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Text
1. The
Parallax View is an interesting suspense thriller with a thin plot involving a newspaper reporter named Frady (Warren Beatty) and his independent investigation of an employment bureau for assassins. 2. The Parallax View is Alan Pakula’s hommage to Alfred Hitchcock, employing many of the Master’s REVIEW: THE MAN WHO WOULD BE KINGJohn Huston
said recently he has made only three good films in the past decade: Reflections in a Golden Eye, Fat City, and The Man Who Would Be King. Though I’m still holding out—more or less alone, I think—for The Kremlin Letter to be included among his REVIEW: ROBIN AND MARIANA lot of things
work against Richard Lester’s new film Robin and Marian. In the first place, as two of England’s most treasured heroes, those ur-Communists Robin Hood and Little John, Lester has cast (horrors!) two rowdy Scots, Sean Connery and Nicol Williamson. In the second, heFILM NOIR ARCHIVES
Small Screen Noir and Neo-Noir. The history of television is full of great crime shows, from Dragnet to Hill Street Blues to Homicide: Life on the Street to The Wire and beyond, but small screen noir is a rare treasure indeed.Let’s face it, TV rarely embraced the visual style or hard-bitten, world-weary, often cynical attitude that defined noir as much as subject matter, setting, and REVIEW: A DOLL'S HOUSEThe
Garland–Elkins production of A Doll’s House is one of two screen adaptations of Ibsen’s play to be released this year, presumably to cash in on the women’s liberation market. Joseph Losey’s film, which will reach Seattle by way of the video screen, is an adaptationfor
REVIEW: THE HEARTBREAK KIDIt’s
possible to see The Heartbreak Kid as a kind of funhouse mirror reflecting the foibles and delusions we all share to some extent. A glance into such a mirror may provoke healthy, rejuvenating laughter or the kind of wearily hip sniggering which passes, in some circles,for wisdom.
REVIEW: HALLOWEEN
A thing
that bugs me about the vast majority of contemporary films is, they rarely give the feeling anyone cared much about framing them. The movement away from studio (i.e., factory) filmmaking has had a lot to do with this. Advancements in film speed, equipment mobility, and REVIEW: ZANDY'S BRIDE Review: Zandy’s Bride. Written by Richard T. Jameson January 12,2016. It may
be a peculiarity of my character that a little of Jan Troell’s unassumingness goes a very long way. There’s something very admirable—and certainly “grownup,” to anyone passionatelyconcerned that
ELIZABETH TAYLOR ARCHIVES Just stayin’ on it, I guess.”. In 2007, my blood boiled as “Entertainment Tonight” gushed ghoulishly over the possibility that 75-year-old Elizabeth Taylor had a “new boyfriend” — referring to the gay black gentleman who escorted the actress to anAIDS benefit.
REVIEW: CÉLINE AND JULIE GO BOATINGCéline
and Julie Go Boating just may bring Jacques Rivette from the background to the foreground in the continuing history of French New Wave directors. Rivette is another of the Cahiers du cinéma writers who made his way from critic to director but, at least until now, 13 WAYS OF LOOKING AT THE PARALLAX VIEW1. The
Parallax View is an interesting suspense thriller with a thin plot involving a newspaper reporter named Frady (Warren Beatty) and his independent investigation of an employment bureau for assassins. 2. The Parallax View is Alan Pakula’s hommage to Alfred Hitchcock, employing many of the Master’s REVIEW: THE MAN WHO WOULD BE KINGJohn Huston
said recently he has made only three good films in the past decade: Reflections in a Golden Eye, Fat City, and The Man Who Would Be King. Though I’m still holding out—more or less alone, I think—for The Kremlin Letter to be included among his REVIEW: ROBIN AND MARIANA lot of things
work against Richard Lester’s new film Robin and Marian. In the first place, as two of England’s most treasured heroes, those ur-Communists Robin Hood and Little John, Lester has cast (horrors!) two rowdy Scots, Sean Connery and Nicol Williamson. In the second, heFILM NOIR ARCHIVES
Small Screen Noir and Neo-Noir. The history of television is full of great crime shows, from Dragnet to Hill Street Blues to Homicide: Life on the Street to The Wire and beyond, but small screen noir is a rare treasure indeed.Let’s face it, TV rarely embraced the visual style or hard-bitten, world-weary, often cynical attitude that defined noir as much as subject matter, setting, and REVIEW: A DOLL'S HOUSEThe
Garland–Elkins production of A Doll’s House is one of two screen adaptations of Ibsen’s play to be released this year, presumably to cash in on the women’s liberation market. Joseph Losey’s film, which will reach Seattle by way of the video screen, is an adaptationfor
REVIEW: THE HEARTBREAK KIDIt’s
possible to see The Heartbreak Kid as a kind of funhouse mirror reflecting the foibles and delusions we all share to some extent. A glance into such a mirror may provoke healthy, rejuvenating laughter or the kind of wearily hip sniggering which passes, in some circles,for wisdom.
REVIEW: HALLOWEEN
A thing
that bugs me about the vast majority of contemporary films is, they rarely give the feeling anyone cared much about framing them. The movement away from studio (i.e., factory) filmmaking has had a lot to do with this. Advancements in film speed, equipment mobility, and REVIEW: ZANDY'S BRIDE Review: Zandy’s Bride. Written by Richard T. Jameson January 12,2016. It may
be a peculiarity of my character that a little of Jan Troell’s unassumingness goes a very long way. There’s something very admirable—and certainly “grownup,” to anyone passionatelyconcerned that
ELIZABETH TAYLOR ARCHIVES Just stayin’ on it, I guess.”. In 2007, my blood boiled as “Entertainment Tonight” gushed ghoulishly over the possibility that 75-year-old Elizabeth Taylor had a “new boyfriend” — referring to the gay black gentleman who escorted the actress to anAIDS benefit.
