Out of the Past

 

Based on the novel Build My Gallows High by Daniel Mainwaring, Out of the Past is the story of a gas station owner whose attempt to start a trouble-free life is visited by a mysterious stranger from his past as he is forced to return to the world of crime. Directed by Jacques Tourneur and screenplay by Mainwaring with additional contributions from Frank Fenton and James M. Cain, the film is a noir-story that plays into a man trying to escape from his dark past only for the past to catch up to him as it relates to a woman he fell in love with. Starring Robert Mitchum, Jane Greer, Kirk Douglas, and Rhonda Fleming. Out of the Past is an evocative and chilling film from Jacques Tourneur.

The film revolves around a man who owns a gas station at a small town in California where he receives an unexpected visit as he meets a crime boss who wants him to do a job as it relates to events in his past that involves his boss’ girlfriend who is stirring up trouble. It’s a film that explores a man trying to leave his past behind but he’s tempted by this woman he had fallen for just as he had created a new life for himself. The film’s screenplay by Daniel Mainwaring, with re-writes and contributions from Frank Fenton and James M. Cain, has this structure where much of its first act is told in a flashback by its protagonist Jeff Markham (Robert Mitchum) who changed his surname to Bailey as he’s driving to Lake Tahoe from Bridgeport, California where he tells his girlfriend Ann Miller (Virginia Huston) about what he used to do as a private investigator.

Markham’s story where he is asked by gambling kingpin Whit Sterling (Kirk Douglas) to find his girlfriend Kathie Moffat (Jane Greer) who had shot Sterling and stole $40,000 as he just wants her and the money back. Upon finding her in Acapulco, Markham falls for her but is then tailed by his partner Jack Fisher (Steve Brodie) who catches them as it leads to trouble. Markham’s narration in the first act is stylized as it plays into the language of film noir as well as what he would say when unwittingly reunites with Sterling and Moffat for another assignment that would lead to bigger trouble. Adding to this conflict are his feelings for both Moffat and Miller with the former wanting to re-establish their old relationship while the former offers something more stable.

Jacques Tourneur’s direction does bear elements of style in the compositions yet much of his direction does have moments that are straightforward in its presentation. Shot largely on location in California with some second unit shots in New York City and Mexico, Tourneur explores the life of a man who had started a new life in this small town near Lake Tahoe as it’s simple and quiet where Tourneur uses some wide shots of the locations of Bridgeport and its surroundings as well as some of the film’s other locations. Yet, much of Tourneur’s direction emphasizes on close-ups and medium shots as it relates to characters dealing with one another as it play into some of the dramatic tension and suspense. There is also this air of style in the way Tourneur presents Markham as someone who is this figure that always finds himself in some sort of trouble with whoever he encounters. Especially when it comes to meeting Moffat as she is this radiant figure but there is also something about her that is off as he’s entranced by her yet isn’t always honest. Tourneur’s approach to the tension and suspense adds to some of the misdirection that Markham would encounter in the way he shoots him in a hallway but would find something that is odd.

Tourneur would maintain this air of suspense and tension into its third act as it relates to Markham being a target while becoming unsure who to trust as even those in Bridgeport learn about his true identity. The sense of danger and knowing that he’s being watched add to the suspense as well as the decisions that Markham has to make as it relates to Sterling and Moffat. The former in particular as he becomes aware that Markham is on to something and realizes that Moffat isn’t exactly what she seems but Tourneur knows that is more intrigue that is to occur as it relates to the conflict that Markham is in as it relates to the choices he’s made in his life. Overall, Tourneur crafts a mesmerizing and eerie film about a man who deals with his dark past and the woman who nearly destroyed his life.

Cinematographer Nicholas Musuraca does brilliant work with the film’s black-and-white photography with its usage of low-key lighting, shadows, and shades to help set a mood for some of the interior/exterior scenes at night as well as some straightforward shots for the scenes in the day. Editor Samuel E. Beetley does excellent work with the editing with its usage of rhythmic cuts to play into the suspense and drama while keeping much of the action straightforward. Art directors Albert S. D’Agostino and Jack Okey, with set decorators Darrell Silva and John McCarthy Jr., do amazing work with the look of Sterling’s home in Lake Tahoe as well as his home in New York City as well as the cantina where Markham meets Moffat. Gown designer Edward Stevenson does fantastic work with the dresses that Moffat wears as well as a dress that another character who is associated with Moffat wears.

The special effects work of Russell A. Cully is terrific for some of visual backdrops in a few scenes that help play into the sense of location including the scenes of Markham following those in a taxi cab. The sound work of Clem Portman and Francis M. Sarver is superb for the atmosphere that is created as well as some of the sparse sounds that occur in some of the film’s locations in the forests as it help play into the suspense. The film’s music by Roy Webb is incredible for its soaring orchestral score that help play into the drama as well as the suspense as it is a major highlight of the film.

The film’s wonderful cast feature some notable small roles from Eunice Leonard as a woman Markham meets at a cantina who leads him to Moffat, Ken Niles as a lawyer Markham meets in the film’s second act in Leonard Eels, Dickie Moore as Markham’s deaf-mute gas station assistant known as the Kid, Richard Webb as a local sheriff at Bridgeport in Jim who is also a longtime friend of Ann, Paul Valentine as Sterling’s hired muscle in Joe Stefanos, Steve Brodie as Markham’s PI partner Jack Fisher, and Rhonda Fleming as Eels’ secretary Meta Carson who finds herself becoming a pawn in one of Moffat’s schemes. Virginia Huston is excellent as Ann Miller as Markham’s new girlfriend in Bridgeport who learns about his past as she keeps it a secret while knowing the anguish he is dealing but also realizing that she might discover things that she doesn’t want to know.

