Archive for Linda Darnell

A Nice, Clean Girl in a Nice, Clean World

Posted in FILM, Politics with tags , , , , , , , , , , , , on October 10, 2014 by dcairns

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The line “A nice, clean girl” &c is sneered — SNEERED! — by Richard Widmark at Linda Darnell in Joe Monkeybitch’s electrifying thriller / issues film NO WAY OUT. It’s a movie whose liberal good intentions are easy to mock, but which are played out mainly in exciting noir situations. Widmark’s racist is suitably pathetic, stupid and inadequate, but still a convincing threat by virtue of sheer vicious malevolence and the actor’s magnetism. It’s fashionable to say that Sidney Poitier, here in his first lead role (even if he’s billed fourth, AFTER the main title and in a clump of supporting schmoes) was cast in boring, squeaky clean parts for much of his career, but he’s no more virtuous than the average leading man of 1950. Perhaps a little too noble by Mankiewicz’s high standards, BUT —

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Widmark isn’t the only one who can sneer.

You also get Ossie Morris Davis and his sexy wife Ruby Dee and Mildred Joanne Smith and Dots Johnson and Amanda Randolph and Maude Simmons too — most of them uncredited, to be sure — I think whoever decided credits at Fox was not as progressive as the director — and because Mankiewicz and co-scribe Lesser Samuels (ACE IN THE HOLE) are good writers, they play a variety of interesting people. I don’t think it’s purely a desire to be progressive, I think it’s just the good writer’s desire to avoid boring stereotypes and give the audience an interesting experience with some interesting characters. Amanda Randolph pops up as a housekeeper and nearly walks of with the film.

Also interesting is Harry Bellaver as Widmark’s deaf-mute brother. The treatment of disability is not as progressive as the treatment of race, with Bellaver treated as a stooge by all and sundry — when the doctors want family permission to perform an autopsy on the third Biddle brother, nobody even considers asking him. One wishes he had a bit more independence as a character but I guess he’s relied on Widmark all his life. It’s kind of interesting to see a deaf racist in a film — we even get the sign-language equivalent of all the racist terms used so freely by Widmark’s venomous bigot — Bellaver presses his nose flat with one hand. An ironic sign, since Bellaver already has a squashed-flat neb that looks like the impact site of a putty meteor.

Darnell has one of the best roles she ever got — Mankiewicz gave her the very best in LETTER TO THREE WIVES — where she gets a tremendous range of stuff to do and a journey from slovenly tramp to well-meaning tart with a heart to racist stooge to class victim to heroine. Stephen McNally, billed ahead of Poitier, has the genuinely boring role as the nice head doctor, and the screenplay sensibly sidelines him as early as possible and omits him from the climax entirely. See The Knick for a stronger solution to the role of the head doctor dealing with his first black M.D. — boldly, the series puts the hero in the wrong.

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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.

Stuff and things

Posted in FILM with tags , , , , , on December 6, 2008 by dcairns

The new banner is a woodcut by Guy Budziak, regular Shadowplayer and very possibly the leading proponent of the film noir woodcut.  Buy one for the noirist in your life.

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Linda Darnell and Charles Bickford face off in Otto Preminger’s FALLEN ANGEL.

And in other news, another regular Shadowplayer has started his own blog. Alex Livingstone’s Snakes Are My Life, In A Way brings you funny film stuff to supplement your Shadowplaying. Everyone go there! Go now and surprise him! Go even if you only came here in hopes of finding something about Zarah Leander or William Gargan!