From the Chicago Reader (April 1, 1994). — J.R.
Michael Powell and Emeric Pressburger transfer the plot of Johann Strauss’s opera Die Fledermaus to postwar Vienna for a 1955 musical filmed in Technicolor and ‘Scope. Not one of their best movies (cf The Red Shoes and A Matter of Life and Death), but it’s certainly an engaging mannerist oddity that calls to mind such contemporary cross-references in delirium as Frank Tashlin and Vincente Minnelli, and the cast — Anton Walbrook, Michael Redgrave, Anthony Quayle, Mel Ferrer, Dennis Price, and Ludmilla Tcherina — is occasionally as enterprising as the candy-box decor. (JR)
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From the June 5, 2002 issue of the Chicago Reader. — J.R.
The Naked Spur
Directed by Anthony Mann
Written by Sam Rolfe, Harold Jack Bloom
With James Stewart, Janet Leigh, Robert Ryan, Ralph Meeker, and Millard Mitchell.
Man of the West
Directed by Anthony Mann
Written by Reginald Rose
With Gary Cooper, Julie London, Lee J. Cobb, Arthur O’Connell, Jack Lord, John Dehmer, Royal Dano, and Robert Wilke.
Q: What is the starting point for The Naked Spur?
A: We were in magnificent countryside — in Durango — and everything lent itself to improvisation. I never understood why almost all westerns are shot in desert landscapes! John Ford, for example, adores Monument Valley, but I know Monument Valley very well and it’s not the whole west. In fact, the desert represents only one part of the American west. I wanted to show the mountains, the waterfalls, the forested areas, the snowy summits — in short to rediscover the whole Daniel Boone atmosphere: the characters emerge more fully from such an environment. In that sense the shooting of The Naked Spur gave me some genuine satisfaction. –Anthony Mann in a 1967 interview
This seems to be landscape week at the Gene Siskel Film Center, with Abbas Kiarostami’s sublime Where Is the Friend’s House?… Read more »
This appeared in the June 18, 2004 issue of the Chicago Reader. —J.R.
Directed by Nicholas Ray
Written by Rene Hardy, Ray, and Gavin Lambert
With Richard Burton, Curt Jurgens, Ruth Roman, Raymond Pellegrin, Anthony Bushell, Andrew Crawford, Nigel Green, and Christopher Lee.
Jane Brand: What can I say to him?
Captain James Leith: Tell him all the things that women have always said to the men before they go to the wars. Tell him he’s a hero. Tell him he’s a good man. Tell him you’ll be waiting for him when he comes back. Tell him he’ll be making history. –Bitter Victory
This week, as part of its series devoted to war films, the Gene Siskel Film Center is showing a restored version of Nicholas Ray’s little-known masterpiece Bitter Victory—a powerful, albeit flawed, black-and-white CinemaScope feature set mainly in Libya during World War II. This 1957 film offers a radical reflection on war, and its relevance to the current war in Iraq goes beyond the desert settings and references to antiquity.
Many films are regarded as antiwar, including ones that proceed from antithetical premises; in the 60s a popular revival house in Manhattan liked to run a double bill of Grand Illusion and Paths of Glory.… Read more »