filled
pictures the filmmaker was better known for. Instead of the grit of black and
white we get the vibrancy of Technicolor, capturing the brilliant greens and
earth tones of the Irish countryside. And yet, again we see the pairing of John
Wayne and Maureen O’Hare as stars under Ford which would a common winning
formula for many years. However, instead of romanticized the Old West be get a
corner of Europe that Americans would be believe they are more familiar with.
With a plot that is simple and playful in time would be closer analyzed for its
flaws with stereotypes and portrayal of domestic abuse dressed up in a way that
was deemed harmless for its day.<o:p></o:p></p>
<p class="MsoNormal"> <o:p></o:p></p>
<p class="MsoNormal"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjx9aopa8neFgGpik9kZ6FfVC26Fl5eDk1m8AxiH1SU04DeaJXrgtligmTIf8L9G0Uy66rxPZ9crfL9nGewJvCQJtukSnSCk8sgjnVffxldAcyOj88FablSyd-b3lU5xkyAg_HLP0VD-lTQg337Hj5YLAuZFQ3fao5E9oe7COJha2QhIuJbHN8OWnJJWg/s1200/quiet%20man-%20wayne,%20ohara,%20kiss%20scene.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em; text-align: center;"><img border="0" data-original-height="875" data-original-width="1200" height="233" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjx9aopa8neFgGpik9kZ6FfVC26Fl5eDk1m8AxiH1SU04DeaJXrgtligmTIf8L9G0Uy66rxPZ9crfL9nGewJvCQJtukSnSCk8sgjnVffxldAcyOj88FablSyd-b3lU5xkyAg_HLP0VD-lTQg337Hj5YLAuZFQ3fao5E9oe7COJha2QhIuJbHN8OWnJJWg/s320/quiet%20man-%20wayne,%20ohara,%20kiss%20scene.jpg" width="320" /></a>John Ford had originally purchased the film rights to the
original story first publish in 1933 in the “Saturday Evening Post” shortly
after it was first printed but would not get around to producing it until the
1950’s. Partnering with Republic Pictures, he got the small studio to agreed to
finance the film for Ford if he followed a pair of provisos. First the
filmmaker had to produce another sure-fire money making western for Republic to
help cushion the cost of the more expensive project. Secondly, established
stars John Wayne and Maureen O’Hara would be attached to star I the film as
well. With little delay Ford, Wayne, and O’Hara went to work for Republic,
together working on the film that became the success 1950 picture <i>Rio
Grande</i> and immediately setting off to Ireland after production ended.<o:p></o:p></p>
<p class="MsoNormal"> <o:p></o:p></p>
<p class="MsoNormal"><i>The Quiet Man</i> was a departure for Republic
Pictures, not only was this not to be a western, but it was given a budget to
film overseas and in Technicolor, luxuries not akin to the tiny Hollywood
studio known for producing serials and inexpensive features. The Irish setting
allow would be utilized in a manner that on its own was a character as the lush
greenery of the hills, trees, and other fauna served as the beautiful backdrop
for this lighthearted setting, earning the picture an Oscar for cinematography.<o:p></o:p></p>
<p class="MsoNormal"> <o:p></o:p></p>
<p class="MsoNormal"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhom3tJiVaE5bomQ8Pw4QEvYz6LsvTZ-SZZog-QvtUleqJb2jWWyCnNFKl3kpda2g8-F4HlzT2j0SyHNSV3tn0X7oxlMG4mBdeFylkHoSANCQxIs_XHoivCMzAUtjh3p9AYmbT5ItzcgdFWKXWJHvmYYc737KB23vLFfwYKuZAB2ZjzY48gHmPSyetG7Q/s1280/quiet%20man-%20fitzgerald,%20wayne.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="720" data-original-width="1280" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhom3tJiVaE5bomQ8Pw4QEvYz6LsvTZ-SZZog-QvtUleqJb2jWWyCnNFKl3kpda2g8-F4HlzT2j0SyHNSV3tn0X7oxlMG4mBdeFylkHoSANCQxIs_XHoivCMzAUtjh3p9AYmbT5ItzcgdFWKXWJHvmYYc737KB23vLFfwYKuZAB2ZjzY48gHmPSyetG7Q/s320/quiet%20man-%20fitzgerald,%20wayne.jpg" width="320" /></a>Stars John Wayne and Maureen O’Hare were becoming a hot
commodity of Ford and his Republic pictures, this being their second
consecutive pairing and romantic interests. Maureen O’Hara is able to play on
her Irish roots as the girl that wins over the heart of John Wayne, while Wayne
lightens up his demeanor portraying a more carefree character than common type.
Fleshing out the cast are a number of Irish character actors including the
fatherly Barry Fitzgerald as somewhat the support to Sean’s move into Irish
society, and former Academy Award winner Victor McLaglen as the hot-tempered
Squire “Red” Will Danaher, Mary’s older brother and patriarch of the Danaher
family.<o:p></o:p></p>
<p class="MsoNormal"> <o:p></o:p></p>
<p class="MsoNormal">What the picture delivers most on are the brilliant visuals
of the Irish countryside and the creation of the fictional rural town of
Inisfree. In a way this feature aiding in creating the romanticized ideal Irish
landscape and societ that only existed in the minds of those that had never
experienced the country. In no way an accurate representation of a real town or
people that exists in Ireland, it establishes in ideal many hoped it was like,
as a kind and picturesque homeland with only slightly weathered edges. In this
manner it made the picture somewhat timeless, and yet the picture is also a
product of its time with the embracing of certain social issues.<o:p></o:p></p>
<p class="MsoNormal"> <o:p></o:p></p>
<p class="MsoNormal">Aside from being filled with some overly simplified adverse
Irish stereotypes, including drunkenness and fighting played off primarily for
laughs, the film struggles with over masculinity even though this is not
atypical Ford western. John Wayne’s character at times is abusive to Maureen
O’Hara, most notably when it is implied that her forces himself upon her when
she refuses to perform “marital duties” with him. Yet, the feature comes away
with a hint of feminine liberation and empowerment as it is a story of a
conservative woman coming to embrace her own passions by the end of the story,
highlighted by a knowing wink to her husband as they go to be private by the
conclusion of the picture. So, from a point of view the film struggles with
being embraced by newer generations of viewers as it understands the social
issues of abuse and hypermasculinity as pain point of society.<o:p></o:p></p>
<p class="MsoNormal"> <o:p></o:p></p>
<p class="MsoNormal"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqSnRoejG6Z_iCFjed3tkEBFCKIDb1INmM4qEWa21eDr2gm5ETgcRdkxIZffZT55xpfIL-N3_-hG78XqsqbG1YPDOvsBvEmyfrqR4vVNJDx86AS1zvKKg28tguzS6ZnlsBsHIaXZh2nv0pJSGiYendN7nr3bm-OTOsF-P2hX2yt-Yd6CYkNqQF3C8xFQ/s962/quiet%20man-%20ohara,%20wayne.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em; text-align: center;"><img border="0" data-original-height="945" data-original-width="962" height="314" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqSnRoejG6Z_iCFjed3tkEBFCKIDb1INmM4qEWa21eDr2gm5ETgcRdkxIZffZT55xpfIL-N3_-hG78XqsqbG1YPDOvsBvEmyfrqR4vVNJDx86AS1zvKKg28tguzS6ZnlsBsHIaXZh2nv0pJSGiYendN7nr3bm-OTOsF-P2hX2yt-Yd6CYkNqQF3C8xFQ/s320/quiet%20man-%20ohara,%20wayne.jpg" width="320" /></a>Reviews for <i>The Quiet Man</i> in 1952 were
generally favorable, once getting over the hump of this Ford-Wayne-O’Hara
feature was not the typical western. A handful of critics found the runtime
unnecessarily long at 129 minutes, but viewers feel in love the romance of
Irish country. Nominated for seven Academy Award, the feature was one of the
highest praised films of the year, winning John Ford his fourth Oscar in the
process and being one of the top ten grossing pictures of 1952. In the years
since The Quiet Man became was one of Ford’s favorite projects in his career
and remained well liked by fans of his, even being preserved in the National
Film Registry in 2013 for being “culturally, historically, or aesthetically
significant.”</p><p></p></div>Ryan McCormickhttp://www.blogger.com/profile/13560952178103637506noreply@blogger.com0tag:blogger.com,1999:blog-3089271153735288184.post-77666955175105297712022-07-21T15:35:00.007-04:002022-07-21T15:39:19.321-04:00Forbidden Games (1952)<div class="separator"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjl8AsAzYjmBv27xBd35KKXuo0EzCwz91NpVzKmchKNUrI0ElP7cyIr2D1nXPGsTjpfNxjb42ACQOlRVS_tFban8ZeaZT7rW_ZBp2lM7nvchSBWKQMb733YpES1Br5eCovLr6OaLDwZblcu4JUWd9DAwo-r7GeVvGe4eXALFS_SKu7mQtcLNC1tOPFaLA/s1292/Forbidden%20Games%20(1952).jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em; text-align: center;"><img border="0" data-original-height="1292" data-original-width="960" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjl8AsAzYjmBv27xBd35KKXuo0EzCwz91NpVzKmchKNUrI0ElP7cyIr2D1nXPGsTjpfNxjb42ACQOlRVS_tFban8ZeaZT7rW_ZBp2lM7nvchSBWKQMb733YpES1Br5eCovLr6OaLDwZblcu4JUWd9DAwo-r7GeVvGe4eXALFS_SKu7mQtcLNC1tOPFaLA/s320/Forbidden%20Games%20(1952).jpg" width="238" /></a></div><a href="https://ryanmccormickfilmhistory.blogspot.com/search/label/Silver%20Films">Silver Films</a><br />Director: <a href="https://ryanmccormickfilmhistory.blogspot.com/search/label/Rene%20Clement">René Clément</a><br />Starring: <a href="https://ryanmccormickfilmhistory.blogspot.com/search/label/Georges%20Poujouly">Georges Poujouly</a>, <a href="https://ryanmccormickfilmhistory.blogspot.com/search/label/Brigitte%20Fossey">Brigitte Fossey</a><br /><br />Honors:<br /><a href="https://ryanmccormickfilmhistory.blogspot.com/search/label/Venice%20Film%20Festival">Golden Lion at Venice Film Festival</a><br /><a href="https://ryanmccormickfilmhistory.blogspot.com/search/label/honorary%20Oscar">Special Academy Award for Foreign Language Film</a><br /><a href="https://ryanmccormickfilmhistory.blogspot.com/search/label/BAFTA">BAFTA for Best Film</a><br />
<p class="MsoNormal">Using the viewpoint of children to study the human condition
this rather simple French film produces for a quiet, deep picture and an
example of the rise of post-war motion pictures as an art of heavy expression
of thought and the existential crisis in society. A story about the imposing
finality of death being pondered by the unassuming minds of children makes for
a feature that toes to lines of lighthearted and heavy, being simple yet dark,
while it is unassuming and profound. Carried by the impressive performances of
two very young actors this film would leave many questioning whether they
witnessed something unsophisticated or discover them pondering deeper within
themselves on the understanding of life and the world.<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiH-wVVB16WNGFX9l4ZruXurDG-pjsirbLCNYaa90DJN0g6LMQ0Cn2M7rXnSTOTcnOGYmgeZiv7T3vmvQUC1ZdgCyfkNX6tRwARSVj45KXmil8i4g9AE6uJc2lZN3uktOagMxZud9xgNq8ofbRCL60dSYFGmdkVEj6I7l3lZ88jh9s9I4aogJvgJ0oFvg/s1200/forbidden%20games-%20fossey,%20poujouly2.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="675" data-original-width="1200" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiH-wVVB16WNGFX9l4ZruXurDG-pjsirbLCNYaa90DJN0g6LMQ0Cn2M7rXnSTOTcnOGYmgeZiv7T3vmvQUC1ZdgCyfkNX6tRwARSVj45KXmil8i4g9AE6uJc2lZN3uktOagMxZud9xgNq8ofbRCL60dSYFGmdkVEj6I7l3lZ88jh9s9I4aogJvgJ0oFvg/s320/forbidden%20games-%20fossey,%20poujouly2.jpg" width="320" /></a><i>Forbidden Games</i> is a French drama of two young
children coming to terms with the ideas and realities of death. During the
onset of World War II, the very young orphaned Paulette (Brigette Fossey) is
taken in by a peasant farm family, The Dollés, as she immediately befriends the
10 year-old son Michel (Georges Poujouly). With Paulette unable to fully grasp the
idea of the recent German air attack that took the lives of her parents, Michel
and Paulette begin a small cemetery for the dead puppy she had been carrying
since the bombing that claimed her parents. Michel efforts to impart on Paulette
his naïve understanding of religion, including prayer and crosses as they try
to fill the crude pet cemetery with other dead creatures as companions to the
puppy. In attempt to flesh out the graves, the children steal crosses from the church
and its adjoining graveyard for use in their cemetery, embarrassing and
angering Michel’s father (Lucien Hubert) when he discovers his son’s actions. Michel
agrees to return the stolen items to the church if
Paulette is allowed stay with them, but when his angered father breaks his
promise Michel runs to destroy the crosses in disgust while Paulette is taken
away by displacement officials, left crying out for Michel, the two children struggling
to understand.<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilKiUe8nuI5u4MDC0tBnNcQOEmJvIWGWG2WAc4oILG-j_P62f0I1j8t7n-jxJ6Q9EGN0a3f3IDz0rtCO8ViQtvhQFMfp8pnpWH8XKRnu9sLRW0hypI1vPJEH75Wg3EABj3i-PQcoFDt3V9UkM_5BKnxAiWtTDmI67Vmp1Ni1G0_w2vAbSzSJppYrQBxg/s2560/forbidden%20games-%20poujouly.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em; text-align: center;"><img border="0" data-original-height="1700" data-original-width="2560" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilKiUe8nuI5u4MDC0tBnNcQOEmJvIWGWG2WAc4oILG-j_P62f0I1j8t7n-jxJ6Q9EGN0a3f3IDz0rtCO8ViQtvhQFMfp8pnpWH8XKRnu9sLRW0hypI1vPJEH75Wg3EABj3i-PQcoFDt3V9UkM_5BKnxAiWtTDmI67Vmp1Ni1G0_w2vAbSzSJppYrQBxg/s320/forbidden%20games-%20poujouly.jpg" width="320" /></a>This movie is truly difficult to capture in words as it can
come away as morbid by description. A girl loses her parents in a bombing and
spends a good amount of time holding a dead puppy. The children build a pet cemetery
and seek out other dead animals to fill it. Then they go and steal crosses from
a church. It all sounds weird, but actually it is about two young minds that have
yet been able to comprehend the heaviness of death, religion, and life. These
things take lifetimes for many to wrap their minds around and here it is
delivered to two children that try to make sense in a world and time when things
very complicated. It is heartbreaking story, yet the two young, unpolished actors
carry the picture are remarkable in their performances coaxed by director René
Clément. The best manner to digest the heart of the film is to just view it away
from any distraction, allowing its slow pace to draw you into its story of loss
and the struggle to understand for innocent minds.<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal">Based on the French novel of the same name, this feature
falls within the New Wave of motion pictures rising in France during the decade.
The story allows for the simple rural setting where the peasant family’s home resides,
background to an unassuming story of these two children without the
complications of cinematic complexity. The film and its story keep things
rather light in the shadow of all the ugliness that appears to surround the
meek plot.<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVrNTeLsMuh7Ex3xewOhqHCUAb6Nm_0OwU52Cv5PZotuThfq4kG9bkoNQq5VyZWXYOvTlcCPwXWeH1rUjQfmyoAI1h1xb20A87-AARlHmIAriMjLQ0FiNmc420IMd7FcuvDI6g9wmjJOJ_h30RV7lLFhvIAUuyqSy7tOG8CRKOp4MrdPaTeW4DtMS2Jg/s1310/forbidden%20games-%20fossey,%20poujouly.png" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="893" data-original-width="1310" height="218" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVrNTeLsMuh7Ex3xewOhqHCUAb6Nm_0OwU52Cv5PZotuThfq4kG9bkoNQq5VyZWXYOvTlcCPwXWeH1rUjQfmyoAI1h1xb20A87-AARlHmIAriMjLQ0FiNmc420IMd7FcuvDI6g9wmjJOJ_h30RV7lLFhvIAUuyqSy7tOG8CRKOp4MrdPaTeW4DtMS2Jg/s320/forbidden%20games-%20fossey,%20poujouly.png" width="320" /></a>Death is horrible and final as the film opens with Paulette’s
parents, a bickering married couple, fall slain to German bombs while Paulette
is unaware of how cumbersome she can be as a child in such a setting. The film
closes with the heaviness of Michel’s father punishing him by sending poor
Paulette away leaving the audiences with a sense of emptiness and heartbreak. However,
much of the picture is light as the children go about creating something as
morbid as a cemetery as if playing house. The improvised graveyard comes to
represents their safe space, the only thing peaceful in their world where death
and surrounds them. Innocent abounds in the story as the children mean no harm by
stealing crosses while the parents’ intentions in punishing their son is a
means to caring and teaching, despite the hurt it causes. Yet in the end they
all come to realize that the world is filled with disappointment, death, and
the eventual maturation to come.<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjP5vkmDsuxF0GTjKI7JOzyzf5HrCi4GMWFrb9luD7NaLCMlgFvHunJBj9u6Qa7plNkhmYqUKGPfsLT9vfK1FBDf_ateQFSCyRkQuuQnARfnvWVBOwi0giAuyKfJVNnBAXHbKu3kwIoKK8ly0PyOPf2sRBzeGNngaMQup4-sGi2crNgSSh4_83KwKjBKA/s2050/forbidden%20games-%20poujouly%20fossey,%20with%20father.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em; text-align: center;"><img border="0" data-original-height="1274" data-original-width="2050" height="199" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjP5vkmDsuxF0GTjKI7JOzyzf5HrCi4GMWFrb9luD7NaLCMlgFvHunJBj9u6Qa7plNkhmYqUKGPfsLT9vfK1FBDf_ateQFSCyRkQuuQnARfnvWVBOwi0giAuyKfJVNnBAXHbKu3kwIoKK8ly0PyOPf2sRBzeGNngaMQup4-sGi2crNgSSh4_83KwKjBKA/s320/forbidden%20games-%20poujouly%20fossey,%20with%20father.jpg" width="320" /></a>The cast is fleshed out with many fine supporting players
making up the Dollés and their neighbors, the Goudards, with whom they share a
comical rivalry, even with a small Romeo and Juliet subplot buried within. However,
the film comes down to two surprising performances from child actors. The two
stars were plucked by Clement when Georges Poujouly was only 11 and little
Brigitte Fossey was only five. The first film work for both would go on to be
praised wildly over the years as the two completely inexperienced stars
benefited from the complete innocence in the roles. Clemet worked to get the performance
from Fossey, who was so little and charmingly blameless that anyone in the
audience would want to hold and protect her from the cruel world. Poujouly is
slightly more polished in his portrayal of the farm family’s youngest son who
becomes somewhat an older brother to Paulette, mentoring her with what he
thinks he knows of the world. Basic as they both may have been at the time;
they deliver moving performances that are praised in film history all these years
later.<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal">Like many pictures in early French New Wave film, <i>Forbidden
Games</i> was not well received initially in its native country. It was not
until it reached international markets where it gained its critical success. Its
fringe screening near the Cannes Film Festival in May of 1952 drew ire for
playing unofficially in the program. Favorable reviews came from critics, but
the protests brought the picture negativity, along with the way the film portrayed
peasant as simpletons in its story. However, when <i>Forbidden Games</i> screened
later that summer at the Venice Film Festival it came away with the top prize,
The Golden Lion. Suddenly the feature was an international success. Critics all
around would eventually praise the picture, eventually being named the Best
Picture by the British Academy while the Academy Awards honored the film with a
special award, a precursor to the eventual “Foreign Language Film” category.<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal">Today <i>Forbidden Games</i> remains a classic of French
cinema and highly praised feature led by two not yet juvenile stars. It makes
for a picture that grows in significance after you view it, pondering what it
portrays as it digests in the mind. Its simplicity masks its deep profoundness
and lives on with those that watch and admire it.</p>Ryan McCormickhttp://www.blogger.com/profile/13560952178103637506noreply@blogger.com0tag:blogger.com,1999:blog-3089271153735288184.post-30972176162057419892022-07-08T15:34:00.003-04:002022-07-08T15:36:15.257-04:00Casque d'Or (1952)<div class="separator"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4JZOCp0l783fukApmn7-ZSmtoDk6hYK4whajNCpYBtiT9PjOi2Js9ZT2IAoNPK-dsagomIQ4LQv-RdbtPmSV690nFRUuXlNTCXF6cekSvKNhwm5X_2Lgs7D5jgX1Bb88ix6E3rXMDN2I30XkasRucwrX-YBm7o16jD7iUopphAajwWxuaE06oZ_rrCg/s1200/Casque%20d'Or%20(1952).jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em; text-align: center;"><img border="0" data-original-height="1200" data-original-width="903" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4JZOCp0l783fukApmn7-ZSmtoDk6hYK4whajNCpYBtiT9PjOi2Js9ZT2IAoNPK-dsagomIQ4LQv-RdbtPmSV690nFRUuXlNTCXF6cekSvKNhwm5X_2Lgs7D5jgX1Bb88ix6E3rXMDN2I30XkasRucwrX-YBm7o16jD7iUopphAajwWxuaE06oZ_rrCg/s320/Casque%20d'Or%20(1952).jpg" width="241" /></a></div><a href="https://ryanmccormickfilmhistory.blogspot.com/search/label/Robert%20et%20Raymond%20Hakim">Robert et Raymond Hakim</a>/<a href="https://ryanmccormickfilmhistory.blogspot.com/search/label/Speva">Spéva Films</a>/<a href="https://ryanmccormickfilmhistory.blogspot.com/search/label/Paris%20Film">Paris Film Productions</a><br />Director: <a href="https://ryanmccormickfilmhistory.blogspot.com/search/label/Jacques%20Becker">Jacques Becker</a><br />Starring: <a href="https://ryanmccormickfilmhistory.blogspot.com/search/label/Simone%20Signoret">Simone Signoret</a>, <a href="https://ryanmccormickfilmhistory.blogspot.com/search/label/Robert%20Reggiana">Robert Reggiani</a>, <a href="https://ryanmccormickfilmhistory.blogspot.com/search/label/Claude%20Dauphin">Claude Dauphin</a><br />
<p class="MsoNormal">Proclaimed to be French director Jacques Becker’s favorite
film of his career, this picture captures an early example of the New Wave
movement as a period drama about a tragic love story set within the criminal
world. Its initial domestic failure both critically and commercially gave way
to international appreciation, rise in cult status, and its eventual admiration
within French cinema. A melodrama that does more to set mood and setting,
delivering the most impact with minimal needs on screen. It is a crime world
drama that would find itself more comfortable in the American features of the
1970s and 80s, but remains fresh and timeless with a story thick in emotion and
heartbreak. <o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzqhokY8hoh3mjCXU2hR6hbJF7r7fSOeahsCVKr7zmLXBM_o_x0jZUisPB47wXKkegj0wMh6HbGRTmX9NcPj2D_ISLezwU3MlNozqF4BGGZr7T0Vlf2awPE4m_wP1eevLIs0uW9iIN-TacB7B41QkgT_SitJm20Hc6mD1rnSHaEkCLbhJouzYffuLuEQ/s1200/casque%20dor-%20reggiana,%20signoret.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="886" data-original-width="1200" height="236" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzqhokY8hoh3mjCXU2hR6hbJF7r7fSOeahsCVKr7zmLXBM_o_x0jZUisPB47wXKkegj0wMh6HbGRTmX9NcPj2D_ISLezwU3MlNozqF4BGGZr7T0Vlf2awPE4m_wP1eevLIs0uW9iIN-TacB7B41QkgT_SitJm20Hc6mD1rnSHaEkCLbhJouzYffuLuEQ/s320/casque%20dor-%20reggiana,%20signoret.jpg" width="320" /></a><i>Casque d’Or</i> is a French tragedy about rival men
attracted to a beautiful woman set to the background of the criminal world in
Belle Époque Paris, France. The story follows Marie (Simone Signoret), a highly
desired golden-haired beautify resigned to a life as a female companion to
criminals. Her newfound affection towards reformed felon Georges Manda (Serge
Reggiana) sets into motion a rivalry with crime leader Felix Leca (Claude
Dauphin) who looks to use his influence or even deadly force to have Marie for
himself. Leca is able to win the trophy of Marie by secretly coaxing Manda into
killing rival gangster to protect his beloved Marie, leading to his arrest and
forthcoming conviction. Vengeance arises when Manda discovers what Leca had
done to destroy his optimistic new life away from crime with Marie, hunting
down and killing Leca in front of authorities. The film closes with a
heartbroken Marie in what looks to be her continuing to serve seedy criminals,
only to reveal her finding a way to watch the final moments of the man she
loves as Manda is led to his execution.<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal">What begins as an interesting period piece of a romantic age
in late 19<sup>th</sup> century France turns into a tale about a small criminal
underworld surrounding a tragic love story. With aspects from the rising New
Wave movement, the movie features a number of quaint settings that provide mood
along and use of lengthier camera tracking shots. Besides the period costuming
the film feels as if it needed less in terms of art direction or heavy
production. The emotions of the acting with the simplicity of the story and
surrounding are augmented by the subtle actions of the camera as it captures
the mood and plot. Much of power within the story comes from the passionate
looks of key players as they display a range of love, lust, yearning, hatred,
and vengeance all within the eyes. Of course, the art direction, costumes, and
setting are all well captured to evoke a larger world building with minimal
setting.<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8u9sp2GnhInJIH8HjV8Orr6ip1TodNRC27MD_C1MKSBVCxJHQpAAJxnlfCbrr_Jts5SYZtI73kGDI6QdUEbVD946lVMkVpmQ1tSVjTcJ8bbeB6WUnqPayNRzQXIQeogQM9SLQlCiUsdJwGSwgsjVvY-rC2p6SQ2Sn8oRMbx5SS15nPqB_d6JXq2vwUA/s900/casque%20dor-%20roland%20death.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em; text-align: center;"><img border="0" data-original-height="675" data-original-width="900" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8u9sp2GnhInJIH8HjV8Orr6ip1TodNRC27MD_C1MKSBVCxJHQpAAJxnlfCbrr_Jts5SYZtI73kGDI6QdUEbVD946lVMkVpmQ1tSVjTcJ8bbeB6WUnqPayNRzQXIQeogQM9SLQlCiUsdJwGSwgsjVvY-rC2p6SQ2Sn8oRMbx5SS15nPqB_d6JXq2vwUA/s320/casque%20dor-%20roland%20death.jpg" width="320" /></a>Directly inspired by a real-life incident within the
Parisian underworld concerning a love triangle with a prostitute, director
Jacques Becker utilizes his decades of filmmaking knowledge to the bring this
tragic love story to the screen. The film was shot in and around small settings
near Paris where minimal needs were required, usually with scenes in simple
rooms or small outdoor areas. The costumes, hair styles, and period mustaches get
across the setting of the story, but at the heart it is a tale that could take
place in almost any period if slightly altered. Being set within the period of
the inspired event, the Belle Époque period has its own romance as an age of
positivity for France before the wars that reshaped the nation in the early
decades of the 20<sup>th</sup> century.<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzA_cFwXCZsNWTZ949A_NsZBzVgdqy0sZe2_O_acr6kpWdImyh2UQKh1nooD8zTPVChT9eUyFnfkX76yhgdQKS6h6u_SiBd6KAr_MSwZu1GyBVIAW-58ZuZQapAoe0kiWvM2qySL4BjHP6rZX74j8FkrdvzAUZl7uQ7iKbsN-t3zZAxrxU5tLlyrCxEQ/s900/casque%20dor-%20criminals.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="675" data-original-width="900" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzA_cFwXCZsNWTZ949A_NsZBzVgdqy0sZe2_O_acr6kpWdImyh2UQKh1nooD8zTPVChT9eUyFnfkX76yhgdQKS6h6u_SiBd6KAr_MSwZu1GyBVIAW-58ZuZQapAoe0kiWvM2qySL4BjHP6rZX74j8FkrdvzAUZl7uQ7iKbsN-t3zZAxrxU5tLlyrCxEQ/s320/casque%20dor-%20criminals.jpg" width="320" /></a>Serge Reggiana provides a strong gentleness as Manda, the
ex-felon looking to find a new path on the straight and narrow when his love
for Marie pulls him back into the world of criminals and his tragic end. His
rival is found in Claude Dauphin’s Leca, a crime boss that wants Marie as his
trophy and is willing to destroy others to get her. Pawns in Leca’s plot
include gang member Roland, portrayed by William Sabatier, a subservient of
Leca and third member vying for Marie’s affection. Raymond Bussières comes away
as the only sympatric member of the gang and an old friend of Manda, a
relationship which Leca uses to corner his rival.<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh62H8XYyNY1DZKtA-VcpJEh634Ns1M0l8YsUPForkaeLjbLaRa-kiXrg6CKHyuAujypbFv5Y74KON9M0-ez8-nWpE_Wgdh6u78ff6DzY6IlD7pg4rYkNPbSbptIfxYOlB-iggg6nrqzXYQREkmiibOAQZglw73rApBubW_PStq5rS79Ahzq0zlTMFCnQ/s1024/casque%20dor-%20signoret,%20dauphin.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em; text-align: center;"><img border="0" data-original-height="768" data-original-width="1024" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh62H8XYyNY1DZKtA-VcpJEh634Ns1M0l8YsUPForkaeLjbLaRa-kiXrg6CKHyuAujypbFv5Y74KON9M0-ez8-nWpE_Wgdh6u78ff6DzY6IlD7pg4rYkNPbSbptIfxYOlB-iggg6nrqzXYQREkmiibOAQZglw73rApBubW_PStq5rS79Ahzq0zlTMFCnQ/s320/casque%20dor-%20signoret,%20dauphin.jpg" width="320" /></a>The titular character of the feature is the one with the
“golden helmet,” Marie, portrayed by Simone Signoret. A natural beauty with her
golden locks usually done up, all drawing the attention of her acting to her
expressive eyes. Like many of the best acting performances, being able to emote
silently is key to success and Signoret does so with her communicative looks.