Kirk Douglas is incredible as Whit Sterling as a crime boss who asks Markham to do a job for him only for things to go bad as he then realizes that Moffat isn’t what she seems as Douglas brings that air of charisma to a character that could’ve been a typical villain but there’s so much more as he is also someone that is willing to listen but also realizes that he’s at fault for being too trusting. Jane Greer is brilliant as Kate Moffat as a woman who was Sterling’s girlfriend until she stole money from him as she is this beautiful woman who is this object of desire but there’s also something off about her as it has the elements of a femme fatale character while she is also good at playing innocent while also being devious. Finally, there’s Robert Mitchum in a phenomenal performance as Jeff Markham/Bailey as a private investigator who reinvents himself as a gas station owner that copes with his past and the traps he gotten himself into as it is this stylized yet engrossing performance from Mitchum that allows him to display humility but also be someone who is struggling with what he wants but also what he has now as it is one of his iconic performances.

Out of the Past is a tremendous film from Jacques Tourneur that features great performances from Robert Mitchum, Jane Greer, and Kirk Douglas. Along with its supporting cast, gorgeous visuals, themes of temptation and betrayal, and its chilling music score. It’s a film that explore a man dealing with his past and the woman who tries to tempt him to do her bidding. In the end, Out of the Past is a spectacular film from Jacques Tourneur.

Related: Cat People (1942 film) - (Against All Odds)

© thevoid99 2020

Cape Fear (1991 film)

Based on the novel The Executioners by John D. MacDonald, Cape Fear is the story of a convicted rapist who has been released from a 14-year prison stint as he decides to go after the attorney who put him in jail through some moments of injustice. Directed by Martin Scorsese and screenplay by Wesley Strick that is based on James R. Webb‘s script of the 1962 film, the film is a remake/homage of sorts to the 1962 film of the same name as it plays more into a man who is hell-bent on making the life of a public defender and his family a living hell. Starring Robert de Niro, Nick Nolte, Jessica Lange, Juliette Lewis, Illeana Douglas, Joe Don Baker, and special appearances from Martin Balsam, Robert Mitchum, and Gregory Peck from the 1962 film. Cape Fear is a thrilling and mesmerizing film from Martin Scorsese.

The film is a simple story of a released convict who served a 14-year sentence for a rape charge as he decides to make the life of the man, who put him in jail for mishandling his case, a living hell. It is a revenge story of sorts as a battle of wits and wills between this convict and an attorney yet it is the convict that feels wronged where an attorney’s past actions are catching up with him. Even as the sins of this attorney named Sam Bowden (Nick Nolte) have his own family live in fear but also wonder what did he do as Bowden is driven to the edge to protect them with the help of a private investigator where things don’t go very well.

Wesley Strick’s screenplay doesn’t just explore the dynamics of two men but also a growing sense of distrust towards Bowden from his wife Leigh (Jessica Lange) and daughter Danielle (Juliette Lewis). Especially as the former is suspicious of Sam’s supposed infidelities while the latter would have her own meeting with the convicted man in Max Cady (Robert de Niro) who would charm her. All of which adds to Bowden’s determination to rid of Cady one way or the other but at the cost of his own reputation and who he is as a man.

Martin Scorsese’s direction is definitely very stylish for not just the fact that he pays homage to the original 1962 film by J. Lee Thompson. It is also a film in which Scorsese pays homage to the many thrillers and suspense films of the past while doing something that is an update of sorts to those genres. Shot largely on location in South Florida as well as some sequences shot in Universal Studios Hollywood, the film does set itself in the American South but in a more modern idea of the South as it tries to maintain elements of tradition but in a world that is ever-changing. With its stylish usage of wide and medium shots along with some close-ups, Scorsese would go for something that is very stylistic in the way he would put actors into a frame where one would be in the foreground and the other in the background.

Scorsese also provides these moments that are quite surreal with its usage of different film stocks, color schemes, and moments that feel very artificial as it relates to the fear that is growing in Sam and his family. It says a lot to this kind of reality that Bowden has created but one that feels false where Cady would come in and disrupt everything as if he is this wronged man that is trying to make their lives a living hell. Featuring some dazzling imagery that includes this exotic opening credits sequence created by Saul and Elaine Bass that serves as a homage to the works of Alfred Hitchcock. It would add to the film’s unique look with some stylish camera angles that Scorsese would inject as it would also play into the film’s climax that is set on a river. The impact of the violence as well as some religious-based imagery would say a lot into what is happening where it does take place on this houseboat where it is about not just some truths coming out but also what one is willing to do to survive. Overall, Scorsese creates an exhilarating yet provocative film about a convicted rapist stalking and preying on lawyer for the sins he had committed.

Cinematographer Freddie Francis does amazing work with the film‘s cinematography with its usage of different film stocks and lighting schemes for some of the surreal sequences while creating some moods in the lighting for some of exteriors scenes in the day and at night. Editor Thelma Schoonmaker does brilliant work with the editing with its stylish montages for some of the more eerie sequences that play into Bowden‘s fear as well as some stylish rhythmic cuts to play into the suspense, drama, and much of its dark humor. Production designer Henry Bumstead, with set decorator Alan Hicks and art director Jack G. Taylor Jr., does excellent work with the look of the Bowden home to play into its sense of artificial world that Sam lives in to the look of the houseboat for the film‘s climax.

