Archive for John Ford

Let the stick decide

Posted in FILM, literature with tags , , , , , , , , , on May 23, 2016 by dcairns

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Early in John Ford’s YOUNG MR. LINCOLN, Henry Fonda drops a stick to decide which path to take in life.

Scene one of Akira Kurosawa’s YOJIMBO, Toshiro Mifune throws a stick in the air to decide which route to take at a fork in the road.

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Now, we know Kurosawa idolized Ford, so do we think this superficial similarity is a conscious homage/steal? I’m inclined to think so. YOJIMBO is Kurosawa’s most American film, since it adapts Dashiell Hammett’s Red Harvest, and also steals a scene (the one with the giant sadistic thug) from the Alan Ladd film of The Glass Key (or from the book: I don’t remember the scene, but I expect it’s there).

Kurosawa kept a signed picture Ford had given him, and I think also wore a Fordian hat.

Ford to Kurosawa: “You really like rain, don’t you?”

Day Two

Posted in FILM, MUSIC with tags , , , , , , , , , , , , on July 19, 2014 by dcairns

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My second day at Il Cinema Ritrovato and I was for sure going to make it into town in time to see THE EXPLOITS OF ELAINE — a serial represented by one tantalising still in Denis Gifford’s A Pictorial History of Horror Movies. Sadly, the two episodes screened, fun though they were, did not include the Jekyll-and-Hyde sequence Gifford depicted, so I can’t altogether chalk that one off my list.

Still, the bits shown, two full episodes with some sequences spliced in from elsewhere (those wacky Belgians!) were jolly good fun.

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Like a lightweight, I gave myself 45 minutes of daylight before plunging into TEODORA, IMPERATRICE DI BISANZIO (THEODORA, SLAVE EMPRESS), part of the too-brief Riccardo Freda season. This was campy, sword-and-sandal fun, showing signs of the amoral and unsympathetic eye Freda would later turn on his characters. One character, a prison guard is seduced by the vamp-heroine so she can escape her bonds. He’s blinded with a red-hot poker for his troubles (the sadism of the giallo and the spaghetti western is fully present in the peplum). Later, he turns up as a kind of monster, stalking towards Teo in his fur-trimmed barbarian/s&m costume, only to get speared by the hero. Shouldn’t he merit a little sympathy? Apparently not.

The movie also features the best beast attack I’ve ever seen — scores of wild cats of all breeds leaping upon and devouring Roman soldiers. Freda uses the standard formula — shot of real big cat jumping, shot of extra being walloped with stuffed lion — but he cuts so frenetically and does it so many times that the sequence attains a kind of ludicrous, drunken conviction. Hilarious and breath-taking.

The feature screened with a short, I MOSAICI A REVENNA, in which Freda artfully films the religious art of the early Byzantine Empire — and he interpolates a few shots from the doc into his feature to bolster the production values.

On to the big screen at the Arlecchino, for OKLAHOMA! which I could only justify on the grounds that a Todd-AO restoration is an unusual event, and I wanted to see what it looked and sounded like. Well, pristine, for starters. I kind of resented the way the intro was all about the difficulty of the restoration — the challenge seems to have been the main motivation — with no mention of Fred Zinnemann and his achievement, mixed though it may be. On the big screen, with the six-track magnetic stereo sound remastered and the image taken from the decaying negative ten years ago and digitally restored at 50fps 30fps, the film is overwhelming. Rarely have I seen so much of the great outdoors indoors. The micro detail allows you to spot tiny flies and butterflies (and water-snakes) wafting through frame, sometimes to dramatically fortuitous effect. Note also Zinnemann’s innovative direct cutting, achieved without the guiding influence of the nouvelle vague. When Gordon MacRae sings of his putative surrey with a fringe on top, we just cut to the damn thing, on the beat, rollicking along against a massive sky, just as if it had existed all along.

If I started to list the things I missed while watching this jolly 148 minute roadshow pic, complete with intermission, I might start to cry. That’s the curse of the film festival. Oh, very well — Cagney’s debut in OTHER MEN’S WOMEN — a 1935 Mizoguchi and a Takashima of similar vintage — something called IN THE LAND OF THE HEAD HUNTERS — NIGHT NURSE with Stanwyck and Blondell in their scanties — a conference on film restoration — a film by Henny Porten’s sister — Chaplin’s THE VAGABOND and EASY STREET — Giuseppe Tornatore talking about Francesco Rosi’s SALVATORE GIULIANO — Guru Dutt’s PYAASA… and the same impossible choices are offered up from 9am to 9.45pm every day!

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By simply remaining in my seat I could catch MY DARLING CLEMENTINE, so I did. Later, Dave Kehr told me about the earlier cut, the authentic Ford cut, which alas does not seem to have been restored. But Linda Darnell on the big screen, even playing a character called Chihuahua ffs, was possibly the most impressive sight of the fest.

In the massive Piazza Maggiore, the public gets in free along with the guests — to watch SALVATORE GIULIANO, in this case, with Tornatore introducing. The restoration makes it look new. It’s a very impressive film, but after 12 hours of screenings I am not taking it in as well as I might — though the film’s unconventional structure (a bit like a CITIZEN KANE in which we see Thompson but don’t see KANE) certainly comes across — when you’re dog-tired and have no idea how far from the end of the movie you might be, you certainly notice.

Thursday’s Child

Posted in FILM, Politics with tags , , , on February 13, 2014 by dcairns

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Shirley Temple as Philadelphia Thursday in John Ford’s FORT APACHE reacts to the sight of a cavalry officer having his ass spanked.

Very early in this smart, revisionist, conflicted western, our Shirl is shown reacting joyously, first to the sight of John Agar shirtless — her expression cycles through shock, fear, shame, and winds up on “This is great, and it’s totally not my fault that I happened to walk in and see this, so I’m going to enjoy it!” — and then to the sight of him getting spanked — expression saying “This is REALLY shocking — but fun!”

These non-prudish reactions make us like the smooth, creamy Philadelphia, but they also made me think that perhaps the reasons audiences didn’t embrace Shirley in adult roles was that she was sexual, while still using the same palette of performance that had been her stock-in-trade in the thirties. Here, she even does the adorable, momentary trying-not-to-laugh routine, which involves a tightening of the corners of the mouth as they attempt to hold back a smile — Shirley only ever holds back for an instant, and we know it must be a trick because she does it so often and so consistently in her kiddie performances, but it ALWAYS works — we smile too. Seeing this in an adult perf, the public might feel that she was tainting their memories of Curly Top, or that she was making visible the adult qualities that had always been a part of the child star’s persona. It feels wrong to say that Shirley Temple turns you on.

In the sense that she creates a cognitive dissonance, that she has one foot in an earlier age of film storytelling, Shirley might be the perfect star for FORT APACHE, a movie that succeeds in being iconoclastic and placing the US cavalry on the wrong side of the Indian wars, and does not quite succeed in frantically back-pedaling out of danger and leaving us with a comfortable printed legend, all our revered institutions standing proud and unblemished.

The most beautiful tribute.

The ’68 Comeback Special will appear later today.

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