Her character being the center of affection for the many scoundrels of the
picture, she too is no innocent. Like Manda, she is looking to find a way out,
and we the audience are rooting for the two of them. Her portrayal of Marie
would gain international acclaim, winning her a BAFTA for her performance and earning
her future opportunities in Hollywood.<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal">More of a film about people, emotion, and relationships,
this feature is less a period or crime picture than it was a study of people
and style. The historical gangster picture is secondary to the tragic love
story that is its heart. Looking back, it is surprising to think this well made
of a picture was failure when it initially released in France in April of 1952.
Only the cult followers of French film appeared to praise the movie as most
main stream critics panned over its genius. It was not until international
audiences and critics got ahold of the picture that it gained wide
appreciation, earning renowned foreign film nominations before it was noted domestically.
French critics were forced to take a second look at Becker’s film and came to
realize just how good it actually was, in time being considered one of the
finest pictures of French cinema.<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal"><i>Casque d’Or</i> has since become a classic, an example of
the rise of French New Wave that would cast a larger presence as the decade unfolded.
Jacques Becker was a pioneer in French filmmaking, opening up ideas of what movie
could be like in post-war France and beyond. The film would become one of most
admired features of Becker’s career and considered the favorite by the
filmmaker himself. As an example of the rising New Wave, <i>Casque d’Or</i> is
a wonderful example of doing more with less, yet with skilled execution, a
great story, and wonderful acting making it a classic of its age.</p>Ryan McCormickhttp://www.blogger.com/profile/13560952178103637506noreply@blogger.com0tag:blogger.com,1999:blog-3089271153735288184.post-77172109886766635192022-06-30T17:23:00.004-04:002022-06-30T17:26:58.048-04:00Singin' in the Rain (1952)<div class="separator"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjoHFso7jFTZ6bMZHjlD_riRU-Eh-l06Z2pRsEQx4AHwfXRcSnyZ1_lZpk9iPSz18mHIlFSdPY0x-N5NdWH_ILUC0n39RC8aE_FnwJB6D28B3iUbm1gxyT4_geDIwDAh8DoCvYJq8RXYs1hhp_WpnA1N-s8-W66b_-FHwFbz_qDY_jd9aszkRUvBvBUSA/s2936/Singin%20in%20the%20Rain%20(1952).jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em; text-align: center;"><img border="0" data-original-height="2936" data-original-width="1937" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjoHFso7jFTZ6bMZHjlD_riRU-Eh-l06Z2pRsEQx4AHwfXRcSnyZ1_lZpk9iPSz18mHIlFSdPY0x-N5NdWH_ILUC0n39RC8aE_FnwJB6D28B3iUbm1gxyT4_geDIwDAh8DoCvYJq8RXYs1hhp_WpnA1N-s8-W66b_-FHwFbz_qDY_jd9aszkRUvBvBUSA/s320/Singin%20in%20the%20Rain%20(1952).jpg" width="211" /></a></div><a href="https://ryanmccormickfilmhistory.blogspot.com/search/label/MGM">Metro-Goldwyn-Mayer</a><br />Directors: <a href="https://ryanmccormickfilmhistory.blogspot.com/search/label/Gene%20Kelly">Gene Kelly</a>, <a href="https://ryanmccormickfilmhistory.blogspot.com/search/label/Stanley%20Donen">Stanley Donen</a><br />Starring: <a href="https://ryanmccormickfilmhistory.blogspot.com/search/label/Gene%20Kelly">Gene Kelly</a>, <a href="https://ryanmccormickfilmhistory.blogspot.com/search/label/Donald%20O%27Connor">Donald O’Connor</a>, <a href="https://ryanmccormickfilmhistory.blogspot.com/search/label/Debbie%20Reynolds">Debbie Reynolds</a><br /><br />Honors:<br /><a href="https://ryanmccormickfilmhistory.blogspot.com/search/label/AFI%20Top%20100">#10 AFI Top 100 (1998)<br />#5 AFI Top 100 (2007)</a><br /><a href="https://ryanmccormickfilmhistory.blogspot.com/search/label/AFI%20Top%20Laughs">#16 AFI 100 Laughs</a><br /><a href="https://ryanmccormickfilmhistory.blogspot.com/search/label/AFI%20Top%20Passions">#16 AFI 100 Passions</a><br /><a href="https://ryanmccormickfilmhistory.blogspot.com/search/label/AFI%20Top%20Musicals">#1 AFI Top Musicals</a><br /><a href="https://ryanmccormickfilmhistory.blogspot.com/search/label/AFI%20Top%20Songs">#3 AFI 100 Songs (“Singin’ in the Rain”)<br />#49 AFI 100 Songs (‘Make ‘Em Laugh”)<br />#72 AFI 100 Songs (“Good Morning”)</a><br /><a href="https://ryanmccormickfilmhistory.blogspot.com/search/label/National%20Film%20Registry">National Film Registry</a><br /><br />
<p class="MsoNormal">Frequently considered one of very finest musicals or even
films in Hollywood’s history, <i>Singin’ in the Rain</i> is a celebration of entertainment,
performers, and Hollywood itself set as a lighthearted depiction of the movie industry
during a very significant transitional from silent into sound pictures. With
Gene Kelly at the top of his game in the fields of choreography, performance, filmmaking
gravitas, and all-around heart, flanked by the rubbery funnyman of Donald O’Connor
and a darling musical newcomer in Debbie Reynolds, the film is the definition of
cinematic precision. It is bright and colorful, funny and heartwarming, lavish
and intricate. It is a feature that is nearly perfect as it incapsulates the
excitement and energy that Hollywood was perceived in the minds of countless
millions. It captures the imagination of hearts of audiences as it displayed a Hollywood
that never was, yet always will be for those that dream in celluloid.<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPUMBQKQ2jpryhk_obl1oBEwe-QlVi0ZJSt34GoC7_Up2qbJ9E8C_NAz5ljWdfPouFFjIJgVwz5cywlWXOy1EMtUvUulOTJZCZYhaorBQVpi0GPt_2nvZ2IUGslq-75BMNPC7zkde5qxvoAWtryXWCo8cq_O_fS4SPMajiS8MJYZrgcZ7ce8SPfF32DA/s1280/singin%20in%20the%20rain-%20kelly.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="720" data-original-width="1280" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPUMBQKQ2jpryhk_obl1oBEwe-QlVi0ZJSt34GoC7_Up2qbJ9E8C_NAz5ljWdfPouFFjIJgVwz5cywlWXOy1EMtUvUulOTJZCZYhaorBQVpi0GPt_2nvZ2IUGslq-75BMNPC7zkde5qxvoAWtryXWCo8cq_O_fS4SPMajiS8MJYZrgcZ7ce8SPfF32DA/s320/singin%20in%20the%20rain-%20kelly.jpg" width="320" /></a><i>Singin’ in the Rain</i> is a musical romantic comedy about
a silent movie star adjusting to sound pictures in the late 1920s and his
budding relationship with a small-time chorus girl. Hollywood is thrown into a
chaotic frenzy with the advent of sound in movies making swashbuckling silent
star Don Lockwood (Gene Kelly) and his female co-star Lina Lamont (Jean Hagen) alter
their next picture into a full sound musical. Don’s caveat is Lina’s shrill high
tone and talentless vocals that threatens to destroy the production, the
studio, and Don’s career. However, with her vain shallowness Lina uses her star
power to remain on the picture. With the help of best friend Cosmo Brown
(Donald O’Connor), Don uses chorus girl Kathy Selden (Debbie Reynolds) as Lina’s
voice to assure the film’s success, a process troubled by the budding romance
between Kathy and Don. With many high energy melodic moments interweaved throughout,
the picture is capped with a lavish musical number as a story-within-a-story as
a bright crescendo of dance and imagery as an interlude to the final scene at
the premiere where Don reveals the talent of Kathy to the world and the two finally
fall in love.<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhX9niQMeD0TGPtG7MWng88OoKDkn4L0cnQf_Ne9ZaEOVlk4T-wgNiu92KBQl-yvT3kWMhqSFv0tH2Zhq2PmtZricfuFs_wppsKMrrDHjKiL94Kha2spzEeQNmZiP0lxPG2xpiDKOwlKAI8xidR2uEh6nW--58P24wVuRp4hUYlLtpVBUAlsN3WXhxE6w/s1180/singin%20in%20the%20rain-%20broadway%20melody.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em; text-align: center;"><img border="0" data-original-height="842" data-original-width="1180" height="228" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhX9niQMeD0TGPtG7MWng88OoKDkn4L0cnQf_Ne9ZaEOVlk4T-wgNiu92KBQl-yvT3kWMhqSFv0tH2Zhq2PmtZricfuFs_wppsKMrrDHjKiL94Kha2spzEeQNmZiP0lxPG2xpiDKOwlKAI8xidR2uEh6nW--58P24wVuRp4hUYlLtpVBUAlsN3WXhxE6w/s320/singin%20in%20the%20rain-%20broadway%20melody.jpg" width="320" /></a>A story that pays homage to the roots of modern Hollywood executed
with humor, class, and all the extravagance that movie industry could afford. It
is a culmination of work and desire by the perfectionist and entertainer that
is Gene Kelly as he brings it charm and precision while also allowing co-stars
O’Connor and Reynolds to shin in their own rights. Along with co-director
Stanley Donen, the feature brings back the visual style of a musicals past
complete with meticulousness dancing with bubbly musical numbers, effortless enthusiasm,
and color that splash over every inch of the silver screen. It is difficult to
put into words a description of this picture as it captures the many aspects of
joy that comes from viewing a motion picture. For those that do not typically
like musicals it remains a wonderful comedy, a moving painting that stylizes Hollywood,
its industry, and the imagination that keep people coming to movies over and
over.<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal">A picture conceived by Arthur Freed, a producer known for
his lavish musical unit at MGM, the idea was to make a feature around a backlog
of old songs written by he and composer Nacio Herb Brown from back in the 20s
and 30s. Inspired by the period in which the tunes were penned the plot revolved
around silent films transitioning into “talkies.” Script developed came from
interviewing many individuals who experienced Hollywood during that time, drawing
humorous inspiration from the troubles of studios, directors, and actors had
while adjusting to the new medium.<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal">While working on <i>An American in Paris</i> (1951) Gene
Kelly was brought aboard the project along with his co-choreographer Stanley
Donen, with whom he had co-directed <i>On the Town</i> back in 1949. Together
they would help iron out the kinks the producers were having in development, bringing
to the picture the mix of various styles that were successful in musicals since
the advent of sound. Kelly brought meticulousness while Donen delivered the
visual style within frame as if you had a Busby Berkley as director and Fred Astaire
as the star. Together they would help make the musical once again a highlight
of Hollywood.<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgM1DCyWB4hBaInntkT8H8vfm-ke48Nzy7Q6b92a8nUNupGrGrnn_-rK_7ia__AokeN6_EAc7zhSWaZtDQ_TJY_vMM1dkG_iGm7uTqgLQqhrW9s4qtbWREIb1KbJ-OpzZzvbt-HFhR3DHhNBCPKXN7he9RSANtjwOuMdps6jEzNzJAJsCHMRwggLEAmGw/s1220/singin%20in%20the%20rain-%20cast.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="674" data-original-width="1220" height="177" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgM1DCyWB4hBaInntkT8H8vfm-ke48Nzy7Q6b92a8nUNupGrGrnn_-rK_7ia__AokeN6_EAc7zhSWaZtDQ_TJY_vMM1dkG_iGm7uTqgLQqhrW9s4qtbWREIb1KbJ-OpzZzvbt-HFhR3DHhNBCPKXN7he9RSANtjwOuMdps6jEzNzJAJsCHMRwggLEAmGw/s320/singin%20in%20the%20rain-%20cast.jpg" width="320" /></a>Every performer in the picture was at the top of their game
in this film. Funnyman Donald O’Connor matches and at time even exceeds Kelly
as two old friends of vaudeville that make it to Tinseltown with Lockwood
becoming a star and he being given odd jobs. O’Connor uses his lanky frame in a
rubbery manner with expressiveness to great success in the time he his given.
His most notable moments come in the solo musical number “Make ‘Em Laugh,” a highly
physical performance that literally sees him running up walls among other
things that would have him in bed rest for days after filming.<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhu8Iy9IEl_z7F61Z802Shdr7uKX08eWtM-q_bpjxDvkImUhfkMgZ_XlGNMe2GkBv-uym-GtNaW9zbx01tHdz6jgQAqdS-OSrqVPyB8Q50n46l6w8DIbfm3yJGjwYcFEzh6tWmicLWKus6Hyd79-fAKq-6DqhiZ8GQGCcsqoZ5xqJuSwry_f7y0vXXs2g/s1100/singin%20in%20the%20rain-%20kelly,%20reynolds.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em; text-align: center;"><img border="0" data-original-height="825" data-original-width="1100" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhu8Iy9IEl_z7F61Z802Shdr7uKX08eWtM-q_bpjxDvkImUhfkMgZ_XlGNMe2GkBv-uym-GtNaW9zbx01tHdz6jgQAqdS-OSrqVPyB8Q50n46l6w8DIbfm3yJGjwYcFEzh6tWmicLWKus6Hyd79-fAKq-6DqhiZ8GQGCcsqoZ5xqJuSwry_f7y0vXXs2g/s320/singin%20in%20the%20rain-%20kelly,%20reynolds.jpg" width="320" /></a>Debbie Reynold was the 18 year-old Miss Burbank when she was
cast alongside the perfectionist that was Gene Kelly in her breakout picture.
Her gymnast past set the stage for her physically determined performance, but
her lack of dancing skill was a point of contention with Kelly who was a stickler.
Even with three months of grueling dances lessons Kelly was rather hard of
young Reynolds, bringing her to tears after long days of work. With side help from
Fred Astaire, see was able to improve and keep up with Kelly delivering a heartwarming
performance as his love interest that could easily stand beside him on screen.
It was her determination from this picture that launched her career into becoming
a noteworthy member of showbusiness for decades. Despite her emotional breakdowns
and working her feet to the point of bleeding you would never know the pain she
was in as she transformed herself into Hollywood’s latest sweetheart.<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjefRLV49EBeOZVtLvAtuPBBU_zn-V1A_9plwbIhgpjqsQ9kKqS7xNWBRt37Mexi5HApRuJYVOTaHjeqEqT76VnJyjBujPPKCg5eOpSUkXfTpTDanZhNI5EgVMcYGfkKiMarYsUPgQ8lJAZuczGDY8dHyb6csTP2McSSWeUti6Nuf_1xGvAOYwXKOllvg/s750/singin%20in%20the%20rain-%20hagen,%20reynolds.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="549" data-original-width="750" height="234" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjefRLV49EBeOZVtLvAtuPBBU_zn-V1A_9plwbIhgpjqsQ9kKqS7xNWBRt37Mexi5HApRuJYVOTaHjeqEqT76VnJyjBujPPKCg5eOpSUkXfTpTDanZhNI5EgVMcYGfkKiMarYsUPgQ8lJAZuczGDY8dHyb6csTP2McSSWeUti6Nuf_1xGvAOYwXKOllvg/s320/singin%20in%20the%20rain-%20hagen,%20reynolds.jpg" width="320" /></a>Jean Hagen was a gem in her role as the spoiled and talentless
silent star that threatens to ruin movie, the studio and the careers of our
heroes. Despite the gifted dancing and singing of the stars of the picture,
Hagen provides a highly memorable performance of her own, delivering us the
butt of many a joke in the picture. Other noteworthy members of the supporting
cast include Millard Mitchell as the lightly out of touch studio head, Douglas
Fowley as a very frustrated director overcome by the trouble of making his
first sound picture, and Cyd Charisse who only appears in the “Broadway Melody”
sequence as the long-legged silent seductress that dances with Kelly.<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEie3dyGPxjU3Gehe9_hemaGPSw4Pl7Kmq-32jcY7lLL3UQPcBtzwfc-L5GunEqSoiU4Oi2RVdTo7j0ICESsgnyoAbwmxW-71K8h7keBOWCMf256x0zCDsdRKmqSUMFGTdBcvNLz-3US0zvDUIgJTExv2pwkKJSB8k23nMatGBtm0-0jDwNESOVlROFR0A/s3500/singin%20in%20the%20rain-%20charisse,%20kelly.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em; text-align: center;"><img border="0" data-original-height="2280" data-original-width="3500" height="208" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEie3dyGPxjU3Gehe9_hemaGPSw4Pl7Kmq-32jcY7lLL3UQPcBtzwfc-L5GunEqSoiU4Oi2RVdTo7j0ICESsgnyoAbwmxW-71K8h7keBOWCMf256x0zCDsdRKmqSUMFGTdBcvNLz-3US0zvDUIgJTExv2pwkKJSB8k23nMatGBtm0-0jDwNESOVlROFR0A/s320/singin%20in%20the%20rain-%20charisse,%20kelly.jpg" width="320" /></a>Music abounds through the picture, most as noted before were
cataloged tunes with a bubbly pep. The titular “Singin’ in the Rain” is used on
a scene that allows Kelly to command an entire mood of the picture with his
dance in a water-soaked city block. Meanwhile “Good Morning” showcases the talents
of our three stars combined in a peppy number throughout a meticulously choreographed
number in a house. “Make ‘Em Laugh” was an original tune for the picture that
is interestingly similar to “Be a Clown” from another Feed musical <i>The
Pirate</i> (1948), but comes away feeling entirely fresh with O’Connor’s
performance. All of it is capped off by the extravagant “Broadway Melody” movie-in-a-movie
dream-like sequence. MGM had issue about how long it took to rehearse and shoot
and while watching costs go up, similar to Kelly’s stylized ending to <i>An
American in Paris</i> (1951), but Kelly held out and the scene shines like gold
for it.<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal"><i>Singin’ in the Rain</i> premiered in March of 1952 with a
wide release in April with generally positive critical praise. However, the
best and worst thing happened to Gene Kelly simultaneously as that March <i>An
American in Paris</i> surprisingly won the Oscar for Best Picture leading
theaters to bank on his prior award winning film.<span style="mso-spacerun: yes;"> </span>Some theaters shelved <i>Singin’ in the Rain</i>
to rerelease <i>An American in Paris</i>, a move is seen to have eaten into the
profits of <i>Singin in the Rain</i>. Despite that drawback the film did very
well and gained plenty of attention, even experiencing a number of nominations
in the following award season where O’Connor won a Golden Globe.<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal">Since its release <i>Singin’ in the Rain</i> would grow in
admiration among cinema enthusiasts into becoming one of the highest regards
motion pictures of all time. The American Film Institute showers paise on the picture
as a significant piece of American cinema littering its numerous all-time lists
in various categories with the picture. It was amongst the inaugural class of 25
inductees to the National Film Registry in 1989 at the Library of Congress as film
considered “culturally, historically or aesthetically significant,” as it remains
a near universally loved picture by those that view it. A genuine love letter
to entertainment and Hollywood in particular, the film is a joy and earns the
right to be considered one of the very best, embodying all the good that makes
us fans of film then, now, and for years to come.</p>Ryan McCormickhttp://www.blogger.com/profile/13560952178103637506noreply@blogger.com0tag:blogger.com,1999:blog-3089271153735288184.post-1454428327087521672022-06-14T19:15:00.007-04:002022-06-14T19:24:29.836-04:00Viva Zapata! (1952)<div class="separator"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjcnHfIZq2NKfhSsYbSzr9da9bBuXACjh8YnbeKd6bHD4qpGaIaTNPPzBKiSGd_ddkw2nU6U7bzxHZqYU3Z2yDhuMu31zYAguzfZfJGIzI2VxJ6-gN0rtojgSicSBPXrmqxFDyocZMGqf7y8gkfUvB9zaYZNg0XZAljiJ54arfu36dlGWqCczSotqR2qg/s1541/Viva%20Zapata%20(1952).jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em; text-align: center;"><img border="0" data-original-height="1541" data-original-width="1000" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjcnHfIZq2NKfhSsYbSzr9da9bBuXACjh8YnbeKd6bHD4qpGaIaTNPPzBKiSGd_ddkw2nU6U7bzxHZqYU3Z2yDhuMu31zYAguzfZfJGIzI2VxJ6-gN0rtojgSicSBPXrmqxFDyocZMGqf7y8gkfUvB9zaYZNg0XZAljiJ54arfu36dlGWqCczSotqR2qg/s320/Viva%20Zapata%20(1952).jpg" width="208" /></a></div><a href="https://ryanmccormickfilmhistory.blogspot.com/search/label/20th%20Century-Fox">20th Century- Fox</a><br />Director: <a href="https://ryanmccormickfilmhistory.blogspot.com/search/label/Elia%20Kazan">Elia Kazan</a><br />Starring: <a href="https://ryanmccormickfilmhistory.blogspot.com/search/label/Marlon%20Brando">Marlon Brando</a>, <a href="https://ryanmccormickfilmhistory.blogspot.com/search/label/Jean%20Peters">Jean Peters</a>, <a href="https://ryanmccormickfilmhistory.blogspot.com/search/label/Anthony%20Quinn">Anthony Quinn</a><br /><br />Honors:<br /><a href="https://ryanmccormickfilmhistory.blogspot.com/search/label/Best%20Supporting%20Actor">Academy Award for Best Supporting Actor</a><br />
<p class="MsoNormal">In a background of a politically dividing post-war America
comes a motion picture about the divide between corrupt politicians the poorer
class they take advantage of, and the man that fought against the exploitation.
Following the success of the previous year’s <i>A Streetcar Named Desire</i>,
director Elia Kazan and rapidly rising star actor Marlon Brando team up again
with a feature equally driven by characters, despite being a challenge of their
first picture shot primarily on location. Using the early century historical
figure of a neighboring nation the feature was a quiet political statement film
featuring some significant known names of Hollywood.<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgV1L5LefVQXMWgu5FIDpRaMH_Tpty43U4j7NPN1MYdAaJ3AnabvrRxUlJqMt0hSJ3VXQGH3Q50Wg9Lv5TBruTcFNsy_Y37BZhaY7kAc_Lz2VZaDrEaxvIDnqi2teNL6cdbpEoRajUFi8uuvNpz4hDeN6Cs_jgtVuoZHcz3FA1Eugnb-w_Cb_nfFaXfXg/s1280/viva%20zapata-%20cast.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="919" data-original-width="1280" height="230" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgV1L5LefVQXMWgu5FIDpRaMH_Tpty43U4j7NPN1MYdAaJ3AnabvrRxUlJqMt0hSJ3VXQGH3Q50Wg9Lv5TBruTcFNsy_Y37BZhaY7kAc_Lz2VZaDrEaxvIDnqi2teNL6cdbpEoRajUFi8uuvNpz4hDeN6Cs_jgtVuoZHcz3FA1Eugnb-w_Cb_nfFaXfXg/s320/viva%20zapata-%20cast.jpg" width="320" /></a><i>Viva Zapata!</i> is a western historical drama sharing a
fictionalized account of the Mexican revolutionary Emiliano Zapata. A meek
farming peasant recognizing the corruption of Mexican leadership, Emiliano
Zapata (Marlon Brando) helps organize part of the uprising that becomes the
Mexican Revolution which overthrows the government. Displeased at how the new
men of power are no less corrupt than the ones they replaced Zapata continues to
fight for the freedoms and rights of his people, becoming a leader of justice
for the poorer citizens. Zapata’s moral ways lead to many conflicts, including
having to confront his brother and former right-hand man Eufemio (Anthony
Quinn), and Zapata’s own eventual demise in a deadly ambush. Though gone
Zapata’s legacy leaves a groundswell within the people to continue to fight
injustice.<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal">More of a revolutionary tale set in Mexico rather than a
western, this picture moves rather slow considering the expectations of its
setting. Focusing more on the characters than the action the picture feels as
if Kazan struggles between the political statements he is known for and the
filmmaking and style he is not accustomed to. The picture features a decent
script by acclaimed writer John Steinbeck and the challenge of Kazan filming in
the bright desert sun that contrasts his usually darker and moodier soundstage
filming locations. Starring Marlon Brando under unfamiliar makeup to have him appear
darker and look more ethnic, his performance is contrasted by the award winning
performance of Anthony Quinn which carries much more authenticity. One can see
how this film would have been a nice subtle statement film of its day, but a
sharper eye can spot the behind the scenes issues with censorship and Hollywood
politics that keep this feature light enough to be marketable. All these years
later, though, the picture can be more problematic with a douse of Hollywood
whitewashing being an issue ages poorly.<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal">Emiliano Zapata as a subject for a motion picture was claimed
to be an idea of Elia Kazan back in the late 1940s pitching it to author and
future Nobel Prize winner John Steinbeck who said he was already doing research
on the figure for a possible work. The collaboration would be greenlit by 20<sup>th</sup>
Century-Fox and set Kazan on his first production that would be shot on location,
or his “first real film” as he would recount it later.<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDh72lmLFZ8IO48yP_sVYbNp9BpuRd2z5z2_3I7VTV7Bv5OifW0RlXz5tWBplqoVC_EmiJx75TGxeXYAV0C-pA1zYw2V2GZY4ab53__vfFz9EK9UD4q0QhcYrh3uBzsTuxFU1-FIalqatoFiRuTBa0C1yA998X31u-jpRc5VsINyeKGk3WzcT15rP8vw/s1299/viva%20zapata-%20quinn,%20brando.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="1073" data-original-width="1299" height="264" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDh72lmLFZ8IO48yP_sVYbNp9BpuRd2z5z2_3I7VTV7Bv5OifW0RlXz5tWBplqoVC_EmiJx75TGxeXYAV0C-pA1zYw2V2GZY4ab53__vfFz9EK9UD4q0QhcYrh3uBzsTuxFU1-FIalqatoFiRuTBa0C1yA998X31u-jpRc5VsINyeKGk3WzcT15rP8vw/s320/viva%20zapata-%20quinn,%20brando.jpg" width="320" /></a>Immediately support for the project came from Anthony Quinn,
the Mexican-American actor whose father fought in the Mexican Revolution. Quinn
would however be initially disappointed with the casting of the titular star in
Marlon Brando. Despite a respect of the rising method actor, he found
displeasure in a non-Mexican actor in a role of the significant figure of his
home country. As brothers that would come to fight later in the feature Kazan
manipulated Quinn to deliver the friction filled performance with Brando. Utilizing
both men’s history having portrayed Stanley in the hit Broadway production of “A
Streetcar Named Desire” Kazan claimed to Quinn that Brando panned his performance
after replacing Brando on the stage. The result was Quinn being mostly cold
towards Brando all through shooting on as well as off camera, planting the
tension Kazan wanted from Quinn’s performance. It was not until years later the
two men discovered how Kazan deceived them, returning their always respectful
relationship into a good friendship.<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbYED2OZLR_t1wQGVHo1MqDKZE5IWB7uDpUP_yyq65f1wKIUY6Bl0vJqgstRtGXgicjfGihzT1tjIMUnroAbmcxxNx7dcaTelZ10uBInZbULRthf1QFxxf4PkCd3cVtV8BgAgTf-MROhie_9-JJx1CuLj4XrMX88EdzJSmQAQbkQdRd3On2kTIy-x3-g/s1200/viva%20zapata-%20brando.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em; text-align: center;"><img border="0" data-original-height="675" data-original-width="1200" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbYED2OZLR_t1wQGVHo1MqDKZE5IWB7uDpUP_yyq65f1wKIUY6Bl0vJqgstRtGXgicjfGihzT1tjIMUnroAbmcxxNx7dcaTelZ10uBInZbULRthf1QFxxf4PkCd3cVtV8BgAgTf-MROhie_9-JJx1CuLj4XrMX88EdzJSmQAQbkQdRd3On2kTIy-x3-g/s320/viva%20zapata-%20brando.jpg" width="320" /></a>Like any role he accepted Brando took the character of
Zapata very seriously, even secretly embarking on a trip to Mexico to study
dialect and gain a better understanding of the culture. He would develop an
accent for the role which was considered poor by Kazan and was quickly toned
way down, eliminating part of the authenticity Brando endeavored to bring to Zapata.
