Archive for Gary Cooper

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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High Noon at Marienbad

Posted in FILM with tags , , , , on October 26, 2011 by dcairns

I’m not trying to be boastful or anything, but when I first got the idea for the above cut-and-paste composograph, I got very excited. And then for a while it was apain in the neck, because I don’t have Photoshop and other equivalent tools just don’t compare. But then, when the end was in sight, I got this incredible SUGAR RUSH. So I think it’s good.

If I come up with enough of these, maybe I can publish a set of copyright-violating postcards.

Pull up a chair

Posted in FILM with tags , , , , , , , , , , , , , , , , , on October 21, 2011 by dcairns

The bit in HIGH NOON that always impresses me the most is outlaw Frank Miller’s empty chair.

Of course, the real-time approach to story is fascinating and very novel, and leads directly to the omnipresent clock shots, each more ominous than the last. Dimitri Tiomkin’s ballad started a (somewhat regrettable) trend, but still sounds fresh, with its unusual frog-burp rhythm. The cinematography, pasting bleached-out skies behind flat-lit action, influenced by Mathew Brady’s period photos, violated the traditional Hollywood aesthetic and opened up new possibilities. Cooper’s age works to the film’s advantage, Lon Chaney Jnr gets one of his rare decent roles, Grace Kelly is radiant in her second role (a disciple of Flaherty, Zinnemann realized he could use her inexperience to illuminate the character).

But I’m obsessed with that chair.

First time out, the chair is mentioned — “That’s the chair Frank Miller sat in when he was sentenced!” Second time, during the final ticking-clock montage which revisits every character we’ve met as they await the stroke of noon, Zinnemann tracks in on the empty chair. This isn’t exploring space, roving POV, following movement or storytelling, so it must be the fifth kind of camera movement motivation: psychological. This is where we track in on a character as they think deep thoughts or feel a surge of emotion, and the movement makes us sense the thought/emotion building within them. The difference here is, the man who sat in the chair and felt the emotion did it months before the movie began. He’s not there anymore. But, like the spectres in THE SHINING, he’s left a trace of himself, and that’s what Zinnemann is filming. He’s tracking backwards in time, like Ophuls or Tarkovsky or Sokhurov, the only difference being that the temporal movement doesn’t reveal itself visually, only by mental impression.

Zinnemann’s fellow Viennese, Von Sternberg, wrote of his desire to photograph an idea — Zinnemann, it seems to me, has done this. Although I think the shot was probably a huge influence on Spielberg, who likes tracking in on objects to imbue them with significance and make us consider their narrative import, I think F.Z.’s shot goes markedly deeper, creating a sense of brooding lust for vengeance out of nothing more than empty air and a piece of furniture designed to receive the buttocks.

I haven’t tried this myself, but I suspect that if you watch this scene wearing the polarising glasses used to make the phantoms visible in William Castle’s 13 GHOSTS, you would get surprising results.

Film criticism, which used to see Peckinpah and Leone as the Men who Killed the Western (with realism, parodic exaggeration, and the destruction of moral certainties), now seems to have turned the clock back to put the blame on HIGH NOON and the psychological western. Suddenly there was liberal angst in the West, neurosis and concern about whether people are truly good, and that is seen as the first nail in the coffin of a genre built on certain shared assumptions. Maybe that’s why Hawks reacted so badly — he sensed the writing was on the wall. In many ways, HIGH NOON does seem to prefigure the decline of the genre — we have Gary Cooper looking old, the small community is no longer a source of final virtue and courage, and something strange and disturbing has happened to the style…

Leone quoted shots from HIGH NOON throughout his career, as Sir Christopher Professor Frayling would tell you, as well as borrowing Lee Van Cleef, one of the villain’s henchmen (as Peckinpah borrowed Katy Jurado). The musical fob watch in FOR A FEW DOLLARS MORE is just an excuse to re-stage the above musical build-up three times in one movie. And of course ONCE UPON A TIME IN THE WEST opens with a ten-minute compression of Zinnemann’s whole show. If Leone had fulfilled his dream of casting Eastwood, Wallach and Van Cleef as the three killers waiting for the train, Van Cleef’s appearance would have been a double joke.

To Leone, HIGH NOON seems to have been just a good western to swipe from, like YELLOW SKY (watch the ending of that one and HIGH NOON with the opening of THE GOOD THE BAD AND THE UGLY!), not some departure from the norm. But Zinnemann is using the visual language of film noir — sweaty, intense close-ups, looming into a wide lens, porous, scowling, faces crowded together — in a western. If the climax of ACT OF VIOLENCE (face-off, with long walk, at a railway station) resembles a western duel in negative — which it does, because I just said so — then HIGH NOON is a film noir in negative, the sky a bleached-out Moby Dick white. And as we know from THE SHINING, some things are scarier in the bright light.

So what this ultimately means is that HIGH NOON is the source for a good 75% of Leone’s overall visual approach… so maybe Zinnemann DID kill the western, or at least supply the weapon that fired the shot.