A blog formerly known as Bookishness / By Charles Matthews

"Dazzled by so many and such marvelous inventions, the people of Macondo ... became indignant over the living images that the prosperous merchant Bruno Crespi projected in the theater with the lion-head ticket windows, for a character who had died and was buried in one film and for whose misfortune tears had been shed would reappear alive and transformed into an Arab in the next one. The audience, who had paid two cents apiece to share the difficulties of the actors, would not tolerate that outlandish fraud and they broke up the seats. The mayor, at the urging of Bruno Crespi, explained in a proclamation that the cinema was a machine of illusions that did not merit the emotional outbursts of the audience. With that discouraging explanation many ... decided not to return to the movies, considering that they already had too many troubles of their own to weep over the acted-out misfortunes of imaginary beings."
--Gabriel García Márquez, One Hundred Years of Solitude

Friday, January 17, 2020

Deception (Irving Rapper, 1946)

Bette Davis, Paul Henreid, and Claude Rains in Deception
Cast: Bette Davis, Paul Henreid, Claude Rains, John Abbott, Benson Fong. Screenplay: John Collier, Joseph Than, based on a play by Louis Verneuil. Cinematography: Ernest Haller. Art direction: Anton Grot. Film editing: Alan Crosland Jr. Music: Erich Wolfgang Korngold.

The highlight of Deception is a scene in which Claude Rains, as the imperious composer Alexander Hollenius, invites his ex-mistress Christine (Bette Davis) and her new husband, the cellist Karel Novak (Paul Henreid), to dine with him at a fancy restaurant before Novak is to play Hollenius's new concerto. While Christine and Karel stew, both eager to get the composer's approval so the cellist can make a career break, Hollenius plays the epicure, constantly rethinking the menu and the accompanying wines and keeping the couple from their goal. It's Rains at his best. In fact, he's the chief reason for seeing this somewhat overproduced melodrama, with its sometimes laughable skirting of the Production Code's strictures on sex. Would a worldly European like Novak really be so terribly shocked to find that Christine had been Hollenius's lover? Would Christine really be so determined to conceal the secret that she'd kill for it? Davis pulls out all of her mannerisms -- she disliked the film -- while Henreid struggles to rise above his usual passivity as a leading man overshadowed by his leading lady.

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