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 Jocelyn Brando. Show all posts
Showing posts with label Jocelyn Brando. Show all posts

Sunday, April 12, 2020

Nightfall (Jacques Tourneur, 1956)

Anne Bancroft and Aldo Ray in Nightfall
Cast: Aldo Ray, Anne Bancroft, Brian Keith, James Gregory, Rudy Bond, Frank Albertson, Jocelyn Brando. Screenplay: Stirling Silliphant, based on a novel by David Goodis. Cinematography: Burnett Guffey. Art direction: Ross Bellah. Film editing: William A. Lyon. Music: George Duning.

Nightfall is a well-made thriller strengthened by ingenious plotting: It never lets the viewer know too much too soon, keeping the motives and even the identities of its characters hidden until the right time to reveal them. Beefy Aldo Ray plays the protagonist, whom we know as Jim Vanning until his past is disclosed. Vanning, it turns out, is on the run, accused of murder but also trying to dodge the real killers, a pair of bank robbers played by Brian Keith and Rudy Bond, who think that Vanning has absconded with the loot from their heist. But Vanning doesn't know that he's also being tailed by an insurance investigator, played by James Gregory. In a bar, Vanning meets Marie Gardner, played by Anne Bancroft a few years before The Miracle Worker (Arthur Penn, 1962) won her an Oscar and made her a star. She's a model and he's a freelance magazine illustrator, so they hit it off, not so fortunately for her because at that point the robbers show up, ready to beat the location of the money out of Vanning. Marie gets caught up in the plot as Vanning eludes the thugs and hides out with her. Eventually, they go on the run, joined by the insurance investigator, who is perfectly happy to help Vanning recover the money and prove his innocence. It all moves along swiftly, thanks to Jacques Tourneur's direction, and handsomely, thanks to the  cinematography of Burnett Guffey, who is equally adept at filming the noir shadows of the city and the bright snowy landscape of Wyoming where the chase winds up.

Sunday, May 27, 2018

The Big Heat (Fritz Lang, 1953)

Gloria Grahame and Glenn Ford in The Big Heat
Dave Bannion: Glenn Ford
Debby Marsh: Gloria Grahame
Kate Bannion: Jocelyn Brando
Mike Lagana: Alexander Scourby
Vince Stone: Lee Marvin
Bertha Duncan: Jeanette Nolan
Larry Gordon: Adam Williams
Tierney: Peter Whitney
Lt. Ted Wilks: Willis Bouchey
Commissioner Higgins: Howard Wendell
George Rose: Chris Alcaide
Lucy Chapman: Dorothy Green
Atkins: Dan Seymour
Selma Parker: Edith Evanson

Director: Fritz Lang
Screenplay: Sydney Boehm
Based on a novel by William P. McGivern
Cinematography: Charles Lang
Art direction: Robert Peterson
Film editing: Charles Nelson
Music: Henry Vars

So many of the roles in Glenn Ford's career established him as a figure of middle-American blandness that it comes as a surprise to see the cold-eyed intensity of which he was capable in the role of the vengeful Dave Bannion in The Big Heat. He's still the good guy, fighting crime bosses and corrupt cops, but with the film noir twist that he's willing to resort to some pretty bad means to achieve his ends. He's also a solid foil for Gloria Grahame at her sultriest and a tough foe for Lee Marvin at his thuggiest. We get a glimpse of the more familiar Ford in the scenes with Bannion and his wife and daughter that verge a bit on stickiness, though the more to emphasize Bannion's quest for vengeance after his wife is killed and his daughter threatened by Alexander Scourby's suave mobster, Mike Lagana. (Is it just my prurient imagination, or does the scene in which Lagana is wakened for a phone call by George, his bodyguard, wearing a bathrobe, suggest that George may be doing more to Lagana's body than just guarding it?) The Big Heat is a classic, one of the highlights of Fritz Lang's American career, and it still has the power not only to startle and shock but also to amuse, thanks to a solid screenplay -- Grahame in particular is given some delicious lines to speak, including Debby's classic riposte to Bertha Duncan, "We're sisters under the mink."