REVIEW: CÉLINE AND JULIE GO BOATINGCéline
and Julie Go Boating just may bring Jacques Rivette from the background to the foreground in the continuing history of French New Wave directors. Rivette is another of the Cahiers du cinéma writers who made his way from critic to director but, at least until now, 13 WAYS OF LOOKING AT THE PARALLAX VIEW1. The
Parallax View is an interesting suspense thriller with a thin plot involving a newspaper reporter named Frady (Warren Beatty) and his independent investigation of an employment bureau for assassins. 2. The Parallax View is Alan Pakula’s hommage to Alfred Hitchcock, employing many of the Master’sFILM NOIR ARCHIVES
Small Screen Noir and Neo-Noir. The history of television is full of great crime shows, from Dragnet to Hill Street Blues to Homicide: Life on the Street to The Wire and beyond, but small screen noir is a rare treasure indeed.Let’s face it, TV rarely embraced the visual style or hard-bitten, world-weary, often cynical attitude that defined noir as much as subject matter, setting, and REVIEW: THE TRAIN ROBBERS Review: The Train Robbers. Written by Richard T. Jameson October 16,2017. Burt
Kennedy is one of those fitfully interesting but dreadfully unreliable minor talents whose films are saved—when they are saved—by (frequently unassimilated) quirks in his style and treatment. REVIEW: LOVE AND ANARCHY In Love and Anarchy, Lina Wertmüller incorporates many things Fellinian—Rotunno’s gorgeous camerawork, Rota’s characteristic harmonies, thematic tidbits such as grotesques-made-lovable, prostitutes making music and selling their wares, and even an aging female character who pitiably begs heraudience to
NIGHT OF THE AUK ARCHIVES James MacArthur and William Shatner in the TV production of ‘Night of the Auk’ On May 2, 1960, William Shatner took his maiden voyage on a spaceship in a television production of Arch Oboler’s ill fated Broadway play Night of the Auk.Shatner plays Lewis Rohnen, the megalomaniacal leader of mankind’s first expedition to the moon, which at the start of the play, is making its return toREVIEW: BRANNIGAN
Review: Brannigan. Written by Richard T. Jameson January 12, 2015. There’s some terrific supporting material in that cast list, but everybody onscreen looks, and has excellent reason for feeling, pretty embarrassed about the whole thing. Brannigan is the sort of picture that gives John HAWKS, CHANDLER AND THE BIG SLEEP The movie’s elimination of the book’s more explicit and critical social awareness nudges the story much closer to nightmare and myth. Hawks minimizes the realism in a way that makes the tale less a darkly realistic vision of the Los Angeles underworld "TOUCH OF EVIL": CROSSING THE LINE Crossing the border in the opening long take. In establishing this matrix of border crossings, Touch of Evil‘s celebrated opening shot—mercilessly parodied in Robert Altman’s The Player and sometimes vilified as mere Wellesian exhibitionism—is in fact an entirely appropriate bit of audacity, and one that earns its place, more so than such progeny as the opening shot of John Carpenter MANNERS, MORALS, AND MURDER: SLEUTH AND MURDER ON THE Manners, Morals, and Murder: Sleuth and Murder on the Orient Express. Written by Pierre Greenfield October 13, 2010. Sleuth and Murder on the Orient Express. More than puzzles are to be teased out in these two jokey, backward-looking thrillers. Two ultra-British subjects are handled by 'HE'S FROM BACK HOME': MAN AND MYTH IN 'HIGH SIERRA A fatal irony is one of the major facts of life in the narratively repetitious world of High Sierra where a lot of things tend to happen more than once: repeated motions, returns to the same place, actions or characters which anticipate one another with a sense of accumulating fatality and mortality. Pa Goodhue dodges a jackrabbit on the road to California and almost runs Roy Earle into the 13 WAYS OF LOOKING AT THE PARALLAX VIEW1. The
Parallax View is an interesting suspense thriller with a thin plot involving a newspaper reporter named Frady (Warren Beatty) and his independent investigation of an employment bureau for assassins. 2. The Parallax View is Alan Pakula’s hommage to Alfred Hitchcock, employing many of the Master’s REVIEW: THE MAN WHO WOULD BE KINGJohn Huston
said recently he has made only three good films in the past decade: Reflections in a Golden Eye, Fat City, and The Man Who Would Be King. Though I’m still holding out—more or less alone, I think—for The Kremlin Letter to be included among his REVIEW: ROBIN AND MARIANA lot of things
work against Richard Lester’s new film Robin and Marian. In the first place, as two of England’s most treasured heroes, those ur-Communists Robin Hood and Little John, Lester has cast (horrors!) two rowdy Scots, Sean Connery and Nicol Williamson. In the second, heFILM NOIR ARCHIVES
Small Screen Noir and Neo-Noir. The history of television is full of great crime shows, from Dragnet to Hill Street Blues to Homicide: Life on the Street to The Wire and beyond, but small screen noir is a rare treasure indeed.Let’s face it, TV rarely embraced the visual style or hard-bitten, world-weary, often cynical attitude that defined noir as much as subject matter, setting, and REVIEW: A DOLL'S HOUSEThe
Garland–Elkins production of A Doll’s House is one of two screen adaptations of Ibsen’s play to be released this year, presumably to cash in on the women’s liberation market. Joseph Losey’s film, which will reach Seattle by way of the video screen, is an adaptationfor
REVIEW: THE HEARTBREAK KIDIt’s
possible to see The Heartbreak Kid as a kind of funhouse mirror reflecting the foibles and delusions we all share to some extent. A glance into such a mirror may provoke healthy, rejuvenating laughter or the kind of wearily hip sniggering which passes, in some circles,for wisdom.
REVIEW: HALLOWEEN
A thing
that bugs me about the vast majority of contemporary films is, they rarely give the feeling anyone cared much about framing them. The movement away from studio (i.e., factory) filmmaking has had a lot to do with this. Advancements in film speed, equipment mobility, and REVIEW: ZANDY'S BRIDE Review: Zandy’s Bride. Written by Richard T. Jameson January 12,2016. It may
be a peculiarity of my character that a little of Jan Troell’s unassumingness goes a very long way. There’s something very admirable—and certainly “grownup,” to anyone passionatelyconcerned that
ELIZABETH TAYLOR ARCHIVES Just stayin’ on it, I guess.”. In 2007, my blood boiled as “Entertainment Tonight” gushed ghoulishly over the possibility that 75-year-old Elizabeth Taylor had a “new boyfriend” — referring to the gay black gentleman who escorted the actress to anAIDS benefit.
