2025 Blind Spot Series: The Misfits

 

Based on the short story by Arthur Miller, The Misfits is the story of a recently-divorced stripper who meets a trio of men in Reno, Nevada as they decide to form a business in capturing wild horses. Directed by John Huston and screenplay by Arthur Miller, the film is a western-drama that plays into four different people who all work together while the three men fall for this woman who is trying to start a new life. Starring Clark Gable, Marilyn Monroe, Eli Wallach, Thelma Ritter, and Montgomery Clift. The Misfits is an evocative and riveting film by John Huston.

The film revolves a recently-divorced woman who meets a mechanic who would introduce her to an aging cowboy where she falls for him where they all decide to capture wild horses for money. It is a film that has a simple premise though writer Arthur Miller has created something more complex with its characters as they all try to deal with the modern world around them as the days of the cowboys and horse wrangling waning. Miller’s screenplay is more of a study of people who all face uncertainty in the next stage of their lives with the stripper Roslyn (Marilyn Monroe) just getting her divorce as she laments over failure in her marriage as well as the idea of falling in love again. Helping her with her issues is her landlady Isabelle Steers (Thelma Ritter) as well as a mechanic/pilot in Guido (Eli Wallach) who is smitten by her as he would later meet her with his friend in the aging cowboy Gay Langland (Clark Gable). Roslyn and Gay hit it off as they both have dealt with a lot in their lives with the latter having been through relationships while is coping with changing times.

With an idea to capture wild horses as part of a business plan, Gay and Guido decide to get another cowboy in the rodeo rider Perce Howland (Montgomery Clift). Miller also explore the fragility of these characters with Perce being a man that has been in too many rodeos as he is struggling with his finances and takes Gay’s offer to do something. Even as he gets injured at the rodeo where he has a conversation with Roslyn about his own life as he is among the group of broken people that include Roslyn, Guido, and Gay as there is a scene where he calls out for his adult children who have left him after he told them he would be back. The film’s third act is about the capturing of wild horses including mustangs and stallions where Roslyn is taken aback by the cruelty of what the men must do as well as the aftermath yet what is more shocking is how many they find.

John Huston’s direction is exquisite in not just its setting of the American West but also this clash of the old ways and the modern world. Shot on location in and around Reno and Dayton, Nevada with locations in the deserts of the state, Huston uses a lot of wide and medium shots to capture the beauty of the deserts and small towns as it plays into a world that is changing though the traditions of the West such as rodeos and gatherings are still happening. Huston’s direction is often shown in certain places and locations where there is a sense of a modern world overshadowing the old world where Gay would first meet Roslyn at a diner with his dog while the unfinished house that Guido has where Gay would stay at times is set on the desert. Huston would also use close-ups for some scenes in the way characters would interact with one another while also knowing how to film a simple conversation in scenes such as Gay and Roslyn having breakfast or Perce and Roslyn conversing behind the bar. Huston also plays into the male gaze in how men look at Roslyn where there are moments where she does not seem to mind but during a scene where she is hitting a ball with a paddle tied to a string. A man slaps her ass causing some trouble where she is little troubled by it but still brushes it off.

Huston’s approach to shooting the desert and mountain landscapes of Nevada plays into the West that still has its magic but there is also a sense of loss in the land. Even as Guido uses his plane to find wild horses that include mustangs and stallions where he would find them running, Huston’s usage of aerial shots are gorgeous to play into the vastness of the West. For Roslyn, it is a world that she does not know about while learning about what they need to do to capture the horses, and the aftermath is upsetting. There is a great wide shot of her screaming in the desert over the way horses are treated while the men are more upset in how many they captured as it plays into the times and how the West is no longer what it used to be. It becomes something that Gay has trouble accepting where Huston creates a scene of Gay trying to assert his own power only to realize that the world is changing. Overall, Huston crafts a somber yet rapturous film about a former stripper, an aging cowboy, a pilot/mechanic, and a broken-down rodeo cowboy all trying to find the next phase in their lives in the modern world set in the West.

Cinematographer Russell Metty does brilliant work with the film’s black-and-white photography with its usage of natural and available lighting that captures the beauty of the landscape as well as the usage of low-key natural lighting for the scenes at night and in the morning. Editor George Tomasini does brilliant work with the editing as its usage of rhythmic cuts play into the elements of drama and suspense that occurs throughout the film as it is a major highlight of the film. Art directors Stephen B. Grimes and Bill Newberry, with set decorator Frank R. McKelvy, do excellent work with the look of Guido’s home that includes a section that has yet to be built as well as the saloon that all the characters go to during the rodeo. Costume supervisor Jean Louis does fantastic work with the dresses and clothes that Roslyn wears that includes jeans and a shirt when she is riding a horse in one scene as well as the dresses she wears in social engagements.

The special effects work of Cline Jones does terrific work with the scenes involving the rodeo and horse wrangling scenes to play into the sense of realism that happens in those moments. Sound recordists Charles Grenzbach, Philip Mitchell, and R.D. Cook do superb work with the sound as it plays into the way a location is presented whether it is in the quiet scenes in the deserts or the loud and raucous atmosphere of the rodeo. The film’s music by Alex North is incredible for its orchestral score with somber yet swelling string pieces for some of the dramatic moments and bombastic arrangements with its percussions and strings for the suspenseful scenes.

The film’s wonderful ensemble cast feature some notable small roles from Marietta Tree as a girlfriend of Gay he takes to the train station early in the film, Philip Mitchell as Isabelle’s ex-husband she sees at the rodeo, Rex Bell as an old cowboy staring at Roslyn’s ass, James Barton as an old cowboy hanging at the rodeo with his young grandson, Estelle Winwood as a church lady collecting money, and Kevin McCarthy as Roslyn’s ex-husband Raymond who only appears in one scene waiting for her at the courthouse. Thelma Ritter is excellent as Isabelle Steers as Roslyn’s landlady who had seen a lot in her life as she is also someone who does what she can to help Roslyn while often being the wisest person in the room as it an understated yet charming performance.

