Archive for Frank Borzage

The Late Show

Posted in FILM with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on December 1, 2013 by dcairns

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I created this second banner because Fiona said the dead Santa one was “horrible.”

Welcome to the blogathon! I’m going to sellotape this post to the top of Shadowplay using science, so it will be the first thing you see this week. But the new posts will be immediately beneath it, so keep scrolling.

If participating in the blogathon, this is the post to link to. You can add a comment below to let me know about the post, if you don’t have my email.

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SUNDAY

And we have a first entry — David Ehrenstein applies his wits to F FOR FAKE, one of Orson Welles’ last movies as director, and another that is sometimes cited as his greatest film. Here.

My own first piece deals with a truly hard-to-see, unconsidered final film, from the wonderful Frank Borzage. Here.

Christine Leteux was our researcher on NATAN, is Kevin Brownlow’s translator, and in her own right she’s the author of the first book on Albert Capellani and the splendid French-language film blog Ann Harding’s Treasures. She’s traveling at present, researching her next book, but gave me permission to link to a relevant piece from AHT — TUMBLEWEEDS was William S. Hart’s last directorial gig and feature starring role. Ici.

Eddie Selover casts a not-unsympathetic eye over two swan songs from 1930s divas, Marlene Dietrich’s JUST A GIGOLO and Mae West’s jaw-dropping SEXTETTE. Here.

Marilyn Ferdinand at Ferdy on Films looks at a film I only just realized exists, the 1934 version of THE SCARLET LETTER, which was Colleen Moore’s last feature. Here.

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MONDAY

Every Shadowplay blogathon must contain an intertitle. Here.

Over at Mostly Film, Paul Duane raises the tone with an entry on EMMANUELLE V, tragically Walerian Borowczyk’s last gig, but finds some bizarre merit. Here.

Tim Hayes looks at SPAWN not as a naff superhero flick but as a late Nicol Williamson film and gets fascinating results. Here.

We have a scintillating line-up of guest Shadowplayers this year, and the first among them is Judy Dean, who looks at James Mason’s last screen appearance in THE SHOOTING PARTY. Here.

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TUESDAY

Imogen Smith, a regular star writer at The Chiseler, revisits Anthony Mann’s last western, which is also a late Gary Cooper, and elegiac as hell. Here.

Regular Shadowplayer Simon Kane waxes mysterious about Tom Schiller’s first, last and only theatrical feature, aptly titled NOTHING LASTS FOREVER, also the cinematic swan song of Sam (“Professor Knickerbocker”) Jaffe. Here.

My own Tuesday piece takes a brief look at Peckinpah’s THE OSTERMAN WEEKEND, both version. And there’s a song! Here.

Gareth McFeely looks at the final feature of the late Georges Lautner, in a particularly timely tribute. Here.

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WEDNESDAY

Filmmaker Matthew Wilder looks at Billy Wilder’s unloved BUDDY BUDDY and, uniquely, finds something to admire. Here.

From Scout Tafoya, a typically ruminative and emotive valediction to Raul Ruiz. Here.

My post deals with a late Richard Lester, the largely ignored/forgotten FINDERS KEEPERS, which actually has some great slapstick. Here.

Louis Wolheim’s last movie, the 193o railroad melodrama DANGER LIGHTS, is examined by The Man on the Flying Trapeze. Here.

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THURSDAY

Nobody Knows Anybody, the Spanish cine-blog, considers the career of Alfredo Landa in the light of his final work. Yonder.

As part of the ’68 Comeback Special, I consider a late film by Albert Finney, made early in his career. Confused? Now you know how CHARLIE BUBBLES feels. Here.

Critica Retro assesses the charms of Louise Brooks’ oddball last picture. In Portuguese — try auto-translate, or try reading Portuguese! Aquí.

Two from Jeremy Rizzo, on Howard Hawks last, RIO LOBO, and Kubrick’s semi-posthumous puzzle box, EYES WIDE SHUT. Here and here.

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FRIDAY

Michael Pattison on what MAY be Tsai Ming-Liang’s final movie. Here.

A tip of the hat to THAT OBSCURE OBJECT OF DESIRE at No Man’s Land. Here.

Our own David Melville Wingrove illuminates the trailing end of Rex Ingram’s mighty career. Down here.

John Greco tackles the knotty problem of William Wyler’s last work, a film I love unreasonably. Here.

Stacia at She Blogged By Night weighs in on HER TWELVE MEN and Douglas Shearer, brother of the more celebrated Norma. Here.

And Tony Dayoub offers a close reading of three scenes in GIANT, the last film of James Dean. Here!

Daniel Riccuito, editor of The Chiseler, considers Jean Epstein’s last short, LIGHTS THAT NEVER FAIL aka LES FEUX DE LA MER. Here.

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SATURDAY

Dennis Cozzalio of the legendary Sergio Leone and the Infield Fly Rule joins the blogathon for the first time with a joint look at the final films of two old masters: Altman and Penn. Here!

Seijun Suzuki’s wild, pop-art penultimate pic inspires this Shadowplay gallery. Here.

Guest Shadowplayer Ted Haycraft reflects on one of the biggest, boldest and bloodiest final films, ONCE UPON A TIME IN AMERICA. Here.

Grand Old Movies tips the hat to Marie Dressler. Here.