Costume designer Rita Ryack does nice work with the costumes from the more casual and clean look of the Bowden family to the stylish clothes that Cady wears. The hair/makeup work of Ilona Herman does fantastic work with the look of Cady from his slick hair to the tattoos on his body that features a lot of religious text and imagery. Sound editor Skip Lievsay does superb work with the sound in the way some of the quieter moments such as Danielle‘s meeting with Cady sounds like in its intimacy to the chilling moments in the film‘s climax. The film’s music largely consists of the film score Bernard Herrmann made for the 1962 film as it is adapted by Elmer Bernstein which does maintain that air of suspense and high drama as it proves anything that was used in the past can still be used again while the soundtrack would also feature music from Guns N‘ Roses and Aretha Franklin.

The casting by Ellen Lewis is wonderful as it features some notable small roles from Zully Montero as the Bowden’s family maid Graciella, Fred Dalton Thompson as Bowden’s law partner Tom Broadbent, Domenica Cameron-Scorsese as Danielle’s friend, Charles and Catherine Scorsese as a couple of fruit stand customers, and Martin Balsam in a terrific cameo appearance as a judge who would disbar Bowden early in the film’s third act. Illeana Douglas is fantastic as the law clerk Lori Davis who is rumored to be Bowden’s mistress until she has a meeting with Cady that would prove to be extremely ugly. Gregory Peck is excellent in his brief yet mesmerizing appearance as Cady’s attorney Lee Heller who would defend the man after an assault as he would have this passionate plea to disbar Bowden. Robert Mitchum is brilliant as Lt. Elgart as this police detective who realizes what is happening to Bowden and what Cady is doing as he sort of plays the film’s conscience in telling Bowden to not descend into darkness which is a surprise since Mitchum played Cady in the 1962 film. Joe Don Baker is amazing as Claude Kersek as a private detective who tries to see what Cady is up to while realizing that he is in the middle of a game where does whatever he can to stop Cady.

Juliette Lewis is incredible as Danielle as this 15-year old girl who deals with the chaos surrounding her family as she becomes intrigued by Cady and the books she is given until she realizes the severity of his terror. Jessica Lange is remarkable as Leigh Bowden as a wife/artist who deals with not just Cady’s presence but also the sins of her husband as she has a hard time trusting him. Nick Nolte is marvelous as Sam Bowden as an attorney who is terrorized by a man he was supposed to defend only to bury evidence that could’ve given Cady a lesser sentence as he tries to outwit Cady only to realize the flaws of himself. Finally, there’s Robert de Niro in a phenomenal performance as Max Cady where de Niro brings a charm that just exudes in every moment he is in as well as a sense of terror that is menacing as it one of de Niro’s most definitive performances.

Cape Fear is a sensational film from Martin Scorsese that features great performances from Robert de Niro, Nick Nolte, Jessica Lange, and Juliette Lewis. In being an updated version of the 1962 film as well as a homage to that film, Scorsese creates a film that isn’t just a thriller that oozes with excitement and terror. It’s also a study of sin and what one man would do to make another man pay for his sins. In the end, Cape Fear is a riveting film from Martin Scorsese.

Related: Cape Fear (1962 film)

Martin Scorsese Films: (Who’s That Knocking on My Door?) - (Street Scenes) - Boxcar Bertha - (Mean Streets) - Italianamerican - Alice Doesn't Live Here Anymore - Taxi Driver - New York, New York - American Boy: A Profile of Steven Prince - (The Last Waltz) - Raging Bull - The King of Comedy - After Hours - The Color of Money - The Last Temptation of Christ - New York Stories-Life Lessons - Goodfellas - The Age of Innocence - (A Personal Journey with Martin Scorsese Through American Movies) - (Casino) - (Kundun) - (My Voyage to Italy) - Bringing Out the Dead - (The Blues-Feel Like Going Home) - Gangs of New York - (The Aviator) - No Direction Home - The Departed - Shine a Light - Shutter Island - (A Letter to Elia) - (Public Speaking) - George Harrison: Living in the Material World - Hugo - The Wolf of Wall Street - (The 50 Year Argument) - Silence (2016 film) - (The Irishman) - Killers of the Flower Moon - (An Afternoon with SCTV)

© thevoid99 2016

Cape Fear (1962 film)

Based on the novel The Executioners by John D. MacDonald, Cape Fear is the story of a criminal who goes after the attorney who put him in prison while stalking the man’s family. Directed by J. Lee Thompson and screenplay by James R. Webb, the film is a revenge story of sorts from a man went to prison as he wants to go after the one who put him there as he plans to make the life of this man and his family a living hell. Starring Gregory Peck, Robert Mitchum, Polly Bergen, Lori Martin, Telly Savalas, and Martin Balsam. Cape Fear is a gripping yet mesmerizing film from J. Lee Thompson.

The film is a simple story of a criminal who had just been released from prison after an eight-year sentence for rape where he decides to go after the attorney who put him in prison and make the life of the man and his family a living hell. In a way, it is a revenge story but it’s the antagonist that is seeking revenge though he is a man that is quite brutal in his actions as well as create a sense of discomfort to those he’s after. In some ways, the film is a battle of wits between this very devious and cunning criminal and an attorney who is about doing the right thing but finds himself on edge in protecting his family. Especially as the criminal in Max Cady (Robert Mitchum) has eyes for the attorney’s young daughter that just adds to the dramatic stakes for Sam Bowden (Gregory Peck) who turns to friends in the police department and a private detective for help but things however don’t go very well.