Eli Wallach is brilliant as Guido as a mechanic/pilot who is smitten by Roslyn as he hopes to give her a decent life as he must contend with Gay while also doing what he can to help Gay in capturing wild horses even though it is a job that is becoming more useless in these changing times. Montgomery Clift is brilliant as Perce Howland as a broken-down rodeo cowboy who is in financial dire straits as he agrees to help Gay and Guido in their job while lamenting over his own misfortunes and numerous injuries in the rodeo where he befriends Roslyn where he also deals with what he has to do in capturing wild horses where Clift shows a lot of conflict in his face as a man who had seen too much.

Finally, there is the duo of Clark Gable and Marilyn Monroe in their final film performances in their respective roles as Gay Langland and Roslyn Taber. Gable’s performance is phenomenal as this aging cowboy is a man that is trying to find meaning in his old age while also being someone who seeks companionship in Roslyn as he also tries to assert his own masculinity in a world where his ideas of masculinity is becoming futile. Monroe’s performance as Roslyn is tremendous where Monroe displays a fragility and uncertainty of a woman who has been through too many bad relationships and a lack of a future as she is seeking meaning in her own life where she is fascinated by the men she meets while falling for Gay where Monroe has great chemistry with her co-stars as well as showcasing her own rage in a key dramatic moment as it is a career-defining performance from the actress.

The Misfits is an outstanding film by John Huston that features great performances from Eli Wallach, Thelma Ritter, and Montgomery Clift as well as spectacular final performances from Clark Gable and Marilyn Monroe. Along with its gorgeous visuals, Alex North’s music score, and Arthur Miller’s gripping and somber screenplay. The film is a dramatic-western that is more about a world where people find themselves unable to adapt to changing times while trying to cope with what they do to live in that new world. In the end, The Misfits is a magnificent film by John Huston.

© thevoid99 2025

The Other Side of the Wind

Directed and co-edited by Orson Welles and written by Welles and Oja Kodar, The Other Side of the Wind is the story of the last day in the life of a filmmaker who is trying to complete his comeback film at a screening party. Shot from 1970 to 1976 sporadically, the film that was meant to be Welles’ return to narrative-based filmmaking is a satire of European cinema and New Hollywood as well the Hollywood of old in this multi-layered film that play into the struggles of a man trying to get back in the game. Starring John Huston, Oja Kodar, Bob Random, Peter Bogdanovich, Susan Strasberg, Lilli Palmer, Norman Foster, Edmond O’Brien, Mercedes McCambridge, Cameron Mitchell, Paul Stewart, Gregory Sierra, Tonio Stelwart, and Dan Tobin. The Other Side of the Wind is a rapturous and evocative film from Orson Welles.

Set in what would be a man’s last day, the film revolves a filmmaker trying to finish his film entitled The Other Side of the Wind as he would screen at his home for his 70th birthday which would also be a screening party. Surrounded by an entourage that includes his collaborators, a protégé, a documentary film crew, and many others, the man discusses the film and ponders if it will ever be seen to a wide audience. The film’s screenplay by Orson Welles and Oja Kodar does follow a straightforward narrative as it relates to the life of filmmaker J.J. “Jake” Hannaford (John Huston) whose career had been in decline as he’s trying to create a comeback through this film that would be shown as it relates to a young man who meets a mysterious woman as they fall in love and later follow her through a desert. Throughout the course of the film, Hannaford is having a party with this barrage of guests including filmmakers, film buffs, a documentary film crew, Hannaford’s collaborators, colleagues, the mute starlet (Oja Kodar), and film critic/journalist Juliette Riche (Susan Strasberg).

Yet, the one person that is missing which had complicated the final days of production is its star John Dale (Bob Random) whom Hannaford discovered in Acapulco when he saw Dale attempted suicide. Many wondered where Dale is while Hannaford is also trying to get funding to do more work in finishing the film as he even turns to his protégé in filmmaker Brooks Otterlake (Peter Bogdanovich) for help only for things to fall apart. Especially as those who are part of Hannaford’s entourage including collaborators and close friends try to figure out the man who is starting to unravel through alcohol while contemplating the idea of making a film that he could be proud of.

Welles’ direction is definitely stylized in terms of its presentation where it dwell into many ideas that was prevalent in the 1960s/1970s as it is shot mainly at a house in Phoenix, Arizona as Reseda, California, Beverly Hills at Peter Bogdanovich’s home, Connecticut, France at Welles’ own home, and other locations in Europe and Southwest America. The scenes of Hannaford being documented and having his party is shot in a mixture of black-and-white film stock and color as it’s presented in a 1:37:1 full-frame aspect ratio in a cinema verite style with a documentary film crew often being shown. There’s a looseness to the direction with its usage of hand-held cameras where Welles would play into the raucous atmosphere of the party while including moments of Hannaford’s entourage talking to each other with appearances from filmmakers wanting to meet Hannaford. There are also these moments through the editing by Welles, along with additional work by Bob Murawski in the 2017 edits that was overseen by Bogdanovich and producer Frank Marshall who was a unit production manager during its filming, which play to the chaos where Welles would create these rapid cuts for the conversations or make a strange transition of a footage shot in black-and-white to a shot in color.

The scenes of Hannaford’s film The Other Side of the Wind is presented in an entirely different aspect ratio in a widescreen format and in full color reminiscent of some of the European art-house films of the 1960s/1970s with Michelangelo Antonioni’s Zabriskie Point being the obvious influence. The usage of the wide shots would play into the striking compositions that play into this air of mystery relating to these two characters played by Random and Kodar as they never say a word in the film. The film The Other Side of the Wind that Hannaford is making has no plot as it is about these two people who meet, meet again at a club, have sex in a car, and then go into the desert for more sex and intrigue. It’s Welles playing up the pretentious elements of European cinema with its methodical approach to long shots and editing as well as the idea that there isn’t much to explain.