REVIEW: CÉLINE AND JULIE GO BOATINGCéline
and Julie Go Boating just may bring Jacques Rivette from the background to the foreground in the continuing history of French New Wave directors. Rivette is another of the Cahiers du cinéma writers who made his way from critic to director but, at least until now, 13 WAYS OF LOOKING AT THE PARALLAX VIEW1. The
Parallax View is an interesting suspense thriller with a thin plot involving a newspaper reporter named Frady (Warren Beatty) and his independent investigation of an employment bureau for assassins. 2. The Parallax View is Alan Pakula’s hommage to Alfred Hitchcock, employing many of the Master’s REVIEW: THE MAN WHO WOULD BE KINGJohn Huston
said recently he has made only three good films in the past decade: Reflections in a Golden Eye, Fat City, and The Man Who Would Be King. Though I’m still holding out—more or less alone, I think—for The Kremlin Letter to be included among his REVIEW: ROBIN AND MARIANA lot of things
work against Richard Lester’s new film Robin and Marian. In the first place, as two of England’s most treasured heroes, those ur-Communists Robin Hood and Little John, Lester has cast (horrors!) two rowdy Scots, Sean Connery and Nicol Williamson. In the second, heFILM NOIR ARCHIVES
Small Screen Noir and Neo-Noir. The history of television is full of great crime shows, from Dragnet to Hill Street Blues to Homicide: Life on the Street to The Wire and beyond, but small screen noir is a rare treasure indeed.Let’s face it, TV rarely embraced the visual style or hard-bitten, world-weary, often cynical attitude that defined noir as much as subject matter, setting, and REVIEW: A DOLL'S HOUSEThe
Garland–Elkins production of A Doll’s House is one of two screen adaptations of Ibsen’s play to be released this year, presumably to cash in on the women’s liberation market. Joseph Losey’s film, which will reach Seattle by way of the video screen, is an adaptationfor
REVIEW: THE HEARTBREAK KIDIt’s
possible to see The Heartbreak Kid as a kind of funhouse mirror reflecting the foibles and delusions we all share to some extent. A glance into such a mirror may provoke healthy, rejuvenating laughter or the kind of wearily hip sniggering which passes, in some circles,for wisdom.
REVIEW: HALLOWEEN
A thing
that bugs me about the vast majority of contemporary films is, they rarely give the feeling anyone cared much about framing them. The movement away from studio (i.e., factory) filmmaking has had a lot to do with this. Advancements in film speed, equipment mobility, and REVIEW: ZANDY'S BRIDE Review: Zandy’s Bride. Written by Richard T. Jameson January 12,2016. It may
be a peculiarity of my character that a little of Jan Troell’s unassumingness goes a very long way. There’s something very admirable—and certainly “grownup,” to anyone passionatelyconcerned that
ELIZABETH TAYLOR ARCHIVES Just stayin’ on it, I guess.”. In 2007, my blood boiled as “Entertainment Tonight” gushed ghoulishly over the possibility that 75-year-old Elizabeth Taylor had a “new boyfriend” — referring to the gay black gentleman who escorted the actress to anAIDS benefit.
REVIEW: CÉLINE AND JULIE GO BOATINGCéline
and Julie Go Boating just may bring Jacques Rivette from the background to the foreground in the continuing history of French New Wave directors. Rivette is another of the Cahiers du cinéma writers who made his way from critic to director but, at least until now, 13 WAYS OF LOOKING AT THE PARALLAX VIEW1. The
Parallax View is an interesting suspense thriller with a thin plot involving a newspaper reporter named Frady (Warren Beatty) and his independent investigation of an employment bureau for assassins. 2. The Parallax View is Alan Pakula’s hommage to Alfred Hitchcock, employing many of the Master’sFILM NOIR ARCHIVES
Small Screen Noir and Neo-Noir. The history of television is full of great crime shows, from Dragnet to Hill Street Blues to Homicide: Life on the Street to The Wire and beyond, but small screen noir is a rare treasure indeed.Let’s face it, TV rarely embraced the visual style or hard-bitten, world-weary, often cynical attitude that defined noir as much as subject matter, setting, and REVIEW: THE TRAIN ROBBERS Review: The Train Robbers. Written by Richard T. Jameson October 16,2017. Burt
Kennedy is one of those fitfully interesting but dreadfully unreliable minor talents whose films are saved—when they are saved—by (frequently unassimilated) quirks in his style and treatment. REVIEW: LOVE AND ANARCHY In Love and Anarchy, Lina Wertmüller incorporates many things Fellinian—Rotunno’s gorgeous camerawork, Rota’s characteristic harmonies, thematic tidbits such as grotesques-made-lovable, prostitutes making music and selling their wares, and even an aging female character who pitiably begs heraudience to
NIGHT OF THE AUK ARCHIVES James MacArthur and William Shatner in the TV production of ‘Night of the Auk’ On May 2, 1960, William Shatner took his maiden voyage on a spaceship in a television production of Arch Oboler’s ill fated Broadway play Night of the Auk.Shatner plays Lewis Rohnen, the megalomaniacal leader of mankind’s first expedition to the moon, which at the start of the play, is making its return toREVIEW: BRANNIGAN
Review: Brannigan. Written by Richard T. Jameson January 12, 2015. There’s some terrific supporting material in that cast list, but everybody onscreen looks, and has excellent reason for feeling, pretty embarrassed about the whole thing. Brannigan is the sort of picture that gives John HAWKS, CHANDLER AND THE BIG SLEEP The movie’s elimination of the book’s more explicit and critical social awareness nudges the story much closer to nightmare and myth. Hawks minimizes the realism in a way that makes the tale less a darkly realistic vision of the Los Angeles underworld "TOUCH OF EVIL": CROSSING THE LINE Crossing the border in the opening long take. In establishing this matrix of border crossings, Touch of Evil‘s celebrated opening shot—mercilessly parodied in Robert Altman’s The Player and sometimes vilified as mere Wellesian exhibitionism—is in fact an entirely appropriate bit of audacity, and one that earns its place, more so than such progeny as the opening shot of John Carpenter MANNERS, MORALS, AND MURDER: SLEUTH AND MURDER ON THE Manners, Morals, and Murder: Sleuth and Murder on the Orient Express. Written by Pierre Greenfield October 13, 2010. Sleuth and Murder on the Orient Express. More than puzzles are to be teased out in these two jokey, backward-looking thrillers. Two ultra-British subjects are handled by 'HE'S FROM BACK HOME': MAN AND MYTH IN 'HIGH SIERRA A fatal irony is one of the major facts of life in the narratively repetitious world of High Sierra where a lot of things tend to happen more than once: repeated motions, returns to the same place, actions or characters which anticipate one another with a sense of accumulating fatality and mortality. Pa Goodhue dodges a jackrabbit on the road to California and almost runs Roy Earle into the 13 WAYS OF LOOKING AT THE PARALLAX VIEW1. The
