Based on the play by William Shakespeare, Macbeth is the story of a general who learns of a prophecy that he will become king of Scotland as he’s pushed by his wife to kill where he is consumed by guilt and paranoia. Written for the screen, directed, and starring Orson Welles in the titular role, the film is a straightforward yet intricate take on the Shakespeare tragedy that explores the fallacy of ambition and greed. Also starring Jeanette Nolan, Dan O’Herlihy, Roddy McDowall, Edgar Barrier, and Alan Napier. Macbeth is a chilling yet visually-entrancing film from Orson Welles.
Following a victory in battle, the film revolves a general who encounters three witches who tells him of a prophecy that would make him the king of Scotland where he and his wife conspire to kill the king and claim the throne. It’s a film that explores a man who would do the deed to kill the king where he not only becomes consumed with guilt but also paranoia where he is unable to trust anyone including those who are his friends. The paranoia would eventually cause alienation as allies such as Macduff (Dan O’Herlihy) and the king’s son Malcolm (Roddy McDowall) who would team up to plan an assault on Macbeth. The film’s screenplay doesn’t just play into the guilt that Macbeth would face but also the fallacy of his actions where he copes with the decisions he makes as well as trying to kill his own best friend Banquo (Edgar Barrier). Even as Lady Macbeth (Jeanette Nolan) would goad him only to fall apart as well where Macbeth deals with the consequences of his actions.
Orson Welles’ direction is definitely entrancing on a visual scales with not just the sets that are built but also the mood he creates with its Expressionistic lighting. While it was shot largely on soundstages due to budget constraints, Welles was able to create something that is very eerie from the way the castles are made as well as some of the exterior settings. While there are a few wide shots and some intricate close-ups, it’s in the medium shots where Welles would put more than one actor in a frame that is entrancing as well as creating scenes shot in long takes. The long takes would play into the drama that occurs as well as the sense of paranoia and guilt that occurs including moments of tragedy where Welles would let the actors recite Shakespeare’s dialogue to convey the drama that is unfolding. Especially in the film’s climax as it is one of the most chilling moments in the film which showcases the fallacy of ambition. Overall, Welles creates a gripping yet evocative film about a general’s scheme to become king.
Cinematographer John L. Russell does brilliant work with the film‘s black-and-white photography with its intricate usage of lighting schemes and moods to play up the sense of dread and paranoia that looms throughout the film. Editor Louis Lindsay does amazing work with the editing with its straightforward approach to cutting with some rhythmic cuts for some of the dramatic reactions that play out in the film. Art director/costume designer Fred Ritter, with set decorators John McCarthy Jr. and James Redd, does fantastic work with the look of the castle and some of the exterior sets to make it look like it was set in that medieval period as well as the costumes that were co-designed by Welles to play into that period.
The sound work of Garry A. Harris and John Stransky Jr. is terrific as it is mostly post-production sound that create some sound effects as well as correctly dubbing the actors who were lip-syncing to what they were saying. The film’s music by Jacques Ibert is superb for its mixture of orchestral bombast with eerie string pieces to play into the drama and suspense.
The film’s incredible cast include some notable small roles from Christopher Welles as Macduff’s son, Brainerd Duffield in a dual role as a murderer and a witch, Lurene Tuttle in a dual role as a witch and a gentlewoman, George Chirello as one of Macbeth’s servants in Seyton, Jerry Farber as Banquo’s son Fleance, and Peggy Webber in a dual role as Lady Macduff and a witch. Erskine Sanford is superb as King Duncan as the ruler of Scotland who would become the victim of Macbeth’s plot. Edgar Barrier is excellent as Macbeth’s friend Banquo who too saw the prophecy from the witches as he becomes concerned for Macbeth’s state of mind where he learns that something isn’t right. Alan Napier is terrific as the Holy Father who is the throne’s spiritual advisor who notices that things aren’t going well where he eventually turns to Macduff.
Dan O’Herlihy is fantastic as Macduff as an ally of Macbeth who realizes that something isn’t right as he is seen as a traitor while being the one person that can restore order. Roddy McDowall is wonderful as Malcolm as the king’s son who suspects that something isn’t right as he joins Macduff in plotting against Macbeth. Jeanette Nolan is brilliant as Lady Macbeth as the architect of the scheme as she is a woman of ambition as she goads her husband into killing King Duncan where she later copes with her husband’s paranoia and guilt where she would eventually succumb to her own actions. Finally, there’s Orson Welles in an amazing performance as the titular character where he embodies the larger-than-life persona of the character as he display all of the conflicts and anguish into his performance as it’s one of Welles’ best performances.