Welles would move back and forth into Hannaford’s party and clips of his film as it would deviate more into chaos as the party winds down where Welles’ usage of close-ups and medium shots add to the discomfort that is looming. Even in a moment that involves Hannaford shooting dummies mixed in with these moments of partying from the guests have this bizarre quality that is to represent the sense of loss and uncertainty in Hannaford in his final day. The film’s climax at this empty drive in where Hannaford shows his guest the last portion of his film is to represent a man desperate to show his film but also deal with his own identity as an artist and as a man. Overall, Welles crafts an abstract yet exhilarating about a man’s final day as he tries to show his film to numerous partygoers at his home.

Cinematographer Gary Graver does brilliant work with the film’s cinematography from the usage of black-and-white film stock to play into some of the elements of the party as well as scenes of characters talking at Hannaford’s home and at the drive-in while the usage of color is vibrant that is most notable in Hannaford’s film with its approach to naturalistic photography. Art director Polly Platt does amazing work with the decayed sets at Hannaford’s film including the club as well as some of the interiors at Hannaford’s home. Costume designer Vincent Marich does nice work with the costumes from the look of the characters in Hannaford’s film including their lack of clothing as well as the array of casual and stylish look of the people at Hannaford’s parties.

Visual effects supervisors Joe Ceballos, John Knoll, and Brian Meanley do terrific work with some of the film’s minimal visual effects as it appear in only a couple of sequences as it relates to some dummies on rocks and a small moment in the film’s finale. Sound editors Scott Millan and Daniel Saxlid do superb work with the sound in capturing all of the spoken dialogue in the film as well as providing a balanced mix by Millan who would also do much of the work from its 2017 post-production period. The film’s music by Michel Legrand is excellent for its jazz-based piano score with elements of somber brass arrangements and a few string-based arrangements as it adds to the sense of melancholia in the film while music supervisor Carter B. Smith help cultivate a music soundtrack that features some rock music as well as jazz and classical that appears in Hannaford’s film and at Hannaford’s home.

The film’s wonderful cast features appearances from filmmakers such as Dennis Hopper, Claude Chabrol, Paul Mazursky, Curtis Harrington, and Henry Jaglom as themselves along with a young Cameron Crowe, Rich Little, Stephane Audran, Les Moonves, Richard Wilson, and George Jessel as party guests. Other noteworthy small roles include Gene Clark as a film projectionist, Howard Grossman as Hannaford’s biographer Charles Higgam, Cathy Lucas as a young admirer of Hannaford in Mavis Henscher, Pat McMahon as the film journalist Marvin P. Fassbender, Geoffrey Land as film studio boss Max David who isn’t fond of what Hannaford has done, Dan Tobin as Dr. Bradley Pease Burroughs whose pupil is Hannaford’s leading man, Robert Aitken as the driver in Hannaford’s film, Tonio Stelwart as Hannaford’s business partner/screenwriter in the Baron, Paul Stewart as Hannaford’s personal assistant Matt Costello, and Gregory Sierra as screenwriter Jack Simon who believes that Hannaford is gay.

Cameron Mitchell and Mercedes McCambridge are terrific in their respective roles as Hannaford’s collaborators in makeup artist Matt “Zimmie” Zimmer and film editor Maggie Noonan who both deal with the craziness of the production with the former being someone often fired and rehired while the latter is more concerned about the final version of the film. Edmond O’Brien is superb as one of Hannaford’s cronies in Pat Mullins who always drinks and say weird things on a megaphone while Lilli Palmer is fantastic as retired actress Zarah Valeska who hosts Hannaford’s party as she talks to the documentary crew about Hannaford. Bob Random is fantastic as Hannaford’s leading man Oscar “John” Dale as a young man Hannaford discovered and cast him for the film only to walk out during production and never return. Oja Kodar is excellent as Hannaford’s unnamed leading lady as this mysterious woman who, like Dale, never speaks throughout the film as she is an object of desire but also something far more intriguing when she appears at the party.

Norman Foster is brilliant as a friend/former child actor of Hannaford who is also an apologist and defender trying to protect his friend’s reputation to a fault while Peter Bogdanovich is amazing as Hannaford’s protégé in filmmaker Brooks Otterlake as a man who worships Hannaford but becomes frustrated by his drinking and lack of progress forcing him to confront the man’s many faults. Susan Strasberg is incredible as film journalist/critic Juliette Riche as a woman who is trying to get some answers from Hannaford about his films as well as try to figure out his newest film which she is seeing for the first time like everyone else. Finally, there’s John Huston in a phenomenal performance as J.J. “Jake” Hannaford as a filmmaker living his final day trying to finish his comeback film and show it to the world while dealing with the lack of funds and support of the film as it’s Huston in one of his finest performance with additional voice-dubbing by his son in actor Danny Huston.

The Other Side of the Wind is a sensational film from Orson Welles. Featuring a great cast, a dazzling mixture of cinematic styles, bizarre mediations of identity and desire, and Michel Legrand’s sumptuous score. It’s a film that is offbeat in its presentation while also challenging in its approach to narrative and ideas about cinema itself. In the end, The Other Side of the Wind is a spectacular film from Orson Welles.

Orson Welles Films: Citizen Kane - The Magnificent Ambersons - The Stranger (1946 film) - The Lady from Shanghai - Macbeth (1948 film) - Othello (1952 film) - Mr. Arkadin - Touch of Evil - The Trial (1962 film) - Chimes at Midnight - The Immortal Story - F for Fake - Filming Othello

Related: Zabriskie Point - Orson Welles: The One-Man Band – The Eyes of Orson Welles - They’ll Love Me When I’m Dead - The Auteurs #69: Orson Welles: Part 1 - Part 2

© thevoid99 2018

2014 Blind Spot Series: The Maltese Falcon

Based on the novel by Dashiell Hammett, The Maltese Falcon is the story of a private detective who finds himself dealing a troubling case that involves the search of a statue that everyone wants. Written for the screen and directed by John Huston, the film is a detective story that would be the inspiration for many ideas of what would become film noir with its unique take on language and character motivations. Starring Humphrey Bogart, Mary Astor, Gladys George, Peter Lorre, and Sydney Greenstreet. The Maltese Falcon is a riveting and stylish film from John Huston.