James R. Webb’s screenplay definitely plays into a battle of wits where Bowden knows who Cady is and what he did but doesn’t think Cady is a big threat at first. Yet, seeing him nearby and other incidents would force Bowden to try and see if Cady is really up to something with the aid of the police and the private detective Charlie Sievers (Telly Savalas). Even as there was an incident that Cady was involved in as Bowden, Sievers, and police chief Mark Dutton (Martin Balsam) realize that they can’t arrest him for. It adds to some of the psychological elements of the film where Cady’s presence would also bring terror to Bowden’s family life as it relates to his wife Peggy (Polly Bergen) and their 14-year old daughter Nancy (Lori Martin). It adds to the battle of wits and will between the two as Bowden realizes that money nor his own threats could stop Cady.

J. Lee Thompson’s direction is quite gripping for the way he sets the mood for much of the suspense in the film. Shot partially on location in Savannah, Georgia and Stockton, California with some of the interiors shot on soundstages at Universal Studios in Hollywood. The film does have the look of a film set in the American South where it does feel hot as well as bringing a sense of discomfort. While Thompson does put in some stylish shots such as a few slanted camera angles, low-angles, and other shots similar to film noir to set a mood for scenes of terror. Thompson also manages something straightforward with the way he frames his actors into a scene but also maintain something that is dramatic as it relates to the stakes of Cady’s threats. Even in a scene where Peggy tries to stop her husband from descending into Cady’s level to remind him that he has more to lose than Cady. The film’s climax at a river where Bowden’s houseboat is would be the ultimate battle in a game of wits and will but it also showcases what must be done. Especially as Thompson creates these moments that build up the tension and suspense as it goes into a great payoff towards the end. Overall, Thompson crafts a thrilling and intense film about a criminal trying to get revenge on the man that put him in prison.

Cinematographer Sam Leavitt does brilliant work with the film‘s black-and-white photography from the beautiful look of the scenes set in the day to the eerie mood for the scenes at night with its noir-like look in its shadows and shades. Editor George Tomasini does excellent work with the editing as it is largely straightforward but also have these rhythmic touches that does a lot to play into the suspense and intense moments in the film. Art directors Robert F. Boyle and Alexander Golitzen, with set decorator Oliver Emert, do nice work with the look of a bar that Cady goes to as well as the scenes in the courtroom and the houseboat that Bowden owns.

Costume designer Mary Willis does terrific work with the costumes from the Panama hat and clothes that Cady wears to the more straight-laced look of Bowden as well as the dresses Peggy and Nancy wears. The sound work of Corson Jowett and Waldon O. Watson is superb for some of the eerie moments set in the film‘s climax at the river where its usage of natural sounds does so much to play into the suspense and terror. The film’s music by Bernard Herrmann is amazing as it is one of the film’s highlights as its orchestral-based score is filled with eerie string arrangements and themes that play into the drama as well as much of the suspense as it’s one of his best scores.

The film’s remarkable cast include some notable small roles from Joan Staley as a waitress Cady tries to flirt with at the bowling alley, Edward Platt as a judge, Will Wright as a doctor friend of Bowden, and Paul Comi as Bowden’s paralegal aide. Barrie Chase is wonderful as Diane Taylor as this woman Cady meets at a bar and flirts with only to be in for a night that she wouldn’t forget for all of the wrong reasons. Jack Kruschen is terrific as Cady’s lawyer who tries to ensure Cady’s innocence as well as get Bowden disbarred. Telly Savalas is fantastic as the private detective Charlie Sievers as a man who is asked by Bowden and Dutton to see if Cady is up to something where he would help Bowden out in a scheme to capture Cady for its climax. Martin Balsam is excellent as Bowden’s friend in police chief Mark Dutton as an authority figure who also knows Cady is up to something but also realizes how much trouble Bowden is getting himself into by trying to go after Cady.

Lori Martin is brilliant as Nancy as Sam and Peggy’s 14-year old daughter who is aware of what his happening as she would have her own frightening encounter with Cady where she also struggles with what he might do. Polly Bergen is amazing as Peggy Bowden as Sam’s wife who deals with the severity of what is happening as she tries to get her husband to see reason when he starts to fall apart while having her own terrifying encounter with Cady in the film’s climax. Robert Mitchum is phenomenal as Max Cady as a released convict who is hell-bent on getting revenge on Bowden as he’s a man that is very intelligent but also one that has a real grudge towards Bowden where it’s a role that has Mitchum be very evil but also in a way that is just fun to watch. Finally, there’s Gregory Peck in an incredible performance as Sam Bowden as a good-hearted attorney who copes with the presence of Cady as well as what Cady would do where he nearly descends into very dark areas as it’s one of Peck’s definitive performances as he and Mitchum have great rapport together in the scenes they’re both featured in.

Cape Fear is a spectacular film from J. Lee Thompson that features top-notch performances from Gregory Peck and Robert Mitchum. Along with a great supporting cast, chilling moments of suspense, and Bernard Herrmann’s eerie score. The film isn’t just a thriller that manages to create a sense of discomfort and terror but a film that is about will and wits and how two men try to battle each other in a game of good vs. evil. In the end, Cape Fear is a tremendous film from J. Lee Thompson.