Macbeth is a sensational film from Orson Welles that features brilliant performances from Welles, Jeanette Nolan, Roddy McDowall, and Dan O’Herlihy. It’s a film that isn’t just a unique take on the William Shakespeare tragedy but it is a film that is told with such style that manages to do a lot to the play itself. In the end, Macbeth is a remarkable film from Orson Welles.
Related: Throne of Blood - Macbeth (1971 film) - (Macbeth (2015 film))- The Eyes of Orson Welles - Orson Welles: The One-Man Band - They’ll Love Me When I’m Dead - The Auteurs #69: Orson Welles: Part 1 - Part 2
Orson Welles Films: Citizen Kane - The Magnificent Ambersons - The Stranger (1946 film) - The Lady from Shanghai - Othello (1952 film) - Mr. Arkadin - Touch of Evil - The Trial - Chimes at Midnight - The Immortal Story - F for Fake - Filming Othello – The Other Side of the Wind
© thevoid99 2015
Based on the novel by Fannie Hurst, Imitation of Life is the story of two different mothers from different races who come together to deal with the rebellious nature of their respective daughters. Directed by Douglas Sirk and screenplay by Eleanore Griffin and Allan Scott, the film is a modernized update of the story that had previously been told in a 1934 version as it deals with the ideas of race, genders, class, and other social changes all revolving around a widowed actress and her maid who share their own issues with their daughters. Starring Lana Turner, John Gavin, Sandra Dee, Dan O’Herlihy, Susan Kohner, Robert Alda, and Juanita Moore. Imitation of Life is a gloriously rich and sensational film from Douglas Sirk.
The film revolves around two women who meet by chance as they both raise their respective daughters during an actress’ rise to stardom and fortune. While she would gain the loyalty and advice of her maid, Lora Meredith (Lana Turner) would also contend with compromises about her career and eventually compromise in her own life as a mother to her daughter Susie (Sandra Dee) whom she would unfortunately neglect as Susie would look to the maid Annie (Juanita Moore) as a maternal figure while falling in love with longtime family friend Steve Archer (John Gavin). Adding to the drama is Annie’s own tumultuous relationship with her daughter Sarah Jane (Susan Kohner) who is born white due to having a white father she never met as she deals with having a black mother as she wants to be accepted as white. All of which plays into Lora and Annie coming to terms with not just their own failings as mothers but also what they tried to do for their daughters.
The film’s screenplay has a unique structure where it plays into Lora’s rise and struggles to make it as an actress in the first act. Upon that first scene where she meets Annie when trying to find Susie (Terry Burnham) who was playing with Sarah Jane (Karin Dicker). It’s also on that day where she meets Steve Archer as Lora would invite Annie and Sarah Jane to live with her and Susie since Lora needed someone to help her as she tries to make it as an actress while Annie needed a place to live with her daughter. While Steve would become a friend to the four women, he is uncomfortable with Lora’s own ambitions to succeed though she would have to contend with people like agent Alan Loomis (Robert Alda) who want her to cheapen herself and later on, playwright David Edwards (Dan O’Herlihy) who would make her a star but wants her to continue to star in his comedies that Lora would get tired of in the film’s second act.
It is around that time where Steve suddenly returns to Lora’s life as well as the life of Annie and their daughters which suddenly becomes complicated. Though Susie would enjoy all of the perks of having it all, she feels neglected by her mother’s busy schedule as she finds comfort in Annie and Steve. Lora would eventually realize the errors of her actions as she tried to do the best she can while she would also watch Annie’s relationship with Sarah Jane start to fall apart where the latter feels ashamed in having a black mother in the belief that it would not give her things that white people have including Susie whom she becomes envious of. For Annie, all she wanted from Sarah Jane is acceptance and to have Sarah Jane know that she‘ll always be there no matter what.
Douglas Sirk’s direction is truly mesmerizing from the way he opens the film with its very crowded yet lively scenes in the beach to the intimacy in the apartment where Lora lived as she would share it with Annie and their daughters. Much of it has this heightened sense of drama since it plays to Sirk’s idea of melodrama but he also had something to say in terms of race relations and how some can be filled with shame for having a certain skin color. At the same time, Sirk takes shots into the idea of ambition where Lora’s rise to stardom would come at a heavy price as she would neglect Susie in favor of her career as it would be something that Lora would deal with as she becomes compromised in her career aspirations.