The film revolves around a private detective who finds himself in the middle of a crazed search for a rare statue that everyone wants as he tries to find out who killed his partner who was tailing a suspect. It all plays into this statue called the Maltese Falcon where it is a statue worth lots of money as the detective Sam Spade (Humphrey Bogart) wants to know why he’s in the middle of this case where a woman named Brigid O’Shaughnessy (Mary Astor) asks Spade and his partner Archer (Jerome Cowan) to tail a man that would lead to the latter’s death. Yet, O’Shaughnessy is part of a scheme into retrieving this rare statue that a slimy man named Joel Cairo (Peter Lorre) and a determined collector named Kasper Gutman (Sydney Greenstreet) want. With Spade falling for O’Shaughnessy and dealing with the case itself as he finds himself into all sorts of trouble with a lot of twists and turns as there’s very few people he can actually trust.

John Huston’s screenplay definitely plays up to the idea of suspense and language that Dashiell Hammett is known for as a lot of the dialogue is very stylized with its sense of rhythm and in the way the words are said. There’s also some exposition into a lot of the things that happen as well as the story of the Maltese Falcon as the statue itself is a plot device that would become known as the Macguffin. It’s the one thing that everyone wants where Huston knows how to weave the plot into these twists and turns where Spade is often at the center of this crazed search. There is also this conflict in Spade as he falls for O’Shaughnessy even though she is a suspect as his secretary Effie (Lee Patrick) is very suspicious of O’Shaughnessy as she is sort of Spade’s conscience and the one person that he can really trust.

Huston’s direction is very stylish with the way he sets the mood for much of the film where it has this air of suspense and intrigue that continuously looms throughout the film. Huston would use a lot of medium shots as well as some close-ups to play into the drama and suspense while infusing some bits of humor into the film. Much of it would include a few eerie camera angles to play into the sense of style in the way the suspense occurs as there is tension in the film such as the people that Spade would meet. There aren’t many moments of violence as Huston is more focused on just building the mystery as well as play into scenario about what to do when the Maltese Falcon is found. Overall, Huston crafts a very engaging and chilling film about a detective caught in a deadly search to find a priceless statue.

Cinematographer Arthur Edeson does excellent work with the film‘s black-and-white photography to create some unique shadows and lighting schemes for some of the film‘s interior and exterior scenes set at night that would be the basis for the look of film noir. Editor Thomas Richards does fantastic work with the editing as it has a bit of style in the transition wipes while keeping things very straightforward to play into the slow-burn of the suspense. Art director Robert M. Haas does amazing work with the look of Spade‘s office that he shared with his partner to the lavish hotel room that Gutman stayed at.

The gown designs by Orry-Kelly are exquisite for its sense of style as it plays to the looks and personality of the female characters. The sound work of Oliver S. Garretson is terrific for some of the sound effects that are created as well as how it adds to the air of suspense. The film’s music by Adolph Deutsch is wonderful for its for its brooding orchestral score that plays into the suspense along with lush themes for the drama.

The film’s incredible cast include notable small roles from Walter Huston as a police captain, Jerome Cowan as Spade’s partner Archer, Ward Bond as Detective Polhaus, Barton MacLane as Lt. Dundy, and Elisha Cook Jr. as Gutman’s henchman Wilmer. Lee Patrick is wonderful as Spade’s secretary Effie as she is often the one person who is a bit smarter than Spade as she doesn’t trust O’Shaughnessy. Gladys George is terrific as Archer’s wife Iva who thinks Spade killed her husband as she is a former lover of Spade as she isn’t sure what is going on as it plays into Spade’s own suspicions about everything. Sydney Greenstreet is brilliant as the larger-than-life collector Gutman who is eager to have the Maltese Falcon at any cost as he is full of charisma and a presence that is quite intimidating at times.

Peter Lorre is fantastic as the smarmy Joel Cairo as this very flamboyant individual who is very mysterious as Lorre brings that nice sense of sliminess but also charm that makes him so enjoyable to watch. Mary Astor is superb as Brigid O’Shaughnessy as this woman who is the archetype of a femme fatale as she is someone that is quite manipulative while never seeming to get her story straight as she tries to woo Spade into making her feel like a victim. Finally, there’s Humphrey Bogart in a marvelous performance as Sam Spade where Bogart has this intensity and wit to his role that makes him quite cool but also be quite tough as there’s no bullshit about his character yet he isn’t afraid to show some humility as it’s one of Bogart’s finest performances.

The Maltese Falcon is a sensational film from John Huston that features a remarkable performance from Humphrey Bogart. The film is definitely one of the standards in what a mystery should be while making it more about characters and the search for answers rather than action. In the end, The Maltese Falcon is a phenomenal film from John Huston.

© thevoid99 2014

The Treasure of the Sierra Madre

Based on the novel by B. Traven, The Treasure of the Sierra Madre is the story of two Americans who go to 1920s Mexico with an old-timer to find gold where they would encounter trouble. Written for the screen and directed by John Huston, the film is a look into the world of greed and human nature at its ugliest as well as a look at how a journey can lead to great danger. Starring Humphrey Bogart, Walter Huston, Tim Holt, and Bruce Bennett. The Treasure of the Sierra Madre is an incredible yet eerie film from John Huston.

It’s 1920s Mexico as a man named Dobbs (Humphrey Bogart) is seeking to find some way to survive as he needs money as he and a man named Curtin (Tim Holt) got cheated out of wages that was promised to them for labor work. After meeting an old prospector named Howard (Walter Huston), the three go on a journey to find gold in an old mine in the Mexican mountains as they have to endure all sorts of things while greed eventually seeps in the mind of Dobbs as he become paranoid. The film explores the world of greed and how far one man is willing to keep what he’s found as he has no sense of morals while becomes paranoid thinking that everyone wants his loot while Curtin realizes the danger of greed as he turns to Howard who knows a lot more about what is important.

John Huston’s screenplay explores the dynamics of these three men as they all want some gold in the Mexican mountains yet it is Howard that knows a lot more as he knows where the gold is and what it looks like. The only reason he takes part in the journey is so he can get his cut of what they’ve earned but he knows that gold and money aren’t that important. The Curtin character is a man that just wants what is right as after he’s got his gold, he has ideas for what he wants to do. He and Howard share a bond over what they want as they become good friends while Dobbs becomes more engrossed in his greed where he starts to talk to himself and become paranoid. Notably as the three men encounter a man named Cody (Bruce Bennett) who is also looking for gold as he knows what these men have. Other characters they encounter are a group of bandits led by a man known as Gold Hat (Alfonso Bedoya) who just wants weapons.