Parallax View is an interesting suspense thriller with a thin plot involving a newspaper reporter named Frady (Warren Beatty) and his independent investigation of an employment bureau for assassins. 2. The Parallax View is Alan Pakula’s hommage to Alfred Hitchcock, employing many of the Master’s REVIEW: THE MAN WHO WOULD BE KINGJohn Huston
said recently he has made only three good films in the past decade: Reflections in a Golden Eye, Fat City, and The Man Who Would Be King. Though I’m still holding out—more or less alone, I think—for The Kremlin Letter to be included among his REVIEW: ROBIN AND MARIANA lot of things
work against Richard Lester’s new film Robin and Marian. In the first place, as two of England’s most treasured heroes, those ur-Communists Robin Hood and Little John, Lester has cast (horrors!) two rowdy Scots, Sean Connery and Nicol Williamson. In the second, heFILM NOIR ARCHIVES
Small Screen Noir and Neo-Noir. The history of television is full of great crime shows, from Dragnet to Hill Street Blues to Homicide: Life on the Street to The Wire and beyond, but small screen noir is a rare treasure indeed.Let’s face it, TV rarely embraced the visual style or hard-bitten, world-weary, often cynical attitude that defined noir as much as subject matter, setting, and REVIEW: A DOLL'S HOUSEThe
Garland–Elkins production of A Doll’s House is one of two screen adaptations of Ibsen’s play to be released this year, presumably to cash in on the women’s liberation market. Joseph Losey’s film, which will reach Seattle by way of the video screen, is an adaptationfor
REVIEW: ZANDY'S BRIDE Review: Zandy’s Bride. Written by Richard T. Jameson January 12,2016. It may
be a peculiarity of my character that a little of Jan Troell’s unassumingness goes a very long way. There’s something very admirable—and certainly “grownup,” to anyone passionatelyconcerned that
"TOUCH OF EVIL": CROSSING THE LINE [Editor’s note: This essay was originally written in 1998, before the re-edited version from producer Rick Schmidlin and editor Walter Murch, and is based on the 109-minute version that was rescued from the vaults in 1975, generally known as the “preview version. This version had replaced the original 98-minute theatrical version in retrospective screenings andREVIEW: HALLOWEEN
A thing
that bugs me about the vast majority of contemporary films is, they rarely give the feeling anyone cared much about framing them. The movement away from studio (i.e., factory) filmmaking has had a lot to do with this. Advancements in film speed, equipment mobility, and ELIZABETH TAYLOR ARCHIVES Just stayin’ on it, I guess.”. In 2007, my blood boiled as “Entertainment Tonight” gushed ghoulishly over the possibility that 75-year-old Elizabeth Taylor had a “new boyfriend” — referring to the gay black gentleman who escorted the actress to anAIDS benefit.
REVIEW: CÉLINE AND JULIE GO BOATINGCéline
and Julie Go Boating just may bring Jacques Rivette from the background to the foreground in the continuing history of French New Wave directors. Rivette is another of the Cahiers du cinéma writers who made his way from critic to director but, at least until now, 13 WAYS OF LOOKING AT THE PARALLAX VIEW1. The
Parallax View is an interesting suspense thriller with a thin plot involving a newspaper reporter named Frady (Warren Beatty) and his independent investigation of an employment bureau for assassins. 2. The Parallax View is Alan Pakula’s hommage to Alfred Hitchcock, employing many of the Master’s REVIEW: THE MAN WHO WOULD BE KINGJohn Huston
said recently he has made only three good films in the past decade: Reflections in a Golden Eye, Fat City, and The Man Who Would Be King. Though I’m still holding out—more or less alone, I think—for The Kremlin Letter to be included among his REVIEW: ROBIN AND MARIANA lot of things
work against Richard Lester’s new film Robin and Marian. In the first place, as two of England’s most treasured heroes, those ur-Communists Robin Hood and Little John, Lester has cast (horrors!) two rowdy Scots, Sean Connery and Nicol Williamson. In the second, heFILM NOIR ARCHIVES
Small Screen Noir and Neo-Noir. The history of television is full of great crime shows, from Dragnet to Hill Street Blues to Homicide: Life on the Street to The Wire and beyond, but small screen noir is a rare treasure indeed.Let’s face it, TV rarely embraced the visual style or hard-bitten, world-weary, often cynical attitude that defined noir as much as subject matter, setting, and REVIEW: A DOLL'S HOUSEThe
Garland–Elkins production of A Doll’s House is one of two screen adaptations of Ibsen’s play to be released this year, presumably to cash in on the women’s liberation market. Joseph Losey’s film, which will reach Seattle by way of the video screen, is an adaptationfor
REVIEW: ZANDY'S BRIDE Review: Zandy’s Bride. Written by Richard T. Jameson January 12,2016. It may
be a peculiarity of my character that a little of Jan Troell’s unassumingness goes a very long way. There’s something very admirable—and certainly “grownup,” to anyone passionatelyconcerned that
"TOUCH OF EVIL": CROSSING THE LINE [Editor’s note: This essay was originally written in 1998, before the re-edited version from producer Rick Schmidlin and editor Walter Murch, and is based on the 109-minute version that was rescued from the vaults in 1975, generally known as the “preview version. This version had replaced the original 98-minute theatrical version in retrospective screenings andREVIEW: HALLOWEEN
A thing
that bugs me about the vast majority of contemporary films is, they rarely give the feeling anyone cared much about framing them. The movement away from studio (i.e., factory) filmmaking has had a lot to do with this. Advancements in film speed, equipment mobility, and ELIZABETH TAYLOR ARCHIVES Just stayin’ on it, I guess.”. In 2007, my blood boiled as “Entertainment Tonight” gushed ghoulishly over the possibility that 75-year-old Elizabeth Taylor had a “new boyfriend” — referring to the gay black gentleman who escorted the actress to anAIDS benefit.