Brando insisted on doing his own makeup, utilizing painful wire loops to widen
his nose, reshaping his eyes, and darkening his skin in effort to mold himself
into looking like the real life revolutionary. Both Brando and Quinn were
nominated for their performances, for the second year in a row Brando came up
short of the acting prize while Quinn took home Best Supporting Actor statue,
the first Mexican-American to win an Oscar.<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEid83IHjZ_GoFVdUG_5R4APjd8AyWNLkwZL8vTL068JcuycNUAOr-hliR3XbQJ_SjBLx5A3ktACR88PcQ_Bv2N_AKWpiT45P3_zh_-6NrMmbH1bw1fdDOzd5-6fLOAFLVeo1F8tLUE_kmoMcYg_c91myzNAbXx_ECMdphNjlzqp0Sd8ytZ0i-LIuP9J5w/s1280/viva%20zapata-%20brando,%20peters.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="720" data-original-width="1280" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEid83IHjZ_GoFVdUG_5R4APjd8AyWNLkwZL8vTL068JcuycNUAOr-hliR3XbQJ_SjBLx5A3ktACR88PcQ_Bv2N_AKWpiT45P3_zh_-6NrMmbH1bw1fdDOzd5-6fLOAFLVeo1F8tLUE_kmoMcYg_c91myzNAbXx_ECMdphNjlzqp0Sd8ytZ0i-LIuP9J5w/s320/viva%20zapata-%20brando,%20peters.jpg" width="320" /></a>In a picture dominated by male conflict there is a lone
major female role in the story, the wife of Zapata, Josefa, portrayed by Jean
Peters. Many many actresses had vied for the role, including a young Marilyn
Monroe whom the studio had little faith in, before the casting found the 24
year-old Peters. A melodramatically written role, Josefa serves little in being
a true love story figure and more as a foil for Zapata in his maturation into a
leader with her gentle help. Makeup was used to darken her for the part, but
producers at Fox had it dialed significantly back, to the point of Brando calling
producers bigoted for making it appear that a love story only works with a
white woman as the point of interest.<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal">For a picture of this kind consisting of such progressives
as John Steinbeck penning the story, Kazan directing its narrative, and Marlon
Brando as star, 20<sup>th</sup> Century-Fox had a difficult task of wrangling
the production to fit the confines of the Production Code. Not only was
Hollywood along with the rest of America battling the Red Scare, but this movie
would test how far it would take things with depicting political history of
their neighbors to the South. Liberties were taken with the story as Zapata’s
life was altered to make him a more sympathized character, depicting him as an illiterate
peasant when in real life he was from money and educated. While <i>Viva Zapata!</i>
is still watched today, there was a second version of the film produced that
was meant only for the Mexican markets as to not upset America’s friendly
neighbors. Of course, that version was short lived.<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal">When <i>Viva Zapata!</i> released in mid-February of 1952 it
was met with generally positive reviews focusing mostly on the acting and
characters. Considering its early year release the fact it received five
Academy Award nominations is quite an achievement with Steinbeck nominated for
his screenplay, Alex North for the score, and a nomination for art direction.
Anthony Quinn Oscar would prove to be the lone win for the picture, but the
five nods would still be rather good for such a liberal feature in a still very
conservative Hollywood.<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal">For Elia Kazan, the film was not one of his best works
having been outshined by his screenwriter and actors in reviews. The western
setting was hindered by its lack of stylish vistas more commonly portrayed by
the likes of John Ford or other successful Hollywood visionaries, but as
mentioned before this is less a western and more a classic Kazan feature that
happens to take place in a western setting.<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal">Time has not been too kind to the feature with Brando in a
Mexican role and the idea of whitewashing frowned upon by contemporary
audiences. However, considering the time when it was made and the more respect
it was given compared to other whitewashed pictures of its time, with the help
from some progressive minds in the industry this film is not terrible. It is just
more difficult to digest now than it was then. Zapata was a unique role for
Brando and that may just be the legacy of this picture as we study it today.</p>Ryan McCormickhttp://www.blogger.com/profile/13560952178103637506noreply@blogger.com0tag:blogger.com,1999:blog-3089271153735288184.post-7338035702689437392022-06-02T17:05:00.010-04:002022-06-02T17:07:31.938-04:00Umberto D. (1952)<div class="separator"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtaWBWpX7IFmhljCSh31DgGEIY7M8T_EywzmtnQumaaWBl4z7M52UZR7rc3iZ9vKwFL89qhWQMhLRh0tY4oK-RIsB2XaeCUrPncWvQ93UIpVJpkLY1GFQmZu2YXLAOetMed9oFlWvBxHX6m2H8swJ51M5mHnmzu53YqzC4mzhU5tUxyoCEojhixo82ZQ/s1455/Umberto%20D%20(1952).jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em; text-align: center;"><img border="0" data-original-height="1455" data-original-width="1000" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtaWBWpX7IFmhljCSh31DgGEIY7M8T_EywzmtnQumaaWBl4z7M52UZR7rc3iZ9vKwFL89qhWQMhLRh0tY4oK-RIsB2XaeCUrPncWvQ93UIpVJpkLY1GFQmZu2YXLAOetMed9oFlWvBxHX6m2H8swJ51M5mHnmzu53YqzC4mzhU5tUxyoCEojhixo82ZQ/s320/Umberto%20D%20(1952).jpg" width="220" /></a></div>Dear / Rizzoli / De Sica / Amato<br />Director: <a href="https://ryanmccormickfilmhistory.blogspot.com/search/label/Vittorio%20De%20Sica">Vittorio De Sica</a><br />Starring: <a href="https://ryanmccormickfilmhistory.blogspot.com/search/label/Carlo%20Battisti">Carlo Battisti,</a> <a href="https://ryanmccormickfilmhistory.blogspot.com/search/label/Maria-Pia%20Casilio">Maria-Pia Casilio</a><br /><br />Honors:<br /><a href="https://ryanmccormickfilmhistory.blogspot.com/search/label/New%20York%20Film%20Critics-%20Foreign%20Picture">Best Foreign Film- New York Film Circle (1955)</a><br />
<p class="MsoNormal">A leading figure and torchbearer of Italian cinema’s
neorealism movement, director Vittorio De Sica delivers yet another thoughtful,
complex, yet very simple picture with his 1952 feature <i>Umberto D</i>. Like
other films about the troubles of aged individuals, such as 1937’s <i>Make Way
for Tomorrow</i>, this film manifests the often panned over distress of those
finding themselves aged out of social order. However, with the aid of the neorealism
style this film’s story is made more tangible for the post-war movie audience.
With non-professional actors, a handsomely shot setting of a quieter and
dirtier corners of Rome, a massive heart, and a wonderful supporting canine performance,
this picture became a favorite of its creator and heralded as one of the great Italian
pictures, despite its initial blowback. <o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcnRGgEtP5tq3sKY4p-xQ74X_nf6fW761PLIGX4RG8n9CtBAM6cUYQgxTynQmexWzCYEJn1ZQdIdDcnsivDVbo8_LY9kMDKV9hxfAclmJWLnFYNOuZ7KMRC6_enTm3MwRNEoxjl9RI2kTGvWZGlYNr9-2arzZAnl3zUA1Temyle1JoC9urHOfvIBedOw/s1200/umberto%20d-%20battisti2.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="675" data-original-width="1200" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcnRGgEtP5tq3sKY4p-xQ74X_nf6fW761PLIGX4RG8n9CtBAM6cUYQgxTynQmexWzCYEJn1ZQdIdDcnsivDVbo8_LY9kMDKV9hxfAclmJWLnFYNOuZ7KMRC6_enTm3MwRNEoxjl9RI2kTGvWZGlYNr9-2arzZAnl3zUA1Temyle1JoC9urHOfvIBedOw/s320/umberto%20d-%20battisti2.jpg" width="320" /></a><i>Umberto D.</i> is an Italian neorealism drama about a
senior citizen coping with his status in his advanced age. Struggling with rent
and his bills with only a paltry pension, retired government worker Umberto
(Carlo Battisti) efforts to just scrap up enough cash to keep his head above
water. With a social climbing landlady (Lina Gennari) hoping to evict him and immediate
plans to renovate his room into a larger entertaining space, Umberto finds his only
thread of human compassion from the poor, young housemaid Maria (Maria-Pia
Casilio) and his only treasured companionship in his cherish dog, Flike. When
selling what meager possessions he has proven futile in stopping the inevitable,
the old man loses faith in trying and contemplates his own demise. Bidding
farewell and attempting to deliver wizened advice for Maria, Umberto heartbreakingly
attempts to find a new home for his dog as he expects to struggle and die
penniless. With his inability to do so he finally accepts to make the most out
his time with his best friend as the movie closes with the two friends playing.<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal">A film that takes a look at society and its relationship
with the elderly, the feature appears to be one of gloom and melancholy as it
follows it titular character through a series of shortcomings that are stacked
against him. A slow and at times meandering picture, it has a ton of heart in
an age when society typically discarded its aged for lack of usefulness. With
very few characters, the performances of Battisti and Casilio carry the story
of compassion towards two people that are easily glanced over in their own
worlds while experiencing deep lives within. The simple filmmaking of De Sica
allows more for the screenplay and acting to shine in a picture that is rather brief,
just under 90 minutes, but leaves you feeling having lived a lifetime, but
wanting to see more.<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjN_f1YeoaWAjQ0se2CxpjOMRsz37-m3igIsA2dUD62rUIQ7qLewb4feqGrznwxneJQCNOWZwmuktHNL7g5OrNlHoXcc5G7rSzjna1EMFoXEKci9msmGUX2p2-04zbmQKwGTy4Ocm-FQUjA54xd4wcE_LwAx5RsK60qA-S7518iFE6yuQu98Y4dBlgGWg/s1600/umberto%20d-%20battisti.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em; text-align: center;"><img border="0" data-original-height="900" data-original-width="1600" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjN_f1YeoaWAjQ0se2CxpjOMRsz37-m3igIsA2dUD62rUIQ7qLewb4feqGrznwxneJQCNOWZwmuktHNL7g5OrNlHoXcc5G7rSzjna1EMFoXEKci9msmGUX2p2-04zbmQKwGTy4Ocm-FQUjA54xd4wcE_LwAx5RsK60qA-S7518iFE6yuQu98Y4dBlgGWg/s320/umberto%20d-%20battisti.jpg" width="320" /></a>Filmed on the streets of Rome and containing
non-professional stars, De Sica’s film comes away with the genuine raw neorealism
style he had championed for nearly a decade. Acting talent for Umberto were
provided by Carlo Battisti, a professor of linguistics in Florence, providing
an unpolishes, yet uniquely honest and heartbreaking performance in an
understated manner. Nearly carrying the entire picture on shoulders of his performance,
you would swear he was a classically trained player from the stage, and to make
such a casting decision was a mark of genius.<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkJKrhWqAwkQBTCH3b2q_mOQwqSxSehOkdtQDIpP50pThf15pOYlZIZREADWyjLLMzKrP4ZUtHEvfW2gTkxhIfafap46FKyCRwT8SuXtf4fr1YxFksG1znfMHQE2JyTG3zfq3LhDbATd5bxQf0bIApss_3x31RCWgB_8cuSDgmr3nfp1KObWo5DA2zYQ/s2048/umberto%20d-%20casilio,%20battisti.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="1311" data-original-width="2048" height="205" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkJKrhWqAwkQBTCH3b2q_mOQwqSxSehOkdtQDIpP50pThf15pOYlZIZREADWyjLLMzKrP4ZUtHEvfW2gTkxhIfafap46FKyCRwT8SuXtf4fr1YxFksG1znfMHQE2JyTG3zfq3LhDbATd5bxQf0bIApss_3x31RCWgB_8cuSDgmr3nfp1KObWo5DA2zYQ/s320/umberto%20d-%20casilio,%20battisti.jpg" width="320" /></a>Accompanying him is another newcomer in Maria-Pia Casilio as
the young housemaid that shares a similar poor, loner lifestyle as Umberto. The
two find compassion in each other, Umberto the aged, downtrodden outcast aged
out of society, while Maria the youth rejected and afraid it will only get
worse as a single and newly pregnant teen, a life seen nearly over before it
even began. Maria bebodies a mirror and juxtaposition to our advanced leading
character, merely trying to find something to support herself while Umberto tries
to share some wisdom with her. Casilio did not seek out acting as she purely supported
a friend who was auditioning for a role in the film when De Sica spotted the 16
year-old and found her manner to be the perfect fit for the maid in his story. The
performance was the breakout moment of her life, turning the opportunity into a
career before moving into semi-retirement following her marriage.<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal">Like many neorealism films developed in the post war era <i>Umberto
D.</i> was disliked by many in Italy, mostly the government, and harsh critics looked
upon this film as a critique of how the nation was failing to get back on its
feet after the devastating conflict. A catholic and a socialist, De Sica saw
the picture as a tale of how society sometimes turns its back on people in
need, and those that wanted to glorify Italy disliked the negative tone of society’s
shortcomings. The Italian minister of cinema would write a letter to De Sica
about his disappointment in how it represented their country, but that would
not stop the success of the picture would have.<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal">Through the years many have come to enjoy and praise <i>Umberto
D</i>. as a one of the finest pieces of cinema of not only Italy, but of all
time. When the film finally made its way to the United States in 1955 many
American critics praise the picture, including the NY Critics Film Circle
honoring it with their top foreign film award. In the years since numerous
filmmakers and critics would name it to various lists of all-time features,
films to study, or movies you need to see before you die. The legacy of the
picture continues to be seen today, more recently in the form of the 2008
French remake entitled <i>A Man and His Dog</i>.<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVdqb2FagjcE2MxOyEFCI0oA74wjWpaPnRbYuxD-oP5TKb-aJPoke-1OPLWsWo8aHPdYUhSPM69h_Q3OaB5D8aFrzmoycfaXGWJmJAiMC7DOC5u9k6MhdrRuorixvJqbV6oDo-ci0TMhCl9skcG84_vnDh39XukCdKaC48j-bd1ntC2HTNF8XRJLtAuA/s1192/umberto%20d-%20man%20and%20his%20dog.png" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em; text-align: center;"><img border="0" data-original-height="672" data-original-width="1192" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVdqb2FagjcE2MxOyEFCI0oA74wjWpaPnRbYuxD-oP5TKb-aJPoke-1OPLWsWo8aHPdYUhSPM69h_Q3OaB5D8aFrzmoycfaXGWJmJAiMC7DOC5u9k6MhdrRuorixvJqbV6oDo-ci0TMhCl9skcG84_vnDh39XukCdKaC48j-bd1ntC2HTNF8XRJLtAuA/s320/umberto%20d-%20man%20and%20his%20dog.png" width="320" /></a><i>Umberto D.</i> is a quite treasure of cinema, Italian
filmmaking, and an example of neorealism. The creativity, performances, and its
story remain stirring and enjoyable all these years later. Lacking
extravagance, this picture reminds one of how the film is an extension of
performance and the theater, a way to express and share stories that are moving
and poignant, creating moments that one will remember for years to come.</p>Ryan McCormickhttp://www.blogger.com/profile/13560952178103637506noreply@blogger.com0tag:blogger.com,1999:blog-3089271153735288184.post-32774688281771660422022-05-20T11:27:00.001-04:002022-05-20T11:30:38.408-04:00Greatest Show on Earth, The (1952)<div class="separator"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhS2LG-7LHJU0lyXTm-ErJqzm7V003ytpxyoaU9M-a81zqHAxDL4UohTde21ZoND848So8cvKsgOwEtw2qOFk-7Hu3t25TAvCkzNeYoOpz0Ngry_5X6UfmBGGqmBZvNoU0dU8sAsufrFqYHq75_II5bp_WiZZi_3VPAX_ElSQb9j8G4K2885uQWHGZ0ow/s1771/Greatest%20Show%20on%20Earth%20(1952).jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em; text-align: center;"><img border="0" data-original-height="1771" data-original-width="1302" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhS2LG-7LHJU0lyXTm-ErJqzm7V003ytpxyoaU9M-a81zqHAxDL4UohTde21ZoND848So8cvKsgOwEtw2qOFk-7Hu3t25TAvCkzNeYoOpz0Ngry_5X6UfmBGGqmBZvNoU0dU8sAsufrFqYHq75_II5bp_WiZZi_3VPAX_ElSQb9j8G4K2885uQWHGZ0ow/s320/Greatest%20Show%20on%20Earth%20(1952).jpg" width="235" /></a></div><a href="https://ryanmccormickfilmhistory.blogspot.com/search/label/Paramount">Paramount Pictures</a><br />Director: <a href="https://ryanmccormickfilmhistory.blogspot.com/search/label/Cecil%20B.%20DeMille">Cecil B. DeMille</a><br />Starring: <a href="https://ryanmccormickfilmhistory.blogspot.com/search/label/Betty%20Hutton">Betty Hutton</a>, <a href="https://ryanmccormickfilmhistory.blogspot.com/search/label/Cornel%20Wilde">Cornel Wilde</a>, <a href="https://ryanmccormickfilmhistory.blogspot.com/search/label/Charlton%20Heston">Charlton Heston</a><br /><br />Honors: <br /><a href="https://ryanmccormickfilmhistory.blogspot.com/search/label/Best%20Picture">Academy Award for Best Picture</a><br /><a href="https://ryanmccormickfilmhistory.blogspot.com/search/label/Best%20Story">Academy Award for Best Story</a><br /><a href="https://ryanmccormickfilmhistory.blogspot.com/search/label/Golden%20Globe">Golden Globe for Best Motion Picture – Drama</a><br /><br />
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">Cecil B.
DeMille transports audiences to the spectacle under the big top, providing all
the excitement and romance of the famed American circus along with the struggle
and drama of life behind the scenes. In a deal with Ringling Bros. and Barnum
& Bailey’s Circus DeMille produced one of the most exciting motion picture
events for movie audiences of 1952, featuring countless actual acts and
performers from the show that would have been worth the price of admission
alone for many. Along with a cast of some of the brightest Paramount stars, a
promising Hollywood newcomer, and series of quick cameos, the picture promised
to be a sight, earning top box office numbers of the year and the industry’s greatest
prize, perhaps with the aid of a little unseen politicking.<o:p></o:p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><o:p> </o:p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1NpPZ6TL1qrTGfyed9a_y5n5wun8iWwK8tLi4uCjVqe4ffGz_j2T_9jwpL63jWH_rTAPWRgXuF5mxvx3gK6WC3FEWxRN6fabL8nFdPmJVfyXRdSOa0idov3sF6T94Ab0lvNhz02bj-RsoseTVQJyHpJwnTH7BOYoUkV48caprZ6L5YZIGTd_JmWrRDw/s841/greatest%20show%20on%20earth-%20cirsuc.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="556" data-original-width="841" height="212" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1NpPZ6TL1qrTGfyed9a_y5n5wun8iWwK8tLi4uCjVqe4ffGz_j2T_9jwpL63jWH_rTAPWRgXuF5mxvx3gK6WC3FEWxRN6fabL8nFdPmJVfyXRdSOa0idov3sF6T94Ab0lvNhz02bj-RsoseTVQJyHpJwnTH7BOYoUkV48caprZ6L5YZIGTd_JmWrRDw/s320/greatest%20show%20on%20earth-%20cirsuc.jpg" width="320" /></a><i>The Greatest
Show on Earth</i> is the drama of a show manager who vies with an arrogant
trapeze artist for the affection of his beautiful acrobat performer, set to the
background of a circus spectacular. Manager of the largest traveling circus in
the world, no-nonsense Brad Braden (Charlton Heston) works hard to keep the
show operating. The addition of a new center ring trapeze act, the egotistical Great
Sebastian (Cornel Wilde), proves problematic for Brad. Brad must break the
heart of his love interest, highflyer Holly (Betty Hutton), informing her that
she is being demoted in the show, which creates a dangerous competitiveness it
creates between the two aerialists. Correspondingly, Sebastian’s ladies’ man
ways create a romantic rivalry between he and Brad for the lovely Holly.<o:p></o:p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><o:p> </o:p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhuzMy6aIPIUx9skDrav0qF_EYgLUx8Rx6Hgbcsj3_yZ__U3fCHvKruQOQHcrstYEXkSkiau1nhYp_AXhZl54UUTFnyJNevUg8DnRLW7Bfqf9gJyo2HmQs136rRT-Rm6Ge1NqQtuKtgmfKc1SVRq4aoL3984tpD7lqrBTWDOua2xqaUPv_TdR0LCx99aQ/s640/greatest%20show%20on%20earth-%20heston,%20hutton.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em; text-align: center;"><img border="0" data-original-height="464" data-original-width="640" height="232" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhuzMy6aIPIUx9skDrav0qF_EYgLUx8Rx6Hgbcsj3_yZ__U3fCHvKruQOQHcrstYEXkSkiau1nhYp_AXhZl54UUTFnyJNevUg8DnRLW7Bfqf9gJyo2HmQs136rRT-Rm6Ge1NqQtuKtgmfKc1SVRq4aoL3984tpD7lqrBTWDOua2xqaUPv_TdR0LCx99aQ/s320/greatest%20show%20on%20earth-%20heston,%20hutton.jpg" width="320" /></a>Over-arrogance ensues
in a tragic accident for Sebastian, resulting in him crippling his arm,
concluding his ability to perform, but in a kind gesture Brad keeps him
employed as a member of his crew. Greater issue arise soon after as a number of
saboteurs cause a massive train wreck for the travel operation, severely
injuring Brad and damaging much of the traveling big top presumably ending the entire
tour. However, the dedication of Holly, Sebastian, and all the performers and
crew members come together to save Brad’s life and rally together operations
that keeps the Greatest Show on Earth continuing as Brad and Holly finally
declare their love for each other.<o:p></o:p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><o:p> </o:p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">The feature is
a work of two movie ideas mixed together. The first is a spectacular
encapsulation of the then modern traveling circus, its construction and operational
processes to the parades and performances that made many a child and child at
heart excited when visiting big top. The second is the melodrama constructed by
Cecil B. DeMille creating the stories and interactions that are shared between
those behind the scenes. Like we have observed before, Hollywood loves a good
movie about show business, and this was yet another form of just that. Despite
not being about theater or movie making the idea remains in the realm of
putting on a show, the trial and tribulations of bringing it together, and the joy
that it delivers. Altogether the film is strong with a good cast, wonderfully captured
visuals, and a decent story, but the real star is the circus itself, capturing the
grand extravaganza in such a fashion by one of the great filmmakers for the
period.<o:p></o:p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><o:p> </o:p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhyh3cXa48LDLh69tvv7NnaIFiL2SvzFaPjgc4VL2xJ5cughCOUt0pQGFttB4yPVNTRWHE5H7pLPQA8t5Zf76MTDJBxTK2kAz51bdTRHSpA8gJ2zANxdluzLfSRibH61t78yQnfmbBgjVIxp-OmArnH598VYG0HeOvA9YbQsVnHtVzgOMi2bHtsj6S5gQ/s640/greatest%20show%20on%20earth-%20grahame.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="442" data-original-width="640" height="221" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhyh3cXa48LDLh69tvv7NnaIFiL2SvzFaPjgc4VL2xJ5cughCOUt0pQGFttB4yPVNTRWHE5H7pLPQA8t5Zf76MTDJBxTK2kAz51bdTRHSpA8gJ2zANxdluzLfSRibH61t78yQnfmbBgjVIxp-OmArnH598VYG0HeOvA9YbQsVnHtVzgOMi2bHtsj6S5gQ/s320/greatest%20show%20on%20earth-%20grahame.jpg" width="320" /></a>Initial interest
of a circus-centered picture arose in the spring of 1948 with the announcement
by David O. Selznick to produce a film around Ringling Bros. and Barnum &
Bailey’s Circus. Selznick’s proposed idea dried up and was dropped soon
thereafter before being picked up by Cecil B. DeMille who brokered a $250,000
deal with the famed circus to feature its show, operation, and performing acts,
capturing the tour, its big top construction, and their Sarasota, FL winter
home within the picture. Spending time traveling with the circus for a time on
their tour of America DeMille found inspiration for stories and moments to
capture coming together in the final production we see today.<o:p></o:p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><o:p> </o:p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">Filming took
place primarily at the Sarasota location and back in Hollywood while DeMille and
his crew also captured the circus tour as they constructed, performed, and
struck sets at stops in Washington DC and Philadelphia. Actors remained
primarily in Hollywood with soundstages easily recreating big top locations
when needed. Early photochemical effects were used to put actors filmed in
Hollywood with backgrounds shot at the circus locations. Extensive use of miniatures
recreated the massive train crash for one of the film’s climactic scenes, an
old movie trick that remains effective all these years later.<o:p></o:p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><o:p> </o:p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0zVl0gRHI7XAM-S3_7A8fz0s3j8nJ7wbr6ISW0PK97UO4T7dHSj1lu2Ej2oIKyYAAJd0AUsUq8Cjnyd4GmhTh1PQY7gevjj4hT0EdQTfdXKFGjdruo59vfLMC_4nnrnHDRDKwRQtX2lDA8bCbRKjcE1oR5F7sB7SqCwjiTevyZpM3pPkaf8eL1s8c4Q/s1030/greatest%20show%20on%20earth-%20hutton.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em; text-align: center;"><img border="0" data-original-height="1030" data-original-width="827" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0zVl0gRHI7XAM-S3_7A8fz0s3j8nJ7wbr6ISW0PK97UO4T7dHSj1lu2Ej2oIKyYAAJd0AUsUq8Cjnyd4GmhTh1PQY7gevjj4hT0EdQTfdXKFGjdruo59vfLMC_4nnrnHDRDKwRQtX2lDA8bCbRKjcE1oR5F7sB7SqCwjiTevyZpM3pPkaf8eL1s8c4Q/s320/greatest%20show%20on%20earth-%20hutton.jpg" width="257" /></a>For a film
about the circus this picture’s cast is rather remarkable. A young Charlton
Heston makes his first big splash in the motion pictures after being lured away
from New York. Even at 28 years-old one can tell Heston has a presence that
will make him a dominating star in Hollywood. Betty Hutton and Cornel Wilde
trained and molded their bodies to resemble the aerialist they portrayed in the
feature. Wilde made himself in a physical specimen to look the part and match
actual performer that did the actual stunts, but Hutton really dedicated
herself to the craft building the muscle to actual perform many of the aerobatics
in the film. Despite her acting being overly dramatic, her dedication is manifested
as she became quite proficient to performing 40 feet in the air, while Wilde
performed closer to the ground due to his fear of heights.<o:p></o:p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><o:p> </o:p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">Decent
Hollywood names filled the supporting cast as well. The usually sultry Dorothy
Lamour plays against type as a sharp tongued and jealous circus performer.
Gloria Grahame appears as an elephant performer, training long to look natural
for the role alongside the pachyderm. Most surprising of the supporting cast is
that of usual top leading man James Stewart as Buttons, a fun, yet wise clown
never seen out of make-up. His backstory revealed him to be of a doctor on the
lam with a tragic tale as a fugitive for mercy killing his wife and hiding
under the paint to remain hidden before sacrificing himself to save Brad’s life.
Stewart’s appearance here is by many hailed as one of Stewart’s finer performances
of his career. Several Paramount talents would make uncredited cameos throughout
the picture as patrons of the circus, including Bob Hope, Bing Crosby, Danny
Thomas, Van Heffin to pad the appeal of the picture as surprises to the delight
of 1952 audiences.<o:p></o:p><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjoG_bwBpqdzPp__cq_UGCOXmYrr8iy3Am42yHu98de67C0OyU_eEDdkAXX2d3l42fIpDe2MT9ITZz2IUteVrFG2DJFA-A8lB-HV18AY9FS_cWMw-1o-AdePh2zGh5aQzSLhmC_WiLeKKUxhbm99r2fhdCm7DLwgl4nVJOWcJD8Nvc9gE6YaJog0MjyNA/s1920/greatest%20show%20on%20earth-%20heston,%20stewart.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="1080" data-original-width="1920" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjoG_bwBpqdzPp__cq_UGCOXmYrr8iy3Am42yHu98de67C0OyU_eEDdkAXX2d3l42fIpDe2MT9ITZz2IUteVrFG2DJFA-A8lB-HV18AY9FS_cWMw-1o-AdePh2zGh5aQzSLhmC_WiLeKKUxhbm99r2fhdCm7DLwgl4nVJOWcJD8Nvc9gE6YaJog0MjyNA/s320/greatest%20show%20on%20earth-%20heston,%20stewart.jpg" width="320" /></a></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><o:p> </o:p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i>The Greatest
Show on Earth</i>, whose title was also part of that agreed on partnership with
the circus for use of their official slogan, would premiere in Sarasota, FL before
playing at New York’s Radio City Music Hall for a record tying 11 weeks. The
picture played initially as a traveling show manifesting the high esteem Paramount
had for the feature which helped drum up interest and guaranteeing high ticket
sales during the run. Thereafter it would see a nationwide release to reach the
far corners of the nation and overseas becoming easily the highest grossing
film of 1952.<o:p></o:p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><o:p> </o:p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">Generally, audiences
and critics were enchanted with the picture and its ability to capture the spectacle
of the circus, but did little to hide the fact the film is overly melodramatic,
episodic, and rather thin in plot. However, the film received some of the
highest honors of the year, including the Golden Globe and the Academy Award
for Best Picture. Since receiving the Oscar the feature has been considered one
of the worst movies ever to win the top prize. The feature lacks great punch
from a historical sense and the lasting impact other like awards winner typically
receive. Unlike most Best Picture winners, <i>The Greatest Show on Earth </i>made
very little splash in any other categories, only winning for the since abandoned
Best Story category.<o:p></o:p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><o:p> </o:p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFyTFE1mwO1QgZMOGnq4uDvCieTvaZxW6JpIaZFs2F6329uF_peO5ngD6xwnjs0ss5o7HtvIv8_L-x2qPXOioMrpfbIEvTWsaf15s-PntMYo8R1eXlq0UdYH0S0fR_oUY5nZ1V1G_HSk6sYS-Qc4QyR-g-3_Bwj5RSaUEMg-AWhDhm8OC0msTiuXMPfQ/s1440/greatest%20show%20on%20earth-%20stewart,%20wilde,%20heston.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em; text-align: center;"><img border="0" data-original-height="1080" data-original-width="1440" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFyTFE1mwO1QgZMOGnq4uDvCieTvaZxW6JpIaZFs2F6329uF_peO5ngD6xwnjs0ss5o7HtvIv8_L-x2qPXOioMrpfbIEvTWsaf15s-PntMYo8R1eXlq0UdYH0S0fR_oUY5nZ1V1G_HSk6sYS-Qc4QyR-g-3_Bwj5RSaUEMg-AWhDhm8OC0msTiuXMPfQ/s320/greatest%20show%20on%20earth-%20stewart,%20wilde,%20heston.jpg" width="320" /></a>Two theories
arose as to how <i>The Greatest Show on Earth</i> received the top prize for
1952 against the field that including all-time classic <i>High Noon</i> (1952).