The script also has some very stylized dialogue in the way it plays to that development of the characters where Dobbs starts off as a man looking for money to survive but once he comes across with a lot of money. He definitely descends into some form of madness making Curtin and Howard uncomfortable and realizing that Dobbs could do anything. When the appearance of Cody causes more trouble where the result would be tragic. Curtin and Howard become aware of what this man really wanted to do as they become more concerned with doing what is right rather than give in to the gold but Dobbs starts to lose that sense of right and wrong where he becomes selfish. Eventually, the three men would separate though different means but its conclusion would definitely lead to an understanding about humanity where some will survive while others don’t.

Huston’s direction is truly engrossing in the way he explores the dark world of greed in the world of Mexico as many of the film’s exteriors are shot in Mexico with some scenes set at night shot in a studio. Huston’s compositions create some very telling images in the way he explores the relationship of these three men as it starts off in the town of Tampico where Dobbs and Curtin are looking for work. Much of the first act is set in Tampico where Huston uses medium shots and close-ups to play up that world with a few wide shots until the film moves into the Mexican mountains where Huston uses more wide shots to captured the rugged beauty of that world.

One aspect of Huston’s direction that is very interesting is that since the film is set in Mexico, he allows many of Mexicans to actually speak Spanish while the main characters also talk some Spanish without the use of subtitles. Unless the audience understands what the Mexican characters are saying though Howard does some of the translating. Huston knows that he doesn’t need to use subtitles to understand what they’re saying by focusing more on the action as well as some subtle close-ups to establish what is happening. Even as Huston knows what not to use in order to establish a few moments of violence as he also uses some wide shots to capture a world that is unique and also not filled with any complications such as greed. Overall, Huston creates a very captivating yet sensational film about greed and humanity.

Cinematographer Ted D. McCord does fantastic work with the film‘s black-and-white photography from the look of many of the daytime exterior scenes while using available light and such for some of the scenes at night to maintain a sense of darkness that looms in the film. Editor Owen Marks does excellent work with the editing where it is quite straightforward for the most parts though he uses fade-outs to help structure the film while utilizing some rhythmic cuts to play up some of the action and suspense. Art director John Hughes and set decorator Fred M. MacLean do superb work with the set pieces from some of the places in Tampico to some of the other places in the mountains as well as the look of the well near the mines that the men built

The sound work of Robert B. Lee is wonderful for some of the sound effects created from the sound of gunfire to the sound of coyotes and such in the locations set in the desert. The film’s music by Max Steiner is brilliant for its array of orchestral pieces created from some upbeat, playful themes to some more ominous yet suspenseful moments to play up Dobbs’ paranoia.

The film’s cast is amazing as it features some notable appearances from a young Robert Blake as a boy pestering Dobbs to buy lottery tickets, John Huston as a man Dobbs keeps asking for money in Tampico, Barton MacLane as the contractor that cheats Dobbs and Curtin over their wages, and Alfonso Bedoya as the bandit leader who spouts one of the most famous lines in film. Bruce Bennett is terrific as a man named Cody whom Curtin meets in town as he later tries to blackmail the three men into giving him a share of the gold without any trouble. Tim Holt is excellent as Curtin as a man that wants to look for gold for his own reasons as he later becomes aware of how much trouble it brings as he has to deal with the paranoid Dobbs.

Walter Huston is great as the old prospector Howard as a man who knows a lot about getting gold from mines as he also tries to deal with Dobbs’ paranoia where he brings a lot of charm and humor to his character. Finally, there’s Humphrey Bogart in a phenomenal performance as Dobbs as a man who is in need of money to survive in Mexico as he becomes desperate to go find gold with a couple of men only to descend into madness as it’s a very chilling yet mesmerizing performance from the actor.

The Treasure of Sierra Madre is remarkable film from John Huston that features amazing performances from Humphrey Bogart, Tim Holt, and Walter Huston. The film is definitely a very compelling piece into the exploration of humanity as well as the dark world of greed. It’s also a film that explores a world of the West that is very different from American westerns while still having some element of honor. In the end, The Treasure of Sierra Madre is a spectacular film from John Huston.

© thevoid99 2013

007 James Bond Marathon: Casino Royale (1967 film)

Based on Ian Fleming’s novel, Casino Royale is a parody film that makes fun of the James Bond franchise in which Bond comes out of retirement to deal with the deaths of fellow agents and face off against an organization called SMERSH. Directed by Ken Hughes, John Huston, Joseph McGrath, Robert Parrish, Val Guest, and Richard Talmadge with a screenplay by Wolf Mankowitz, John Law, and Michael Sayers. The film is a big-budgeted spoof where many people led by David Niven who plays a retired Sir James Bond. With a cast that also includes Peter Sellers, Orson Welles, Ursula Andress, Barbara Bouchet, Deborah Kerr, Jacqueline Bisset, Ronnie Corbett, and Woody Allen. The parody version of Casino Royale is a whimsical although extremely messy film.

With the world in danger by an organization named SMERSH, M (John Huston) and fellow spy leaders try to persuade Sir James Bond to come out of retirement to face SMERSH. Things suddenly go out of control when M is killed as Bond goes to M’s estate for the service where he meets M’s widow Lady Fiona McTarry (Deborah Kerr) who is really a double agent trying to capture Bond with the help of her women and others. Instead, the experience has her switching sides forcing Bond to return to the MI6 with a new Miss Moneypenny (Barbara Bouchet) with a plan to fool SMERSH by gathering many people posing as Bond.

