Archive for Panic in the Streets

Peckstein

Posted in FILM, Politics with tags , , , , , , , , , , , , on November 27, 2015 by dcairns

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There’s really no IMAGERY at all in this film, but look — a primordial Dean Stockwell!

“Be nice to the next Jew you meet, because he might be a gentile,” is how one friend characterized GENTLEMAN’S AGREEMENT, rather acidly, in which journalist Gregory Peck goes undercover as a Jew. This doesn’t involve the use of a big papier-mache head, as we used in NATAN (we had our reasons), but simply a bit of barefaced lying. The film means well, and director Elia Kazan does manage to get human hatpeg Peck to unclench very slightly, plus it has Dorothy McGuire and Celeste Holm. But it notably comes to life in scenes with actual Jewish characters (John Garfield, Sam Jaffe), actual antisemites, or both (self-hating Jew June Havoc). Which suggests that the plot device, rather than being an accessible way in to the story for middle America, may in fact be acting as a barrier between the subject and its emotional potential.

Plus it’s all very serious, despite being basically SULLIVAN’S TRAVELS. It never pokes fun at its earnest hero, who’s always right. It never really acknowledges that for all the tension he feels and humiliation he puts up with (in ONE SCENE), he has it dead easy compared to actual, genuine Jews, and that his ability to go back to his true identity at any instant rather lessens the burden he feels (think Pulp’s Common People). And nobody comments on the fact that his article, conceived as I Was Jewish for Six Months, finally appears as I Was Jewish for Eight Weeks. Time off for good behaviour?

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An intriguing and cold frame about the distance between people — but Kazan doesn’t recognize it for what it is, thinks it’s just an establisher, and cuts to a cosy two-shot the second Garfield (right) sits down.

Kazan reckoned that he didn’t start shooting expressively until PANIC IN THE STREETS, and that’s borne out by the staid, static, medium-shot-heavy “photographs of people talking” approach on display here. The nice liberal story gets a nice, bland treatment. The performances do help, and Moss Hart’s placid script is entertaining in a gentle, trundling way, springing to something more like life whenever we get closer to the actual issue. Kazan admitted the film wasn’t unsettling and didn’t go deep, but at least the story idea allows a WASP into the drama, whereas his other race movie, PINKY, the story of a mixed-race girl passing as white, is totally compromised by the placing of white girl (and limited actress) Jeanne Crain in the lead. You can make valid points, but your credits sequence has already announced that you don’t entirely believe in any of them, or not as much as you believe in the law of box office.

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The Big Wheezy

Posted in FILM with tags , , , , , , , , , on November 25, 2015 by dcairns

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Pneumonic plague in New Orleans — that’s the set-up for Elia Kazan’s tense drama PANIC IN THE STREETS (1950), which he claimed marked a turning point in his work. Having previously worked with the actors and filmed everything in medium shots — what Hitchcock would call “photographs of people talking” — here he decided to shoot it like a silent movie, to trust long shots and to try to make a story that could be understood without the words. I didn’t try watching it with the sound down, but the visuals are certainly a million times more dynamic than the staid GENTLEMAN’S AGREEMENT. (His first, A TREE GROWS IN BROOKLYN, is an exception because DoP Leon Shamroy handled the visuals, which made for some powerful, expressive compositions.) And he decided to follow the influence of John Ford, and “trust the longshot,” instead of shooting everything in medium shot, what he called a “theatrical style,” what we would call a televisual one. Kazan was also building on the use of all-real locations, a fashionable approach at Fox, which he had first exploited in BOOMERANG! (1947). The result: Kazan has abruptly become a filmmaker.

If the filmmaking is exciting — the dance of cast and camera is thrillingly choreographed — the world-view is quite conservative. New Orleans has been ethnically cleansed for the occasion, with only a few black sailors to represent the city’s ethnic mix. Sure there are some immigrants, a Greek restaurateur and an Irish dwarf (the ultimate minority?), but the story contrasts a respectable suburban naval doctor (Richard Widmark) and a tough cop (Paul Douglas, partnered more comfortably with Widmark than he was with Leslie Phillips in THE GAMMA PEOPLE) with the various disease-harbouring low-lifes who must be tracked down, arrested and decontaminated. So I’d argue the comfortable middle-class viewpoint stops it being noir. On the other hand, the family scenes (with Barbara Bel Geddes) are nicely drawn, and cute. And the lowlifes — what lowlifes they are! (But shouldn’t that be “lowlives”?)

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“Walter” Jack Palance (he would soon drop the first name) and Zero Mostel make a remarkable team. Palance, especially sinewy here, basically lost a layer of fat when burned in WWII. Mostel seems to have inherited that layer. The two men, one lean, impossibly dynamic and snarling, the other baggy, perspiring and whimpering, almost manage drag the movie down into the sewer where a good noir should live. You can practically see the germs swarming around them. Palance shoves and rolls Mostel before him, then drags him. The highly physical chase sequence at the end looks about to kill both men, though it isn’t as hair-raising as the opening, where Kazan has Patient Zero (Lewis Charles) wander in front of an oncoming train, for real, escaping messy death by seconds.

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Perhaps aptly, Kazan cast himself as a mortuary assistant.

This criminous double-act reminds me oddly of the cat and fox in  PINOCCHIO — ridiculous in themselves, they are nevertheless capable of bringing great harm.

Mostel has a dual role, as goofy cat to Palance’s wily fox, and as conscience to Kazan. I suspect every pre-testimony Kazan film features at least one incipient blacklistee, haunting the scene. Mostel is paunchy wraith from the future.