One theory is it was believed at the time this was DeMille final feature and
academy voters elected it Best Picture to honor the filmmaker’s legacy. Of
course, DeMille would go on to make <i>The Ten Commandments</i> (1955) which was
arguably a far superior. A second theory arises from the political climate of the
Red Scare within the USA of the 1950s. Other nominated features had key members
connected to recently blacklisted people of Hollywood while <i>The Greatest
Show on Earth</i> did not, helping to guide the votes to the picture and
ultimately winning. The later theory tends to be one that has more foundation
to it historically.<o:p></o:p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><o:p> </o:p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">In any case <i>The
Greatest Show on Earth</i> is an enjoyable film, but not the best film for
either 1952 or even for DeMille. It is a pretty Technicolor picture and a gem
for fans of Hollywood history for its performances and cameos. It captures the
romance of the old American circus that although has not aged well, can deliver
for many classic movie fans.</p>Ryan McCormickhttp://www.blogger.com/profile/13560952178103637506noreply@blogger.com0tag:blogger.com,1999:blog-3089271153735288184.post-54717978350745249562022-05-10T18:04:00.006-04:002022-05-10T18:06:43.777-04:00Othello (1951)<div class="separator"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvnvKlT6ouVhYYj-iprmhAT_4-825ryOkTp6inkkkEqaNQms1l5X_QmIzSPaA7UZYA5c7jBwQpOmUcDvUHrR-EnMbjfO_o0b-yho3hSnQCcywnlZEHiYUT0sB9uVuKqqcCN_p3Bz4qZpImt_-BPiwhYFxw4EQKWXlUNOWUOLqFafu6G-TNNPVArWJ42Q/s2901/Othello%20(1951).jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em; text-align: center;"><img border="0" data-original-height="2901" data-original-width="1892" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvnvKlT6ouVhYYj-iprmhAT_4-825ryOkTp6inkkkEqaNQms1l5X_QmIzSPaA7UZYA5c7jBwQpOmUcDvUHrR-EnMbjfO_o0b-yho3hSnQCcywnlZEHiYUT0sB9uVuKqqcCN_p3Bz4qZpImt_-BPiwhYFxw4EQKWXlUNOWUOLqFafu6G-TNNPVArWJ42Q/s320/Othello%20(1951).jpg" width="209" /></a></div><a href="https://ryanmccormickfilmhistory.blogspot.com/search/label/Scalera">Scalera Film</a>, <a href="https://ryanmccormickfilmhistory.blogspot.com/search/label/Mercury%20Productions">Mercury Productions</a><br />Director: <a href="https://ryanmccormickfilmhistory.blogspot.com/search/label/Orson%20Welles">Orson Welles</a><br />Starring: <a href="https://ryanmccormickfilmhistory.blogspot.com/search/label/Orson%20Welles">Orson Welles</a>, <a href="https://ryanmccormickfilmhistory.blogspot.com/search/label/Miche%C3%A1l%20Mac%20Liamm%C3%B3ir">Micheál Mac Liammóir</a>, <a href="https://ryanmccormickfilmhistory.blogspot.com/search/label/Suzanna%20Cloutier">Suzanna Cloutier</a><br /><br />Honors:<br /><a href="https://ryanmccormickfilmhistory.blogspot.com/search/label/Cannes%20Film%20Fest.">Grand Prix - Cannes Film Festival</a><br />
<p class="MsoNormal">Orson Welles’ passion for creating motion picture art
superseded every limitation presented to him, as well as the abandonment of Hollywood’s
system for the filmmaker that helped pave one of its finest films. Here, in <i>Othello</i>,
this passion is on full display as he writes, directs, produces, and stars in
his adaptation of the William Shakespeare tragedy. With a production backstory it
manifests his desire creating, performing, and admiring the performing arts and
movie making. Produced through a series of road blocks, it was a feature several
years in the making that is hastily created, beautifully constructed while
being a somewhat mangled, and incapsulates the struggles the a filmmaker through
the remainder of his career.<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcQwKJ7N77ovrh72MQXtMi0twe6O42bBWPFq6CE1Svx4mXWwjLI99BF4Wq0T5QI_jF4wtZJvZHZ7IOcjaGYWvAz39_GedHmJ8OT8v7oGyIiz8RmsLvLeM0QD_V5X4SohC43wVe8pVoOJqcyuTmqMBMswxqrsFjfgN1SuuVJLV9q3G9I3STS-ssUBS_Wg/s1280/othello-%20welles.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="720" data-original-width="1280" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcQwKJ7N77ovrh72MQXtMi0twe6O42bBWPFq6CE1Svx4mXWwjLI99BF4Wq0T5QI_jF4wtZJvZHZ7IOcjaGYWvAz39_GedHmJ8OT8v7oGyIiz8RmsLvLeM0QD_V5X4SohC43wVe8pVoOJqcyuTmqMBMswxqrsFjfgN1SuuVJLV9q3G9I3STS-ssUBS_Wg/s320/othello-%20welles.jpg" width="320" /></a><i>Othello</i> is a Shakespearian drama about vengeance
through creating distrust within the marriage of an authority figure as a form
of manipulation. A Moorish general in the Venetian army, Othello (Welles)
becomes the center of ire of his jealous, yet trusted ensign Iago (Micheál Mac
Liammóir). Using Othello’s recent marriage to the noble lady Desdemona (Suzanna
Cloutier), Iago plants distrust in the general’s that she has been unfaithful
with a loyal captain Cassio (Michael Laurence), sending Othello down a destructive
path. Uncovering the truth that Desdemona what faithful all along comes too
late for Othello as he had killed his wife, left only with enough will to punish
his secret enemy Iago before, in grief, claiming his own life. <o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal">Filmed in numerous beautiful locations throughout Europe, Orson
Welles employs the stunning scenery and elaborate architecture to deliver an
authentic feeling Shakespearian story to the movie screen. The script uses much
of the original Shakespearian dialogue, but trims off a great many scenes to
pare down the five act play into a final picture that runs approximately 90
minutes, leaving many portions of the picture feeling rushed, often with hurried
editing. As the titular character, Welles’ performance commands the screen in
his common manner, a presentation troubled only through the prism of acting in
blackface. One could defend that in doing so this production keeps in a manner beholden
to how the part would have been portrayed in the years when the play was
originally performed. However, this can be set aside as the Moorish nature of
the character plays little role in fullness of the story and picture. In a way
the feature appears a mess, but in another manner it is splendid in keeping its
roots and presenting a love letter to the author and his work.<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjk063N187eBpIhUG2sny_o7s3mLlbuejCmZ-LYmXy9HHehX0_TxFIaR7vuakZGKTE31nG9TLGrX_DdY-vPCxsGSDoeH13vbivBHewMd-yiRAojkzL_1bK3sfk7BkQVOuktKI7LjOSD4TlDsI-CG6ocQAYbGQ-5R5TrPWqdooHiosCVVyGWe223hzKu_Q/s1280/othello-%20setting.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em; text-align: center;"><img border="0" data-original-height="720" data-original-width="1280" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjk063N187eBpIhUG2sny_o7s3mLlbuejCmZ-LYmXy9HHehX0_TxFIaR7vuakZGKTE31nG9TLGrX_DdY-vPCxsGSDoeH13vbivBHewMd-yiRAojkzL_1bK3sfk7BkQVOuktKI7LjOSD4TlDsI-CG6ocQAYbGQ-5R5TrPWqdooHiosCVVyGWe223hzKu_Q/s320/othello-%20setting.jpg" width="320" /></a>Intended in a way to be a follow up to Welles’ previous
Shakespearian adaptation of <i>MacBeth</i> (1948), the feature of <i>Othello</i>
became an erratic production that needed over three years to finish, filled
with a number of stops and stalls willed into being with the efforts of the
famed filmmaker to be completed. With MacBeth being considered a troublesome
disaster between Welles and studio producers, the filmmaker made his way to
Europe to in pursuit of new projects, which included for a period being the
originally writer for Alexander Korda’s <i>Cyrano de Bergerac</i> (1950) before
being dismissed.<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal"><i>Othello</i> became a viable project for Welles under
Italy’s Scalera Films, penning the script while leading the project as producer,
and setting himself as both director and star on a proruction to be shot in various
Mediterranean locals. In 1949, while awaiting the delivery of the costumes with
his cast and crew in Morocco, Welles was brought the unfortunate news of
Scalera going bankrupt, immediately ceasing <i>Othello</i>. Thus began Welles’ story
of determination to get his vision created.<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal">Funneling his own money into the project Orson would get the
movie started before running out of money himself. To help fund the picture
Welles would take time to find personal acting work throughout Europe, both on
screen and in radio, periodically returning to get more of <i>Othello</i> in
the can. The jerky nature of production was in its own way a trouble as cast
and crew would be altered to suit the needs of the movie until Welles was able
to finish principal photography in early 1951. Through all the difficulties, casting
and quality suffered, but it did not quell the passion Welles has for his
vision and creativity, scrounging enough resources and effort to complete the
picture despite having no distributor signed on.<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjeWqidf7klnDW1dC-PIP84TP9gp89SFYx23zIoDqRMUVT9TlAMiselrqHQ_X_swe00JzM1pf0054U7NTqdUIIWhNFT7rYWU2_bGP58RDhFR8xJf5fw0s2rbNJecKV9Flf-Na2MMlGg0dNBVoQOnQ1mMeylfEaxC4U-WYKtpz47xKaRRy4KhAL7jV_vg/s2048/othello-%20welles,%20cloutier.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="1365" data-original-width="2048" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjeWqidf7klnDW1dC-PIP84TP9gp89SFYx23zIoDqRMUVT9TlAMiselrqHQ_X_swe00JzM1pf0054U7NTqdUIIWhNFT7rYWU2_bGP58RDhFR8xJf5fw0s2rbNJecKV9Flf-Na2MMlGg0dNBVoQOnQ1mMeylfEaxC4U-WYKtpz47xKaRRy4KhAL7jV_vg/s320/othello-%20welles,%20cloutier.jpg" width="320" /></a>For Orson Welles, <i>Othello</i> was a shrewd effort of production
manipulation as the filmmaker to find the means to deliver what was needed from
his cast and crew.<span style="mso-spacerun: yes;"> </span>Micheál Mac Liammóir was
an older choice for the role of Iago, a decision justified by Welles to capture
a more impotent and jealous character as an antagonist. The performance of Canadian
actress Suzanne Cloutier was the result of recasting because of the jerky
nature of production as she filled in as Desdemona and became an ally of Welles
in many of his future, unfinished works. Various other English performers would
appear in keys roles, including Robert Coote and Fay Compton as Roderigo and
Emilia.<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEipu7Uav4m1BaN3khJ-wYw50s8l6KrNkPCE7Fbcj7UkJbM1ugtObCkeyMCMJArkhafzWgUqIT_YzEacD-83b6Wj9ebB1vNWPqQAGHMmtLhg0f6jazr48yXnjCnx-qWS8Xf99DLGCKbS8Ge6WOX42SwmMbh_1-LbMXwjpYj9wi29Z9JY8nVSgS9F1UBS8Q/s882/othello-%20columns.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em; text-align: center;"><img border="0" data-original-height="668" data-original-width="882" height="242" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEipu7Uav4m1BaN3khJ-wYw50s8l6KrNkPCE7Fbcj7UkJbM1ugtObCkeyMCMJArkhafzWgUqIT_YzEacD-83b6Wj9ebB1vNWPqQAGHMmtLhg0f6jazr48yXnjCnx-qWS8Xf99DLGCKbS8Ge6WOX42SwmMbh_1-LbMXwjpYj9wi29Z9JY8nVSgS9F1UBS8Q/s320/othello-%20columns.jpg" width="320" /></a>Due to extensive location shooting near the sea or in rooms
that created great echoes, most all of the audio from principal photography was
in need of voice dubbing which too was a hasty process, evident in the poor lip
synchronization. It would take work to make the dubbing passable, but in the
meantime <i>Othello</i> would see a premiere viewing in a Rome screening in
November of 1951. For this initial viewing all audio was dubbed in Italian, sidestepping
a need proper lip-syncing as this first version was used to drum interest in
film. Meanwhile Welles continued to finish the final English language picture which
competed as an entrant at the 1952 Cannes Film Festival in May 1952. Audio
would be cleaned up slightly and topped with a unique soundtrack by Italian
composer Angelo Francesco Lavagnino in time for the festival screening, which
met mixed critical reviews, with most negativity centering on the poor audio
quality. <o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal">Despite the critiques <i>Othello</i> was praised for its
visuals, and like many well-made Shakespeare motion pictures, it was given
rather high regard for its classical acting nature. Welles and his feature came
away from Cannes sharing the festival’s top prize that year and the attention
it needed to be distributed widely in Europe and later on in America following
more work to clean up the sloppy audio.<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal">For Welles what we observe here in his producing of Othello
parallels much of what he had to do for the rest of his career in motion
pictures. <i>Othello</i> was just one example of the work it took for him to
simply create by continually needing to find funding to get just enough to keep
shooting his next project.<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgR4zxdLZaDFuk2cZLAHaxmwUJZjLXje8SACU4exr7ZcX0UrvPtPuR8yPQiEXPRcrnvcc8wYBigMr8-B921YqKvZ9eQNRJyzDnEHQhxY3nXtrBqYqM0vaSTAAr37IshMG8vBhh3YMid0o6qTHNqe5t21Gw3TAZ4NtIAzXsX3TbwjMzD7jWjcGiqm_9ycA/s1280/othello-%20setting2.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="929" data-original-width="1280" height="232" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgR4zxdLZaDFuk2cZLAHaxmwUJZjLXje8SACU4exr7ZcX0UrvPtPuR8yPQiEXPRcrnvcc8wYBigMr8-B921YqKvZ9eQNRJyzDnEHQhxY3nXtrBqYqM0vaSTAAr37IshMG8vBhh3YMid0o6qTHNqe5t21Gw3TAZ4NtIAzXsX3TbwjMzD7jWjcGiqm_9ycA/s320/othello-%20setting2.jpg" width="320" /></a>For the most part, <i>Othello</i> was ignored by Americans
with mainly critics and film students taking the time to really view and study
to the feature. Welles’s daughter, Beatrice Welles-Smith, in the early 1990s supervised
a restoration of her father’s film, looking to improve visual and audio quality
well after Welles’ death. In an age when black and white films were being
colorized for home video markets, intial naïve critics praised the restoration.
However, like colorization of older movies, the restoration would be met with
great reproach. Apart from the cleaned visuals and re-synching of the dialogue,
scenes were altered, additionally sound effects added, and the entire
soundtrack was rerecorded. The film lacked the nuances of the original Welles
version in the shortsighted move. The restoration would meet critical attack,
but it did open a door to anew preserved copy of the original version of the
feature.<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal"><i>Othello</i> is not so much a good film as it is a study
of Orson Welles and his career in his post-Hollywood period. His passion is on
screen for all to observe, even if the work is not always of peak quality. For
anyone who loves film, Shakespeare, and the meeting of the two, this feature is
a fine film to digest for it is filled with more than what meets the eye.</p>Ryan McCormickhttp://www.blogger.com/profile/13560952178103637506noreply@blogger.com0tag:blogger.com,1999:blog-3089271153735288184.post-41701057400892132452022-04-19T16:06:00.002-04:002022-04-19T16:08:55.269-04:00African Queen, The (1951)<div class="separator"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg10UpTox7HYQKKcguEHfXVZr2zvRU5lk6_Pi7e3Kcv-cYUNN9CShb-edk7rJ64e01wgfm2z_ErOPQh6VwNttOJuFkQrZUBMR9aNXXKKrDmae9q8IS-EVJEjbZSfiESjxbAy3OAZCNNWSWI3OK_7gYS8r4ZZXQCDayHNL0tsQcscvdv3zdty9iqMGu5Wg/s2936/African%20Queen%20(1951).jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em; text-align: center;"><img border="0" data-original-height="2936" data-original-width="1929" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg10UpTox7HYQKKcguEHfXVZr2zvRU5lk6_Pi7e3Kcv-cYUNN9CShb-edk7rJ64e01wgfm2z_ErOPQh6VwNttOJuFkQrZUBMR9aNXXKKrDmae9q8IS-EVJEjbZSfiESjxbAy3OAZCNNWSWI3OK_7gYS8r4ZZXQCDayHNL0tsQcscvdv3zdty9iqMGu5Wg/s320/African%20Queen%20(1951).jpg" width="210" /></a></div><a href="https://ryanmccormickfilmhistory.blogspot.com/search/label/Horizon%20Pictures">Horizon Pictures</a>/<a href="https://ryanmccormickfilmhistory.blogspot.com/search/label/Romulus">Romulus Films</a>/<a href="https://ryanmccormickfilmhistory.blogspot.com/search/label/United%20Artists">United Artists</a><br />Director: <a href="https://ryanmccormickfilmhistory.blogspot.com/search/label/John%20Huston">John Huston</a><br />Starring: <a href="https://ryanmccormickfilmhistory.blogspot.com/search/label/Humphrey%20Bogart">Humphrey Bogart</a>, <a href="https://ryanmccormickfilmhistory.blogspot.com/search/label/Katharine%20Hepburn">Katharine Hepburn</a><br /><br />Honors:<br /><a href="https://ryanmccormickfilmhistory.blogspot.com/search/label/Best%20Actor">Academy Award for Best Actor</a><br /><a href="https://ryanmccormickfilmhistory.blogspot.com/search/label/AFI%20Top%20100">#17 on AFI Top 100 (1998)<br />#65 on AFI Top 100 (2007)</a><br /><a href="https://ryanmccormickfilmhistory.blogspot.com/search/label/AFI%20Top%20Passions">#14 AFI 100 Passions</a><br /><a href="https://ryanmccormickfilmhistory.blogspot.com/search/label/AFI%20Top%20Cheers">#48 AFI 100 Cheers</a><br /><a href="https://ryanmccormickfilmhistory.blogspot.com/search/label/National%20Film%20Registry">National Film Registry</a><p class="MsoNormal">An adventure of a lifetime through the wilds of Africa is fronted
by Humphrey Bogart and Katharine Hepburn in one of the most beloved Hollywood
features in the industry’s history. Directed by legendary filmmaker John
Huston, <i>The African Queen</i>, he considered to be his finest film, and
marked the only Oscar win in Bogart’s very fabled career. Like the story, the
feature experienced the harshness of African locales with location production
that was nearly as hazardous as the film’s plot, an adventure in itself, bonding
the stars and director for life.<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsPDVEfYezIl1NZsntmpACE08pSUhYIWFcpOdTJMwaxFKOlOR3YB005oa9TB37SVirTs88dOADDh9jEvHDeADCx6_w_6lAyG8zwac3geG3xs5W4nASGtCl2FKZUNicwRBIRjzly1xn1B5m8v1kYX3jg-HBkUr-eTJAvV4-MpyECxFvOfmeP9snnf42RA/s3500/african%20queen-%20hepburn,%20bogart.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="2280" data-original-width="3500" height="208" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsPDVEfYezIl1NZsntmpACE08pSUhYIWFcpOdTJMwaxFKOlOR3YB005oa9TB37SVirTs88dOADDh9jEvHDeADCx6_w_6lAyG8zwac3geG3xs5W4nASGtCl2FKZUNicwRBIRjzly1xn1B5m8v1kYX3jg-HBkUr-eTJAvV4-MpyECxFvOfmeP9snnf42RA/s320/african%20queen-%20hepburn,%20bogart.jpg" width="320" /></a><i>The African Queen</i> is a romantic comedy adventure
about an unlikely pair who find commonality in a dangerous task while
surprisingly finding love as they trek the waterways of Africa. In German East
Africa at the outbreak of World War I, Rose (Hepburn), a spinster missionary,
and Charlie (Bogart), an alcoholic delivery riverboat captain, turn their focus
of escape from the newly dangerous situation to one of plotting a strike upon
the wartime occupiers. The pair travel the dangerous waterways towards the
known location of a large German gunboat with plans to use Charlie’s small, but
trusty vessel, “The African Queen,” as a torpedo boat to cripple the enemy.
Surviving rapids and illness while navigating through previously perceived
unpassable channels, Rose and Charlie adventures discover a romantic bond
between, further cementing their mission together. Finally reaching the gunboat,
the confrontation turns dire for our heroes before fate deals their enemies a
costly blow.<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal">A charming film with the classic, romanticized view of the
exotic, it mixes well aspects of humor with adventure to tell story of
excitement and romance. Wonderfully crafted with costuming and art direction
that captures a period only a few decades prior yet feels to be in a world
vastly separated from when it was produced. Art direction brilliantly utilizes
the African location shooting while director John Huston delivers his distinct
style that hints towards his knack capturing human connection in this curiously
unique picture. An added layer of interest is present with its release being fairly
recently following the conclusion of World War II when it comes to construction
of its characters and plot, making it a film obviously crafted for an audience
of its time, yet remains entirely timeless as well.<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDc9fo3_DSkG45NmCtNSKw_D7hfiCpiXs44dWyyhIMpmf4nRedJPgKJi2sNfnTMRBu_6yNWJyH2edmUtTau5CFQXUgMvNYFwl6XGHy2FhpU07qu0osxmv8_dgjVbj0vw4Bl3w3Y--EY1pb_Ic3KE-RlepICRSW6G9D-asc1o_Qzf3mQ0utZ-Bg7JANnA/s2393/african%20queen-%20rapids.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em; text-align: center;"><img border="0" data-original-height="1800" data-original-width="2393" height="241" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDc9fo3_DSkG45NmCtNSKw_D7hfiCpiXs44dWyyhIMpmf4nRedJPgKJi2sNfnTMRBu_6yNWJyH2edmUtTau5CFQXUgMvNYFwl6XGHy2FhpU07qu0osxmv8_dgjVbj0vw4Bl3w3Y--EY1pb_Ic3KE-RlepICRSW6G9D-asc1o_Qzf3mQ0utZ-Bg7JANnA/s320/african%20queen-%20rapids.jpg" width="320" /></a>C. S. Forrester’s 1935 novel took time finding its way to a
screen adaptation and through the change in the world during that time would
see a number of alterations within its plot. The German antagonist were made be
appear more demonized and less sympathetic or consequential due to the recency
bias of World War II. Unlike in the book Rose and Charlie survive their ordeal,
and the please censors’ needs of presenting a “proper” cohabitant relationship between
this romantic couple in film the heroes are married near the picture, perhaps
the most hastily inserted and out of place addition to the story in the feature
as it is the German captures that perform the quick ritual for Rose and Chalie.
However, the heart of the tale remains as two unlikely people come together to
form a strong partnership and love and a setting of danger and hardship..<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal">John Huston would be the primary architect of the film
adaption helping to guide in the shaping of the final screenplay on the way to
directing the feature. Best known for his timeless ability to sculpt human
nature in rugged conditions Huston was the perfect filmmaker to direct this
feature, and it shows in the final product. He would not only take fine actors
and mold brilliant performances, but he would utilize nature to its fullest as
he would film nearly half of the feature on location in Belgian Congo to
deliver an authenticity to the feature. While on location Huston spent time
while not shooting taking the opportunity practicing one of his favorite
pastimes in hunting while remaining a perfectionist in the crafting the
feature.<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal">Katharine Hepburn was brought aboard by Sam Spiegel, who
sent her a copy of the book, quickly falling in love with the story and
committing herself to the project as the fish out of water, yet resilient Rose.