With Moneypenny successfully seducing a man named Coop (Terence Cooper) to be Bond, Bond hires Vesper Lynd (Ursula Andress) to persuade gambler Evelyn Tremble (Peter Sellers) to be Bond in order to stop Le Chiffre (Orson Welles) who is trying to raise money to uncover his losses for SMERSH. Bond also decides to recruit his long-lost daughter Mata Bond (Joanna Pettet) to go to Berlin to uncover what Le Chiffre and SMERSH is up to as she succeeds for Tremble to travel to Paris at Casino Royale. Though Tremble was able to beat Le Chiffre, things go wrong forcing Bond to confront SMERSH and its mysterious leader.

The film is essentially a spoof on spy movies including the James Bond films where there’s lots of beautiful women in the film as well as silly situations where Bond has to face various nemesis and such. Yet, it is told in a very clumsy manner due to a screenplay that isn’t sure what it wants to be. The first act is about getting Bond out of retirement while it features this strong second act of Bond recruiting people to be James Bond that includes a baccarat master whose storyline is the most interesting since it plays true to the original Ian Fleming story. Then comes the third act where it becomes more uneven where it falls into loads of shenanigans where it’s funny at times but also takes itself way too seriously to be very funny.

The direction of the film is helmed by six filmmakers where the screenplay’s lack of cohesiveness really makes the film a mess. At times, the framing doesn’t carry much depth where an actor is at the edge of the frame barely seen. Still, there’s moments such as the sequences with Evelyn Tremble and Mata Bond that are very interesting. Notably the face off between Tremble as Bond and Le Chiffre despite some moments where it tries to be funny. The climatic reveal of the villain is definitely one of the film’s funny moments as well as its motivations. Yet, the direction at times tries to do a lot to entertain as well as keep up the times where it makes the whole film dated that included some silly psychedelic montages.

While some of the locations in Scotland is inspiring, the entire sequence that is directed by John Huston is uninspiring while the stuff involving Tremble, Lynd, and Le Chiffre by Joseph McGrath and Robert Parish is pretty good. The scenes with Woody Allen as Bond’s nephew Jimmy by Val Guest is hilarious though at times, does go overboard due to the climatic shenanigans that occurs as it features silly cameos from Jean-Paul Belmondo and George Raft. Overall, the film is a total mess where it tries to be a lot of things only to come out with so little.

Cinematographers Jack Hildyard, Nicolas Roeg, and John Wilcox do nice work with the photography for some of the interior Berlin settings as well as the look of the Casino Royale. Editor Bill Lenny does terrific work with the editing with some stylish montages in Tremble‘s kidnapping scene while some of the pacing goes into sluggish mode during the film‘s very farcical first act. Production designer Michael Stringer, along with art directors Ivor Beddoes, Lionel Couch, and John Howell, does fantastic work with the set pieces such as the place Mata‘s mother Mata Hari stayed at in Berlin to the Casino Royale and the secret SMERSH base.

Costume designers Julie Harris and Anna Duse do wonderful work with the costumes from the clothes the men wear as well as the dazzling dresses and 60s costumes the women wear. The special effects work of Cliff Richardson, Roy Whybrow, and John Richardson is quite good though very primitive at times such as the spaceship flying over London and other weird scenes. Sound editor Chris Greenham does excellent work with the sound such as Tremble‘s scene involving a large Scottish band. The film’s score by Burt Bacharach is superb for its playful music to emphasize the film’s humor with contributions by Herb Alpert and the Tijuana Brass that provides the film’s theme as well as a beautiful song by Bacharach and lyricist Hal David in The Look of Love sung by the late, great Dusty Springfield.

The casting by Maude Spector is quite incredible for the vast amount of people who appears in this film. A lot of them include cameo appearances from Jean Paul Belmondo as a French Legionnaire, George Raft as a coin-tossing man in the film’s climatic fight, Peter O’Toole as a Scottish band player, Geraldine Chaplin as a Keystone girl, William Holden as a CIA official, John Huston as M, Ronnie Corbett as a man in Berlin who is entranced by Mata, Anna Quayle as Mata’s Berlin teacher, Bernard Cribbins as Mata’s taxi driver to Berlin, Daliah Lavi as an agent Coop meets in his training session, Jacqueline Bisset as the agent Miss Goodthighs that Evelyn Tremble meets, Terence Cooper as a Bond agent in training, and Deborah Kerr as Lady Fiona McTarry whose overdramatic performance as a double agent is often one that isn’t fun to watch.

Barbara Bouchet is wonderful as the secretary Miss Moneypenny who is really Moneypenny’s daughter while Joanna Pettet is fun to watch as Bond and Mata Hari’s daughter Mata Bond. Woody Allen is hilarious in his small role as Bond’s bumbling nephew Jimmy Bond while Ursula Andress is excellent as the sexy yet determined Vesper Lynd. Orson Welles is very good as the whimsical Le Chiffre who likes to show off his gifts as a magician. David Niven is alright as Sir James Bond where he plays the character with a sense of charm and wit though he doesn’t seem to be the guy to really capture the sense of swagger that Bond is known for. Finally, there’s Peter Sellers in a superb performance as Evelyn Tremble where Sellers plays the role very straightforward and low-key while doing a few funny bits as it’s one of Sellers’ more underrated performances despite the notoriety he brought to the production in his emphasis to play James Bond straight and to the point.

The 1967 spoof version of Casino Royale is a film where it’s engaging at times but an overall incomprehensive film that tries too hard to entertain. Due to the dated humor and lots of silly shenanigans, it’s a film that Bond fans will have a hard time watching despite its interesting second act. While the film does offer something for fans of Peter Sellers and Woody Allen, it’s not enough to give it a strong recommendation. In the end, Casino Royale is a film that doesn’t offer much to anyone unless they’re James Bond completists.

