Though it didn’t turn a profit, Joseph H. Lewis’s low-budget masterpiece Gun Crazy (1949) won him an MGM contract, and his first assignment there was a documentary about illegal immigration that quickly turned into this routine actioner (1950) once someone decided that Hedy Lamarr should star in it. Lewis called the movie a stinker when he was interviewed by Peter Bogdanovich; it’s less than inspired, but it’s better than Lewis implied. His flair for foggy atmospherics and location shooting (in Havana and the Florida Everglades) is intermittently evident, and there’s a very convincing overhead view of a plane crash. John Hodiak plays an immigration inspector who goes underground to catch smugglers like George Macready but falls for the title lady (Lamarr), a Hungarian refugee trying to sneak into the U.S. 72 min. (JR)… Read more »
Daily Archives: January 21, 2005
Suffocatingly corrosive and misanthropic, this 1943 thriller was shot in occupied France by Henri-Georges Clouzot (The Wages of Fear), and its story of a small town terrorized by anonymous poison-pen letters so effectively captures the national paranoia that after the war Clouzot was unjustly persecuted as anti-French. The outstanding cast includes Pierre Fresnay and Ginette Leclerc. Otto Preminger remade this effectively in 1951 as The Thirteenth Letter, though his Quebec locations lack the earlier film’s period interest. In French with subtitles. 92 min. (JR)… Read more »
From the Chicago Reader (January 21, 2005). Alas, I’ve never been any sort of Shakespearean scholar, and if I’d read the devastating take-down of this film by Ron Rosenbaum (no relation) in The Shakespeare Wars, published the following year, I’m sure I would have been far less tolerant….It’s worth adding, however, that Ron Rosenbaum isn’t any sort of Orson Welles scholar when he accepts the 1997 version of his Othello as a “restored” version — or when countless other commentators call the 2014 perpetuation of that version, with Welles’ own choices of music and sound effects replaced by uninformed simulations, any sort of “restoration”. (As things stand today, Welles’ own version of Othello – that is to say, with his own soundtrack — has been thoroughly suppressed.) — J.R.
Director Michael Radford (Nineteen Eighty-Four, Il postino) begins his adaptation of the Shakespeare play with a precise date and a brief documentary about anti-Semitism in 16th-century Venice; this doesn’t have much to do with the playwright or his audience, but it provides a social context for what follows. Al Pacino avoids his usual bombast, giving his Shylock some shading, and Jeremy Irons is fine as Shylock’s legal opponent, Antonio.… Read more »