Related: Cape Fear (1991 film)

© thevoid99 2016

Ryan's Daughter

Based on the Gustave Fluabert novel Madame Bovary, Ryan’s Daughter is the story of a young Irish woman who has an extramarital affair with a British officer that causes trouble in her home where lots of morality is questioned. Directed by David Lean and screenplay by Robert Bolt, the film is a loose take on the Flaubert novel as it is set during World War I amidst a sense of cultural and political tension between the British and the Irish. Starring Sarah Miles, Robert Mitchum, Trevor Howard, John Mills, Christopher Jones, and Leo McKern. Ryan’s Daughter is a ravishing but flawed film from David Lean.

Set in an isolated village near the Atlantic coast in Ireland during World War I in the backdrop of escalating tension between the British and Irish. The film revolves around a young woman who marries a widowed schoolteacher as she suddenly falls for a wounded British officer as it causes problems once the affair is known by the locals. It’s a film that is quite simple but it’s told in a broad scale as Robert Bolt’s script has this very unique structure as it plays into the life of Rosy Ryan (Sarah Miles) as the first act is about her marrying the middle-aged schoolteacher Charles Shaughnessy (Robert Mitchum) while the second act introduces the character of the British officer Major Randolph Doryan (Christopher Jones). The third act doesn’t just relate to the unveiling of the affair but also a key incident that relates to this tension between the British and Irish.

The script doesn’t just explore the tension between Britain and Ireland where the Irish are upset at the presence of the British in their land. It also plays into Rosy who is fond of Shaughnessy who is just a lonely widower that is devoted to teaching children where she falls for him and things seem fine. Yet, Rosy feels like marrying Shaughnessy isn’t enough until her meeting with Major Doryan at her father’s pub is where things get really interesting story wise but there’s some big flaws as it relates to the Major Doryan character. While it is revealed that Major Doryan is there to watch over the base, he is someone that comes off as underwritten as it is obvious that he is an officer with a bad leg and some post-traumatic stress disorder but he’s never fully fleshed out other than just some object of desire for Rosy whereas Shaughnessy is a far more interesting character who really has a lot more to offer in terms of character and in development.

Another issue with the script is the character of the village idiot Michael (John Mills) as he is someone that is just there that would be a witness or would do something in a form of pantomime as it’s an odd character. One of which raises questions into why is there character there and what is his importance to the story? He’s someone that never really connects with anything that happens where it’s just one of these things that are very distracting while the portrayal of the villagers who would act very savagely in the third act also become problematic. Though there is a valid reason into their anger, it shows them more as monsters who ignore the idea of reason as the one character in the film that is sort of the film’s conscience is Father Hugh Collins (Trevor Howard).

David Lean’s direction is mesmerizing for not just the look of the locations near the Dingle Peninsula in Ireland but also in creating a world that is large though it is set in this very small town that is remote from the rest of the world. The usage of wide and medium shots don’t make the locations an integral part of the story but it also plays into a world that is changing around this town that really has very little clue on what is happening outside of the world. From the scenes of the beach, cliffs, and mountains outside of the town, it’s a world that is peaceful while the town itself looks dreary and detached from the world as it reflects on a world that Rosy and Shaughnessy live in where they’re part of a community but are also very different. While it is clear that Father Collins is sort of this moral leader that the town has to abide to, he is also the one person for Rosy and Shaughnessy can confide to as it adds to the drama.

The direction also play into elements of fantasy and reality as it relates to what is going on in the film’s second half where Shaughnessy begins to suspect that something isn’t right in his marriage. The usage of close-ups and medium shots add to some of the emotional drama while there are also these moments that showcases the dramatic tension within Rosy who feel like she is torn in her devotion towards her husband and the passion she has for Major Doryan. Lean’s approach to humor for the scenes involving Michael don’t work as it is one of the key faults of the film. Some of the elements in the third act as it relates to the IRB (Irish Republican Brotherhood) and British forces do go overboard once the villagers become savages over Rosy’s affair with Doryan also gets over-the-top where they would also target Shaughnessy. Overall, Lean creates a beautiful and engaging but messy film about an Irish woman’s affair with a British soldier during World War I.

Cinematographer Freddie Young does incredible work with the film‘s photography in terms of its gorgeous scenery of the locations as well as creating moods in some of the interiors and scenes set at night or in the rain as Young‘s work is a major highlight. Editor Norman Savage does excellent work with the editing in creating a few montages for some of Major Doryan‘s flashbacks as well as some rhythmic cuts for some of the dramatic moments in the film. Production designer Stephen B. Grimes, with set decorator Josie MacAvin and art director Roy Walker, does amazing work with the look of the small town as well as Shaughnessy schoolhouse and the pub where Rosy‘s father works and runs.

Costume designer Jocelyn Rickards does nice work with the costumes from some of the stylish dresses that Rosy wears to the suits of Shaughnessy and the uniforms of the British officers. Sound editors Ernie Grimsdale and Winston Ryder do superb work with the sound from the way the wind and storms sound on location as well as the raucous parties that goes on in the village. The film’s music by Maurice Jarre is brilliant for its orchestral-based score that has some unique touches in its string arrangements where it’s playful at times while having some military-inspired marches and some dramatic pieces though there’s moments that do feel odd in terms of where the music is used in the narrative.