James Bond Files: The EON Films: Dr. No - From Russia with Love - Goldfinger - Thunderball - You Only Live Twice - On Her Majesty’s Secret Service - Diamonds Are Forever - Live & Let Die - The Man with the Golden Gun - The Spy Who Loved Me - Moonraker - For Your Eyes Only - Octopussy - A View to a Kill - The Living Daylights - Licence to Kill - GoldenEye - Tomorrow Never Dies - The World is Not Enough - Die Another Day - Casino Royale (2006 film) - Quantum of Solace - Skyfall - SPECTRE - No Time to Die

Non-EON Films: Casino Royale (Climax! TV Episode) - Never Say Never Again

Bond Documentaries: Bond Girls Are Forever - True Bond - Everything or Nothing: The Untold Story of 007

© thevoid99 2012

Chinatown

Considered to be one of the greatest noir films ever made, Chinatown tells the story of a detective investigating a murder that involves a dispute over water in California circa 1937.  Directed by Roman Polanski with an original screenplay by Robert Towne.  Chinatown is considered to be one of the finest mysteries ever told as it also became the first film produced by former Paramount studio head Robert Evans.  Starring Jack Nicholson, Faye Dunaway, Burt Young, Diane Ladd, Perry Lopez, and John Huston.  Chinatown is an extraordinary masterpiece that is still captivating more than 35 years since its release.

After being hired by a woman named Mrs. Mulwray (Diane Ladd) to investigate her husband, whom she accuses him of adultery.  Private investigator J.J. “Jake” Gittes goes after Hollis Mulwray (Darrell Zwerling), a chief supervisor working the L.A. County Water and Power Department.  Following him through public meetings and everything else that involved water.  Gittes learns that Mr. Mulwray is having an affair with a young woman (Belinda Palmer) as he takes pictures with help from his associates Duffy (Bruce Glover) and Walsh (Joe Mantell).  The pictures become public where Jake is suddenly being sued by a woman (Faye Dunaway) who is revealed to be Mrs. Evelyn Mulwray.

Realizing he’s been duped all along, Gittes wants to know why when he wants to talk to Hollis Mulwray himself.  After getting some information at Mulwray’s office and meeting with another supervisor named Russ Yelburton (John Hillerman).  Gittes notices pictures of Hollis with an old man (John Huston) whom he previously saw in one of Walsh’s pictures revealed to be Noah Cross, Evelyn’s father.  Gittes goes to a reservoir to meet with Mulwray where he also comes across his former police partner Lt. Lou Escobar (Perry Lopez) where Hollis Mulwray is found dead.  Evelyn is asked to go to the police station for questions as she turns to Jake for help as she wants him to investigate what happened.

With Gittes now on the case to find out what happened to Hollis Mulwray, he also learns about why Mulwray was murdered relating to the owner ship of the water.  Gittes ends up getting into a confrontation with a corrupt sheriff named Mulvihill (Roy Jenson) and his associate (Roman Polanski) who cuts Jake’s nose.  After that incident, Gittes gets a call from the woman who pretended to be Mrs. Mulwray about the obituaries which mentioned some names.  Gittes meets with Noah Cross about Hollis Mulwray where Cross asks Gittes to find Hollis’ mistress.  After finding out about some recent landowners that included one of the deceased names at the obituary.  Gittes goes to an orange grove plantation where he gets in trouble with landowners until Evelyn saves him.

Jake and Evelyn learn more about the motivation for Hollis’ murder in relation to his protest towards a dam being built to prevent water from landowners in the valley.  After evading Mulvihill and his henchmen, Jake and Evelyn hide at her home where Evelyn reveals more about her father.  Evelyn, later gets a call from her butler Kahn (James Wong) to go to a house.  Jake would follow Evelyn as he learns about Evelyn’s dilemma.  After getting another call about some more information about Hollis’ body, Jake confronts Evelyn about Hollis and the mistress where some awful truths come out.  Even as Escobar is going after Jake over withholding evidence as it relates to Noah Cross where it would lead to a climatic confrontation.

What was supposed to be part of a trilogy of stories involving Jake Gittes, the film is an allegory of sorts of the dark, cynical tone of what was happening in the 1970s during the Watergate scandal.  Both screenwriter Robert Towne and director Roman Polanski decided to create a story about corruption set in the late 1930s in the age when film noir was big.  The end result is an intoxicating yet eerie mystery-thriller that has the attitude of the 1970s and take it back in time to the late 1930s.  A film that has all of the ingredients of a stylish noir film that is entertaining and engrossing.

Part of this genius belongs to screenwriter Robert Towne whose witty, rhythmic dialogue is part of the film’s brilliance.  Setting the film during the real-life California Water Wars during the early 1900s.  Towne was able to use that incident as a backdrop while focusing on why was this chief supervisor for the water department was killed and who killed him.  That’s where Jake Gittes comes in as he goes very deep into finding out what is going on.  Though he was originally supposed to do a job to uncover a man committing adultery, he gets more than he bargains for while nearly losing a nose.

Gittes is the typical gumshoe P.I. in a lot of noir films yet has an attitude that sets him apart from those protagonists from the past.  Even as he is a man who is trying to be good while dealing with demons he had in the past in his days as a beat cop at Chinatown.  Then there’s Evelyn Mulwray, the femme fatale of sorts but one with a much bigger secret.  Though she reveals the secret in a famous dialogue, what is revealed is a woman still haunted by what happened to her and how she tries to keep her husband happy despite not being faithful to her husband and vice versa.  Still, in the classic noir formula, Evelyn does become a formidable ally to Gittes whenever he gets himself into trouble and such.

Towne’s approach to the structure of the story is unique not just to the genre but also to its period.  The first act revolves around Gittes’ discovery of Hollis Mulwray’s murder, Evelyn hiring him, and his confrontation with Mulvihill.  The second act has Gittes meeting his first meeting with Noah Cross and his meeting with landowners.  The third act begins with Gittes confronting Evelyn about the mysterious woman at her home which leads to some troubling revelations as well as other dark secrets.  Even to the climatic confrontation at Chinatown.  Towne’s script is truly mesmerizing as it is definitely one of the best examples of a great screenplay.

The direction of Roman Polanski is truly intoxicating with its hypnotic presentation in terms of framing and capturing a moment on film.  Polanski’s camera always follow the action as if he is playing an invisible observer to see what Jake Gittes is doing.  At the same time, he also gives the viewer a chance to soak Los Angeles circa 1937.  Still, Polanski is interested in divulging into the mysterious death of Hollis Mulwray as well as all of the issues that occurred in the Water Wars.  Shooting scenes of rivers, oceans, and ponds become symbolic for the motivation of Gittes’ investigation.  Even in the tiny pond at the Mulwray’s home inside their garden where Gittes would find a major clue.