Sirk’s direction is filled with dazzling imagery and gorgeous compositions including some wide shots of the posh house the four principle characters live in as there’s some unique shots where one character is on the top floor, another is in the stairs, and another is on the first floor through this low-angle shot. There’s also these lavish scenes in some of the parties that Lora has where Lora is the center of attention but the driving force is Annie who is comfortable behind the scenes as she is treated with respect by some of Lora’s guests. It all plays into the world that Sirk has created but one that would drive a schism into Lora and Annie’s own relationship with their daughters. Especially as the film’s ending plays into what is gained and lost in this journey the four women have been in as Sirk isn’t afraid to be melodramatic. Notably as it makes sense into the decisions that Lora has make and the price she paid while clinging on to the people that mattered to her. Overall, Sirk crafts a very enchanting yet evocative film about mothers and their relationships with their daughters.
Cinematographer Russell Metty does tremendous work with the film’s very rich and colorful Technicolor-based photography to capture the beauty of some of the film’s locations as well as the textures in some of the colors along with some lighting schemes that adds to the film’s beauty Editor Milton Carruth does excellent work with the editing with its seamless approach to rhythmic cuts to play into the drama as well as its use of fade-outs and dissolves for its transitions plus an inventive montage of Lora‘s rising success. Art directors Alexander Golitzen and Richard H. Reidel, with set decorators Russell A. Gausman and Julia Heron, do amazing work with the set designs from the cramped apartment Lora, Annie, and their daughters live during the first act to the more spacious, posh home they would live in throughout the film.
Costume designer Bill Thomas does fantastic work with the colorful and stylish dresses that Susie and Sarah Jane would wear to express their personalities while the gowns worn by Lora are designed with great style by Jean Louis. The sound work of Leslie I. Carey and Joe Lapis is terrific for some of the intimacy that occurs in the parties as well as some of the locations including the places where Sarah Jane would work. The film’s music by Frank Skinner is brilliant for its lush and somber orchestral score that plays into the melodrama that includes the title song written by Henry Mancini and Sammy Fain as well as a gospel performance from the legendary Mahalia Jackson who appears in the film.
The film’s superb ensemble cast includes some notable small performances from Terry Burnham as the young Susie, Karin Dicker as the young Sarah Jane, and Troy Donahue in a brief role as Sarah Jane’s secret boyfriend. Robert Alda is terrific as Lora’s agent Loomis who is very slimy until he realizes that she won’t compromise her ideas as he makes her a star. Dan O’Herlihy is excellent as the playwright David Edwards who realizes what kind of talent Lora has where he has her in all of his plays where success goes into his head. Susan Kohner is amazing as the confused Sarah Jane as this woman who is half-white and half-black as she tries to be accepted into the world of white society only to lose sight of who she really is. Sandra Dee is wonderful as Susie as a young woman who falls for Steve while deals with her mother’s absence as she tries to make sense of what her mother does and what she wants in her own life.
John Gavin is brilliant as Steve Archer as an aspiring photographer who has a hard time dealing with Lora’s ambitions until he returns to her life where their friendship is suddenly renewed as he also deals with some of the issues in the family. Juanita Moore is phenomenal as Annie as this no-nonsense and caring maid who is devoted to Lora while also being her closest advisor as she tries to deal with Sarah Jane’s rebellion as it’s a role that is very complex that goes beyond the expectations of a character that could’ve been a stereotype. Finally, there’s Lana Turner in a dazzling performance as Lora Meredith as this ambitious actress who is driven to become a success as she goes through her faults as a mother in not being there enough for Susie as well as her friendship with Annie whom she cares for very dearly as it’s Turner in one of her defining film roles.
Imitation of Life is an incredible film from Douglas Sirk that is highlighted by the performances of Lana Turner, Juanita Moore, and John Gavin. It’s a film that is melodrama at its finest in terms of its visual language, towering story, and lavish performances that add to the film’s soaring yet slightly over-the-top tone. It’s also a film that wasn’t afraid to be a product of its time with something to say yet manages to be very relevant more than fifty years since its release. In the end, Imitation of Life is a splendidly rich and exhilarating film from Douglas Sirk.
Douglas Sirk Films: (t Was een April) - (The Court Concert) - (To New Shores) - (La Habanera) - (Boefje) - (Hitler’s Madman) - (Summer Storm) - (A Scandal in Paris) - (Lured) - (Sleep My Love) - Shockproof - (Thunder on the Hill) - (No Room for the Groom) - (Has Anybody Seen My Gal?) - (Meet Me at the Fair) - (Take Me to Town) - (All I Desire) - (Taza, Son of Cochise) - Magnificent Obsession (1954 film) - (Sign of the Pagan) - (Captain Lightfoot) - All That Heaven Allows - There’s Always Tomorrow (1956 film) - (Never Say Goodbye) - Written on the Wind - (Battle Hymn) - (Interlude) - (The Tarnished Angels) - (A Time to Love and A Time to Die)
© thevoid99 2014
Based on the novel by Daniel Dafoe, Robinson Crusoe is the story of a man who spends year on a tropical island all by himself while he later deals with all sorts of things including cannibals. Directed by Luis Bunuel and screenplay by Bunuel, Luis Alcoriza, and Hugo Butler, the film is an adaptation of Dafoe’s novel that explores a man dealing with his isolation as he is played by Dan O’Herlihy. Also starring Jaime Fernandez, Felipe de Alba, and Chel Lopez. Robinson Crusoe is an excellent and engaging film from Luis Bunuel.