REVIEW: CÉLINE AND JULIE GO BOATINGCéline
and Julie Go Boating just may bring Jacques Rivette from the background to the foreground in the continuing history of French New Wave directors. Rivette is another of the Cahiers du cinéma writers who made his way from critic to director but, at least until now,PARALLAX VIEW
The Lovers on the Bridge (France, 1991) (Kino Lorber, Blu-ray), Leos Carax’s tale of l’amour fou, was the most expensive film ever made in France at the time and one of the most ravishing made anywhere ever. It was also a commercial disaster, alternately celebrated as a triumph of personal expression and vilified as the French equivalent of Heaven’s Gate, and despite the presence of REVIEW: ROBIN AND MARIANA lot of things
work against Richard Lester’s new film Robin and Marian.In the first place, as two of England’s most treasured heroes, those ur-Communists Robin Hood and Little John, Lester has cast (horrors!) two rowdy Scots, Sean Connery and Nicol Williamson.In the second, he has allowed the film itself to take a back seat to theFILM NOIR ARCHIVES
Small Screen Noir and Neo-Noir. The history of television is full of great crime shows, from Dragnet to Hill Street Blues to Homicide: Life on the Street to The Wire and beyond, but small screen noir is a rare treasure indeed.Let’s face it, TV rarely embraced the visual style or hard-bitten, world-weary, often cynical attitude that defined noir as much as subject matter, setting, and REVIEW: THE LONG GOODBYE Rydell’s thug is the film’s single most impressive creation, but The Long Goodbye gets much of its energy and appeal from Gould’s interesting, offbeat Marlowe and from the richly textured, updated version of Chandler’s L.A. which Altman’s direction and Vilmos Zsigmond’s remarkable dusky color cinematography have provided. REVIEW: THE TRAIN ROBBERS Review: The Train Robbers. Written by Richard T. Jameson October 16,2017. Burt
Kennedy is one of those fitfully interesting but dreadfully unreliable minor talents whose films are saved—when they are saved—by (frequently unassimilated) quirks in his style and treatment. REVIEW: LOVE AND ANARCHY In Love and Anarchy, Lina Wertmüller incorporates many things Fellinian—Rotunno’s gorgeous camerawork, Rota’s characteristic harmonies, thematic tidbits such as grotesques-made-lovable, prostitutes making music and selling their wares, and even an aging female character who pitiably begs heraudience to
REVIEW: BRANNIGAN
Review: Brannigan. Written by Richard T. Jameson January 12, 2015. There’s some terrific supporting material in that cast list, but everybody onscreen looks, and has excellent reason for feeling, pretty embarrassed about the whole thing. Brannigan is the sort of picture that gives John REVIEW: CÉLINE AND JULIE GO BOATINGCéline
and Julie Go Boating just may bring Jacques Rivette from the background to the foreground in the continuing history of French New Wave directors. Rivette is another of the Cahiers du cinéma writers who made his way from critic to director but, at least until now, has remained something of an unknown quantity, more mentioned HAWKS, CHANDLER AND THE BIG SLEEP The movie’s elimination of the book’s more explicit and critical social awareness nudges the story much closer to nightmare and myth. Hawks minimizes the realism in a way that makes the tale less a darkly realistic vision of the Los Angeles underworld HARRY KÜMEL ARCHIVES Tag: Harry Kümel. Posted in: Blu-ray, by Sean Axmaker, Contributors, Horror. Daughters of Darkness. Written by Sean Axmaker March 3, 2011. “ Daughters of Darkness ” (Blue Underground) Loving daughters. “Every woman would sell her soul to stay so young,” remarks smarmy, troubled Stefan (John Karlen) to his newlywed wife ValeriePARALLAX VIEW
The Lovers on the Bridge (France, 1991) (Kino Lorber, Blu-ray), Leos Carax’s tale of l’amour fou, was the most expensive film ever made in France at the time and one of the most ravishing made anywhere ever. It was also a commercial disaster, alternately celebrated as a triumph of personal expression and vilified as the French equivalent of Heaven’s Gate, and despite the presence of 13 WAYS OF LOOKING AT THE PARALLAX VIEW1. The
Parallax View is an interesting suspense thriller with a thin plot involving a newspaper reporter named Frady (Warren Beatty) and his independent investigation of an employment bureau for assassins. 2. The Parallax View is Alan Pakula’s hommage to Alfred Hitchcock, employing many of the Master’s REVIEW: THE MAN WHO WOULD BE KINGJohn Huston
said recently he has made only three good films in the past decade: Reflections in a Golden Eye, Fat City, and The Man Who Would Be King. Though I’m still holding out—more or less alone, I think—for The Kremlin Letter to be included among his ROBERT C. CUMBOW, AUTHOR AT PARALLAX VIEW Robert C. Cumbow has been writing about film for over 40 years. His work has appeared in Film Comment, Film Quarterly, the Seattle Film Society journals Movietone News and The Informer, and numerous newspapers. He is the author of The Films of Sergio Leone and Order in the Universe: The Films of John Carpenter, both available fromScarecrow Press.
THE WOMAN IN THE WINDOW The Woman in the Window is one of Fritz Lang’s subtlest films. It is an extremely dense film, although deceptively casual in initial approach. There is little of the overt Teutonic freakiness of the shadow worlds of Man Hunt and Hangmen Also Die!. Still, the world of The Woman in the Window is fraught with portents of instability,unreliable
REVIEW: THE HEARTBREAK KIDIt’s
possible to see The Heartbreak Kid as a kind of funhouse mirror reflecting the foibles and delusions we all share to some extent. A glance into such a mirror may provoke healthy, rejuvenating laughter or the kind of wearily hip sniggering which passes, in some circles,for wisdom.
"TOUCH OF EVIL": CROSSING THE LINE [Editor’s note: This essay was originally written in 1998, before the re-edited version from producer Rick Schmidlin and editor Walter Murch, and is based on the 109-minute version that was rescued from the vaults in 1975, generally known as the “preview version. This version had replaced the original 98-minute theatrical version in retrospective screenings andREVIEW: HALLOWEEN
A thing
that bugs me about the vast majority of contemporary films is, they rarely give the feeling anyone cared much about framing them. The movement away from studio (i.e., factory) filmmaking has had a lot to do with this. Advancements in film speed, equipment mobility, and ELIZABETH TAYLOR ARCHIVES Just stayin’ on it, I guess.”. In 2007, my blood boiled as “Entertainment Tonight” gushed ghoulishly over the possibility that 75-year-old Elizabeth Taylor had a “new boyfriend” — referring to the gay black gentleman who escorted the actress to anAIDS benefit.