Polanski’s eerie direction, in terms of capturing action and scenery, is a highlight along with the way he captures the actors in their performances.  Whether it’s using a close-up or a two-shot with various actors.  He always has his eye on Nicholson, who appears in nearly every frame of the film.  Even as he gets the chance for the actors to feel relaxed or give in to some kind of crazed performance.  The overall result of Polanski’s work is magnificent as this is definitely one of his crowning achievements in his prolific career.

Cinematographer John A. Alonzo does an amazing job with the film‘s lush photography to encompass its noir tone.  Alonzo’s photography also has great shadings for many of the film’s sunny day interiors along with wonderful nighttime scenes that play up the dark mood of the film.  Editor Sam O’Steen does fantastic work with the film‘s editing that includes a leisured pace to the film.  Even with fast-paced rhythmic cutting to play up to the snappy dialogue and intense scenes as O’Steen’s editing is truly one of the film’s technical highlights.

Production designer Richard Sylbert, along with set decorator Ruby Levitt and art director W. Stewart Campbell, do a spectacular job in re-creating late 1930s Los Angeles with the use of old cars and places.  Costume designer Anthea Sylbert does a glorious job with the costumes from the suits and hats the men wear to the dresses, hats, and shoes that the women wear.  There’s something to the look and feel in the costumes that is mesmerizing as it adds authenticity to the film. 

Sound editors Howard Beals, Bob Cornett, and Roger Sword do excellent work with the sound to capture gunshots and the atmosphere surrounding the locations.  Music composer Jerry Goldsmith create what is truly one of the best film scores ever composed for a film.  Goldsmith’s lush, scintillating score filled with swooning trumpets and an elegant orchestra to play up the drama of the film along with broad arrangements for many of the film’s suspense sequences.  Featuring a soundtrack filled with jazz music from other composers, it’s one of the best film scores/soundtracks ever made.

The casting by Jane Feinberg and Mike Fenton is marvelous with the array of memorable small and big roles that are portrayed on film.  Among the number of memorable small roles include Ron Howard’s father Rance as an angry farmer at a meeting, Cecil Elliot as an old woman Gittes sweet-talks to, Fritzi Burr as Hollis Mulwray’s secretary, Belinda Palmer as Hollis’ mistress, Nandu Hinds as Gittes’ secretary, Richard Bakalyan as Escobar’s associate Loach, and Darrell Zwerling as Hollis Mulwray.  Other notable small yet memorable roles include Burt Young as a client of Gittes named Curly, Bruce Glover and Joe Mantell as Gittes’ respective associates of Duffy and Walsh, James Hong as Evelyn’s butler, John Hillerman as the evasive Yelburton, Diane Ladd as the fake Mrs. Mulwray, Roy Jenson as the sleazy Mulvihill, and Roman Polanski in the memorable role as a knife-wielding thug.

Perry Lopez is excellent as Lt. Escobar, a by-the-books detective who becomes suspicious about Gittes’ involvement with Evelyn Mulwray as there’s an ambiguity over what side he’s on.  John Huston is brilliant as Noah Cross, a shady businessman who is hell-bent on having power as he tries to manipulate Gittes.  Though it’s a small role, Huston truly stands out with his gravelly voice and intimidating presence as it’s definitely a classic role from the famed Hollywood icon.  Faye Dunaway is superb as Evelyn Mulwray.  Dunaway’s cool yet eerie performance is definitely her most iconic performance of her career.  Dunaway exudes the idea of a femme fatale while her motivations to help Gittes in the investigation adds to her veiled persona.  It’s really an amazing performance from Dunaway.

Finally, there’s Jack Nicholson in one of his finest performance as Jake Gittes.  Nicholson gives a humorous yet cunning performance as a detective trying to find out what is going on.  There’s no quit in a guy like Gittes as he goes head on to find the truth.  Nicholson is pretty restrained throughout the film though his monologue about his nose shows a man being intense without going overboard.  Nicholson gets a chance for others, including Dunaway and Huston, to shine in the scenes he’s in as he just takes a back seat of sorts.  Even with Dunaway where the two have chemistry that is fiery at times but also intoxicating.  It’s definitely an example of Nicholson’s brilliance as an actor.

Released in June of 1974, the film was a massive hit with audiences and critics.  Nominated for several Oscars including Best Picture, the film won Robert Towne an Oscar for Best Original Screenplay.  At the Golden Globes months earlier, the film won four for Best Picture, Best Director for Roman Polanski, Best Screenplay for Towne, and Best Actor for Jack Nicholson.  The film’s legacy lived on as in 1991, it was selected to be part of the National Film Registry.  At the same time, the film has consistently been put on many top films list as one of the best.  Though a 1990 sequel directed and starring Nicholson called The Two Jakes with a screenplay by Robert Town was a critical and commercial failure.  It did nothing to taint the brilliance of Chinatown.

Chinatown is truly one of the greatest films ever made.  Thanks to Roman Polanski’s enchanting direction, Robert Towne’s marvelous screenplay, and the tour-de-force performances of Jack Nicholson, Faye Dunaway, and John Huston.  It’s a film that continues to be as timeless since its original 1974 release as it will always capture the hearts and mind of new viewers.  For film buffs wanting to discover the work of Roman Polanski will no doubt see this film as one of his quintessential as well as those interested in the work of Jack Nicholson.  In the end, Chinatown is a classic noir film that is entertaining and engaging from the wondrous mind of Roman Polanski.

Roman Polanski Reviews: Knife in the Water - Repulsion - Cul-de-Sac - The Fearless Vampire Killers - Rosemary’s Baby - Macbeth (1971 film) - (What?) - The Tenant - Tess - (Pirates) - Frantic - Bitter Moon - Death and the Maiden - The Ninth Gate - The Pianist - Oliver Twist (2005 film) - The Ghost Writer - Carnage (Venus in Fur) - (Based on a True Story) - (An Officer and a Spy) - (The Palace)

© thevoid99 2010