The film’s cast include some notable small performances from Barry Jackson as a British corporal, Evin Crowley as the local lush Moureen Cassidy, Gerald Smith as the camp caretaker Captain Smith, Brian O’Higgins as the British sympathizer Constable O’Connor, Arthur O’Sullivan and Marie Kean as the McCardles who are very supportive of the IRB cause, and Barry Foster as the IRB leader Tim O’Leary who wants the British out of Ireland as he tries to start a guerilla war against them. Leo McKern is superb as Rosy’s father Tom Ryan as a pub owner who is also an informant for the British as he would often give them bad information until one key moment that would showcase some shame and cowardice for what he really is.

John Mills as the mentally-challenged village idiot Michael is really one of the most baffling performances in the film has he serves very little purpose to the story while being this unnecessary distraction as it’s just odd in a bad way. Christopher Jones’ performance as Major Doryan is just terrible as it’s just bland while Jones never does much to flesh out the character while he is too restrained his role as he rarely speaks (under the dubbed voice of Julian Holloway) where he is just very unsympathetic and never does enough to display the troubles of his PTSD.

Trevor Howard is brilliant as Father Hugh Collins as the film’s conscience of sorts as a man of great moral who understands Rosy’s struggle to be faithful while being aware of what is going on as he realizes, despite his sympathies for IRB, that Rosy and Shaughnessy are being victimized over nothing. Sarah Miles is amazing as Rosy Ryan as a young woman who falls and marries the middle-aged Shaughnessy while having an affair with Major Doryan as this young woman who is conflicted in her feelings and coming to terms with the envy she had received from locals. Finally, there’s Robert Mitchum in a remarkable performance as Charles Shaughnessy as a kind and widowed schoolteacher who marries Rosy as he’s a man of old values but is willing to make changes where later copes with what is happening as it is a restrained but touching performance from Mitchum in one of his underrated performances in his career.

Ryan’s Daughter is a stellar but underwhelming romantic-epic film from David Lean. While it has some beautiful images from Freddie Young’s cinematography in its Super Panavision 70 format as well as great performances from Robert Mitchum, Sarah Miles, and Trevor Howard. It’s a film that doesn’t do enough to create a compelling story while having some strange choices in some of the characters and motivations. In the end, Ryan’s Daughter is a rapturous but extremely flawed film from David Lean.

David Lean Films: In Which We Serve - This Happy Breed - Blithe Spirit - Brief Encounter - Great Expectations (1946 film) - Oliver Twist (1948 film) - The Passionate Friends - Madeleine (1950 film) - The Sound Barrier - Hobson’s Choice - Summertime (1955 film) - The Bride on the River Kwai - Lawrence of Arabia - Doctor Zhivago - (Lost and Found: The Story of Cook’s Anchor) - A Passage to India - (The Auteurs #74: David Lean)

© thevoid99 2016

The Night of the Hunter

Based on the novel by Davis Grubb, The Night of the Hunter is the story of a reverend who has become a serial killer as he woos a widow and her two children in an attempt to steal money that the children had been hiding as it was stolen by their late father. Directed by Charles Laughton and written by Laughton and James Agee, the film is based on the real life story of Harry Powers who would do a similar crime and later be hanged to death in 1932. Starring Robert Mitchum, Shelley Winters, and Lillian Gish. The Night of the Hunter is a gripping and astonishing film from Charles Laughton.

Set in 1930s West Virginia, the film revolves a devious preacher who kills as he learns that his cellmate, who is to be hanged for theft, has hidden the stolen money with his children prompting the preacher to marry the man’s widow and terrorize the children into giving him the stolen money. It is a film that plays into the world of sin and temptation as it’s all driven by this preacher named Harry Powell (Robert Mitchum) who believes he is doing God’s work as he marries lonely women and then kill them so he can collect their money. When he meets the widow Willa Harper (Shelley Winters), he charms and marries her so he can be close to her and his family. While the people in their small town think Harry is a nice man as does Willa’s young daughter Pearl (Sally Jane Bruce), only Willa’s son John (Billy Chapin) isn’t so sure about Powell where he and Pearl eventually learn the truth as they would do whatever it takes to hide from him.

James Agee’s screenplay, which featured re-writes by Charles Laughton, definitely plays into this idea of sin and doing what is right as the man driving these ideas is Reverend Powell who would get Willa to see sin in herself. Especially as she feels guilty for the death of her husband Ben (Peter Graves) who killed two men and stole $10,000 where he would be hanged for his crimes. Powell is an intriguing individual where he dresses up like a preacher and acts like a preacher while his right hand would have “love” tattooed on his fingers while the word “hate” is on his left hand. It’s an interesting duality that he brings yet it is one that is full of hate as he would bring terror to John and Pearl who would eventually flee from his clutches where they would eventually find the safety in an unlikely person in a woman named Rachel Cooper (Lillian Gish) who is this no-nonsense person that can see through everything.

Laughton’s direction is definitely quite stylish as he definitely goes for an expressionistic style in the way he tells the story. Some of which involves some unique wide shots where it has elements of style while mostly focusing on medium shots and close-ups with some very stylish camera angles. Especially as it plays into the air of suspense and drama where Laughton’s framing is among the key moments in the film. He would infuse a lot of images into the frame such Billy telling Pearl a story where the shadowy image of Powell would suddenly come in as a sense of foreshadowing of what is to come. Even as Laughton would create moments in the film that are quite startling but also filled with such beauty in the images as it plays into the sense of duality of love and hate.