"A ROUGH, JAGGED, JARRING, SHAKING-YOU-UP KIND OF MOVIE In 1998, as Universal was preparing the theatrical release of the revised Touch of Evil, I was offered the opportunity to talk with star Janet Leigh about the film in a phone interview. I had yet to see the new version, so my questions were formed around my research and my familiarity with the previousPARALLAX VIEW
The Lovers on the Bridge (France, 1991) (Kino Lorber, Blu-ray), Leos Carax’s tale of l’amour fou, was the most expensive film ever made in France at the time and one of the most ravishing made anywhere ever. It was also a commercial disaster, alternately celebrated as a triumph of personal expression and vilified as the French equivalent of Heaven’s Gate, and despite the presence of 13 WAYS OF LOOKING AT THE PARALLAX VIEW1. The
Parallax View is an interesting suspense thriller with a thin plot involving a newspaper reporter named Frady (Warren Beatty) and his independent investigation of an employment bureau for assassins. 2. The Parallax View is Alan Pakula’s hommage to Alfred Hitchcock, employing many of the Master’s REVIEW: THE MAN WHO WOULD BE KINGJohn Huston
said recently he has made only three good films in the past decade: Reflections in a Golden Eye, Fat City, and The Man Who Would Be King. Though I’m still holding out—more or less alone, I think—for The Kremlin Letter to be included among his ROBERT C. CUMBOW, AUTHOR AT PARALLAX VIEW Robert C. Cumbow has been writing about film for over 40 years. His work has appeared in Film Comment, Film Quarterly, the Seattle Film Society journals Movietone News and The Informer, and numerous newspapers. He is the author of The Films of Sergio Leone and Order in the Universe: The Films of John Carpenter, both available fromScarecrow Press.
THE WOMAN IN THE WINDOW The Woman in the Window is one of Fritz Lang’s subtlest films. It is an extremely dense film, although deceptively casual in initial approach. There is little of the overt Teutonic freakiness of the shadow worlds of Man Hunt and Hangmen Also Die!. Still, the world of The Woman in the Window is fraught with portents of instability,unreliable
REVIEW: THE HEARTBREAK KIDIt’s
possible to see The Heartbreak Kid as a kind of funhouse mirror reflecting the foibles and delusions we all share to some extent. A glance into such a mirror may provoke healthy, rejuvenating laughter or the kind of wearily hip sniggering which passes, in some circles,for wisdom.
"TOUCH OF EVIL": CROSSING THE LINE [Editor’s note: This essay was originally written in 1998, before the re-edited version from producer Rick Schmidlin and editor Walter Murch, and is based on the 109-minute version that was rescued from the vaults in 1975, generally known as the “preview version. This version had replaced the original 98-minute theatrical version in retrospective screenings andREVIEW: HALLOWEEN
A thing
that bugs me about the vast majority of contemporary films is, they rarely give the feeling anyone cared much about framing them. The movement away from studio (i.e., factory) filmmaking has had a lot to do with this. Advancements in film speed, equipment mobility, and ELIZABETH TAYLOR ARCHIVES Just stayin’ on it, I guess.”. In 2007, my blood boiled as “Entertainment Tonight” gushed ghoulishly over the possibility that 75-year-old Elizabeth Taylor had a “new boyfriend” — referring to the gay black gentleman who escorted the actress to anAIDS benefit.
"A ROUGH, JAGGED, JARRING, SHAKING-YOU-UP KIND OF MOVIE In 1998, as Universal was preparing the theatrical release of the revised Touch of Evil, I was offered the opportunity to talk with star Janet Leigh about the film in a phone interview. I had yet to see the new version, so my questions were formed around my research and my familiarity with the previousPARALLAX VIEW
The Lovers on the Bridge (France, 1991) (Kino Lorber, Blu-ray), Leos Carax’s tale of l’amour fou, was the most expensive film ever made in France at the time and one of the most ravishing made anywhere ever. It was also a commercial disaster, alternately celebrated as a triumph of personal expression and vilified as the French equivalent of Heaven’s Gate, and despite the presence of THE WOMAN IN THE WINDOW The Woman in the Window is one of Fritz Lang’s subtlest films. It is an extremely dense film, although deceptively casual in initial approach. There is little of the overt Teutonic freakiness of the shadow worlds of Man Hunt and Hangmen Also Die!. Still, the world of The Woman in the Window is fraught with portents of instability,unreliable
2000 EYES: CAST AWAY Robinson Crusoe lives again, in the utterly engrossing desert island drama Cast Away.. This film works for a variety of reasons. But one of the best is the simple dilemma that Mr. Crusoe faced in Daniel Defoe’s novel: how to survive in sandswept isolation (without the tribal councils of Survivor, yet).Cast Away began as the brainchild of actor-producer Tom Hanks, who ALAN WILLIAMS, AUTHOR AT PARALLAX VIEW In Black and White: The World of Entertainment. Written by Alan Williams February 16, 2015. THE WORLD OF ENTERTAINMENT. By Hugh Fordin. Doubleday. 566 pages. $15.00. By packaging and presentation, Hugh ADRIAN MARTIN ARCHIVES The Lovers on the Bridge (France, 1991) (Kino Lorber, Blu-ray), Leos Carax’s tale of l’amour fou, was the most expensive film ever made in France at the time and one of the most ravishing made anywhere ever. It was also a commercial disaster, alternately celebrated as a triumph of personal expression and vilified as the French equivalent of Heaven’s Gate, and despite the presence of 2000 EYES: THE WIDOW OF SAINT-PIERRE In 1849, on Saint-Pierre, a French-ruled island off the Newfoundland coast, two sailors rescued from the thickest winter fog in memory celebrate their deliverance by getting drunk and killing a man as a kind of stupid prank. REVIEW: A DOLL'S HOUSEThe
Garland–Elkins production of A Doll’s House is one of two screen adaptations of Ibsen’s play to be released this year, presumably to cash in on the women’s liberation market. Joseph Losey’s film, which will reach Seattle by way of the video screen, is an adaptationfor
REVIEW: THE LONG GOODBYE Rydell’s thug is the film’s single most impressive creation, but The Long Goodbye gets much of its energy and appeal from Gould’s interesting, offbeat Marlowe and from the richly textured, updated version of Chandler’s L.A. which Altman’s direction and Vilmos Zsigmond’s remarkable dusky color cinematography have provided. SHARON GURNEY ARCHIVES Death Line (aka Raw Meat) (1972) – Gary Sherman directs this underrated (and for years largely unseen) British horror film about the last survivor of a literal underground clan (trapped in a subway construction cave in a century before) who emerges from his cave to hunt for food on the London Underground.Yes, it’s a cannibal film, but it’s also a startlingly tender film about a literalREVIEW: HALLOWEEN
