IT’S ALWAYS FAIR WEATHER, directed by Stanley Donen and Gene Kelly, written by Betty Comden and Adolph Green, with Kelly, Cyd Charisse, Dan Dailey, Michael Kidd, and Dolores Gray.
Has there ever been a more deceptive title and ad for a movie than this Belgian poster for the depressive 1955 musical IT’S ALWAYS FAIR WEATHER? Not that the original title or the strained happy ending are exactly apt either. [I resaw this movie yesterday, on my last day at Il Cinema Ritrovato, and might have written about this sooner– i.e., before I returned to Chicago–if I’d been able to figure out a way to paste in photos on my laptop.] But in fact it expresses more negative feelings about American culture at mid-century than anything by Frank Tashlin. Tashlin, after all, always seems to love his characters, but what mainly typifies the satirical feelings here about television, advertising, and other forms of corruption are disgust, disillusionment, self-hatred, and anger. It seems characteristic that Kelly and Charisse, the romantic leads, never even get to dance together, and that Dolores Gray’s climactic number, “Thanks a Lot, but No Thanks” (see still), registers as a conscious ripoff of Monroe’s glacially bitter “Diamonds Are a Girl’s Best Friend” in Gentlemen Prefer Blondes.… Read more »
Thanks to a passing reference by Andy Rector on Girish’s excellent blog, I’ve just stumbled upon an invaluable online reference tool — the William K. Everson Collection, which has been set up by New York University’s Cinema Studies, where Everson taught from 1972 to 1996. As someone who used to attend some of the memorable screenings of The Theodore Huff Memorial Film Society that were organized by Everson, at two or three of its separate locations, I’m especially delighted to recover some of the program notes he wrote for those events, such as those for F.W. Murnau’s rediscovered City Girl (a screening I attended) on March 2, 1970. In fact, the two most impressive individual archives to be found at this site are Everson’s voluminous program notes, beautifully cross-referenced and reproduced for easy access, and his collection of press kits. (There are also some other things here as well — including the photograph reproduced above, of Everson imitating Cesare in the Cabinet of Dr. Caligari set that was rebuilt inside the Cinémathèque Française’s Musée du Cinéma at the Palais de Chaillot.)
Everson’s immense value when he was alive was more his extraordinary generosity, the breadth of his knowledge as a film scholar, and his enthusiasm than his critical acumen, so there are times when one wants to quibble with some of the own opinions in his notes (such as his own quibbles about Jacques Tourneur’s masterpiece Stars in My Crown, for example).… Read more »
From Moving Image Source [movingimagesource.us], posted March 5, 2009. The last time I checked, the box set Cinéma Cinémas was still available from French Amazon, for 25.56 Euros. — J.R.
How does one distinguish American cinephilia from the original, hardcore French brand? Based on an exchange I had with French critic Raymond Bellour and several other friends a dozen years ago — a round of letters first published in the French film magazine Trafic that later grew into a collection in English that I co-edited with Adrian Martin, Movie Mutations: The Changing Face of World Cinephilia — there’s some disagreement about how serious a role French cinema actually plays in “classic” (i.e., French) cinephilia. According to Raymond, spurred in part by remarks from the late Serge Daney — a mutual friend and the founder of Trafic — modern French cinephilia was from the outset basically American, as suggested by the archetypal question, “How can one be a Hitchcocko-Hawksian?”:
It’s a question of theory, but even more of territory. This is what necessarily divides me from Jonathan, in whom cinephilia was born, like in everyone else, through the nouvelle vague, but who, as an American, takes the nouvelle vague itself as an object of cinephilia — whereas the cinephile, in the historical and French sense, trains his sights on the American cinema as an enchanted and closed world, a referential system sufficient to interpret the rest.… Read more »