She immediately saw Humphrey Bogart as best being suited to play the gruff,
alcoholic Charlie who was more than glad to work once again with Huston, with
whom he experienced most of hist cinematic success. Charlie was originally a
British role, but when Bogart proved unable to perform an cockney accent the
character was smoothly transformed into a Canadian to compensate for Bogart’s
limitation. The on-screen chemistry between the two stars would prove to be
magic earning both Academy Award nominations, and the only win in Bogart’s
career.<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal">Filming in Africa proved to be a trying ordeal for cast and
crew. Lugging vast amounts of sensitive and bulky equipment around natural
terrain was one trouble of there as the movie party would be reliant primarily
on local food and supplies to nourish them during the process. Lauren Bacall,
Humphrey Bogart’s wife, made the early decision to accompany him to Africa and during
production became in a way a mother to everyone on the project, cooking,
cleaning, and caring for those that fell ill. Trough the experience Bacall and
Hepburn bounded, forming a life-long friendship between them.<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlGMjcMluZWiL8FTUWqnzRdo7MuOKFb24rBotmEQzTq275QaGffDvBEAZ8R7DJ4MvyTzsfKJtV2sQQgTp-2Jd6Bdq1YcvsXDtKOGwM76bRvYDKWgYFn9toM9sK1wOk-Kp4_03KLx-R4CRrTv29Nr-Ta_o-OeTMSHqkJ0pBr4j3PL4xabb10ED8P2jC-A/s1461/african%20queen-%20hepburn,%20bogart2.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="1080" data-original-width="1461" height="237" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlGMjcMluZWiL8FTUWqnzRdo7MuOKFb24rBotmEQzTq275QaGffDvBEAZ8R7DJ4MvyTzsfKJtV2sQQgTp-2Jd6Bdq1YcvsXDtKOGwM76bRvYDKWgYFn9toM9sK1wOk-Kp4_03KLx-R4CRrTv29Nr-Ta_o-OeTMSHqkJ0pBr4j3PL4xabb10ED8P2jC-A/s320/african%20queen-%20hepburn,%20bogart2.jpg" width="320" /></a>Nearly everyone involved on location experienced some form
of illness, most commonly dysentery. Out of the entire cast and crew the only
individuals that appears to not go unharmed were Bogart and Huston, two heavy
drinkers. They relied on whiskey and scotch instead of water and consuming only
imported canned food, helping to avoid sickness, making the experience more
tolerable than most. Bogart would detestation his time in Africa, while Hepburn
adored the experience even though she too became very ill during the process. A
keen eye can spot the actress sweating heavily in her opening scene, due to her
fever at the time yet powering through for her craft.<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal">Outside of Africa, the remainder of production took place in
England where sets and foreground photography were completed and splice in with
the exotic location shots they captured from Africa. Other special effects
included miniatures and models to create scenes with treacherous rapids,
details perhaps more evident in today’s world of high-definition home video
release than back in the 1950s.<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal"><i>The African Queen</i> premiered in late December 1951, in
time to qualify for that year’s award season, where it received generous praise
from audiences and critics while earning four Oscar nominations. Huston was
nominated twice for <i>The African Queen</i>, for both writing and directing, and
would come to consider the picture his finest work. However. It would be only Bogart
who would come away with the only award win for the picture at that year’s
ceremony, noting his performance a result of Hepburn’s partnership and Huston’s
direction.<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjmwKtPjMILk_G72BseMjeRJul1nIARSIP1bTjXnJNVqIbxh9DRGLagdsoSNVdqUrqp8qMnFVl8H13VmOVL4-9EYUN916qS-4ic8og0Tm0ro6B9nsS6lxp8f9zTtVUYUHbRKapu8lJr7hQNP_R9tHYb0tOdxoY7R9NhcVhsSR25y7rWuh0jtPpN6fhiQ/s1476/african%20queen-%20bogart,%20hepburn.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="738" data-original-width="1476" height="160" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjmwKtPjMILk_G72BseMjeRJul1nIARSIP1bTjXnJNVqIbxh9DRGLagdsoSNVdqUrqp8qMnFVl8H13VmOVL4-9EYUN916qS-4ic8og0Tm0ro6B9nsS6lxp8f9zTtVUYUHbRKapu8lJr7hQNP_R9tHYb0tOdxoY7R9NhcVhsSR25y7rWuh0jtPpN6fhiQ/s320/african%20queen-%20bogart,%20hepburn.jpg" width="320" /></a>The film remains one of the highest praised films in
American cinematic history, admired for writing, direction, and acting. Named
to several all-time lists for American produced features, it continues a legacy
for stars and filmmaker as it endures in the minds of film lovers all these
years later. You would be hard pressed to study on Huston, Bogart, or Hepburn
without seeing mention of <i>The African Queen</i>. Its legacy in film would
continue to inspire future generation within the industry, and even help in
inspiring the look of Walt Disney’s famed Jungle Cruise attraction in his new
theme park just a few short years later. A great deal of what we experience in
motion pictures in the forms of romantic comedies, adventure pictures, art direction,
and cinematic quality quietly owes a good deal from this picture as John Huston
created a wonderful film does so much so well.</p>Ryan McCormickhttp://www.blogger.com/profile/13560952178103637506noreply@blogger.com0tag:blogger.com,1999:blog-3089271153735288184.post-18279389409074530252022-04-08T13:32:00.002-04:002022-04-08T13:34:14.498-04:00Death of a Salesman (1951)<div class="separator"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJ-PVIUpQe0h8ykrtxYmgcGXIhNuR_CIbcK2df25s4R5G_oGch47AWqkLXh2owycODRiEsuRbO4SiQR3N_sZPVo85Y55U7pm4LiNsnngFjYcgUpgmRdZ2zvC5azlQio_VNyLuyVeyfIdo8M9rC9UJqIPNxfLJIdJ77Xsh4lLmt7JiUPP-JOulTJZNTkA/s1440/Death%20of%20a%20Salesman%20(1951).jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em; text-align: center;"><img border="0" data-original-height="1440" data-original-width="960" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJ-PVIUpQe0h8ykrtxYmgcGXIhNuR_CIbcK2df25s4R5G_oGch47AWqkLXh2owycODRiEsuRbO4SiQR3N_sZPVo85Y55U7pm4LiNsnngFjYcgUpgmRdZ2zvC5azlQio_VNyLuyVeyfIdo8M9rC9UJqIPNxfLJIdJ77Xsh4lLmt7JiUPP-JOulTJZNTkA/s320/Death%20of%20a%20Salesman%20(1951).jpg" width="213" /></a></div><a href="https://ryanmccormickfilmhistory.blogspot.com/search/label/Stanley%20Kramer">Stanley Kramer Productions</a>/ <a href="https://ryanmccormickfilmhistory.blogspot.com/search/label/Columbia">Columbia Pictures</a><br />Director: <a href="https://ryanmccormickfilmhistory.blogspot.com/search/label/Laszlo%20Benedek">László Benedek</a><br />Starring: <a href="https://ryanmccormickfilmhistory.blogspot.com/search/label/Fredric%20March">Fredric March</a>, <a href="https://ryanmccormickfilmhistory.blogspot.com/search/label/Mildred%20Dunnock">Mildred Dunnock</a>, <a href="https://ryanmccormickfilmhistory.blogspot.com/search/label/Kevin%20McCarthy">Kevin McCarthy</a><br /><br />
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">Arthur Miller’s
Pulitzer Prize and Tony Award winning play gets the Hollywood treatment in Columbia’s
1951 feature Death of a Salesman. A brooding drama, about one man’s negative impression
of modern capitalist society was a critical success on stage that met plights
when offered the prospect to be adapted to the screen. A then conservative
Hollywood saw opportunity to profit from the known commodity, but soon took
issue with its subject matter, the result was a motion picture that displeased
its original author, was a box office failure, and clashed with audiences of
the period, yet landed abundant critical praise.<o:p></o:p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><o:p> </o:p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i>Death of a
Salesman</i> is a drama about an aging middle-class man’s who looks back on his
life of failures.<span style="mso-spacerun: yes;"> </span>Willy Loman (Fredric
March) is a 60 year-old traveling salesman who struggles to pay the bills,
feuds with his grown sons, and fails to understand how his life was filled with
disappointments. As a self-proclaimed devoted husband, father, and employee Willy
fails to see the shortcoming in his own life which is unveiled through a series
of flashbacks, delusions, and interactions between family and friends. We witness
as Willy allows his pride to limit himself from improving his personal and
professional standing, allowing for personal stagnation as the world moves
beyond him. This same pride spirals him into a life of depression and secret
suicidal thoughts and he fails to open up to others. His self-destruction not
only effect himself as his marital infidelity is uncovered by his once
promising son, Biff (Kevin McCarthy), disillusioning him into him into his own
disparaging ways. All these self-destructive tendencies of Willy Loman result
in his death and a scantly attended funeral where not even his wife Linda
(Mildred Dunnock) can weep from her departed husband.<o:p></o:p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><o:p> </o:p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjS8spmy5rV5U4c7_jYtx-ok5FbxOBrcv0CWQH7yu-WOwYwyxhd2naXVx3JTwTn6UwpBhHLEEINGR2d72TyB_usU3lcKZs2V_QBjq1TtghyLbv-kbQqBnos0VmD-4HiJAZu4Mag3DfVmWK3TbwWf5mFgyPkhlis-dswrOuIbEgdsLzn_DwDhYa-RqFrhw/s1280/death%20of%20a%20salesman-%20march.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="720" data-original-width="1280" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjS8spmy5rV5U4c7_jYtx-ok5FbxOBrcv0CWQH7yu-WOwYwyxhd2naXVx3JTwTn6UwpBhHLEEINGR2d72TyB_usU3lcKZs2V_QBjq1TtghyLbv-kbQqBnos0VmD-4HiJAZu4Mag3DfVmWK3TbwWf5mFgyPkhlis-dswrOuIbEgdsLzn_DwDhYa-RqFrhw/s320/death%20of%20a%20salesman-%20march.jpg" width="320" /></a>A dark and
brooding drama that takes a grim look at a man who allows society to pass him by
and feeling deserted is a trying subject to watch in the era it was released.
In the post-war period when pride in the American dream was riding at an
all-time high this Arthur Miller story about a man experiencing negative
effects of a capitalistic society must have been difficult to stomach. Frederic
March delivers a sympathetic leading performance as a man that spirals down
into depression and self-destruction, capturing a very different look at an
American man. Benefiting from the black and white film stock, the drama is an
emotional piece which moves between flashbacks, hallucinations, and the current
story rather smoothly under the watchful eye of director László Benedek who transfer
the play to the screen. It is a tragic story with plenty to say captured in
little corner of middle America that can speak beyond its boundaries.<o:p></o:p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><o:p> </o:p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">Not long after
“Death of a Salesman” opened on Broadway rumors swirled of Hollywood brass
clamoring to acquire the rights for the screen adaptation for what would
eventually win the Tony Award for best play. Playwright, Arthur Miller, was
eager to see his work delivered to the motion picture medium, hoping to pen the
screenplay himself in the venture. However, when producer Stanley Kramer
acquired the film rights Miller would play no further role in the production as
it was adapted as Miller would eventually come to rue witnessing how others
came to alter his original creation.<o:p></o:p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><o:p> </o:p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiyLJ5fMikmVNQcVErFFh6l8h_dlX8xNLflQeY-vC16Wyqo0UYSDc04pgatj76hrGATJ4MTObeltUWFFss3yRCKiX4MQ-xN4Muf-b9clMQQV1fnvC7YmWeWeZQGT-2P9SrpQKKs-CFvAIDmdlyhkjOSiI2e0HUV0Nt2irNePzkWpbSmDWGRTjQg0yKoTg/s1359/death%20of%20a%20salesman-%20mitchell,%20mccarthy,%20march.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em; text-align: center;"><img border="0" data-original-height="766" data-original-width="1359" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiyLJ5fMikmVNQcVErFFh6l8h_dlX8xNLflQeY-vC16Wyqo0UYSDc04pgatj76hrGATJ4MTObeltUWFFss3yRCKiX4MQ-xN4Muf-b9clMQQV1fnvC7YmWeWeZQGT-2P9SrpQKKs-CFvAIDmdlyhkjOSiI2e0HUV0Nt2irNePzkWpbSmDWGRTjQg0yKoTg/s320/death%20of%20a%20salesman-%20mitchell,%20mccarthy,%20march.jpg" width="320" /></a>Much of the
cast consisted of actors from the original stage productions reprising their
roles for Columbia. Featured are Mildred Dunnock the loving, yet worried wife
Linda, Cameron Mitchell as younger adult son Happy, and Howard Smith and Willy
Loman’s revered, deceased brother Charley. Kevin McCarthy joined the screen cast
respiring the role of troubled son Biff from the London production of the play.
Concerns over Lee J. Cobb, the original Broadway star, and his attachment to
leftist politics opened the door for veteran Academy Award winner Fredric March
to star as the disturbed Willy Loman. The neighbor to and person fried of
Arthur Miller, March had turned down the opportunity of originally portraying
Willy Loman on Broadway, but here was given a second chance to play the part, a
performance that earned him the fifth and final Oscar nomination of his career.<o:p></o:p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><o:p> </o:p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">In adapting the
story to for the screen the script and director László Benedek leaded more heavily
the dreary and bleak middle class setting the story takes place in. Benedek
utilized small rooms, often painted in greys to capture the drabness on the
black and white celluloid, creating a bleak place in which Willy Loman ponders
his life. Despite Benedek’s attempts to stay as close the play, using as much
of the original dialogue as possible, many times verbatim, some aspects of the
story were trimmed off or altered. This trimmings and changes made Arthur
Miller furious, believing a altered the intent of the character and story, noting
how he believed the movie made Willy was made to look more like lunatic rather
than a victim as he intended.<o:p></o:p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><o:p> </o:p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">As the film
crept toward premiering, producers at Columbia became concerned how the left
leaning story was going to upset a portion of the movie audience, especially
with how it made the vocation of salesmen appear as a low-level vocation. With
hope to alleviate possibly besmirching the “good name” and salesman, Columbia
commissioned a short film to proceed the feature entitled “Career of a
Salesman” to justify the great calling a salesman is in American society. This
further angered Arthur Miller, believing the short nullified the entire point
of his story, leaving him questioning why the producers wanted to make a film
they did not want or believe in. Columbia distancing themselves from presenting
a story about an American failure only proved to push Arthur Miller to distance
himself from the film that he inspired, openly protesting against this version
of <i>Death of a Salesman</i>.<o:p></o:p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><o:p> </o:p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4KPD2kiTC0TNI_fSpi74tUU8nxXPY0BZ8EE10d9nOo0V1GDC2C4vK8iXA-b9k8L-xMF9IfkKa7YYp6oYea71x8-BMBCE0hRDSahgC1ttQReFpay2c9TIX2G65o0NvPwa45yRDwIVCvbdCQI0_nGF_KyUhhqg8ywlgsxulfQ5QndzPJhQdfIgA4O7JAg/s1281/death%20of%20a%20salesman-%20lomans.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="991" data-original-width="1281" height="248" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4KPD2kiTC0TNI_fSpi74tUU8nxXPY0BZ8EE10d9nOo0V1GDC2C4vK8iXA-b9k8L-xMF9IfkKa7YYp6oYea71x8-BMBCE0hRDSahgC1ttQReFpay2c9TIX2G65o0NvPwa45yRDwIVCvbdCQI0_nGF_KyUhhqg8ywlgsxulfQ5QndzPJhQdfIgA4O7JAg/s320/death%20of%20a%20salesman-%20lomans.jpg" width="320" /></a>Premiering in
late December 1951 before wide release in early the next year, <i>Death of a
Salesman</i> was met with rather positive critical reviews, including five
Academy Award nominations, most notably for the performances of March,
McCarthy, and Dunnock. However, the film was a financial flop, a dreary movie
that ran against the positivity of American dreams during a prosperous time for
the nation. Miller would continue to admonish the picture, believing it chopped
off the very climax of the story. This would do little to lower the standing of
the original story as the tale would experience numerous film and television
adaptions in the future while the play has remained popular over the years.<o:p></o:p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><o:p> </o:p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">Time would not
be unkind to <i>Death of a Salesman</i> and many continue to admire the picture
all these years later, despite Miller’s objections. The feature remains one of
the more well-known adaptions of the story. Fredric March and cast deliver
strong performances that added to the legacies of all players involved, but in
the end the film itself can be take-it-or-leave-it. It is a solid picture, despite
delivering at time the feeling of being a rather high end made for television
movie aspect to it. It is very watchable and picture of its day, although its
backstory appears to be more interesting than the actual movie at times.</p>Ryan McCormickhttp://www.blogger.com/profile/13560952178103637506noreply@blogger.com0tag:blogger.com,1999:blog-3089271153735288184.post-52217144307812228822022-03-24T17:47:00.003-04:002022-03-24T17:48:47.152-04:00Quo Vadis (1951)<div class="separator"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPLlGQFovYDxh18cAip6-ICPST2YitbHr9-Anl4UVCq1_i4nDwSduyyN3-IHzev-RYBToVVeiM965X5DlxlxYs0QQP2aU3Kkx4HCs335uo3RNZqatGxPeQ3-LwrYLy24nau_gnCYRoUBMpcWumIrHqEtLN-9k9KMbKEpIpjx-_EFAjnDY1n6WXRBE_FA/s2946/Quo%20Vadis%20(1951).jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em; text-align: center;"><img border="0" data-original-height="2946" data-original-width="1926" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPLlGQFovYDxh18cAip6-ICPST2YitbHr9-Anl4UVCq1_i4nDwSduyyN3-IHzev-RYBToVVeiM965X5DlxlxYs0QQP2aU3Kkx4HCs335uo3RNZqatGxPeQ3-LwrYLy24nau_gnCYRoUBMpcWumIrHqEtLN-9k9KMbKEpIpjx-_EFAjnDY1n6WXRBE_FA/s320/Quo%20Vadis%20(1951).jpg" width="209" /></a></div><a href="https://ryanmccormickfilmhistory.blogspot.com/search/label/MGM">Metro-Goldwyn-Mayer</a><br />Director: <a href="https://ryanmccormickfilmhistory.blogspot.com/search/label/Mervyn%20LeRoy">Mervyn LeRoy</a><br />Starring: <a href="https://ryanmccormickfilmhistory.blogspot.com/search/label/Robert%20Taylor">Robert Taylor</a>, <a href="https://ryanmccormickfilmhistory.blogspot.com/search/label/Deborah%20Kerr">Deborah Kerr</a>, <a href="https://ryanmccormickfilmhistory.blogspot.com/search/label/Leo%20Genn">Leo Genn</a>, <a href="https://ryanmccormickfilmhistory.blogspot.com/search/label/Peter%20Ustinov">Peter Ustinov</a><br /><br />
<p class="MsoNormal">A motion picture that takes audiences on a journey back to
the days of the Roman Empire delivers an epic production on the scale never
seen before. It could make claim of being the most expensive movie ever produced
to that point and filmed in Italy, close ancient settings it depicted. With
these facts MGM featured a movie so colossal and so extravagant audiences
clamored to view it, delivering box office numbers unseen by the studio since 1939’s
<i>Gone with the Wind</i>. A love story set within biblical times and bringing
to life historical events, it was a blockbuster of its age, decades before the
term or even the idea was conceived. With its success would the foundations of popular
biblical epics splash across movie screens during the next couple of decades, sending
millions to their theaters in an period when televisions began to rival for audience
attention.<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6Jp4a8NPneCwRkQuOThURHtF9SEDQCOSqAttxbHrUeanL3MACnZsTDHFmJpZw3WI3MnjDKfomg37s-VJkiDy3q3wviMC39k8ANNa9uQ8RBpwOAVI-1inQifkyNhcO6COsuDdImUpfuIzukFiqzvH1BGn3lQ5MD_bZax05Cv0rikE1hz55qG-XUwSVfQ/s1472/quo%20vadis-%20kerr,%20taylor.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="1074" data-original-width="1472" height="233" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6Jp4a8NPneCwRkQuOThURHtF9SEDQCOSqAttxbHrUeanL3MACnZsTDHFmJpZw3WI3MnjDKfomg37s-VJkiDy3q3wviMC39k8ANNa9uQ8RBpwOAVI-1inQifkyNhcO6COsuDdImUpfuIzukFiqzvH1BGn3lQ5MD_bZax05Cv0rikE1hz55qG-XUwSVfQ/s320/quo%20vadis-%20kerr,%20taylor.jpg" width="320" /></a><i>Quo Vadis</i> is a period epic about a Roman commander
who falls in love with a Christian captive during the destructive, tyrannical
rule of Emperor Nero. Marcus Vinicius (Robert Taylor) returns to Rome after
leading a lengthy, successful military campaign and becomes enchanted by the
beauty of a captive Lygia (Deborah Kerr). While endeavoring to win her
affections Marcus efforts to learn more of the mysterious new sect she is the
member of, known as Christians, and their strange beliefs. Meanwhile, the
self-centered Emperor Nero (Peter Ustinov) allows his misguided creativity to
set Rome ablaze as a form of art, but is guided by his advisor Petronius (Leo
Genn) to blame the devastation on Christians to redirect the people’s ire.
Marcus’ allegiance to his Emperor turns sour as events and games created to
destroy innocent Christians and exalt Nero threaten the lives of Lygia and her
friends, using his influence to turn the people against the tyrant.<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4XN0hwLmwNjqzViSXslYDbqFoP0BSfMVXG-0u0BciMx7cW1DV08DpyuuZEmn7QcZgzyZCLWrxZ0XpFgrQ-0h-4J0kxTk-bNnbWneCiYIY8MioVnY9QoQKpNtTM3iO793n-rymZ3n7qREL_4PNnmt7GecC7cZd27BIJChR9wEmw3sSgpBVXqCQ8RTkHA/s659/quo%20vadis-%20lions.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em; text-align: center;"><img border="0" data-original-height="548" data-original-width="659" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4XN0hwLmwNjqzViSXslYDbqFoP0BSfMVXG-0u0BciMx7cW1DV08DpyuuZEmn7QcZgzyZCLWrxZ0XpFgrQ-0h-4J0kxTk-bNnbWneCiYIY8MioVnY9QoQKpNtTM3iO793n-rymZ3n7qREL_4PNnmt7GecC7cZd27BIJChR9wEmw3sSgpBVXqCQ8RTkHA/s320/quo%20vadis-%20lions.jpg" width="320" /></a>In the age of practical filmmaking this production
personifies immense scope. Vast sets, some the size of city blocks, thousands
of extras, all in custom period costumes, the unseen armies of crewmen,
tailors, makeup, and skill laborers behind the cameras, a menagerie of animals
that add to the exotic, and a focused vision of act direction transports us to
a cinematic version of ancient Rome. This film is massive, and it shows, but
that does little to cover up simplicity of the film’s plot and overall
uninteresting pace of the spectacle. The highlight of the picture captured on
screen is that of Peter Ustinov’s performance as a dreary and dangerous autocrat
Nero, a man uninterested in the wellbeing of countless people as he willing
destroying all he wishes to furnish his own entertainment and curiosity. The
film is a spectacle for the eyes and a yawn for the mind<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTqsaqyNSPjlivg4mHcla2Z0_O0Vk_VRftjiEaJxygydpTHz_w9dyDetvNUK7Hz8HCJUHbJWjPTnV7GXYTsfbMoPWXmXA7HxrTUGmPpkToRGa6SzJJCrwB2REbUpbFVyuKyYzQ50zon17KsHwCkrSnnD3OhtFitQD16hkmXBclTAg_KCZfwwmVUcCUgA/s1480/quo%20vadis-%20rome.jpeg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="1080" data-original-width="1480" height="234" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTqsaqyNSPjlivg4mHcla2Z0_O0Vk_VRftjiEaJxygydpTHz_w9dyDetvNUK7Hz8HCJUHbJWjPTnV7GXYTsfbMoPWXmXA7HxrTUGmPpkToRGa6SzJJCrwB2REbUpbFVyuKyYzQ50zon17KsHwCkrSnnD3OhtFitQD16hkmXBclTAg_KCZfwwmVUcCUgA/s320/quo%20vadis-%20rome.jpeg" width="320" /></a>Polish author Henryk Sienkiewicz’s 1896 biblical epic had already
seen itself adapted on three occasions in the silent era of movie making, with
a very early lost 1901 version followed by a pair of Italian produced features
released in 1919 and 1924. MGM brought the rights to the picture in the late 1930s
when the emergence of world war put plans on hold for nearly a decade. Louis B.
Mayer would dust off <i>Quo Vadis</i>, but was ousted from his own studio
shortly then after. For MGM this was on opportunity to reestablish itself as
Hollywood preeminent center by making it the biggest motion picture ever made.
Not only was MGM competing with rival Hollywood studios, but it was an effort
to manifest the gaudier of the movie over the free entertainment on a smaller
scale beginning to populate modern homes with television.<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal">John Huston prepared to direct the feature with Gregory Peck
and Elizabeth Taylor as the leads when production shake ups at MGM led to
Mervyn LeRoy taking the helm of the picture with Robert Taylor and Deborah Kerr
as the stars. Production was staged to take place actually in Rome at Cinecitta
Studios, the massive movie making center commissioned by former Italian
dictator Benito Mussolini. This new self-proclaimed “Hollywood on the Tiber”
was planned to be the movie making center of the world with all its space for sets
and facilities and for the first time was being used on a massive scale by a
Hollywood company.<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJOnJ82NzCWd1o4s0NqjVe7u_E0n9vDAPKJ06t9Nmqwjka0UnHgcBsU2cEZtRHBroC5Upahh-6UF4VXLVQlr-StVUBCs3h2idVA5Tnexw9PmXFyRsJlyeH_uqvXTTMIwdFp5Z3UpQntwwY0hZgVzAp5bcL86sS20dWy28_lqhw867xkKxsor-UZ9sNVg/s1152/quo%20vadis-%20burning%20rome.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em; text-align: center;"><img border="0" data-original-height="864" data-original-width="1152" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJOnJ82NzCWd1o4s0NqjVe7u_E0n9vDAPKJ06t9Nmqwjka0UnHgcBsU2cEZtRHBroC5Upahh-6UF4VXLVQlr-StVUBCs3h2idVA5Tnexw9PmXFyRsJlyeH_uqvXTTMIwdFp5Z3UpQntwwY0hZgVzAp5bcL86sS20dWy28_lqhw867xkKxsor-UZ9sNVg/s320/quo%20vadis-%20burning%20rome.jpg" width="320" /></a>MGM had plans to spend a great deal of money making <i>Quo
Vadis</i> the most lavish production ever seen while the relative lower cost of
Italian labor would aid in offsetting part of the massive price tag the production
would accumulate. The film called for massive sets, hundreds of animals, thousands
of extras, 32,000 costumes, an American and English cast flown in, and the need
for additional lighting gear and the best motion picture cameras to be shipped to
Italy to make the story come to life. Despite the Cinecitta being large it had
never seen a production this vast or even made in color. Everything was big and
extravagant even if it was on screen for a short time. Most famously weeks of
construction built several blocks worth of building only be used to set on fire
for the burning of Rome sequence. With all its extravagance, this picture would
set to the tone of not only the popularity of lavish biblical epics, but the
use of just Cinecitta such purposes for many years to come.<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJClca0KNbX8OWyD6Nw63p0QyVQv1sX1mcuJeF9wjW3ACPzK-zW3YlTw4ta0VlHRqzS7ikSJXH1IpRJCR7GdBC8VERhW3ysyxXWbUgKGgFfBiOqslmMvhO7kpOpBwGdKNpPOemvV5mbNAH5JumtQ6bGSZG4kKL40_YjdPW6K5oB-GxhVjGyX_ZWVXGWQ/s1200/quo%20vadis-%20nero.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="675" data-original-width="1200" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJClca0KNbX8OWyD6Nw63p0QyVQv1sX1mcuJeF9wjW3ACPzK-zW3YlTw4ta0VlHRqzS7ikSJXH1IpRJCR7GdBC8VERhW3ysyxXWbUgKGgFfBiOqslmMvhO7kpOpBwGdKNpPOemvV5mbNAH5JumtQ6bGSZG4kKL40_YjdPW6K5oB-GxhVjGyX_ZWVXGWQ/s320/quo%20vadis-%20nero.jpg" width="320" /></a>Robert Taylor’s performance would be on par for a leading
man in such a role, having been considered by the likes of Clark Gable apart
form other of Hollywood’s more famous top men. Deborah Kerr’s quiet portrayal
of Lygia continued her MGM roles <span style="mso-spacerun: yes;"> </span>for
large roles in large productions during the period. Peter Ustinov as Nero and
Leo Genn as his advisor Petronius both earned Oscar nominations as supporting actors,
which lent to the aiding an unspoken standard of Roman characters being
portrayed by English actors. Due to the vast nature of the picture and the
studio chatter it created, countless MGM players would find their way into the
production if only as extras deep within the background, including the likes of
Elizabeth Taylor, Sophia Loren, and Audrey Hepburn.<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdFd_eKnlb01rpZOLLVTc4paTpcFudDwpVg_Q6rRz-ghgMfw2TkFusaBG1BU1YPwY9Lf_BHZhLR9YPLwD2C9-DBzYpM8B65eWhR7CSSkA9Z0UCXHdsYZ6I1vzCIi4VCR-hA6NmLzZ13aBHXG4omHrdIsN1txpdsxZmqmXJTNmvpD7pgIqsdmKrFZuuCA/s3500/quo%20vadis-%20taylor.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em; text-align: center;"><img border="0" data-original-height="2280" data-original-width="3500" height="208" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdFd_eKnlb01rpZOLLVTc4paTpcFudDwpVg_Q6rRz-ghgMfw2TkFusaBG1BU1YPwY9Lf_BHZhLR9YPLwD2C9-DBzYpM8B65eWhR7CSSkA9Z0UCXHdsYZ6I1vzCIi4VCR-hA6NmLzZ13aBHXG4omHrdIsN1txpdsxZmqmXJTNmvpD7pgIqsdmKrFZuuCA/s320/quo%20vadis-%20taylor.jpg" width="320" /></a>MGM pulled no punches for the film with a production that
outpaced all other to this point, making it the most expensive movie ever made,
a statement that only added to the film’s allure. The epic which ran just shy
of three hours was one of the most anticipated pictures of 1951, opening in a
road show format to further add to the spectacle the picture. Box office
returns were handsome for MGM, quickly becoming the highest grossing picture
1951 by bringing in over $21 million in its first release. The only picture to
do better for MGM had been <i>Gone with the Wind</i>. Audiences lined up when <i>Quo
Vadis</i> would come to cities with many critics praising it for the massive
size and display it delivered to the silver screen. However, there were the few
critics that noted the “boring” nature of the story and lack imagination as the
film relies on proportion to impress over general emotion or cinematic
creativity.<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal"><i>Quo Vadis</i> was a massive success for MGM, with some
stating it may have saved the studio financially as it was going through a significant
transitional period. Nominated for eight Academy Awards it failed to topple the
likes of the <i>An American in Paris</i>, <i>A Place in the Sun</i>, or <i>A
Streetcar Named Desire</i> with the passage of time supporting the shortcoming
of Quo Vadis as it was more of a flavor of month rather than a timeless classic.
Most of the film’s recognition would be due to its scope and extravagance, but
left little in staying power. The 1950s and 60s would bring with it the advent
of massive sized pictures with a number of biblical epics peppering theaters
through the years and <i>Quo Vadis</i> played a role in establishing their
drawing power. It was not the best feature, but it was one of the first ushering
in a certain era of movies, making an imperative note in Hollywood cinematic
history.</p>Ryan McCormickhttp://www.blogger.com/profile/13560952178103637506noreply@blogger.com0tag:blogger.com,1999:blog-3089271153735288184.post-11065746693128421312022-03-03T17:59:00.004-05:002022-03-03T18:00:33.872-05:00Detective Story (1951)<div class="separator"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEipLyx_QLAUtR0BjX2s5HLRKuPVk0isabzdstqLlLeawOSb-MojK5ielEmEFhAA8v15hZw4Vxsgn137J-YkR6JDo9JSokvWSqFPU_3b__5TpSjH71xAy94IORd_2TRFc-EwAUcD2wid7PWmVl8j3eXPNsSojdkUSqdtg_z78gWM-qlqBYpIGgBye4yqww=s2569" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em; text-align: center;"><img border="0" data-original-height="2569" data-original-width="1716" height="320" src="https://blogger.googleusercontent.com/img/a/AVvXsEipLyx_QLAUtR0BjX2s5HLRKuPVk0isabzdstqLlLeawOSb-MojK5ielEmEFhAA8v15hZw4Vxsgn137J-YkR6JDo9JSokvWSqFPU_3b__5TpSjH71xAy94IORd_2TRFc-EwAUcD2wid7PWmVl8j3eXPNsSojdkUSqdtg_z78gWM-qlqBYpIGgBye4yqww=s320" width="214" /></a></div><a href="https://ryanmccormickfilmhistory.blogspot.com/search/label/Paramount">Paramount Pictures</a><br />Director: <a href="https://ryanmccormickfilmhistory.blogspot.com/search/label/William%20Wyler">William Wyler</a><br />Starring: <a href="https://ryanmccormickfilmhistory.blogspot.com/search/label/Kirk%20Douglas">Kirk Douglas</a>, <a href="https://ryanmccormickfilmhistory.blogspot.com/search/label/Eleanor%20Parker">Eleanor Parker</a>, <a href="https://ryanmccormickfilmhistory.blogspot.com/search/label/William%20Bendix">William Bendix</a><br /><br />
<p class="MsoNormal">Not all heroes need to be sympathetic to make a film good.