The direction would also feature expressionistic images set in the Ohio River as Laughton would create something that is quite somber to explore a world that is very dangerous and also unforgiving at times. When the film’s third act would introduce Rachel Cooper, there is that sense of the unknown at first yet Laughton would change the tone a bit since it adds a glimmer of hope to John and Pearl in their plight. Especially as the confrontation between Powell and Cooper come ahead as both would recite the words of God but it would play into who really stands for what is right and wrong. Overall, Laughton crafts a very chilling yet evocative film about a murderous preacher who kills for profit as he terrorizes two innocent children.

Cinematographer Stanley Cortez does brilliant work with the film‘s black-and-white photography with its use of shadows, distorted images, and lighting schemes to play out the film‘s expressionistic style as well as set an eerie mood for the suspense. Editor Robert Golden does excellent work with the editing to convey the slow-burn of the film‘s suspense as well as bringing some unique rhythmic cuts to bring in some bite for some of these moments. Art director Hilyard Brown and set decorator Alfred E. Spencer do amazing work with the set pieces from the home of Willa as well as the farm exterior where John and Pearl briefly hid at. The sound work of Stanford Houghton is fantastic for the way some of Powell‘s singing is heard throughout as it acts as a voice of terror while some of the sound effects help add to the film‘s suspense. The film’s music by Walter Schumann is superb for its chilling orchestral themes as well as some somber moments such as it plays into the plight and innocence of John and Pearl.

The casting by Mille Gusse is incredible as it features some notable small roles from Peter Graves as Willa’s late husband Ben, Gloria Castillo as Rebecca’s adopted daughter Ruby who is often a victim of temptation, Don Beddoe and Evelyn Varden as a couple of local shopkeepers who are friends of Willa and the children, and James Gleason as a river man that John is friends with as he would make a very chilling discovery. Sally Jane Bruce is wonderful as Pearl as this young girl who exudes innocence as she is confused by the presence of Powell. Billy Chapin is superb as John Harper as this young boy who is suspicious about Powell as well as the questions about the money as he knows about its whereabouts while dealing with the world of good and evil.

Shelley Winters is excellent as Willa Harper as this widow who is consumed with guilt over her husband’s death as she marries Powell unaware of his intentions as she later learns that there’s something about him that makes her uncomfortable. Lillian Gish is phenomenal in a small but memorable performance as Rachel Cooper as this old woman who adopts lost children as she is this stern figure that not only keeps John and Pearl in check but also knows a lot about the ways of the world as she is someone not to be trifled with. Finally, there’s Robert Mitchum in an absolutely magnificent performance as Reverend Harry Powell as Mitchum brings this dark charm to the role that makes him so engaging but it is balanced by this brooding presence that just sends chills as his character is, without question, one of the greatest villains in cinema as he is the epitome of absolute evil.

The Night of the Hunter is a tremendously haunting yet visceral film from Charles Laughton. Featuring an outstanding performance from Robert Mitchum as well as a strong supporting performance from Lillian Gish, exquisite cinematography, and a chilling score. The film stands as one of the key films of the film noir genre as well as an exploration into the idea of good and evil. In the end, The Night of the Hunter is a remarkable film from Charles Laughton.

© thevoid99 2014

2012 Cannes Marathon: Dead Man

(Played in Competition for the Palme D’or at the 1995 Cannes Film Festival)

Written and directed by Jim Jarmusch, Dead Man is the story of an accountant who travels to the West in 19th Century America as he encounters an Indian who makes claims that the man is a killer. The film is a period western that plays with elements of the genre while adding surreal imagery to the genre. Starring Johnny Depp, Gary Farmer, Gabriel Byrne, Crispin Glover, Iggy Pop, Alfred Molina, Billy Bob Thornton, John Hurt, Michael Wincott, Lance Henriksen, Mili Avital, and in his final film appearance, Robert Mitchum as John Dickinson. Dead Man is an entrancing yet stylish western from Jim Jarmusch.

Arriving to the company town of Machine from Cleveland, an accountant named William Blake (Johnny Depp) arrives to work for man named John Dickinson. Instead, he is rejected by Dickinson and his business manager John Scholfield (John Hurt) forcing Blake to drown his sorrows at a saloon where he meets a young prostitute named Thel Russell (Mili Avital). After a misunderstanding with her lover Charlie (Gabriel Byrne) forces Blake to defend himself as he flees with a pinto as Charlie is revealed to be Dickinson’s son. Wanting revenge, Dickinson hires three notorious killers in Cole Wilson (Lance Henrikson), Conway Twill (Michael Wincott) and Johnny “The Kid” Pickett (Eugene Byrd) to track down Blake while prompting others to find him with a huge reward in hand.

Meanwhile, the wounded Blake meets an American Indian named Nobody (Gary Farmer) who believes that Blake is the famed poet of the same name. Though Blake tries to tell Nobody that it isn’t true, the two go on a journey to a spiritua world as they would encounter a trio of men (Billy Bob Thornton, Iggy Pop, and Jared Harris) and a missionary (Alfred Molina) where Blake eventually embraces this strange role. While he is still in pursuit of those wanting Dickinson’s reward, Blake continues to his strange journey as he and Nobody briefly separates while dealing with other strange forces prompting Blake to have Nobody take him to this strange, mystical land of the spirits.

