Misfortunes of Imaginary Beings: 04/02/20

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

Thursday, April 2, 2020

Human Desire (Fritz Lang, 1954)

Gloria Grahame and Glenn Ford in Human Desire

Cast: Glenn Ford, Gloria Grahame, Broderick Crawford, Edgar Buchanan, Kathleen Case, Peggy Maley, Diane DeLare, Grandon Rhodes. Screenplay: Alfred Hayes, based on a novel by Émile Zola. Cinematography: Burnett Guffey. Art direction: Robert Peterson. Film editing: Aaron Stell. Music: Daniele Amfitheatrof.

Glenn Ford's boyish nice-guy looks and personality always seemed to me to make him an odd choice for tough-guy roles like the ones he played in Gilda (Charles Vidor, 1946) and The Big Heat (Fritz Lang, 1953). Lang apparently didn't have a problem with that disjunction: Having cast Ford opposite Gloria Grahame in Human Desire, he reteamed them in the latter film, with good effect. Still, Ford's limitations are apparent when you compare him with Jean Gabin, who played much the same role, a railroad engineer caught up in seamy doings, in Jean Renoir's earlier version of the Émile Zola novel, La Bête Humaine (1938). Gabin had a solidity that Ford lacks. Human Desire is, for the most part, a good contribution to the film noir genre, especially Burnett Guffey's cinematography, which uses the railway yard shadows to good effect. The screenplay has a few good lines -- "All women are alike. They just got different faces so the men can tell them apart." -- but it cheats with a happy ending for Ford's character that's at odds with the spirit of both Zola's novel and Renoir's version of it. Daniele Amfitheatrof's score is laid on too heavily, as if the filmmakers didn't trust the actors or the screenplay to carry the burden of what's being done and said.