A thing
that bugs me about the vast majority of contemporary films is, they rarely give the feeling anyone cared much about framing them. The movement away from studio (i.e., factory) filmmaking has had a lot to do with this. Advancements in film speed, equipment mobility, andSkip to content
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2000 EYES: THE HOUSE OF MIRTH Written by Robert HortonNovember 9,
2020November 4, 2020 Leave a Comment on 2000 Eyes: The House of Mirth Gillian Anderson’s performance as Lily Bart in _THE HOUSE OF MIRTH_ is weirdly un-modern — the actress seems to have tapped directly into the mindset of the Edith Wharton novel, to a style predating ironic distance. Anderson maintains this even though the film’s dialogue and line readings are (rightly so) pitched in a way that heightens the artificial nature of the New York social scene, circa 1905. Anderson, whose performance often has a trapped, corseted intensity, gets Lily’s tragedy: It’s not that Lily doesn’t understand the rules of the game — it’s that she does, but she thinks her wit and beauty can skirt that calcified code. Read More “2000 Eyes: The House of Mirth” Posted in: 2000 Eyes , by Richard T. Jameson,
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2000 EYES: IN THE MOOD FOR LOVE Written by Richard T. Jameson November 9, 2020November 4, 2020 Leave a Comment on 2000 Eyes: In the Mood for Love Listed in the Cannes festival catalog as “Untitled” and shown via a print lacking its final sound mix, Wong Kar-wai’s new picture is both more of the same and a tentative step in a new direction. Although the Hong Kong director continues his fruitful partnership with first-rate, Australian-born cinematographer Christopher Doyle, and although _IN THE MOOD FOR LOVE_ is often gorgeously framed, lit, and color designed, there’s virtually none of the swoopy/slithery camera moves that frequently outran purpose and sense in _Chungking Express_, _Fallen Angels_, and _Happy Together_. Instead the visuals respect the discretion and emotional delicacy of the two principal characters, nextdoor neighbors (Maggie Cheung, Tony Leung Chiu-wai) who gradually realize that their respective spouses are having an affair. Mutual pain draws them together, after a fashion (the spouses themselves are scarcely seen and remain faceless even then). But this being the hyperromantic yet inveterately lonely world of Wong Kar-wai, we should know not to count on the fulfillment that the wall-to-wall Nat “King” Cole song track yearns for. Read More “2000 Eyes: In the Mood for Love” Posted in: 2000 Eyes ,by Tom Keogh
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2000 EYES: 102 DALMATIANS Written by Tom Keogh November 6, 2020November 4, 2020Leave
a Comment on 2000 Eyes: 102 Dalmatians Shortly before the end of a promotional screening of _102 DALMATIANS_, an anxious Disney publicist leaned into the press row where I sat and announced that a couple of the film’s reels had been shown out of order. Did we critic types happen to notice, she asked? Of course, reply my astute colleagues. I, however, keep my mouth shut. You could have shown me this shrill hunk of junk upside down and backwards, and I would have remained willingly obtuse. Read More “2000 Eyes: 102 Dalmatians” Posted in: 2000 Eyes ,by Sean Axmaker
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2000 EYES: BATTLEFIELD EARTH Written by Sean Axmaker November 6, 2020November 4, 2020 Leave a Comment on 2000 Eyes: Battlefield Earth “Man is an endangered species,” alerts the introductory card to this adaptation of L. Ron Hubbard’s _Star Wars_ inspired epic sci-fi novel. It should have warned us that logic was also hitting hardtimes.
The year is 3000 and the place is Earth. After a millennium of brutal subjugation by the Psychlos (seemingly an unholy mating of _Star Trek_’s Klingon and Ferengi races), humans live like cavemen in the irradiated wilds, foraging through a dying Earth. Rebellious young Jonnie Goodboy Tyler (Barry Pepper, in flowing locks and an unchanging expression of determined sincerity) searches for a better land and discovers a race of intergalactic corporate pirates, eight foot alien slavers sucking the planet dry of resources in the name of profit. Read More “2000 Eyes: Battlefield Earth” Posted in: 2000 Eyes , by Richard T. Jameson,
Film Reviews
2000 EYES: SOUTH OF HEAVEN, WEST OF HELL Written by Richard T. Jameson November 4, 2020November 4, 2020 Leave a Comment on 2000 Eyes: South of Heaven, West of Hell If you’ve never heard of _SOUTH OF HEAVEN, WEST OF HELL_, there’s an excellent reason. If you have heard of it, it’s probably because you stumbled upon the information that it marks the directorial debut of singer-actor Dwight Yoakam, who managed to sweet-talk a spectacularly quirky cast into abetting the enterprise: current girlfriend Bridget Fonda and her papa Peter; indie-world luminaries Vince Vaughn and Billy Bob Thornton (for whom Yoakam made a memorably loathsome villain in _Sling Blade_); character-acting stalwarts Bo Hopkins, Matt Clark, Luke Askew, and Scott Wilson; and such icons of the florid fringe as Bud Cort, Paul Reubens, and Michael Jeter. All should file for workman’s comp _and_ alienation of audience affection because they got themselves mired in one of the dumbest, most inept, most tediously self-indulgent messes in the history ofshowbiz hubris.
Read More “2000 Eyes: South of Heaven, West of Hell” Posted in: Actors , byKathleen Murphy
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SEAN CONNERY: THE MAN WHO WOULD BE KING Written by Kathleen Murphy November 3, 2020November 3, 2020 Leave a Comment on Sean Connery: The Man Who Would Be King _Originally published in _Film Comment_ in 1997_ Just back from the Crusades after twenty years, Sean Connery’s Robin Hood peers up at an abbey window to espy his onetime Maid Marian (Audrey Hepburn) decked out in nun’s habit. “What,” demands her scruffy swain, “are you doing in that costume?” “Living it,” she retorts. In _Robin and Marian_, Richard Lester’s superb deconstruction of sustaining, fatal legend, Robin is a player past his prime, so taken by his own heroic mask he would choose to die under its weight. In fashioning one of his finest performances, Sean Connery must have called upon something of his own struggle with a devouring fiction, the near-loss of his own face to a single fixed expression ofheroism.