Jim Jarmusch’s screenplay is filled with a lot of quirks and dark humor such as the back stories for the three men who are hired to hunt Blake as well as Nobody where his story is the most interesting. Here is this man who is a mix of two different tribes who was captured by white men and exploited for entertainment where he gains knowledge and a deep perspective on his disdain for the white man. Throughout the film, people ask Blake if he’s carrying any tobacco as it would lead to a lot of things while the film opens with this amazing train sequence where a boiler man (Crispin Glover) tells Blake that where he’s going is hell. Some of the film’s dialogue that Jarmusch uses has characters like Blake and Nobody often quoting the poetry of William Blake whether it’s to establish the spiritual journey Blake is embarking or to create some kind of humor that is told.

Jarmusch’s direction is truly hypnotic in the way he presents the film as it’s shot on location in parts of Arizona and Oregon. While Jarmusch does stay true to some of the visual ideas of the western with some eerie close-ups on the characters along with intense shoot-outs. A lot of the film definitely harkens more towards a European style of filmmaking with wandering shots of the skies and locations along with more entrancing shots of some of the locations such as a forest of dead trees. The latter of which is a visual tribute to the works of Russian filmmaker Andrei Tarkovsky as there’s other compositions that reeks of Tarkovsky’s visual style. Many of it is to play out Blake’s journey where it intensifies once he starts to embrace this role that he is destined to play. Overall, Jarmusch truly creates a rich yet evocative western that goes for the unconventional rather than play by the genre’s rules.

Cinematographer Robby Muller does an amazing job with the film‘s black-and-white photography from the way the scenes in the train are lit to many of the film‘s exterior settings for day and night where this a great degree of style. Some of it definitely plays to visual look of Andrei Tarkovsky while many of the nighttime exteriors have an array of lighting schemes from the use of campfires and lanterns to add something that is truly ethereal as Muller’s work is truly seductive to watch. Editor Jay Rabinowitz does incredible work with the film’s very stylized editing from using fade-outs to move the film’s transitions in an unconventional manner to playing with dissolves for some of the film’s more surreal moments when Blake starts to have strange visions.

Production designer Bob Ziembicki, along with set decorator Dayna Lee and art director Ted Berner, does brilliant work from the set pieces created from the frontier town of Machine that Blake first comes across to the beauty of the Makah village in the film‘s third act. Costume designer Marit Allen does excellent work with the costumes from the suit that Blake wears along with the rest of the clothing of the west to the Native American wardrobe that is created. Visual effects supervisors Randall Balsmeyer and Jon Farhat do nice work with the film‘s minimal visual effects that includes a shot where Nobody sees a talking skeleton that he believes is Blake. Sound editor Robert Hein does fantastic work with the film’s sound from the calm atmosphere of the forest scenes to the more raucous world of the saloon that Blake attends early in the film.

The film’s music by Neil Young is marvelous for the way it Young creates sparse moods with his guitar from chugging riffs to melodic jangles to help maintain a tense atmosphere for the film. With bits of folk guitars in the mix, Young’s score also knows how to build up suspense in a few chilling scenes as the overall work is among one of the film’s highlights.

The casting by Ellen Lewis and Laura Rosenthal is phenomenal for the ensemble that is created as it includes small but notable appearances from Jimmy Ray Weeks and Mark Bringleson as two marshals, Butthole Surfers vocalist Gibby Haynes as a man at the train, and in the roles of the young Nobody, Thomas Bettles and Daniel Chas Stacy. Other noteworthy small but memorable parts include Mili Avital as a friendly prostitute named Thel, Gabriel Byrne as Thel’s heartbroken former boyfriend Charlie, Crispin Glover as an eccentric boiler man, Alfred Molina as a dishonest missionary salesman, John Hurt as Dickinson’s cruel manager, and Robert Mitchum in a fantastic final performance as the very intimidating John Dickinson.

Billy Bob Thornton, Iggy Pop, and Jared Harris are hilarious as a trio of fur traders who tell strange stories with Pop wearing a dress to add more humor. Eugene Byrd is excellent as the young killer known as “The Kid” while Michael Wincott is terrific as the very talkative killer Conway Twill. Lance Henriksen is superb as the very quiet but far more dangerous killer Cole Wilson who carries a horrifying secret that even spooks the other bounty hunters. Gary Farmer is great as the eccentric Nobody who often quotes William Blake’s poetry while providing some humor to the film as it’s a fun performance. Finally, there’s Johnny Depp in an odd but entrancing performance as William Blake where Depp is quite restrained in his role as a meek accountant turned killer where Depp provides this amazing presence for a man that is pretty quiet in dealing with his situations as it’s definitely one of Depp’s best performances.

Dead Man is an extraordinary yet visually-astonishing western from Jim Jarmusch. Featuring a spectacular ensemble cast led by Johnny Depp, it’s a film that really gives fans of the western genre something that is very different but also something that does capture the spirit of the genre. For those who interested in the works of Jim Jarmusch, this film is definitely one of the best works of his career. In the end, Dead Man is a mesmerizing film from Jim Jarmusch.

Jim Jarmusch Films: Permanent Vacation - Stranger than Paradise - Down By Law - Mystery Train - Night on Earth - Year of the Horse - Ghost Dog: The Way of the Samurai - Coffee & Cigarettes - Broken Flowers - The Limits of Control - Only Lovers Left Alive - Paterson - Gimme Danger - The Dead Don’t Die - (Father Mother Sister Brother) - The Auteurs #27: Jim Jarmusch

© thevoid99 2012