This style of storytelling Hollywood was slow to be accepted in <a name="_Hlk97191367">production </a>motion pictures production through the first
half of the 20<sup>th</sup> century, due in most part to the self-enforced
Production Code. William Wyler’s 1951 film noir <i>Detective Story</i> helped
push the boundaries of story as its hero goes beyond ethics and proves to lead
to his own undoing. Starring Kirk Douglas in one of his finest performances as
a troubled New York detective along with an exceptional ensemble cast tells a
compelling tale is a setting tightly confined by space and time.<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEi3-XqDXwMkIVI7UjUezOMPAemdgwu91YP9h_crgu1Y-_MJEa-m95twKL2hjbyz58t0OSpnI5AWfFksLNgXxWeymwcBx1tQVmayd7GymhzOhGq7knKtakaJWVowGz5Ad1DjekfdCrhojPPhtYeSyhS0o3ghyaBoA6ChOe7ZRC8OlUWaai22iDRsjPmFsA=s1025" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="767" data-original-width="1025" height="239" src="https://blogger.googleusercontent.com/img/a/AVvXsEi3-XqDXwMkIVI7UjUezOMPAemdgwu91YP9h_crgu1Y-_MJEa-m95twKL2hjbyz58t0OSpnI5AWfFksLNgXxWeymwcBx1tQVmayd7GymhzOhGq7knKtakaJWVowGz5Ad1DjekfdCrhojPPhtYeSyhS0o3ghyaBoA6ChOe7ZRC8OlUWaai22iDRsjPmFsA=s320" width="320" /></a><i>Detective Story</i> is a film noir police drama about a
detective’s obsession towards cracking a case uncovering unexpected personal
issues. New Yok’s 21<sup>st</sup> Precinct gets very busy in the late
afternoon/early evening as a cast of criminals and detectives process recent activity.
That sets the background as we follow Detective Jim McLeod (Kirk Douglas), who
on his way to spend time with his wife, Mary (Eleanor Parker), is compelled to remain.
Alleged “baby farmer” and murder Dr. Schneider (George Macready) is brought in
for questioning, a crime Jim has been obsessed with and is determined to bring
to justice. Known for his vengeful passion, Jim is bothered when Schneider claims
to have damning personal knowledge towards the detective, leading to Jim
physically abusing the alleged criminal. Further digging into Schneider’s claim
unravels truths of Mary’s prior history where she had visited Schneider due to
a pregnancy before meeting Jim. Fixated on Mary having been with other men and
using Schneider enrages Jim, upsetting Mary to the point of waking out on him.
Distracted, Jim is shot by a criminal in the station, leaving him begging for
forgiveness as he dies.<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal">A picture with many storylines interwoven as a background to
the main course Kirk Douglas led plot makes for a very compelling film. As a short-fused
detective filled with a dangerous, vengeful rage Douglas is engrossing as a
flawed leading man. With a construct that is obviously inspired by a play with
its limited sets, <i>Detective Story</i> comes as a character study of various
people good and bad, exhausted a desperate, helpless and sympathetic all
trapped in troubles situations they created and how they deal with it in the
short time we spend with them. With the creative hands of William Wyler and a
wonderful cast that come together every little thing that happens gripping, making
this film is a delight with its antihero story.<o:p></o:p></p>
<p class="MsoNormal"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgFglc-x_KCDSYHIvlCLZ6M26J-IcnA1DwxBKx-ApjLgls9c4K02r5-1Sn2JFbVOSWkjk1uowg-6OTeoa7cOdxpTOa_nZLlf779qewTN_nyY0N8Q98KQaVi2O9H0rsD4MIMts5WonsKJXWbnHtb0yJ1oNgKwg5ja-Ptm2wdfwiKEfA-bl3wSOIRcKJXwQ=s1024" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em; text-align: center;"><img border="0" data-original-height="795" data-original-width="1024" height="248" src="https://blogger.googleusercontent.com/img/a/AVvXsEgFglc-x_KCDSYHIvlCLZ6M26J-IcnA1DwxBKx-ApjLgls9c4K02r5-1Sn2JFbVOSWkjk1uowg-6OTeoa7cOdxpTOa_nZLlf779qewTN_nyY0N8Q98KQaVi2O9H0rsD4MIMts5WonsKJXWbnHtb0yJ1oNgKwg5ja-Ptm2wdfwiKEfA-bl3wSOIRcKJXwQ=s320" width="320" /></a><o:p> </o:p></p>
<p class="MsoNormal">Purchased for the remarkably high price of $285,000 plus a
percentage of the profits, the Sidney Kingsley play was given faith of being a
breakout picture for Paramount adapted into a film noir production. Alan Ladd would
originally be attached to star in the role of Jim McLeod until changes allowed
Kirk Douglas to slide into the headlining position while many pieces from the
Broadway production made their way west to be featured among the ensemble cast.
Among the performers reprising their stage roles were intriguing actors such as
Lee Grant, Joseph Wiseman, Michael Strong, and Horace McMahon, while Paramount’s
Eleanor Parker and William Bendix, and other common Hollywood players filled
out the remainder of the cast.<br /></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal">Being adapted for the screen allowed the script to take
moments to expand beyond the walls of the 21<sup>st</sup> Precinct, but as most
of the genius of the story is about the cast of characters and their close
proximity to each other most of the picture remains within the confines of the
main floor precinct offices. This execution allows for brilliant acting as
details of actors fill the story with words and body language within the
confines of the crowded space. All this serves to add in the intrigue to how
each character acts and reacts to the stories that surround them as they find
their way through the day, all well directed by Wyler with a smooth movement.<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgfiZ-fk-Tgce_TfTPzznduu2IGguh6ZpqTAKrtS7HuBKRS4A41PM01Ug4MwlnTO67qQSxw0C0TPtDNzBDyBYJ0O_GCqNFkXxIrh0t2Z_mOC1G33R3t2XXBU_3x-CGe0hELFtZdTQOlMvOFEKKJw00lR4UKou0OKYll28j7mNxx1dqvoe1j8_tJPiPk9Q=s1250" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="1250" data-original-width="1120" height="320" src="https://blogger.googleusercontent.com/img/a/AVvXsEgfiZ-fk-Tgce_TfTPzznduu2IGguh6ZpqTAKrtS7HuBKRS4A41PM01Ug4MwlnTO67qQSxw0C0TPtDNzBDyBYJ0O_GCqNFkXxIrh0t2Z_mOC1G33R3t2XXBU_3x-CGe0hELFtZdTQOlMvOFEKKJw00lR4UKou0OKYll28j7mNxx1dqvoe1j8_tJPiPk9Q=s320" width="287" /></a>Kirk Douglas is at the top of his game in the role of the
troubled detective. A hard-nosed figure with a desire to be with his loving
wife pushed aside by passion towards his duty allows for his ruination. The
role of Jim McLeod is truly one of his finest performances that goes under the
radar of his greater body of work. Eleanor Parker’s performance is much more
understated and limited as a meek wife with a troubling secret that once
revealed liberates her. With just over 20 minutes of screen time for Parker, it
marks as the shortest time for a leading actress to be nominated for Best
Actress at the Academy Awards.<br /></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal"><br /><br />William Bendix, Horace McMahon, and Frank Faylen flesh out
the majority of the supporting police surrounding McLeod while the most
intriguing characters lies within those alleged criminals being processed. The humble
performance of Lee Grant as a first-time shoplifter, the lowest crime we see in
the story, spends most of her time in sorrow, analyzing and reacting to the
action surrounding her. She would find herself nominated for her supporting
work in this, her very first motion picture role. Supporting secondary stories
are provided by a pair of burglars, one most notably played frighteningly by
Joseph Wiseman in a chilling performance. This is capped off by the story of
two young people caught between love and foolish act of desperation portrayed
by Craig Hill and Cathy O’Donnell.</p>
<p class="MsoNormal"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEg5TyJVPutz7Hi_kiNxvONEgxY23e7LuRNfJ_ocJM6BkC4YU9fvI3AHAtmqELPZACi1VvheqSdbmzkpDYie9vzNKS_IWzJc1Rsdhmnh11duCk6D3Vyn2QRXgWw0laZzsep9Ms_dOWpzOSQQ7Pv_m4Fre_mJ789AEvm8iwtTRiOODkUIx6OyFWNBghVmZw=s1919" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em; text-align: center;"><img border="0" data-original-height="1172" data-original-width="1919" height="195" src="https://blogger.googleusercontent.com/img/a/AVvXsEg5TyJVPutz7Hi_kiNxvONEgxY23e7LuRNfJ_ocJM6BkC4YU9fvI3AHAtmqELPZACi1VvheqSdbmzkpDYie9vzNKS_IWzJc1Rsdhmnh11duCk6D3Vyn2QRXgWw0laZzsep9Ms_dOWpzOSQQ7Pv_m4Fre_mJ789AEvm8iwtTRiOODkUIx6OyFWNBghVmZw=s320" width="320" /></a><o:p> </o:p></p>
<p class="MsoNormal">Paramount did have its share of trouble adapting the play to
the silver screen, needing to make alterations to avoid trouble with censors
concerning some of its subject matter. In the play Schneider is an abortionist,
an idea that was clearly not going to be dealt with in a Hollywood picture, so
Paramount changed his illegal activity to a “baby farmer,” although audiences
and critics would openly understand he worked in abortions. The unwritten code
of Hollywood also had it so cops were never to be killed in movies, but
Paramount talked their way through censors as McLeod was not saint of a
character, and his wrong doing comes to being punished in the end. All this
justified the allowance of McLeod dying on screen and opened the door for
further challenges in the near future towards creating more antiheros in
Hollywood pictures.<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal">In the end the lesson lies within not being caught up in
desperate matters when what you really need is found right in front of you. Jim
McLeod was a sympathetic character with many flaws, a role Kirk Douglas
performed marvelously. This constrained story has its moments of high energy
and suspense while having rather little action, allowing us to dive into the
characters in this little slice of New York.<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjnyobaUEDEHKag2iNo4epg9S9NLf0LxqwXZ6v4zo4zf1Gv2mUG3FB2MEqMCT_6Gw73Dq3VaFX2jS4tk6-ASi_r2eIYEp0pTEGdRJERQQzd7_N4i8232yI2GSNNjN3bAuQpuD8kiA_aRhidQwX6vlI-Yj5dXwNOFCVKPTCK4KrmOJNqom0sFE2AoURbNw=s1457" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="1080" data-original-width="1457" height="237" src="https://blogger.googleusercontent.com/img/a/AVvXsEjnyobaUEDEHKag2iNo4epg9S9NLf0LxqwXZ6v4zo4zf1Gv2mUG3FB2MEqMCT_6Gw73Dq3VaFX2jS4tk6-ASi_r2eIYEp0pTEGdRJERQQzd7_N4i8232yI2GSNNjN3bAuQpuD8kiA_aRhidQwX6vlI-Yj5dXwNOFCVKPTCK4KrmOJNqom0sFE2AoURbNw=s320" width="320" /></a>Critical approval lent to meager box office numbers, but in
the greater long run the film was not well remembered. In studying the piece,
it is a pleasing work of director and co-writer William Wyler with success of a
colorful ensemble cast making this black and white film noir into a colorful
character piece feature, unsuspecting at first, but marvelous underneath. With
deep focus and use of every corner of the limited set, this film is a quite
treasure of a feature and a delightful watch.</p>Ryan McCormickhttp://www.blogger.com/profile/13560952178103637506noreply@blogger.com0tag:blogger.com,1999:blog-3089271153735288184.post-37866679453978225232022-02-15T17:53:00.008-05:002022-02-15T18:02:09.280-05:00An American in Paris (1951)<div class="separator"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEiYJV4HhTaXvrXIiVsZIEBaQb9kJUIgAg-ZLiVJno1HzFfMqyhXy0p-p29vQlfW8hVGh3aNs94y9Ltq5Zv0Pc4T2IrxAdMI5uXyP5GU05Hs8kUDhgjBqnrAgaklSKswqzllvA7XdusYF4hjtbAv7Y31oOkqu2p20pbuO7SIz335PvcKfVe3yfRuNgLrvg=s2938" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em; text-align: center;"><img border="0" data-original-height="2938" data-original-width="1956" height="320" src="https://blogger.googleusercontent.com/img/a/AVvXsEiYJV4HhTaXvrXIiVsZIEBaQb9kJUIgAg-ZLiVJno1HzFfMqyhXy0p-p29vQlfW8hVGh3aNs94y9Ltq5Zv0Pc4T2IrxAdMI5uXyP5GU05Hs8kUDhgjBqnrAgaklSKswqzllvA7XdusYF4hjtbAv7Y31oOkqu2p20pbuO7SIz335PvcKfVe3yfRuNgLrvg=s320" width="213" /></a></div><a href="https://ryanmccormickfilmhistory.blogspot.com/search/label/MGM">Metro-Goldwyn-Mayer</a><br />Director: <a href="https://ryanmccormickfilmhistory.blogspot.com/search/label/Vincente%20Minnelli">Vincent Minnelli</a><br />Starring: <a href="https://ryanmccormickfilmhistory.blogspot.com/search/label/Gene%20Kelly">Gene Kelly</a>, <a href="https://ryanmccormickfilmhistory.blogspot.com/search/label/Leslie%20Caron">Leslie Caron</a><br /><br />Honors:<br /><a href="https://ryanmccormickfilmhistory.blogspot.com/search/label/Best%20Picture">Academy Award for Best Picture</a><br /><a href="https://ryanmccormickfilmhistory.blogspot.com/search/label/Best%20Original%20Screenplay">Academy Award for Original Screenplay</a><br />Academy Award for Best Art Direction (Color)<br /><a href="https://ryanmccormickfilmhistory.blogspot.com/search/label/Best%20Cinematography">Academy Award for Best Cinematography (Color)</a><br />Academy Award for Best Costume Design (Color)<br /><a href="https://ryanmccormickfilmhistory.blogspot.com/search/label/Best%20Score">Academy Award for Best Score (Musical)</a><br />Honorary Academy Award (Gene Kelly)<br />Golden Globe – Best Motion Picture (Musical or Comedy)<br /><a href="https://ryanmccormickfilmhistory.blogspot.com/search/label/AFI%20Top%20100">#69 on AFI Top 100 (1998)</a><br />#39 AFI 100 Passions<br />#32 AFI 100 Songs (“I Got Rhythm”)<br />#9 AFI Top Musicals<br /><a href="https://ryanmccormickfilmhistory.blogspot.com/search/label/National%20Film%20Registry">National Film Registry</a><br /><br />
<p class="MsoNormal">A shimmering musical spectacle of extravagance from
mid-century Hollywood, this film is considered one of the most beloved films of
its genre. However, it also holds the unofficial title of being one of the most
overrated films in Academy Awards history as it was the surprise darling of the
awards season celebrating the year of 1951. A collaboration of three men,
producer Arthur Freed, director Vincent Minnelli, and star/choreographer Gene
Kelly, <i>An American in Paris</i> delivers one of the brightest examples of
Hollywood’s showmanship of its time. Inspired by and featuring a music of
George Gershwin, the picture splashes the movie screen with Titletown style
with a touch of Parisian influence in a film that carries audiences away on a journey
of song and dance set within the confined of a simple love triangle story.<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgaBWxUX_yR33cAPZ8KcS-OSj_PcDuPJfy7dgRiLEU1OaaTsw4WP2GU5YlBf7mxWCVULfiRQxu2fJ4jmGcjUuL7R2fJ_aAkkVX8znLURtaq7dt-dpePl8imACduIWInjH0ay1wOCIplo0db5nOgQzdCon5Mr-gYve4R0SvHoBt4pLR4V_lale0bvnL8EQ=s1920" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="1080" data-original-width="1920" height="180" src="https://blogger.googleusercontent.com/img/a/AVvXsEgaBWxUX_yR33cAPZ8KcS-OSj_PcDuPJfy7dgRiLEU1OaaTsw4WP2GU5YlBf7mxWCVULfiRQxu2fJ4jmGcjUuL7R2fJ_aAkkVX8znLURtaq7dt-dpePl8imACduIWInjH0ay1wOCIplo0db5nOgQzdCon5Mr-gYve4R0SvHoBt4pLR4V_lale0bvnL8EQ=s320" width="320" /></a><i>An American in Paris</i> is a musical comedy following a struggling
artist discovering romance only to face unforeseen conflicts that threatens it
from blossoming. An ex- American GI settled in Paris, Jerry Mulligan (Gene
Kelly) is a struggling artist who meets a beautiful sponsor in Milo Roberts (Nina
Foch) tthat hopes to invest in more than just his artwork. Yet, Jerry’s eye is
caught by Lise Bouvier (Leslie Caron), a young but graceful French lady that he
desperate to be with. Their romance grows, but Lise remains curiously distant
from Jerry due to her engagement to French singer Henri Baurel (Georges
Guetary), who happens to be a friend his. Jerry is devastated when Lise
delivers the news of her impending marriage and departure with Henri to America,
delivering heartbreaking goodbyes. Followed is the highlight of the picture, an
artistic ballet fantasy within the mind of Jerry, envisioning an impressionistic
romance with the girl he watched slip away. Snapped back to reality Jerry is surprised
by the return and happy reunion to the arms of the one he loves, Lise.<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal">This musical is a beautiful piece of cinema filled with
fresh artistry set to the background of classic George Gershwin music. Although
the plot of the movie is rather weak, serving mostly as connecting points that
get the audience from one musical number to the next, the direction of Vincent
Minnelli as well as the performance and choreography of star Gene Kelly shine
through with exuberance. Introducing the world to bright eyed newcomer Leslie
Caron, the feature abounds in the nostalgic sounds accompanied with bright energy
exceeding its brilliant Technicolor The film is a extravaganza of song and
dance only softly nudged by a general plot, sadly lacking in showcasing the
titular city on its celluloid, delivering most of it punch in a finale that
sent more than its share of viewers home abuzz.<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal">While attending a concert of Gershwin music at the Hollywood
Bowl, producer Arthur Freed was inspired by one such composition’s title, “An
American in Paris,” believing it a wonderful moniker for an MGM motion picture.
Working out a deal with Ira Gershwin, the brother, estate manager, and lyricist
for his late brother George, Freed set out to produce a musical picture
featuring the songs of Gershwin as its core. Vincent Minnelli who had not worked
on a musical since 1948’s <i>The Pirate</i> returns to genre alongside Gene
Kelly as choreographer and star in a feature Freed believed a sure fire hit.<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEixwHhboiwJdtxeYjgWPIDhxpaLgRHsNgPdlFiCt74qEwew44TyWCsY47WfafVUw-hzCxGbj03MIBIroMbodhzGjrvOq8cVe38Y5qJ5oQ2ugZTPEaJeX9yjhlWUpqyb1GHZr9gJasAFVFuMnsfyTrYMuV9Q4TYWODJERpxa3qKk3n9AvW9Ox6BPJY4v5Q=s1067" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em; text-align: center;"><img border="0" data-original-height="800" data-original-width="1067" height="240" src="https://blogger.googleusercontent.com/img/a/AVvXsEixwHhboiwJdtxeYjgWPIDhxpaLgRHsNgPdlFiCt74qEwew44TyWCsY47WfafVUw-hzCxGbj03MIBIroMbodhzGjrvOq8cVe38Y5qJ5oQ2ugZTPEaJeX9yjhlWUpqyb1GHZr9gJasAFVFuMnsfyTrYMuV9Q4TYWODJERpxa3qKk3n9AvW9Ox6BPJY4v5Q=s320" width="320" /></a>Aside from the exuberance of Gene Kelly, the film features a
unique mix of players. Oscar Levant, more known for his work on the piano than
his acting, portrays Jerry’s friend and fellow struggling musical artist as
Adam Cook. Levant’s actual connections to George Gershwin makes his appearance a
tribute to his late friend and composer. His supporting performance is actually
rather good, highlighted by his daydream sequence that mimics Buster Keaton’s memorable
short <i>The Play House</i> (1929), with Cook playing all the roles of an orchestra.
French singer and actor Georges <a name="_Hlk95817305">Guétary </a>fills in the
role original intended for Maurice Chevalier as the secret romantic rival of Kelly.
A touch of grey color added to Guétary’s hair would attempt to add age to the performer
who was far more junior than the age of the role he was depicting, his one and
only work in American film.<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal">Nina Foch is featured as wealth heiress Milo Roberts, delivering
a dignified performance a woman of class, elegance, and jealousy as sponsor of
Jerry’s art, but unable to gain his romantic interest. Her time filming was
marred with a bout of chicken pox, bringing production to a standstill, a brief
frustration that would allow time for Kelly and Minnelli to conceive of the
final ballet sequence.<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjFQ7AN4JAxASmNoUAIjtcLijsEN3JpPkPquHDuYLFycLoHzD1Fb4zzFcV4LfvSQ3bys983r-ELe0QWGPaqUdqK2fcoOo72BseDh2L59dDepmoqyEP-kGjH7Ubi9pGqrgfB3JNF73YaBCNE7kH_Uyrdpjq0s9BallgxUxtwxSjAounBZwEHn7wTOmT9jQ=s1479" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="832" data-original-width="1479" height="180" src="https://blogger.googleusercontent.com/img/a/AVvXsEjFQ7AN4JAxASmNoUAIjtcLijsEN3JpPkPquHDuYLFycLoHzD1Fb4zzFcV4LfvSQ3bys983r-ELe0QWGPaqUdqK2fcoOo72BseDh2L59dDepmoqyEP-kGjH7Ubi9pGqrgfB3JNF73YaBCNE7kH_Uyrdpjq0s9BallgxUxtwxSjAounBZwEHn7wTOmT9jQ=s320" width="320" /></a>The big feature of the picture is teenage dancer Leslie
Caron as love interest and co-star to Gene Kelly. Discovered by Kelly on a
visit to the ballet while in France, Leslie was recruited to Hollywood for just
this picture as Kelly wished a real French woman for the role. Arriving in
California, Leslie knew no English and had to be taught and coached through the
film. Caron was a gifted ballerina with a big, bright smile, but as a survivor
of the German occupation of France, she was very nervous in a new land, and had
suffered malnourishment during the prior decade. Her health issue resulted in
her not being able to keep up with the vigorous work and perfectionist style of
Gene Kelly, resulting on-a-day/off-a-day schedule to recuperate herself during
shooting, to Kelly’s chagrin. In the end she becomes the shining light of
picture with a dramatic mood change whenever she appears on screen with her liveliness.<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgZV1ZHC1qTCBbMoTgHNuCoJ0O90AePWzSHJ0f7I1NFHdyBJ1EzeN_vtzUDlre1zosMMaoU91uZF9t_NQ3QOI4lIb7YuxHvEfjtG1ETeBgYYLxmuy91ZnPHDCEiGhMiXUp6f0Ek3rl6jom0DMXiLtDRApOYxW4dVrLDqVB97VGW98spKjqQXpqeJLAuZA=s480" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em; text-align: center;"><img border="0" data-original-height="360" data-original-width="480" height="240" src="https://blogger.googleusercontent.com/img/a/AVvXsEgZV1ZHC1qTCBbMoTgHNuCoJ0O90AePWzSHJ0f7I1NFHdyBJ1EzeN_vtzUDlre1zosMMaoU91uZF9t_NQ3QOI4lIb7YuxHvEfjtG1ETeBgYYLxmuy91ZnPHDCEiGhMiXUp6f0Ek3rl6jom0DMXiLtDRApOYxW4dVrLDqVB97VGW98spKjqQXpqeJLAuZA=s320" width="320" /></a>Evident with its Technicolor treatment, <i>An American in
Paris</i> was given a massive budget to deliver its product to the screen.