In forty years of filmmaking, Sean Connery has climbed into a remarkable variety of cinematic costume: suits from Savile Row, uniforms of every stripe, American West gear, exotic regalia from loincloth to kilt to Spanish grandee’s piratical splendor, the robes of a Benedictine monk, the sturdy tweeds of an elderly British archaeologist, and the slightly seedy duds of a boozy publisher. He’s been spy, soldier, scientist, submarine captain, cop, poet, miner, thief, messiah, sheikh, fertility god, and dragon. No matter the clothes, period, or genre, Connery displays the sangfroid of an instinctively naturalized citizen, at home from Sekandergul to Oz. Read More “Sean Connery: The Man Who Would Be King” Posted in: by Kathleen Murphy,
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STILL LIFE: ‘ROBIN AND MARIAN’ Written by Kathleen Murphy November 1, 2020November 1, 2020 Ripeness has gone to rot with a vengeance in Richard Lester’s latest film. In some wasteland out at the edge of the world (patently not a holy land) a one-eyed old man and some women and children hide out in a cracked, ungarrisoned castle and do not guard a golden statue coveted by King Richard the Lion-Hearted (Richard Harris), because it’s really only a stone, and besides, it was too heavy to carry away from the turnip field where it was dug up. Not even Robin Hood’s still-illusioned alchemy can shapechange the “pig” who peevishly orders the castle razed and its inhabitants butchered back into a lion-hearted monarch. Richard’s death is flung like accidentally accurate doom from above; but Justice in this diminished world is old and one-eyed, its bolt flung in fallibly human long shot rather than sent as sign of any god’s terminal exasperation with a hero long fallen from divine or mystic or even human grace. The heroic vision that Richard once embodied, and gave Robin a taste for, is apparently laid to rest where it went bad—in a stony land of too much sun and too many senseless massacres. But although Robin, Little John, and we watch the king’s funeral cortege in longshot, it soon becomes clear that Robin has managed to internalize some vestige of the former dream, and now means to take it home—home to the cool green fastnesses of Sherwood Forest where it first thrived. Sean Connery and Audrey Hepburn as Robin and Marian If Nicol Williamson’s practical Little John finds sustenance in plain bread, the sights he’s seen in the wide world, and his love for Robin, Sean Connery’s Robin Hood is hooked on more exotic fare. Grizzled, just this side of being old, he lacks the cleverness to buy cynicism as life insurance, but is just simple enough to be a hero. He’s hardly ever able to contain the gay, brave boy who, untouched by time and circumstance, struggles free to shout “I’ll save you!” to an uncooperatively grownup Maid Marian (Audrey Hepburn). Bergman’s knight in THE SEVENTH SEAL comes home from the Crusades to seek God among the ruins, but finds only ruins and, inevitably, death. Lester’s peasant-knight returns to quest for a present, if not a future, in the past, and ends by putting a period to a life that cannot, will not dwindle into obscurity and old age, but must burn out in a flash of meaning. There must be a beginning, a middle, and a proper end. Some richer, more resonant image must replace that of a spent king bleeding in the foreground of an empty stonescape, a uselessly burning castle thrust up in the dusk behind him, a monument to death without dignity or purpose. Read More “Still Life: ‘Robin and Marian’” Posted in: by Robert C. Cumbow,
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REVIEW: ROBIN AND MARIAN Written by Robert C. CumbowNovember 1,
2020November 1, 2020 A lot of things work against Richard Lester’s new film ROBIN AND MARIAN. In the first place, as two of England’s most treasured heroes, those _ur-_Communists Robin Hood and Little John, Lester has cast (horrors!) two rowdy Scots, Sean Connery and Nicol Williamson. In the second, he has allowed the film itself to take a back seat to the heavily flacked return to the screen of Audrey Hepburn. Further, he has settled for an always inappropriate and often downright bad film score from John Barry which threatens to sabotage some of the film’s best moments (one keeps wishing period music had been used). And, worst of all, he has accepted from James Goldman a selfconscious and often labored screenplay that, in attempting to capture the conflict between a man’s mortality and the timelessness of myth, is at best adequate, and at worst overwritten with an embarrassing sappiness (Marian’s final profession of love to Robin falls somewhere between Elizabeth Barrett Browning’s counting of the ways and Maria von Trapp’s enumeration of a few of her favorite things). In fact, Goldman’s screenplay bears some uncomfortable similarities to that other Goldman’s script for BUTCH CASSIDY AND THE SUNDANCE KID: the image of the fair-fighting hero debunked with a kick to the balls; two heroes in a hesitant jump from a high place (cf. “I can’t swim!” with “We might hurt ourselves!”); and the woman eternally fond of them both, but desperate to dissuade them from following the suicidal course of reckless adventurism. Read More “Review: Robin and Marian” Posted in: by Rick Hermann,
Contributors , Film
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REVIEW: THE MAN WHO WOULD BE KING Written by Rick HermannNovember 1,
2020November 1, 2020 It’s hard not to think about Huston’s TREASURE OF THE SIERRA MADRE after seeing THE MAN WHO WOULD BE KING, for reasons that range from their broadest similarities as adventure yarns involving men balancing vision against obsession and finally losing everything in their efforts to get everything, down to minor but perhaps tellingly matched details like the strings of frisky mules who in both cases wind up spilling fortunes of gold back into the wilderness from which they came. To enumerate a few other likenesses: one could easily see the Mexican Shangri-la that Walter Huston falls into in TREASURE OF THE SIERRA MADRE as something of an incipient Kafiristan (who knows that Huston didn’t have Kafiristan in mind even then, if it is true that he’s had a film version of Kipling’s story forming in his head for some twenty years) and the schism that festers briefly between Peachey Carnehan and Danny Dravot when Danny decides to take a wife and remain a .king in Kafiristan as another version of the paranoia that alienates Fred C. Dobbs from his companions and finally leads to his death—as Danny’s much less self-destructive delusions lead to his. Cutting it a little finer, there is the director’s own little joke in TREASURE when Bogart (who, interestingly, was one of the actors—Clark Gable was the other—Huston originally intended to play the roles in his version of Kipling’s story) keeps on badgering John Huston to “stake a fellow American to a meal” (Huston plays a small part as a moneyed American in a Mexican city full of penniless expatriates) until Huston gets pissed off and tells Bogart, “This is the last peso you’ll get from me; from now on, you’ll have to make your way through life without my assistance!” In THE MAN WHO WOULD BE KING Peachey Carnehan swipes a watch from Kipling—if not the auteur, at least the author who set Peachey and Danny out into the world and into Huston’s imagination. Read More “Review: The Man Who Would Be King” Posted in: by Robert C. Cumbow,
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REVIEW: THE MAN WHO WOULD BE KING Written by Robert C. CumbowNovember 1,
2020November 1, 2020 John Huston said recently he has made only three good films in the past decade: REFLECTIONS IN A GOLDEN EYE, FAT CITY, and THE MAN WHO WOULD BE KING. Though I’m still holding out—more or less alone, I think—for THE KREMLIN LETTER to be included among his better works and I have serious doubts about REFLECTIONS, there is certainly no argument that THE MAN is one of the director’s finest achievements of any decade. It’s a pretty neat trick to make a film so completely faithful to the spirit of Kipling’s original story while not violating for even a moment the spirit of John Huston as well. Read More “Review: The Man Who Would Be King”POSTS NAVIGATION
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