The film is essentially a simple story about a man who spends 28 years alone on a tropical island where he’s forced to fend for himself and such. Especially as he surrounds himself with animals such as birds, goats, a dog, and a cat where he has to endure isolation and later cannibals where he later befriends a captive that he would call Friday (Jaime Fernandez) whom he would help as the two find ways to survive and get out of the island. The film’s screenplay is quite simple in its approach where it is very straightforward where it is told largely from Robinson Cruose’s perspective as he narrates the film to express his own isolation and the loss he deals with where he has to grow up and do things on his own. Though the character of Friday would appear in the third act where Crusoe would have to deal with a group of cannibals and other forces later on. Friday would become someone he can talk to as Friday would grow into a civilized individual with his own thoughts and skills.
The direction of Luis Bunuel is very simple which is surprising for someone who is known for being a surrealist. Though he does put in a few strange moments such as scenes where Crusoe is troubled by fever and images of his past. It is mostly presented in a very straightforward manner in terms of compositions and such. Still, Bunuel does manage to create some very interesting scenes and such that plays into the drama as well as Crusoe’s despair in the years being all alone while later trying to deal with the idea of maybe wanting to go home. The first two acts are quite simple while the third is more adventurous when Crusoe has to deal with cannibals and gain Friday’s trust where it would play into a climax where Crusoe and Friday would fight against forces who may be the key to bringing Crusoe home. Overall, Bunuel crafts a very solid yet compelling film about a man dealing with isolation in an island.
Cinematographer Alex Phillips does excellent work with the film‘s colorful cinematography for many of the film‘s exterior settings and some interiors though there‘s aspects in the print that looks a bit tinted at times. Editor Carlos Savage and Alberto Valenzuela do nice work with the editing as it‘s mostly straightforward while using fade-outs to help structure the film. Production designer Edward Fitzgerald and set decorator Pablo Galvan do amazing work with the look of the cave home that Crusoe created as well as some of the interior of the ship where he gathered his supplies. Sound editor Teodulo Bustos does terrific work with the sound to play into the layers of location sounds as well as gun fire. The film’s music by Luis Hernandez Breton and Anthony Collins is superb for its orchestral-driven score to play into the drama and suspense that occurs in the film.
The film’s cast includes some notable small roles from Felipe de Alba as a ship captain Crusoe meets late in the film, Chel Lopez as the captain’s mate, and Emilio Garibay as a mutiny leader who captures the captain that Crusoe and Friday have to deal with. Jaime Fernandez is wonderful as the captured savage Friday whom Crusoe saves and later teaches as he becomes the one true friend that Crusoe would have late in the film. Finally, there’s Dan O’Herlihy as the titular character who deals with his isolation and situation as he tries to reflect on his life as well as his willingness to survive.
Robinson Crusoe is a stellar film from Luis Bunuel that features an amazing performance from Dan O’Herlihy as the titular character. While it’s a film that is faithful to Daniel Dafoe’s story as well as being something that is entertaining. For those who are into Bunuel’s work, it’s a sort of a baffling film in his oeuvre since it is a very simple film. In the end, Robinson Crusoe is a terrific film from Luis Bunuel.
Luis Bunuel Films: Un Chien Andalou - L’Age d’Or - Land Without Bread - (Gran Casino) - (The Great Madcap) - Los Olvidados - (Susana) - (La hija de engano) - (Mexican Bus Ride) - (A Woman Without Love) - (El Bruto) - (El) - (Illusion Travels by Streetcar) - (Wuthering Heights (1954 film)) - (The Criminal Lives of Archibaldo de la Cruz) - (El rio y la muerte) - (Cela S’apelle l’Aurore) - (Death in the Garden) - (Nazarin) - (La Fievre a El Pasao) - (The Young One) - Viridiana - The Exterminating Angel - Diary of a Chambermaid - Simon of the Desert - Belle de Jour - (The Milky Way) - Tristana - The Discreet Charms of the Bourgeoisie - (The Phantom of Liberty) - (That Obscure Object of Desire)
© thevoid99 2013