Despite not being grated the approval to film on location in Paris, MGM would
build 44 sets for the picture, making great use of soundstages and backlot
setting to recreate a Parisian setting.<span style="mso-spacerun: yes;">
</span>All this was extravagant, but the lack of location shooting, outside of
a handful of generic opening establishing shots, the film lacks the authentic
feel of Paris, losing out on much of the romance that comes with actually
fining in the City of Lights.<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal">Principle photography of the picture came to a pause in fall
of 1950 where Vincent Minnelli was able to break away from production to direct
<i>Father’s Little Dividend</i> (1951) for MGM, the sequel to the successful 1950’s
feature <i>Father of the Bride</i>. During this period Kelly worked on choreographing
the large final ballet sequence while Arthur Freed struggled to keep MGM heads
in New York’s corporate offices at bay as they attempted to cut the ballet out
entirely. The money men deemed the sequence too expensive and unnecessary for
the already costly picture. With help from Louis B. Mayer using what power he
had at the studio, when Minnelli returned in December 1950 the ballet went
forward to be shot. This decisive move proved to be one of Mayer’s last big
moves at MGM, as a short time later he was forced out of the movie studio her
helped create. The ballet to that point was the most expensive scene ever filmed
at nearly $500,000 for what accounted for 17 minutes of the final picture.<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhidKeh75ugqNnCAp1oBHxQrMMtfhDCP1HTu0ZjXa5_IBeRtFPfr7FPq18JNoc06TuHQtBDqXSXh3t3SmUA6w6V2SzZQYKyuoiWy8ZVhItR5Qq26h08Sop1_t6o1KdANIblD1HgQXFwNYfVKo03H-6hnVxUSdk5zG1K8RFOo2j3qo_1QDMnrk0rf0eHHw=s2000" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="1484" data-original-width="2000" height="237" src="https://blogger.googleusercontent.com/img/a/AVvXsEhidKeh75ugqNnCAp1oBHxQrMMtfhDCP1HTu0ZjXa5_IBeRtFPfr7FPq18JNoc06TuHQtBDqXSXh3t3SmUA6w6V2SzZQYKyuoiWy8ZVhItR5Qq26h08Sop1_t6o1KdANIblD1HgQXFwNYfVKo03H-6hnVxUSdk5zG1K8RFOo2j3qo_1QDMnrk0rf0eHHw=s320" width="320" /></a>The ballet sequence proved to be so elaborate that it would
feature its own credit in the film’s opening. The scene did nothing to further
the plot of the picture, as the story is fully shared outside of its beautifully
constructed number, but to Gene Kelly and Arthur Freed the ballet was the
reason for the film. What we experience is an achievement of mixed art of
cinema, music, and dance expressing a story within a story, something Kelly would
carry with him into future projects. It is the picture’s crescendo, extravagance,
and spectacle, providing the reason for most of the film’s accolades. Despite not
necessarily effecting the overall plot of the picture, it is clear the film
would not be the same with it, as it is the jewel of the film. For it is the
ballet that would send countless viewers home happy from an evening at the
theaters.<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal">Easily one of the most visually electrifying movies of 1951 <i>An
American in Paris</i> was a huge success for MGM. That year’s Academy Awards
saw the feature nearly sweep through all the categories featuring color pictures,
thanks to the spectacle of the film. Its big surprise for followers of the
Oscars was its win for Best Picture. Perhaps voters were riding high on the excitement
of the movie’s closing moments when they filled out their ballots as it upset
heavy favorites <i>A Day in the Sun</i> and <i>A Streetcar Named Desire</i>
when its name was called for the statue. Following the ceremony staunch critics
wrote in outrage how this Hollywood fluff picture took home the year’s biggest
prize when compared to the far more captivating competitors. However, that
night belonged to <i>An American in Paris</i>, even when Gene Kelly was bestowed
an honorary award for his contribution to the movie musical.<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal">The uproar surrounding the film’s Oscar hoopla, would not
take away from the its legacy. It also took home the Golden Globe for Best Picture
– Musical or Comedy. In the years since its release, it remains considered one
of the great musicals of all time, even with Kelly surpassing it soon
thereafter. You can find the film named on many all-time lists, but it does
appear the feature does fall short of being a complete movie with a relatively
weak plot, and massive musical numbers. This is most evident with its inclusion
to the AFI list of top 100 films in American history in 1998, but being left complexly
off when the list was reprised in 2007, being the ranked movie to fall of the
list.<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal">Nonetheless, <i>An American in Paris</i> remains a spectacular
Hollywood musical, and a shining example of mid-century movie making. It earned
it accolades despite being considered one of the most overrated Oscar winners
in history. The film is fun and exuberant, continuing to invite viewers to get
lost in to the music and energy it delivers to the viewers to this day.</p>Ryan McCormickhttp://www.blogger.com/profile/13560952178103637506noreply@blogger.com0tag:blogger.com,1999:blog-3089271153735288184.post-327081073936981982022-02-10T15:31:00.003-05:002022-02-10T15:33:39.092-05:00Early Summer (1951)<div class="separator"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEiHkKgxpPtCrbY-dpQpf9lIacveacRj_m0wElGB3m7KGp3Wx9N7gxQCsjGZMiWpTNFRFBtxNBS0tJRXkvwRg-Q-mXaeNFXxVpZoEGvpydnAMRz97XnTUu9a3bt50OykZqXr2C4_4u1ixivx-a7Ru9x_dWZDPRLO_EUcJv3JYivtsgbnRtRMA0sd_lXkvA=s1600" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em; text-align: center;"><img border="0" data-original-height="1600" data-original-width="1200" height="320" src="https://blogger.googleusercontent.com/img/a/AVvXsEiHkKgxpPtCrbY-dpQpf9lIacveacRj_m0wElGB3m7KGp3Wx9N7gxQCsjGZMiWpTNFRFBtxNBS0tJRXkvwRg-Q-mXaeNFXxVpZoEGvpydnAMRz97XnTUu9a3bt50OykZqXr2C4_4u1ixivx-a7Ru9x_dWZDPRLO_EUcJv3JYivtsgbnRtRMA0sd_lXkvA=s320" width="240" /></a></div><a href="https://ryanmccormickfilmhistory.blogspot.com/search/label/Shochiku">Shochiku</a><br />Director: <a href="https://ryanmccormickfilmhistory.blogspot.com/search/label/Yasujiro%20Ozu">Yasujirō Ozu</a><br />Starring: <a href="https://ryanmccormickfilmhistory.blogspot.com/search/label/Setsuko%20Hara">Setsuko Hara</a>, <a href="https://ryanmccormickfilmhistory.blogspot.com/search/label/Chishu%20Ryu">Chishū Ryū</a>, <a href="https://ryanmccormickfilmhistory.blogspot.com/search/label/Chikage%20Awashima">Chikage Awashima</a><br /><br />
<p class="MsoNormal">American cinema devotees have a tendency to to overlook the
historic nature of motion pictures beyond their home market with perhaps the
exception beginning in the later decades of the 20<sup>th</sup> century. Impact
of WWII on eastern cultures are often overlooked by western audiences and here
in Yasujirō Ozu’s <i>Early Summer</i> we get a glimpse of how Japan progressed
in the years immediately following this global conflict. The internal struggle
of societal roles and generational shifts is the focus of the feature that is
poignant and touching, shared in a medium that can speak beyond languages and
borders.<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEi-QGyD8lGE4UZyvs8yBwCzxFOlI8bukd6nO10E-9KEfmr19q0Bdjwoj3rhozUxvvcACoV2VsB3dTLkQg3Tx6OQqZgpGd8UahfMZ0r0kTE1IGfuqeQjT2z6_yclgksv4lUbNdBoK5_IR-h1AvgveFpE9Tj40WikD5iGVF6v1hGcagIiM7rBlzzKaZAnpA=s1280" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="720" data-original-width="1280" height="180" src="https://blogger.googleusercontent.com/img/a/AVvXsEi-QGyD8lGE4UZyvs8yBwCzxFOlI8bukd6nO10E-9KEfmr19q0Bdjwoj3rhozUxvvcACoV2VsB3dTLkQg3Tx6OQqZgpGd8UahfMZ0r0kTE1IGfuqeQjT2z6_yclgksv4lUbNdBoK5_IR-h1AvgveFpE9Tj40WikD5iGVF6v1hGcagIiM7rBlzzKaZAnpA=s320" width="320" /></a><i>Early Summer</i> is a Japanese drama about young woman
finding her place in her family and society that tests traditions in an
evolving post-World War II Japan. Living within a traditional,
multigenerational Japanese household along with her brother, his family, and their
parents, 28 year-old Noriko finds herself under the insistence that she should have
settled down and been married by her age. When her boss recommends to her a possible
match with a friend of his, a Tokyo businessman, Noriko’s family begins to
pressure her to accept, feeling it is best for her and the family. Noriko,
however accepts the proposal to an old friend, a widower and single father, not
an ideal choice for a woman’s first marriage. Also, he is a physician who is
posted to soon be relocated far from Tokyo in Japan’s rural countryside, a
great distance from all that she has known. Noriko’s family is devastated with
her choice sensing the decision was quick and selfish without consulting them, worried
it will split her off from the family, Insistent, Noriko makes it clear she
made her own decision and they eventually accept. The family gather together
one last time for a touching family photograph before Noriko moves away. To close,
Noriko’s parents ponder the change of traditions as they are seen peacefully retired
to a rural home.<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEiwuYPArA3XEkcDdP3tyINqTBVhI3onmYD50LMuXQeXKmrw1exOkxs1JsQjzU_AJsS7eZtOJa6GWXOnggCahjRYNGYLEVoCmIUfjTzLtnsPNc5EUJyCYRyIE7bGrkEkLnehtmDF1J1uy7EdCatU_sp8gqXG1AgwG5iw6XNmE4fZrAMPR2OZiBFLrp08IA=s1096" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em; text-align: center;"><img border="0" data-original-height="797" data-original-width="1096" height="233" src="https://blogger.googleusercontent.com/img/a/AVvXsEiwuYPArA3XEkcDdP3tyINqTBVhI3onmYD50LMuXQeXKmrw1exOkxs1JsQjzU_AJsS7eZtOJa6GWXOnggCahjRYNGYLEVoCmIUfjTzLtnsPNc5EUJyCYRyIE7bGrkEkLnehtmDF1J1uy7EdCatU_sp8gqXG1AgwG5iw6XNmE4fZrAMPR2OZiBFLrp08IA=s320" width="320" /></a>This drama shines a light on the changes following great
events of the world and the evolution of societal norms. Here in <i>Early
Summer</i> we experience a beautiful film manifesting breaks from traditional
Japanese customs with the influence brought in by the nation’s recent fall from
WWII, as well as generational differences. Western culture has affected eastern
traditions, allowing for new freedom of thought and practices that go against
conventions held by previous generations. In the end it is a story of self-discovery
and love despite differences in society and traditions. Yasujirō Ozu’s
artistically simple filmmaking creates a home and life that emotes familiarity
until the story calls for change, where he delivers camera movement with smooth
tracking shots that signify the change experienced by the audience. Wonderfully
written and performed, with a cast of characters that could come out of any
normal home, we experience a touching motion picture that speak to multiple
generations.<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhdPF5E-G88uvyYDB4bJbDrLLCOoc41W73kyBW6L08v6nBmepcm3MUXJf-u2_wgEgMxR_15-XeD0CehkWGsHC_Ypzp8I3fU9Cz3d-XzrhPy4AZZ09-74DPbIOz3pfzne4ubsDn-mDJ_VMPaw7QPY8IZYJpxQFj2G1Sj-jRkl7cAefkDFf7pTrhraLi6DQ=s1280" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="968" data-original-width="1280" height="242" src="https://blogger.googleusercontent.com/img/a/AVvXsEhdPF5E-G88uvyYDB4bJbDrLLCOoc41W73kyBW6L08v6nBmepcm3MUXJf-u2_wgEgMxR_15-XeD0CehkWGsHC_Ypzp8I3fU9Cz3d-XzrhPy4AZZ09-74DPbIOz3pfzne4ubsDn-mDJ_VMPaw7QPY8IZYJpxQFj2G1Sj-jRkl7cAefkDFf7pTrhraLi6DQ=s320" width="320" /></a>A follow up to Ozu’s 1949 film <i>Late Spring</i>, this film
features many similarities to is predecessor. Rifts between generations
continue as the theme as the two films feature many similar castings. The most
notable similarity is the casting of Setsuko Hara again as a character named
Noriko, although the two stories are mutually exclusive from each other. This
picture focus more on a woman’s plight and her discovery of independence, a
non-traditional trait among eastern culture. The story focuses on the shifting
nature from one generation to another in the wake of an evolving Japanese
society and its view on the family unit in a post war setting.<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgigb5y0gTkpyVh1xvqAD2sC0f9JiiyWqh1SJW_MLg5Jq4TlO1OcJDOzS3xD10JUR-mvKXL7YPLz-_XXi2RqU4NzPeBwLH17248gf7AbLKLMMxwkVW4HvLMuVtA3nm1-OIqIS1lnvpvfIvOhURo0uEfYPnw6ff17LbT3flxq1_fPp_3dtIFZEzP5xg99w=s1200" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em; text-align: center;"><img border="0" data-original-height="900" data-original-width="1200" height="240" src="https://blogger.googleusercontent.com/img/a/AVvXsEgigb5y0gTkpyVh1xvqAD2sC0f9JiiyWqh1SJW_MLg5Jq4TlO1OcJDOzS3xD10JUR-mvKXL7YPLz-_XXi2RqU4NzPeBwLH17248gf7AbLKLMMxwkVW4HvLMuVtA3nm1-OIqIS1lnvpvfIvOhURo0uEfYPnw6ff17LbT3flxq1_fPp_3dtIFZEzP5xg99w=s320" width="320" /></a>Returning players to the Ozu production are number of his
favorites, including Chishū Ryū as Noriko’s traditionally focused brother, Kuniko
Miyake as the sister-in-law in which the family wants her to follow in tradition,
and Haruko Sugimura as the friend and embracing mother of the man she decides
to marry. They are joined by Chikage Awashima who portrays Noriko’s best friend
out and shares similar issues from being a single woman past the normal age of
being wed, as she becomes a new player to the director’s stable of preferred performers.
Also featured are the talents of Ichiro Sugai and Chieko Higashiyama and
Noriko’s loving parents that must understand their daughter is creating a life
of her own, sharing a great deal emotional change in the full scope of the
story.<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhO7VYm3hwgFvNUxm7o8Ciz6xCu4xzssUv92eJ36_wSZLDeWPmxRu2QgK3cDBJyVbXcwpWY3HftN2GX-_ZNUuJ7hWurQCbX7WwYdmWw5I8qjeapRjm7DjIO0oWYNPDRO0Fjz58G4qOQpd9EJIw4aUCd4i3BFxlrRoFR8-B8-X51T_jq2FQOb82oe8PBsQ=s1280" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="968" data-original-width="1280" height="242" src="https://blogger.googleusercontent.com/img/a/AVvXsEhO7VYm3hwgFvNUxm7o8Ciz6xCu4xzssUv92eJ36_wSZLDeWPmxRu2QgK3cDBJyVbXcwpWY3HftN2GX-_ZNUuJ7hWurQCbX7WwYdmWw5I8qjeapRjm7DjIO0oWYNPDRO0Fjz58G4qOQpd9EJIw4aUCd4i3BFxlrRoFR8-B8-X51T_jq2FQOb82oe8PBsQ=s320" width="320" /></a> Ozu’s filmmaking style keeps the camera mostly
locked down and from a relatively low angle. Mimicking the height of one’s head
from a traditional sitting position on the floor, his style keeps the angle
familiar to the audience he was capturing for. Throughout the home, the setting
where most of the story is told, we view though multilayered angles, down short
halls and through doorways, delivering an intimate setting for a well lived in
the family home. The moment when Ozu breaks from his fixed angles with movement
make for poignant moments in the story, none more so than that a single crane
shot on a dune of a beach crested by Noriko, signifying her change into a new
horizon, breaking from that which she has always known.<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal">Openly received in 1951, <i>Early Summer</i> would with time
become of the highest regarded motion pictures in Japanese cinematic history. Yasujirō
Ozu would continue his journey of Noriko tales with a 1953’s <i>Tokyo Story</i>
which once again stars Setsuko Hara, forming a somewhat of a trilogy of sorts
even though the stories are independent of each other. <i>Tokyo Story</i> would
go on to surpass <i>Early Summer</i> in status among Ozu’s works, and
considered one of the perennial works in Japan. Both film and filmmaker are
great example of Japanese contribution to cinema and perfect example of how the
medium of this creator has influenced beyond his years.</p>Ryan McCormickhttp://www.blogger.com/profile/13560952178103637506noreply@blogger.com0tag:blogger.com,1999:blog-3089271153735288184.post-48868834903723874842022-01-31T17:30:00.009-05:002022-01-31T17:32:31.300-05:00Show Boat (1951)<div class="separator"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgprG7xGnllrN_7i2k4urk8q--3-gDyPBuHLipVL_qTiY2hgTfGYcLLHHZJT6iMcKHN_ehH8-gAful-Jw7uV4Pi-9E7SxsDIki30n-7DU0srYH5RAmEV_AU103PZK0zo8waJLAiIWsiFZlIIA37SaOWt4kqPSuqeQSnzy66imcxbrm1a814vqxt1--JAw=s2932" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em; text-align: center;"><img border="0" data-original-height="2932" data-original-width="1907" height="320" src="https://blogger.googleusercontent.com/img/a/AVvXsEgprG7xGnllrN_7i2k4urk8q--3-gDyPBuHLipVL_qTiY2hgTfGYcLLHHZJT6iMcKHN_ehH8-gAful-Jw7uV4Pi-9E7SxsDIki30n-7DU0srYH5RAmEV_AU103PZK0zo8waJLAiIWsiFZlIIA37SaOWt4kqPSuqeQSnzy66imcxbrm1a814vqxt1--JAw=s320" width="208" /></a></div><a href="https://ryanmccormickfilmhistory.blogspot.com/search/label/MGM">Metro-Goldwyn-Mayer</a><br />Director: <a href="https://ryanmccormickfilmhistory.blogspot.com/search/label/George%20Sidney">George Sidney</a><br />Starring: <a href="https://ryanmccormickfilmhistory.blogspot.com/search/label/Kathryn%20Grayson">Kathryn Grayson</a>, <a href="https://ryanmccormickfilmhistory.blogspot.com/search/label/Ava%20Gardner">Ava Gardner</a>, <a href="https://ryanmccormickfilmhistory.blogspot.com/search/label/Howard%20Keel">Howard Keel</a><br /><br />
<p class="MsoNormal">Hollywood’s third adaptation of the famed Broadway musical carries
the prized story set to background of show business upon grand floating vessel
to the age of Technicolor extravagance as MGM present’s 1951’s <i>Show Boat</i>.
A period piece, an elaborate, colorful costumed ladened musical was one of the
year’s biggest pictures for the Hollywood giant. In an age where movies required
to stand out from the free entertainment of television, this motion picture’s
timeless style for a stage classic featured extravagance in the form of one of
the biggest props/set pieces to fit its namesake.<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEiw0JcVeaOp5UxQXYOxM-o6JmH9zQeqVzn994XpdYY1uwdo46Bb6n5R4ZrxwShAWVDg6Z2BvdSmj3_MRHsA3NH3UKxsd5JiCGuKpMi42mNCiALktMG1yKvQGYDRZEDBk3NewtF8yY7eKpHpnBaUdQisAgrGwTiB-KJtoJslTMiJk2cOhLEJ2ElbRQaD_Q=s2550" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="1710" data-original-width="2550" height="215" src="https://blogger.googleusercontent.com/img/a/AVvXsEiw0JcVeaOp5UxQXYOxM-o6JmH9zQeqVzn994XpdYY1uwdo46Bb6n5R4ZrxwShAWVDg6Z2BvdSmj3_MRHsA3NH3UKxsd5JiCGuKpMi42mNCiALktMG1yKvQGYDRZEDBk3NewtF8yY7eKpHpnBaUdQisAgrGwTiB-KJtoJslTMiJk2cOhLEJ2ElbRQaD_Q=s320" width="320" /></a><i><br /></i><i>Show Boat</i> is a musical about the daughter of a
riverboat captain who falls in love with a gambler and the troubles they
experience when his luck runs out. Magnolia (Kathryn Grayson) is the talented
and dutiful daughter of show boat captain who falls in love with her review
partner, gambler Gaylord Ravenal (Howard Keel). Shunned by her parents over their
romance, she and Ravenal leave the show boat to marry, living luxuriously off
his winning until his luck dries up. The turn of fate leads the once lovebirds
to quarrel as Ravenal walks out on her before she can inform him of her
pregnancy. Through friends, primarily through the secret aid of her former best
friend Julie (Ava Gardner), Magnolia finds help and her way back into the arms
of her accepting family on the show boat where she can raise her daughter.
Years pass and a chance meeting of Julie and Ravenal leads him too back to the
show boat. There he meets his daughter for the first time and comes to reconcile
with his lovely Magnolia.<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgtU1wscjGu8vsXkZIpRqn8LFvuvWkqwaHa3eODMJEd7c5b945JNrbsyG5e1T7eD4XO6iVY-OgDsLokLtFBsuGpd0G3YPQjHkaqn6Hp20LHo4mSHQE8ceHH8jIQK3JD6BmN_VcxW_5uXUwJ20ZerWxXdYiKhKUBwOVTdPS0cRZe_4-sthnvoXhJHrwiBw=s998" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em; text-align: center;"><img border="0" data-original-height="679" data-original-width="998" height="218" src="https://blogger.googleusercontent.com/img/a/AVvXsEgtU1wscjGu8vsXkZIpRqn8LFvuvWkqwaHa3eODMJEd7c5b945JNrbsyG5e1T7eD4XO6iVY-OgDsLokLtFBsuGpd0G3YPQjHkaqn6Hp20LHo4mSHQE8ceHH8jIQK3JD6BmN_VcxW_5uXUwJ20ZerWxXdYiKhKUBwOVTdPS0cRZe_4-sthnvoXhJHrwiBw=s320" width="320" /></a>Despite all the lavish costumes, impressive set pieces, and
bright Technicolor, <i>Show Boat</i> feels a bit like a safe paint-by-color
musical. Shining up the source material, making it a bit more happy-go-lucky,
the successful, longstanding musical surely splashes on the screen with all of
the classic Hollywood frills, but lacks a distinct punch in substance. For what
had been an effective source of material of a bygone era, it fails to translate
as the decades have marched forward, especially in being spiffy-ed up by the audience-friendly
studio MGM prided in being. Enjoyable are MGM habits of turning back the clock
in the splashy visual way with the art decoration, costumes, wonderful
cinematography, and perhaps even the old-fashioned music delivered by Grayson
and Keel. The film was a spectacle in 1951 standards, but its story and its
script betray its ability to allow it to be as timeless as a motion picture,
leaving it simply as a treat for the eyes.<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal">Dating back in the 1930s MGM yearned to get their hands on
“Show Boat.” Its source inspired one of the earliest lavish partial-talkies in
1929 followed by a more proper motion picture adaptation in 1936 starring Irene
Dunne, both produced at Universal. MGM’s acquisition of “Show Boat” in 1938 led
the studio to destroying what they could of the prior two’s negatives with
hopes to immediately put into production a new adaptation. World War II however
put a hold on the idea of MGM issuing a sizable funding towards a picture that
would see only a fraction of receipts due to the closure of foreign markets, a
pause that took nearly a decade to shake. 1946 proved to be the year MGM tested
the waters for revitalizing the production by financing a Broadway revival of
“Show Boat,” as well as featuring music from the play in their 1947 musical
biopic <i>Till the Clouds Roll In</i>. <i>Show Boat</i> proved to be a viable
option once again and the picture was set for development.<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEiPe0AkoEOfZKFSH1MzX-93Hbtd1vCSgTCkqU2DrVgcINHMOVmDCMMEQTF5UEVySwLegbnUieOAb2pLx0VFiupsMmwyP2iP_OtDZWCD_vVouF7uERas4ebQASDKIEcTAAYE-LRt0Nm5ojUUcCef0AAD8FbkN_R8aoICTy1q4ZhRHqeujuoSldEDWZcCNQ=s988" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="720" data-original-width="988" height="233" src="https://blogger.googleusercontent.com/img/a/AVvXsEiPe0AkoEOfZKFSH1MzX-93Hbtd1vCSgTCkqU2DrVgcINHMOVmDCMMEQTF5UEVySwLegbnUieOAb2pLx0VFiupsMmwyP2iP_OtDZWCD_vVouF7uERas4ebQASDKIEcTAAYE-LRt0Nm5ojUUcCef0AAD8FbkN_R8aoICTy1q4ZhRHqeujuoSldEDWZcCNQ=s320" width="320" /></a>MGM’s master producer of musicals Arthur Freed went to work
at making the picture happen. The story was reworked, tightened up to make its
rather lengthy time period shorter for the movie to make it more palatable. The
character Gaylord Ravenal, a gambler and somewhat a scoundrel, was
rehabilitated into more of a gentleman in the classic styling of a Clark Gable
type. Further tweaks would be made to skirt censors for some of the more mature
nature of the story, but not too much since the precedent of the 1936 was
evidence that the story was suitable for movie audiencias prior.<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal">Freed tasked musical veteran filmmaker George Sidney with
directing the feature as he was on his way with making his name as one of the
finest in the genre. Finally, Freed would spare no expense with a budget that
created the lavish set piece “Cotton Blossom,” a full-scale sternwheeler
riverboat, one of the largest prop pieces in Hollywood up to this time.
Originally planned to be filmed on location, MGM decided its own opulent
backlot would do, using the same body of water featured as the jungle rivers of
Africa in the Tarzan features to be dressed as their own muddy Mississippi, allowing
for optimal control over production.<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEidbOMnrxtYynt7YieNuD9Vjq0H9IhpUDeK_WAWT5LPVrlXXfpOqkIyqIgEBiofihsV6ysuxnz6ZeoLsgEFt-akNfovewygh_m_ShqftzcWrKA2u70IPK4g7oIpt9GY4FiRHy6g8J6WD2L6gcWHsxCc6oxWg5LEg650KJ0a2HYGqkog4q984ylpsfVf4Q=s1280" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em; text-align: center;"><img border="0" data-original-height="720" data-original-width="1280" height="180" src="https://blogger.googleusercontent.com/img/a/AVvXsEidbOMnrxtYynt7YieNuD9Vjq0H9IhpUDeK_WAWT5LPVrlXXfpOqkIyqIgEBiofihsV6ysuxnz6ZeoLsgEFt-akNfovewygh_m_ShqftzcWrKA2u70IPK4g7oIpt9GY4FiRHy6g8J6WD2L6gcWHsxCc6oxWg5LEg650KJ0a2HYGqkog4q984ylpsfVf4Q=s320" width="320" /></a>Two established, classically trained singers and MGM stars
Kathryn Grayson and Howard Keel were cast as the primary roles of the film.
Long time studio musical darling Judy Garland was originally conceived to play
the musically powerful veteran presentence of Julie. However, a recent falling
out with and eventual firing of Garland sent MGM whirling to find the fit for
the character that serves as the angel to Magnolia’s tale. Sidney’s suggestion
of lesser musically talented, yet beautiful Ava Gardner was questioned, leading
to the star being endlessly voice coached through the various musical numbers. The
studio found unfavorable reviews towards Gardner’s singing talent, especially
compared to her co-stars, ultimately deciding on dubbing her singing voice with
the uncredited Annette Warren in the final picture. <o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgIkcJQ-GekMapLp-Yla0UJuelG9BcJ0nHoc6JV-PyWausAkNx1N97EHIzg1R0a3BG-nS0ePjnOVXDEi_fvt6gyTEd-1bxJhhAaEkRPVdYiObI_jGbXXrzSKlRrXEbDFUVXMwXciixQel4rQkYZqnvfiy-rAKdOzKK7lSBYxu3CRBKTXIY2FW4jgGSpTA=s700" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="522" data-original-width="700" height="239" src="https://blogger.googleusercontent.com/img/a/AVvXsEgIkcJQ-GekMapLp-Yla0UJuelG9BcJ0nHoc6JV-PyWausAkNx1N97EHIzg1R0a3BG-nS0ePjnOVXDEi_fvt6gyTEd-1bxJhhAaEkRPVdYiObI_jGbXXrzSKlRrXEbDFUVXMwXciixQel4rQkYZqnvfiy-rAKdOzKK7lSBYxu3CRBKTXIY2FW4jgGSpTA=s320" width="320" /></a>Further changes to the story made supporting characters
Frank and Ellie, a comic duo in the play, into dancers, depicted by husband-wife
couple Gower and Marge Champion. Roles of Magnolia’s parents, the jovial Cap’n
Andy and stern Parthy, would also be greatly reduced in their roles,
eliminating swaths of screen time for the talents of character actors Joe E.
Brown and Agnes Moorehead respectfully.<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal"><br /><br />MGM put forth a great effort in recreating the lavishness
the musical called for. Apart from the show boat set piece, the MGM lot was
greatly used to recreate the small towns and bustling cities visited in the
story, manifesting the great artistry and resources the Hollywood studio within
its own boarders. George Sidney gave depth and dimension towards the visuals of
the film, using multiple leveled camera work, elaborate set pieces, vast extras,
and great detail in creating the time and place of <i>Show Boat</i>. However,
perhaps the most well received scene in the picture was not even directed by
Sidney. While away with illness, Roger Edens, an uncredited associate producer of
Arthur Freed, directed the famed “Ol’ Man River” sequence, remembered for its fog
filled setting and moody tones performed by the bass filled baritone William
Warfield. The sequence would stand out for the rest of the film, receiving
perchance the highest praise, while still being credited to Sidney.<o:p></o:p></p>
<p class="MsoNormal"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEifFmP5A_Igt5WL9k8fjtu5O_NyMO-9olC2kl1janjcItvnbK0hZQbv-g9pRThKYnX8zcZFJrkgB-t3X--HUAQwWCTX7Vpml1JnmXdjMlwfTViq2dgqraDgCbzoJ25R5vuMuTOcOTPJcl7i12PH7ouqcLurZ-JATs25FNAYnJmAzdmiziFt-ZKa7usZpw=s700" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em; text-align: center;"><img border="0" data-original-height="480" data-original-width="700" height="219" src="https://blogger.googleusercontent.com/img/a/AVvXsEifFmP5A_Igt5WL9k8fjtu5O_NyMO-9olC2kl1janjcItvnbK0hZQbv-g9pRThKYnX8zcZFJrkgB-t3X--HUAQwWCTX7Vpml1JnmXdjMlwfTViq2dgqraDgCbzoJ25R5vuMuTOcOTPJcl7i12PH7ouqcLurZ-JATs25FNAYnJmAzdmiziFt-ZKa7usZpw=s320" width="320" /></a><o:p> </o:p></p>
<p class="MsoNormal">With its lavish qualities, bright colors, vast budget,
classic tunes, and known property name <i>Show Boat</i> was staged as a
spectacle for the silver screen in 1951 and audiences would pay it back by
arriving in large numbers, making it the second highest grossing feature of the
year. <i>Show Boat </i>received generally positive reviews, no doubt with the
aid of better sound and the use of Technicolor making it considered the
superior motion picture adaptation of the musical. There are certainly brief
moments of shining visual and sound that capture the magic of cinema during
this age in musicals, receiving nominations for cinematography and score, but
that could be expected of a film this size during this period.<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal">With time <i>Show Boat’s</i> luster has grow foggy, its
subject matter, especially its post-Civil War era southern setting leaves a
sour taste in the mouth. It is evident that the story is altered with an overly
sweetened plot that transforms underlining mature tones into a package of
“happily ever after,” which just does not feel right. The feature leaves us
with a time capsule of Hollywood in an era of economic boom while having a foot
entrenched in the past. The film continued in a tradition of how things were at
least in the minds of those fondly looking back, and there is nothing wrong
with that, but in the years could be observed as too traditional. <i>Show Boat</i>
is a good piece of cinema for the fan of clean fun and classic tales with a large
MGM budget, delivering exactly what it set out to do.</p>Ryan McCormickhttp://www.blogger.com/profile/13560952178103637506noreply@blogger.com0tag:blogger.com,1999:blog-3089271153735288184.post-79965950235436242102022-01-19T13:23:00.005-05:002022-01-19T19:20:42.936-05:00A Streetcar Named Desire (1951)<div class="separator"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjhlfO8xO7GKT4CBqzsvA_ABaj-WnCZfxlsH-DVlGTMqP4jiTzPR1WN3MX_Vgw4ESCSWoWQPVEDXNqHILmgLEaIR70JBSEba961uS0z7P7-kRq3S02k1Ca-JOfKbYiiC_R40qcW2fIwqJpTUpK9SrE-NOJr3U27o72Pdl6_GNZcq_BUJjXmPMcnM1e4lA=s3964" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em; text-align: center;"><img border="0" data-original-height="3964" data-original-width="2610" height="320" src="https://blogger.googleusercontent.com/img/a/AVvXsEjhlfO8xO7GKT4CBqzsvA_ABaj-WnCZfxlsH-DVlGTMqP4jiTzPR1WN3MX_Vgw4ESCSWoWQPVEDXNqHILmgLEaIR70JBSEba961uS0z7P7-kRq3S02k1Ca-JOfKbYiiC_R40qcW2fIwqJpTUpK9SrE-NOJr3U27o72Pdl6_GNZcq_BUJjXmPMcnM1e4lA=s320" width="211" /></a></div><a href="https://ryanmccormickfilmhistory.blogspot.com/search/label/Warner%20Bros.">Warner Bros.</a><br />Director: <a href="https://ryanmccormickfilmhistory.blogspot.com/search/label/Elia%20Kazan">Elia Kazan</a><br />Starring: <a href="https://ryanmccormickfilmhistory.blogspot.com/search/label/Vivien%20Leigh">Vivien Leigh</a>, <a href="https://ryanmccormickfilmhistory.blogspot.com/search/label/Marlon%20Brando">Marlon Brando</a>, <a href="https://ryanmccormickfilmhistory.blogspot.com/search/label/Kim%20Hunter">Kim Hunter</a>, <a href="https://ryanmccormickfilmhistory.blogspot.com/search/label/Karl%20Malden">Karl Malden</a><br /><br />Honors:<br /><a href="https://ryanmccormickfilmhistory.blogspot.com/search/label/Best%20Actress">Academy Award for Best Actress</a><br /><a href="https://ryanmccormickfilmhistory.blogspot.com/search/label/Best%20Supporting%20Actor">Academy Award for Best Supporting Actor</a><br /><a href="https://ryanmccormickfilmhistory.blogspot.com/search/label/Best%20Supporting%20Actress">Academy Award for Best Supporting Actress</a><br /><a href="https://ryanmccormickfilmhistory.blogspot.com/search/label/Best%20Art%20Direction">Academy Award for Best Art Direction (Black and White)</a><br /><a href="https://ryanmccormickfilmhistory.blogspot.com/search/label/New%20York%20Film%20Critics">Best Film – New York Critic Film Circle</a><br /><a href="https://ryanmccormickfilmhistory.blogspot.com/search/label/AFI%20Top%20100">#45 AFI Top 100 (1998)<br />#47 AFI Top 100 (2007)</a><br />#67 AFI 100 Passions<br />#19 AFI 100 Scores<br /><a href="https://ryanmccormickfilmhistory.blogspot.com/search/label/National%20Film%20Registry">National Film Registry</a><br /><br />
<p class="MsoNormal">A motion picture that helped alter the way films were
produced in Hollywood, it lacked many of the usual studio system models. A non-studio
director, non-studio technicians, and non-studio actors were brought together
to create an in-house product instead of the common movie factory slapped together
production model. Here movie audiences would experience the talent displayed on
the Broadway stage, adapted with the intimacy and raw ferocity films in the
most part lacked. Viewers would be introduced to young newcomer in Marlon
Brando and a style of acting that revolutionize the art and the industry. A
pinnacle moment in Hollywood motion picture history, although many time copied
or parodied, this film remains honored as one of the greats of all time.<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjPUJaI0efDWysSkLnC8TcpXfZcm9QyR5FNvBmT6Gcx2WPzms3HNzT0uPGHcbwE3MP629aLgjgHO6YYCHpOR0WAL_Mb04tiFnpi4xJoT60s_jy0vWHyUH13kVmD33-R3pT_DdoLEMgm1hpxggmdaYBXu-th83C384j32iP1rtmrqWvBGdVgnzkv0y76yg=s1600" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="1171" data-original-width="1600" height="234" src="https://blogger.googleusercontent.com/img/a/AVvXsEjPUJaI0efDWysSkLnC8TcpXfZcm9QyR5FNvBmT6Gcx2WPzms3HNzT0uPGHcbwE3MP629aLgjgHO6YYCHpOR0WAL_Mb04tiFnpi4xJoT60s_jy0vWHyUH13kVmD33-R3pT_DdoLEMgm1hpxggmdaYBXu-th83C384j32iP1rtmrqWvBGdVgnzkv0y76yg=s320" width="320" /></a><i>A Streetcar Named Desire</i> is a drama about a southern
belle who loses her grasp on reality as she moves in with her sister and her
ruthless brother-in-law in the slums of New Orleans. Exiled from her small hometown,
the delicate and neurotic Blanche DuBois (Vivien Leigh) arrives in New Orleans’
French Quarter with hope to find peace in the home of her loving and pregnant sister
Stella (Kim Hunter). However, her brutish brother-in-law, Stanley (Marlon
Brando), is immediately distrusting of Blanch and her illusionary world she
describes to live in. A physically and emotionally abusive husband, Stanley becomes
Blanche’s tormentor even as she begins to share a relationship with his friend
Mitch (Karl Malden). However, the possible marriage is interrupted as Stanley discovers
and reveals the sordid details of Blanche’s exile, further taking advantage of her
frailty, sending Blanche into a full emotional breakdown send off to a mental
hospital. The culmination of events makes Stella realize the full abuse Stanley
has put upon her, and finally with their baby in hand leaves him.<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal">As a motion picture that tries its best at possibly capturing
every aspect of the original Tennessee Williams play, this production delivers
a raw, visceral energy with it that stands out from the Hollywood pictures of
the day. The cast provides an intimate series of performances that feels
different from the usual Hollywood fluff acting of even the grittiest pictures
seen to this point. It is evident how much the Actor’s Studio plays a role in portrayal
of the characters outside of Vivien Leigh. Yet, with Leigh having the most
Hollywood spotlight she fits well into her role as the emotionally tormented southern
belle attempting to stay within the world that remains only in her mind. From
acting, directing, music, and set decoration every inch of the picture is calculated
to bring about emotion and serves to provide a benchmark in the cinematic community.<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhw9bvjAID-0cINw9Lfflb8idqUUYIKn2DbXXK6THCfv1tNLF-o6inUalmzzmWAz2CiayOajOHwTok4SwnO3L8RSgb6-G0Ru7xY-wKkxwfioliem3MnirGOfRzaouzevcReEEDajnPdAmb4F4fEP6sBtNBQgHjVZ1aVloHhQa3HmEXOEtUJEWqgObn1SQ=s2093" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em; text-align: center;"><img border="0" data-original-height="2093" data-original-width="1706" height="320" src="https://blogger.googleusercontent.com/img/a/AVvXsEhw9bvjAID-0cINw9Lfflb8idqUUYIKn2DbXXK6THCfv1tNLF-o6inUalmzzmWAz2CiayOajOHwTok4SwnO3L8RSgb6-G0Ru7xY-wKkxwfioliem3MnirGOfRzaouzevcReEEDajnPdAmb4F4fEP6sBtNBQgHjVZ1aVloHhQa3HmEXOEtUJEWqgObn1SQ=s320" width="261" /></a>From the beginning Tennessee Williams’ Pulitzer Prize
winning 1947 play “A Streetcar Named Desire” was an enigma for movie studios
that wanted to adapt such a renowned Broadway success for the screen. Its story
was believed impossible to produce as a film with subject matter including domestic
abuse, rape, and homosexuality sure to be meet negativity of censors, as well
as moral and religious groups. When Warner Bros. and Williams finally teamed up
it was wished to deliver as much of the Broadway production to this adaptation.
