Archive for John Sturges

The People Against The Thing From Another World

Posted in FILM with tags , , , , , , , , , , , on September 3, 2019 by dcairns
Called to the bar.

Casting Spencer Tracy as an alcoholic is a bit nervy… a scene showing him engaging in a sketchy interaction with Eduardo Ciannelli in the men’s room may be dicier still. THE PEOPLE AGAINST O’HARA (1951) has moments of subversion and dissonance unusual in an MGM picture.

Tracy plays a retired criminal lawyer and reformed boozer driven back to the bottle by his struggle to win the case of a young man (James Arness, THE THING FROM ANOTHER WORLD himself) accused of murder. John Sturges directs — his early thrillers aren’t as noirish as Anthony Mann’s, but he does have cinematographer John “single-source” Alton on his side so the movie is beautiful.

I must have looked away during the credits because I missed Alton’s name, but the suspicion gradually donned on me as the film went on that I was seeing his work. One of the few DoP’s with such a distinctive style.

This is the shot that made me first glimmer and glom.

“Spencer Tracy’s always good as a lawyer. He’s so solid,” said Fiona. “He’s an immovable force.”

“I think you can have an immovable object or an unstoppable force…” I suggest, but then come to think she’s right. Spence is an immovable force. Or possibly an unstoppable object.

The film is very well cast — Diana Lynn has one terrific scene, John Hodiak is fine in his natural environment as third lead, Pat O’Brien fades into the furniture, Ciannelli and William Campbell are great nasties, and if you enjoy the look, sound and feel of Emile Meyer as much as I do, you will enjoy seeing, hearing and touching him here.

This is sort of a noir — there is some surprising stuff, including the ending. But the ultimate message of just about any MGM film is that the system works, so you don’t get a real sense of subversion and malaise, but then, maybe you already have enough of that in your life.

THE PEOPLE AGAINST O’HARA stars Dr. Jekyll and Mr. Hyde; Hildy Johnson; Emmy Kockenlocker; John Kovac; Dr. Satan; the Thing from Another World; Cimmaron Rose; Walking Coyote; Concho; Chief Quinn; Reverend Cyril Playfair; Mrs. Carol Stark; Lt. Harry Kello; Chief Inspector Bernie Ohls; Paul Kersey; Molly Molloy; Mr. Rafferty; and the voice of Colossus.

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Holliday Affair

Posted in FILM with tags , , , , , , , , on March 15, 2019 by dcairns

I was struck by the stylised movements of several of the main cast in John Sturges’ GUNFIGHT AT THE OK CORRAL. Of course Burt Lancaster (as Wyatt Earp) was a former acrobat and always brought what I believe is termed a panther-like grace to his performances. But he and Kirk Douglas (Doc Holliday) and Jo Van Fleet are all doing an odd and beautiful thing, where they stop their movements momentarily each time they reach a potential dramatic pose, what animators might call an “extreme.”

These micro-pauses are very brief, but they make it a good film for frame-grabbing. As is the fact that the movie, always handsome (except a few regrettable studio night exteriors, something the colour western never mastered), becomes a series of striking icons as we near the climactic shoot-out.

(The women’s roles are unusually good, though Rhonda Fleming is robbed of her initial impact when she has to fall in love. Her movements are naturally more fluid than JVF’s, so they make a good contrast.)

Must check other Sturges films to see if this is something he pursued further.

K. Douglas: “The only trouble is, those best able to testify to my aim are unavailable for comment.”

Sharp screenplay by Leon Uris and George Scullin. Douglas and Van Fleet’s dysfunctional relationship (he’s a self-loathing drunk and sees her as the embodiment of his fallen status) is BY FAR the most interesting aspect. Douglas is always at his best with a touch of nastiness: fiercely competitive, he does actual manage to out-act Burt here.

Am pretty sure I never found Dennis Hopper beautiful before, but he is here. It makes me reassess his early career — he was set to be a fifties prettyboy like Tab Hunter, I guess. His inner beast had other plans. But now I see this soulful sweetness shining through in things like THE AMERICAN FRIEND.

GUNFIGHT AT THE O.K. CORRAL star J.J. Hunsecker & Steve Dallas; Vincent Van Gogh; Meta Carson; Ella Garth; Cherry Valance; ‘Bim’ Nolan; Fante & Mingo; Sidney Broome; Frank Booth; Prof. Teenage Frankenstein; Dr. ‘Bones’ McCoy; Capt. Patrick Hendry; Mrs. Jorgensen; and Alamosa Bill.

*Probably would have posted something else today if I’d read the terrible news from Christchurch. Hate is all around us. If you know someone who is eaten up with it, get them talking. If they seem driven to act on it, report them. If they still have any decency, work on them. Damn it, humanity.

In the Zone

Posted in FILM with tags , , , , , , , , on February 23, 2017 by dcairns

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Our nightly Twilight Zone viewings prompted me to suggest a screening of SADDLE THE WIND — we’d watched a few Zone episodes with western settings, so a Rod Serling-scripted oater seemed worth a punt. Didn’t go too well — might be a while before I can persuade Fiona to view another cowboy flick.

(My mother LOVES westerns, so I grew up thinking this was normal. Women like westerns. Men like musicals and horror movies. It seemed so reasonable.)

STW is one of those wretched “part-works” (Douglas Sirk: “I have no interest in these part-works.”) Robert Parrish is the credited helmer, but John Sturges also did some of it, I have no idea what. There IS a noticeable tendency for expressive location shots to be interrupted by nasty, obtrusive process-shot “exteriors” and these often come along just when a scene is looking promising. So my guess would be somebody did too interesting a job and the producer wanted it watered down.

It isn’t Serling’s story, so he’s mainly the dialogue man, I guess. It’s noticeable that these cowboys tend to express themselves in florid similes and metaphors, some of which are pretty entertaining. “Keeping your brother under control is like putting hot butter in a wildcat’s ear, it just can’t be done.”

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The story is hopeless. The very strange trio of Robert Taylor, John Cassavetes and Julie London are at the centre. I thought these three would be bound to produce something of interest, but Taylor is such a wet blanket, God love him. He’s also a detestable hero: his little brother, Cassavetes, evolves into a psycho-killer in the course of two days, and Taylor does nothing except bully a poor farmer (Royal Dano) whom his brother later kills. London is brought in as Cassavetes’ girl, and within minutes three different men have referred to her as a “thing” — this turns out to be preparation for her insistence on personhood, which is good to see, but after the first act she’s left with nothing to do. Serling could be considered an artist who found a freedom and creative scope in TV that the movies couldn’t grant —

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Which may be the only grounds for comparing him with Red Skelton.