Late Bresson via Philip Tatler IV at Diary of a Country Pickpocket. Here.

The Girl with the White Parasol covers Frank Borzage’s second-last film, CHINA DOLL. Here.

EXTRA TIME

Unable to recognize too much of a good thing, I keep going with John Frankenheimer’s last theatrical release, REINDEER GAMES. Here.

Chandler Swain revisits Losey’s STEAMING. Here.

Scout Tafoya’s second blogathon post details the last film to end them all, PP Pasolini’s positively final SALO. Here.

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Crazy at Fox

Posted in FILM with tags , , , , on March 23, 2013 by dcairns

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John Ford’s 1927 Fox comedy UPSTREAM starts off in a theatrical rooming house — and stays there for half its running time. The scenario allows Ford to have fun with stereotyped theatre types, and a little fun with space, too.

The movie has that early Fox look, all smoky and grimy yet luminous, to which Time has added a loving filigree of nitrate decomposition, dancing away at the edge of frame like the fingerprints of a jellyfish.

In this dinner scene, the whole cast is gathered around a table — we see that the landlady is at the head of the table and  her lodgers are arrayed along both sides. News comes that an important booking agent has arrived at the front door, and each struggling ham briefly imagines that the call is for him or her. And here Ford does something very strange.

Tracking laterally along the table, he captures the reverie of each of his cast — in a single, straight line.

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The weird thing about that is that it’s impossible, since we’ve already seen that half the actors are at one side of the table, half at the other. But since Ford wanted an unbroken, linear track, he’s brought in a table twice as long as the one in the establishing shot and sat everybody along one side, like in The Last Supper.

Oddly, this abandonment of elementary continuity isn’t off-putting. I doubt if everybody even notices it, so compelling is Ford’s tracking shot (a bit like the starry crab dolly along the canteen tables in SHOW PEOPLE). The idea is consistent with the German expressionist approach at Fox. Edgar Ulmer claimed that the expressionists would build a new set for every camera angle, to get their compositions to work out just the way they’d drawn them. In Frank Borzage’s masterpiece SEVENTH HEAVEN, how many viewers have any problem with the glaring fact that the garret where Janet Gaynor lives is apparently reached by two completely different stairwells, one that’s angular, for the crane shot, and one that’s spiral for the overhead angle?

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This kind of vigorous warping of the physical universe was continued by Hitchcock in SHADOW OF A DOUBT, when he had different shapes and sizes of dinner tables used to allow him to group his actors as tightly or loosely as the compositions required. One table was egg-shaped, so that the cast could be clustered at the sharp end and all appear in a shot representing the mother’s POV. But that isn’t near as bold as the Fox examples — you aren’t meant to notice it, and you don’t.

I would like to see more of this kind of creative craziness.

Occupational Hazards

Posted in FILM, Mythology, Politics with tags , , , , , , , , , on December 29, 2012 by dcairns

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Frank Borzage’s TILL WE MEET AGAIN is one of his many good ones — it’s a bit undercast, though, with Ray Milland compelled to suppress his naughtiness and Barbara Britton as a novice nun showing no hint of any naughtiness at all (but when you see her in I SHOT JESSE JAMES you see she had considerable reserves of that desirable quality).

Milland plays an American airman (with very occasional nods to a vaguely stateside accent) shot down, rescued by the resistance, and entrusted with secret intelligence gathered by the underground. After a last-minute disruption in their plans, Britton finds herself entrusted with escorting Milland to safety. The movie could have been a forerunner of HEAVEN KNOWS, MR ALLISON, except that somebody obviously felt that any hint of desire between (married) man and (married to Christ) nun would be unacceptable. The most the movie can admit to is that Milland’s reminiscences about his home life open Britton’s eyes to an understanding of male-female relations that had been denied to her. Under the surface, of course, Borzage hints at simmering romantic longing, never stated, and that gives the film its edge.

Scripted by Lenore Coffee, the movie generates just enough suspense in its cross-country situations, and just enough unresolved sexual tension, to maintain interest, but the real attraction is the wondrously unreal studio landscapes and the lighting and camera movies Borzage presides over with ace DoP Theodor Sparkuhl (AKA “Mr. Sparkle”).

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It’s wartime propaganda, of course — Konstantin Shayne is a witty Nazi villain, and Walter Slezak plays a craven French mayor acting as his accomplice, who must of course reveal a scrap of decency lurking somewhere about his corpulent form. Like most Borzage, it’s also informed by religious feeling, but this side of it isn’t propagandistic — rather, it’s felt by the filmmaker and expressed honestly. Sexuality was always a part of Borzage’s religious feelings, and he allows himself the tiniest hint that perhaps Britton’s character would have liked to experience this, and would have actually grown closer to God by doing so — and that she has become more human and divine just from recognizing this. A key scene occurs when she nurses a delirious, injured Milland, who mistakes her for his wife. The scene fades to black discretely, the editor’s favourite mode of plausible deniability — we’re not told where she passes the night. But we could look at CHINA DOLL, a middling late Borzage which reprises many of his favourite tropes, and gain a more distinct idea of what MIGHT have happened…

Also —

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Britton is looking for Milland.

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A puff of cigarette smoke seems to betray his position.

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But — ack! — it’s not him.