It too a great deal to convince the original stage director Elia Kazan to return
to “Streetcar” after he felt he had done everything he could the story in the Braodway
production. Of course, some of the script was rewritten to creatively skirt around
the story’s more questionable subject matters, but the film was to be a go. <o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal"><br />Most of the celebrated Broadway cast would reprise their
roles for the adaptation including Actor Studio members Marlon
Brando, Kim Hunter, and Karl Malden. In a business move Warners sought to cast Blanche with a
more headlining name than the original Blanche’s Jessica Tandy, who won just
about every major award for her performance, but was virtual unknown to movie audiences.
Names like Olivia de Haviland and Bette Davis would be considered, but the decision
would fall on Vivien Leigh who had successful portrayed Blanche in the London
West End production of “Streetcar,” directed by her then husband Laurance
Olivier. The veteran 37 year-old actress would a household name after winning
the role of a lifetime as Scarlett O’Hara in 1939’s <i>Gone with the Wind</i>, bringing
with her a massive headliner to the production.<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEiMK4GYysokBjAq1uOWn2qWzME9DEE4j2YjD2vBOPC_I5F2B_DiDdBIZyJBKK-JyndUBZpIA15TIJGjT2L3uibBQmGUMrTxDHgZQW1D89Upcj_M_TQb1rsSMW1PcBm5t0RQpJNgCoD1SDY7CrHiFaiz0vn73oNE0jZyZC4WjM4ZHuOBh--1pSiJ3hTm9Q=s1330" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="748" data-original-width="1330" height="180" src="https://blogger.googleusercontent.com/img/a/AVvXsEiMK4GYysokBjAq1uOWn2qWzME9DEE4j2YjD2vBOPC_I5F2B_DiDdBIZyJBKK-JyndUBZpIA15TIJGjT2L3uibBQmGUMrTxDHgZQW1D89Upcj_M_TQb1rsSMW1PcBm5t0RQpJNgCoD1SDY7CrHiFaiz0vn73oNE0jZyZC4WjM4ZHuOBh--1pSiJ3hTm9Q=s320" width="320" /></a>With Leigh being the outsider of the group, production at
first was troubling as the lead actress shared her issues with fellow castmates
and director Elia Kazan as well. The star performer came from a different
school of acting that initially clashed as she joined a group that had long
worked together. With time the British actress found a friendly rapport with
the Brando, Kazan, and the rest of the cast and crew as they came together to
construct an outstanding ensemble performance for movie audiences. Leigh was
light and delicate, with a quiet stubbornness. Brando is beastly and raw, with
an energy that is visceral as Stanley. Hunter is sympathetic and frustrating as
Stella, while Malden is sensitive and meek, with a fiery underbelly that only barely
peaks its head out in Mitch.<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal"><br />The picture was shot almost entirely on the soundstages of
Warner Bros., paralleling how the play took place completely in the apartment
of Stella and Stanley. Only reworked scenes near the opening and closing of
film were shot in New Orleans providing moments outside of the small-roomed set.
The apartment set pieces were constructed with movable walls allowing Kazan to
make the rooms smaller as the movie goes on, expressing the claustrophobic
nature of Blanche’s emotions as tensions build between her and Stanley. Through
the magic of movie making both Kazan and Tennessee Williams would come to
highly enjoy this adaptation of the story over the original work, surprising both
of how much more they were able to deliver with the story on screen.<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgKaXz78J5LMWaK7mQHl7Mokxxs3jEX0y6XRb-nBrGh4OOW6SYosPsgSl9aiIpv0VNS4aQ4ZKXs6MXdTEVFIn3B0YSKAGCjtffEpgvQtRshJn5BRA_G3BwStxVsW7PblXilfh2t5rMCvWn2CRN8S8uIQu9-6fW216GcVaHMOXcb5KvEM08pn3icNwR1KQ=s1600" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em; text-align: center;"><img border="0" data-original-height="1180" data-original-width="1600" height="236" src="https://blogger.googleusercontent.com/img/a/AVvXsEgKaXz78J5LMWaK7mQHl7Mokxxs3jEX0y6XRb-nBrGh4OOW6SYosPsgSl9aiIpv0VNS4aQ4ZKXs6MXdTEVFIn3B0YSKAGCjtffEpgvQtRshJn5BRA_G3BwStxVsW7PblXilfh2t5rMCvWn2CRN8S8uIQu9-6fW216GcVaHMOXcb5KvEM08pn3icNwR1KQ=s320" width="320" /></a>One of the first jazz infused scores in movies would aid in
the underlying life of each character as composer Alex North added to the psychological
nature of the picture. His contribution earned the composer an Oscar nomination,
one of two he had that year, and helped pave new ground in cinematic music composition.<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal">As expected, even with Williams submitting the script before
production, the film was met with censor issues leading to several cuts before
release to meet Production Code approval. Despite these changes the film opened
to critical and box office success, while decades later, in 1993, the altered
scenes would be fully restored as originally intended. Nominated for ten Academy
Awards, including the first time a film had a nomination in each acting
category, the picture brought home four statues. This marked Leigh’s second
Oscar, a companion to the award for <i>Gone with the Wind</i>, while both Kim
Hunter and Karl Malden shared their own respective accolades that night.
Despite not winning Best Picture, the film was honored by the New York Film
Critics Circle for being the best of the year over the Gene Kelly musical <i>An
American in Paris</i>. <o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEiY3e4hjt_EVv7DFeT36PLPfehvXsI-3ixOg_8nNM-DSTTc8i6tastSKe6XT5i0Om3JQFN5t2JuyQdnf6X8A8us1wquO7WONMlZfYfyvWc-_T1Vh3lR_Upza59b1ogN2soAyTwoHK3HwxnkVWiRCYQj_1wh6z4p1Ew-W88FZ71KufczWDHPiheGqSPEEQ=s1200" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="675" data-original-width="1200" height="180" src="https://blogger.googleusercontent.com/img/a/AVvXsEiY3e4hjt_EVv7DFeT36PLPfehvXsI-3ixOg_8nNM-DSTTc8i6tastSKe6XT5i0Om3JQFN5t2JuyQdnf6X8A8us1wquO7WONMlZfYfyvWc-_T1Vh3lR_Upza59b1ogN2soAyTwoHK3HwxnkVWiRCYQj_1wh6z4p1Ew-W88FZ71KufczWDHPiheGqSPEEQ=s320" width="320" /></a>The legacy that <i>A Streetcar Named Desire</i> left of
Hollywood is very evident as acting and production styles were changing,
especially in the embracing of rougher, grittier pictures such seen here. <i>Streetcar</i>
is adored by the cinematic community, long considered one of the very best films
of all time, as evident in numerous all-time lists of Hollywood pictures. Most
enduring of all was the official introduction of Marlon Brando to audiences at
large as his instinctual fashion of performing would come to change the
dramatic landscape, adding new layers character portrayal. All this comes together
to make <i>Streetcar</i> remain a living piece of cinema that continues to shape
the minds of many filmmakers and thespians.</p>Ryan McCormickhttp://www.blogger.com/profile/13560952178103637506noreply@blogger.com0tag:blogger.com,1999:blog-3089271153735288184.post-15195789032766257542022-01-06T15:25:00.005-05:002022-01-06T15:28:29.017-05:00Day the Earth Stood Still, The (1951)<div class="separator"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhkBN7qyUGJgC0ty9-X48_v6o3Fyt56OsNZDOe-3rZ37TR56axPcVlYnbnOMttOX3e1u_9aeYPMmd1_SVydTqCuLUAxPYVhrywCuKDmtGzEMLPN51UWwh6iwxO_e1RIBU_QdXwa5djuCY5DZEnHMMU3rUkfiViwi5SEwGrH0eLFXtkGjzlvukzVX0i4bQ=s3000" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em; text-align: center;"><img border="0" data-original-height="3000" data-original-width="1986" height="320" src="https://blogger.googleusercontent.com/img/a/AVvXsEhkBN7qyUGJgC0ty9-X48_v6o3Fyt56OsNZDOe-3rZ37TR56axPcVlYnbnOMttOX3e1u_9aeYPMmd1_SVydTqCuLUAxPYVhrywCuKDmtGzEMLPN51UWwh6iwxO_e1RIBU_QdXwa5djuCY5DZEnHMMU3rUkfiViwi5SEwGrH0eLFXtkGjzlvukzVX0i4bQ=s320" width="212" /></a></div><a href="https://ryanmccormickfilmhistory.blogspot.com/search/label/20th%20Century-Fox">20th Century-Fox</a><br />Director: <a href="https://ryanmccormickfilmhistory.blogspot.com/search/label/Robert%20Wise">Robert Wise</a><br />Starring: <a href="https://ryanmccormickfilmhistory.blogspot.com/search/label/Michael%20Rennie">Michael Rennie</a>, <a href="https://ryanmccormickfilmhistory.blogspot.com/search/label/Patricia%20Neal">Patricia Neal</a>, <a href="https://ryanmccormickfilmhistory.blogspot.com/search/label/Hugh%20Marlowe">Hugh Marlowe</a><br /><br />Honors:<br /><a href="https://ryanmccormickfilmhistory.blogspot.com/search/label/AFI%20Top%20Thrills">#82 on AFI 100 Thrills</a><br /><a href="https://ryanmccormickfilmhistory.blogspot.com/search/label/AFI%20Top%20Cheers">#67 on AFI 100 Cheers</a><br /><a href="https://ryanmccormickfilmhistory.blogspot.com/search/label/AFI%20Top%20SciFi">#5 on AFI Top Science Fiction</a><br /><a href="https://ryanmccormickfilmhistory.blogspot.com/search/label/National%20Film%20Registry">National Film Registry</a><br />
<p class="MsoNormal">A clear metaphor for mankind’s tendency at misunderstanding
as well as a thinly veiled modern notion of a messiah story, Robert Wise’s 1951
Science Fiction feature <i>The Day the Earth Stood Still</i> is a timeless
classic of the science fiction genre. Perhaps the first A-movie sized budgeted sci-fi
production, the film relies less on creepy creatures, screwy science, and a
rise in special effects and more upon a message that continues to speak to
audiences of today. Sci-fi was making the large jump from pulp magazines to
major motion pictures leaving an impression on the business and popular culture
that remains through contemporary features.<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEh47Sk8xa_BxD2ZdDH8KgIJCxZ-BSkj5IsGUNev9VKKGxI40hvKbGCy2qDKLHuLKe4bzadwba4KRgaq0vZFywusBoeAgkMWi8vNP4dqwcVB9ZP509uvECoXZ25W1vQ7IjXoR1dUarVn5o_5PwkaB5fhqYqYvaWrZwqFnQzsclmsSHFeBuXLW41FZCLNYQ=s640" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="480" data-original-width="640" height="240" src="https://blogger.googleusercontent.com/img/a/AVvXsEh47Sk8xa_BxD2ZdDH8KgIJCxZ-BSkj5IsGUNev9VKKGxI40hvKbGCy2qDKLHuLKe4bzadwba4KRgaq0vZFywusBoeAgkMWi8vNP4dqwcVB9ZP509uvECoXZ25W1vQ7IjXoR1dUarVn5o_5PwkaB5fhqYqYvaWrZwqFnQzsclmsSHFeBuXLW41FZCLNYQ=s320" width="320" /></a><i>The Day the Earth Stood Still</i> is a science fiction
drama of an interplanetary visitor on earth and the immediate hostilities it
encounters. Mankind is surprised when a flying saucer lands in Washington DC and
a messenger, Klaatu (Michael Rennie), with a large robot, named Gort, step out
asking to speak to world leaders of an important communication. Immediately met
with nervous hostility Klaatu is wounded by a gunshot and kept locked in a
hospital. Yearning to gather a better understanding of man, Klaatu escapes locked
room disguising himself as an average man known as Mr. Carpenter. Along his way
he finds new faith in mankind befriending a young woman named Helen (Patricia
Neal), her energetic her young son Bobby (Billy Gray), as well with renowned
scientist, Professor Bernhardt (Sam Jaffe), while evading the US government’s search
for him. The mistrust of Helen’s boyfriend Tom (Hugh Marlowe) uncovers
Carpenter as Klaatu, fingering the spaceman to authorities. The fugitive hunt
ends with Klaatu shot dead before being resurrected by Gort at the spacecraft
and finally delivering his message to Earth. His words are an urge for peace or
threat of destruction as a why to protect the universe, an ominous message as
he in the flying saucer ascends back into the stars.<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal">In what is overall a thinly veiled modern day Jesus story <i>The
Day the Earth Stood Still</i> is a science fiction film that uses metaphor
remarkably well and remains a picture that is very enjoyable and impactful
today. For 1951 standards the special effects are very well done, the acting is
well performed on most parts, the production quality is above reproach compared
to other like movies, and the writing is engaging so long as one does not go into
it looking to nitpick. It is a science fiction picture that does not rely the
of usual tropes of the genre, instead focusing more on the message, and that
message is still very relevant today.<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal">With roots as an adaption of a 1940 short story “Farewell to
the Master,” <i>The Day that the Earth Stood Still </i>was a reaction to the
increasing popularity of science fiction and pulp magazines in culture, giving
the genre one of the very first big budget productions that it may be taken
seriously by Hollywood. The story highlights the suspicions and fears that
clouded American society with rise of the Cold War and threat communism eating
through the subconsciousness of patriotism. For Fox studio head Darryl F. Zanuck,
the production became one he gambled on, having a positive feeling it would work
out despite this style of movie being the usual product of small, independent
studios and B-pictures at best.<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEj0gv--Cugvg-Z6AvBTxvrK1dRwmKR-0Uh_CNppX0hwuWPT7Tu95LVk4RkCSV9iiZo5ZwIMm2Wiy3JuuxVfVj91bGfR0ylAV-nbV-9Gn8aJkg4IIJnsiAcqOINjXvItSisJLGFV3-7vnesnoE1qbaTyWulr2dkitrAasPfAJZOS4tnAld1ZFEkuhtaxRQ=s1439" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em; text-align: center;"><img border="0" data-original-height="1076" data-original-width="1439" height="239" src="https://blogger.googleusercontent.com/img/a/AVvXsEj0gv--Cugvg-Z6AvBTxvrK1dRwmKR-0Uh_CNppX0hwuWPT7Tu95LVk4RkCSV9iiZo5ZwIMm2Wiy3JuuxVfVj91bGfR0ylAV-nbV-9Gn8aJkg4IIJnsiAcqOINjXvItSisJLGFV3-7vnesnoE1qbaTyWulr2dkitrAasPfAJZOS4tnAld1ZFEkuhtaxRQ=s320" width="320" /></a>To man the helm of the feature was editor turned director
Robert Wise, who was best known to this point for editing <i>Citizen Kane</i>
(1941) before flexing his filmmaking skills with some of more clever and well
received and economical horror pictures of the 1940s. Given a meaningful budget
Wise was trusted with the resources that made this story as realistic and
earnest as possible. Primary filming with the cast would take place at the Fox
studio lot in California, but plenty of vast establishing shots were gathered
by a secondary crew in Washington DC, making it feel as if production was based
in the nation’s capital. Armed vehicles and soldiers from Fort Meade in
Maryland to flesh out the large presence in the picture despite the Department
of Defense unwilling to aid production after viewing the script which perceived
the military as irrational.<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhbsvsnlACXse9MUiQunq1KlZdL30W9kGVI4Aq8SPC0rOZVrtTqB2Jvn8ud92YbpFsxPSbNJJ_URcD9J9sT6_wbt3p31-1AXERHrcQAix46t2JmZ176pJragbib1wQb58yuyLRKxflj8_iNKed1wFxkQErLQyWK_pw5dPJ2Iz9ewWDGXfd55HHKv7NdNA=s1500" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="1131" data-original-width="1500" height="241" src="https://blogger.googleusercontent.com/img/a/AVvXsEhbsvsnlACXse9MUiQunq1KlZdL30W9kGVI4Aq8SPC0rOZVrtTqB2Jvn8ud92YbpFsxPSbNJJ_URcD9J9sT6_wbt3p31-1AXERHrcQAix46t2JmZ176pJragbib1wQb58yuyLRKxflj8_iNKed1wFxkQErLQyWK_pw5dPJ2Iz9ewWDGXfd55HHKv7NdNA=s320" width="320" /></a>The special effects are remarkable at the time, setting a
new benchmark for science fiction style and execution. Architect Frank Lloyd
Wright was consulted on the style of the flying saucer, a major set piece of
the movie. The need to make the craft look seamless created on unworldly feel
to it. To create the illusion that the all-smoothed craft suddenly opening the
seams were covered with a putty and painting to hide the lines as the craft
opened. To make the doors close as seamlessly the doors opening was played in reverse
to complete the magic of cinema. Likewise, Gort the robot was made to look similarly
seamless despite being a suit. Portrayed by seven-foot Lock Martin, discovered
as an usher at Grauman’s Chinese theater and cast for his size height, he was
sewn into the costume each day he was use on set. Depending on how he was to be
shot there were, multiple forms of the suit were made where the seams were on
the different sides of the suit, allowing that side to be opposite from the camera
to create the illusion he was a fully smooth robot. In many cases a fiberglass
statue stood in for towering robotic figure when not needed for movement,
freeing up the need for the actor as well as delivering the unearthly stillness
to Gort.<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEg_wgeyTat84ihyUK9Bs_tiZqcLOrTQ0Lem888CoFtbDR5PYLQxmwF84eiRZJrBa8qoEhULu7S4vjd5_-P978WSJtsRs0J7XxJqEquV_62mjmluDtreuOvIgefvisLkWKBhqlTtw96JCoiwFN7aAyLaPGAB3MJ_tAm99FxNsqcyZagSsL4XTS1JMcFqzg=s1280" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em; text-align: center;"><img border="0" data-original-height="960" data-original-width="1280" height="240" src="https://blogger.googleusercontent.com/img/a/AVvXsEg_wgeyTat84ihyUK9Bs_tiZqcLOrTQ0Lem888CoFtbDR5PYLQxmwF84eiRZJrBa8qoEhULu7S4vjd5_-P978WSJtsRs0J7XxJqEquV_62mjmluDtreuOvIgefvisLkWKBhqlTtw96JCoiwFN7aAyLaPGAB3MJ_tAm99FxNsqcyZagSsL4XTS1JMcFqzg=s320" width="320" /></a>British actor Michael Rennie had the dubious task to
portraying Klaatu for the picture, a casting choice made after Claude Rains
turned down the part for Broadway commitments. He would follow the instruction
of Robert Wise to play the role “with dignity, but not with superiority”
delivering a character that is likable and sympathetic as he learns to both
like and fear the human race. A soft-spoken character, Rennie’ Klaatu would be a
positive character on screen and for the actor’s career until being typecasted years
later to his frustration. His even demeanor and earnestness by which he plays a
humanoid visitor to the planet would be an icon of science fiction on the
silver screen.<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgBzXBfiCWhIdxjqXrhDaAwRDs_oCN9YOSuN8moSQKG8Q85xHzzGdREPkpGThPzHnIziuoSFRotYxMyGAi0hsH2mpcustB-pV54kWLzZsU1oBq3GtRsmn4JFbKH3LngDYYnwvkLTGyFEFPRuoD4uIVm-u1wYik2iVE5q6ei5Ctke-gcJY0g5_exw6Dbgg=s1024" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="769" data-original-width="1024" height="240" src="https://blogger.googleusercontent.com/img/a/AVvXsEgBzXBfiCWhIdxjqXrhDaAwRDs_oCN9YOSuN8moSQKG8Q85xHzzGdREPkpGThPzHnIziuoSFRotYxMyGAi0hsH2mpcustB-pV54kWLzZsU1oBq3GtRsmn4JFbKH3LngDYYnwvkLTGyFEFPRuoD4uIVm-u1wYik2iVE5q6ei5Ctke-gcJY0g5_exw6Dbgg=s320" width="320" /></a>Luckily this science fiction story avoids the easily
overused plot pf a romantic story shimmied into the drama. Case in point the use
of Patricia Neal as Helen, the character by which Klaatu learns the positives
of the human race. The 25-yar-old actress brings a dignity to the human
characters as a war widow that initially hesitancy towards Carpenter before
finding compassion in the being that is Klaatu, helping to bring him back to
his ship. Billy Gray, the child actor that portrays her son Bobby, delivers innocence
to the picture. Veteran actor Sam Jaffe plays an Einstein inspired role of
Professor Barnhart, the academic that makes an intellectual connection with
Klaatu and efforts to reassure the world his message must be heard.<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEh8aJeYBCQnMxua2mW22Ao1pSZRQTI0kWwDWVLAuxxmHGvh4VLkXQfO6f2o2WzayxEoi_It3JjKeY-9U2gLF33Q9W7U2qoo0Shk_6crTGz4DIAEALR2y09XMfF4Ib0NmN54M-EG6ETnwamUDSUnaJ376BwiS1LtUJaVy3UzETSoKm14fp2ntVVqPAEWJw=s1439" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em; text-align: center;"><img border="0" data-original-height="1076" data-original-width="1439" height="239" src="https://blogger.googleusercontent.com/img/a/AVvXsEh8aJeYBCQnMxua2mW22Ao1pSZRQTI0kWwDWVLAuxxmHGvh4VLkXQfO6f2o2WzayxEoi_It3JjKeY-9U2gLF33Q9W7U2qoo0Shk_6crTGz4DIAEALR2y09XMfF4Ib0NmN54M-EG6ETnwamUDSUnaJ376BwiS1LtUJaVy3UzETSoKm14fp2ntVVqPAEWJw=s320" width="320" /></a>Hugh Marlowe is somehow more difficult to swallow as a
performer in the picture as Tom. His role as Helen’s boyfriend never sits well
as he immediately dislikes Carpenter despite never getting to know the man,
making him the representation of the paranoia of man. The performance is a bit too
flat and the character overall unlikable. Fans of “The Andy Griffith Show” will
note the appearance of Frances Bavier as a boardinghouse proprietor, a very
similar delivery that would find her success in many television shows in the
future.<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal">From the beginning, the film was meant to be nothing more
than a well-made science fiction tale by Fox, but viewers would come to observe
the metaphors it made to a modern Jesus story. Like Jesus, Klaatu comes to
earth to share a message only to be met with hostility, killed, and resurrected
before delivering a final message of peace or damnation before rising back up
into the sky. Klaatu even takes upon himself the name of Carpenter, Jesus’
trade before delivering his divine message to the world. To many this thinly
veiled story would be perfectly symbolic or laughable.<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal">When the picture opened in September of 1951 audiences responded
positively to the film, as did critics for the most parts.<span style="mso-spacerun: yes;"> </span>The special effects and story captivated
viewers as the film was easy to understand for a world caught up in its own
hysteria. The message, however, would be lost in the simplicity of just being a
good story as the 1950s remained on age of the “red scare” and mankind
continued to share a general distrust for all things it does not understand.<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal">Beyond its generous box office returns <i>The Day the Earth
Stood Still</i> easily became one the highest regarded early science fiction
films, and perhaps the finest of the 1950s. The film continued as a favorite, viewed
through numerous airings in the age of television as new generations absorbed
its storytelling and message delivery. It inspired future filmmakers who paid
tribute to it in various way through the decades sense in hints and homages. The
film found itself remade in the 21<sup>st</sup> century starring Keanu Reeves as
Klaatu, but it paled in the impact the original. <i>The Day the Earth Stood
Still</i> remains one the finest Sci-Fi pictures of all time and pertinent for
even the casual viewer, remaining ever present in cinema history.</p>Ryan McCormickhttp://www.blogger.com/profile/13560952178103637506noreply@blogger.com0