Written for the 2019 catalogue of Il Cinema Ritrovato in Bologna. Tim Lucas has helpfully and subsequently furnished us with the following on Facebook: “According to his autobiography, Roger Corman — then a script reader at Fox — retrieved this script from a slush pile and presented it to a producer acquaintance as having worth, given a proper rewrite. He did it himself, then presented it to the producer, who — without telling him — got the film greenlit as a Peck vehicle and took all the credit. Corman promptly quit his job and set about becoming a producer outside the Hollywood studio structure.” — J.R.
Commonly described as an “adult” Western, The Gunfighter (1950) differs from both the Freudian Pursued (1947) and the classical The Furies (1950). Though it comes close to equating screen time with real time, without any rhetorical emphasis (as High Noon brings with clocks), its method is historical revisionism, postulating a “real” West that tragically undermines the ones we accept in other Westerns. It plays an intricate double game with genre expectations, satisfying some demands and implicitly chiding us for certain others. Significantly, the film’s first and final images are almost identical but register as antithetical in moral significance.… Read more »
Written for Il Cinema Ritrovato’s 2019 catalogue. — J.R.
Subtitled “A Comedy about Life, Death and Freedom,” John Cassavetes’ most politically incorrect and machocentric movie (1970), made after the huge commercial success of his 1968 Faces and exercising both the creative control and the studio support it suddenly made possible, is arguably the most improvised and workshopped of his features. Inspired in part by the death of Cassavetes’ older brother Nick in 1957 at the age of 30, the film recounts what happens to a trio of 40ish east coast suburbanites (Cassavetes, Peter Falk, and Ben Gazzara) when their best friend dies and they decide to play hooky from their lives and families to recover their camaraderie and identities. But even though their collective flight seemingly has something to do with life, death, and freedom, there isn’t a Huck Finn in the bunch; they’re all Tom Sawyers, too desperate in their frantic fun and games to be as comic as they want to see themselves. Their fear of female assertiveness and their periodic brutality, as well as Cassavetes’ determination to follow the actors’ instincts and movements wherever they go without chalk marks are likely what inspired Elaine May to co-opt Cassavetes, Falk, and Husband’s cinematographer Victor J.… Read more »