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

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Showing posts with label Edward Marshall. Show all posts
Showing posts with label Edward Marshall. Show all posts

Thursday, August 20, 2020

Girl With Green Eyes (Desmond Davis, 1964)

Rita Tushingham and Peter Finch in Girl With Green Eyes
Cast: Rita Tushingham, Peter Finch, Lynn Redgrave, Marie Keen, Arthur O'Sullivan, Julian Glover, T.P. McKenna, Liselotte Goettinger, Pat Laffan, Eileen Crowe, May Craig, Joe Lynch, Yolande Turner, Harry Brogan, Michael C. Hennessy, Joseph O'Donnell, Michael O'Brien, David Kelly. Screenplay: Edna O'Brien, based on her novel. Cinematography: Manny Wynn. Art direction: Edward Marshall. Film editing: Brian Smedley-Aston, Antony Gibbs. Music: John Addison.

Rita Tushingham had a brief period as a movie star after a striking debut in Tony Richardson's A Taste of Honey in 1961. For a time she was the embodiment of British young womanhood, with an appeal that suggested a more homely, down-to-earth Audrey Hepburn. Girl With Green Eyes, her fourth feature, captures her at her best. She plays Kate Brady, a bright young Dublin shop-girl, raised on an Irish farm and educated in a convent school, who finds herself out of her depth when she gets involved with Eugene Gaillard, a much older intellectual, married but on the brink of divorce, played by Peter Finch. He's taken with her girlish frankness, she with his maturity and wealth of the kind of experience she has only read about in books. Yet a clash of cultures is inevitable: She's still clinging to her Roman Catholic upbringing, attending Mass every week, and although he prides himself on being a kind of lone wolf, a writer and translator who lives alone in his large house on the outskirts of Dublin, he's still tied to a coterie of cynical sophisticates. It can't work, and it doesn't, especially when her family learns that she's sleeping with an older man who is about to commit the mortal sin of divorce. At the end, she sets sail for London with her boisterous friend Baba (Lynn Redgrave) and a life more in keeping with her age and experience. It's a coming-of-age movie, and a pretty good one, with fine performances all round, solidly directed by Desmond Davis -- it was his first film as a director after working as camera operator for many years. It was Tony Richardson, for whom he had worked on A Taste of Honey, The Loneliness of the Long Distance Runner (1962), and Tom Jones (1963), who gave him the Edna O'Brien novel on which the film is based and suggested he direct it.

Wednesday, January 3, 2018

Saturday Night and Sunday Morning (Karel Reisz, 1960)

Albert Finney in Saturday Night and Sunday Morning
Arthur: Albert Finney
Doreen: Shirley Anne Field
Brenda: Rachel Roberts
Aunt Ada: Hylda Baker
Bert: Norman Rossington
Jack: Bryan Pringle
Robboe: Robert Cawdron
Mrs. Bull: Edna Morris
Mrs. Seaton: Elsie Wagstaff
Mr. Seaton: Frank Pettit
Blousy Woman: Avis Bunnage
Loudmouth: Colin Blakely
Doreen's Mother: Irene Richmond

Director: Karel Reisz
Screenplay: Alan Sillitoe
Based on a novel by Alan Sillitoe
Cinematography: Freddie Francis
Art direction: Edward Marshall
Music: John Dankworth

The 24-year-old Albert Finney was spot-on casting for the antihero of Alan Sillitoe's adaptation of his novel, Saturday Night and Sunday Morning. With his slicked-up coif, predatory grin, and omnipresent cigarette, Finney's Arthur Seaton exudes the kind of sexual attractiveness that allows one to ignore his rough edges. Always on the prowl, Arthur is the quintessential working-class yobbo, drinking too much and sleeping around too carelessly. He gets his comeuppance when Brenda, married to the stodgy Jack, becomes pregnant -- Jack's sexual neglect makes her sure the child is Arthur's -- and Jack's brother and another soldier work Arthur over in a vacant lot. Meanwhile, he has fallen for Doreen, and the film ends with Arthur and Doreen on a hillside overlooking their factory town, planning a wedding and dreaming of a home of their own. But from what we've seen of Arthur, this is almost a parody of a happy ending. Doreen's a tough cookie, too, and we can only foresee a kind of grim muddling-through future, a recapitulation of the lives of their parents and neighbors. It's to the credit of Finney and a superb supporting cast that the film is not a dreary slog through blighted lives, but a kind of tribute to the persistent energy of the working class. It helps that the movie is filmed by the great Freddie Francis, who finds a rich palette of grays in the surroundings, and provides a needed burst of action in the fairgrounds sequence. But above all, it's Finney's show, launching one of the great movie careers, from rakish young leading man to invaluable character actor.