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

Cameraman: The Life and Work of Jack Cardiff

Directed by Craig McCall, Cameraman: The Life and Work of Jack Cardiff is a documentary about the cinematographer who helped innovate the use of Technicolor as well as providing the cinema some of its greatest images. Especially as he was revered by the filmmakers he worked with as well as actors and actresses. The result is one of the most fascinating documentaries about one of cinema’s great photographers.

Famous for his beautiful work with Technicolor film stock for films like The Red Shoes, Black Narcissus, The African Queen, Barefoot Contessa, and Under Capricorn among many others. Jack Cardiff was a cinematographer who was considered one of the best as he would push the film stock to great heights as he went from being a cameraman to a top cinematographer. Shot partially in 2008 (a year before his death) as well as footage from his trip to the 1998 Cannes Film Festival where he was a guest of honor. Cardiff talks about many of the films he shot as well as the filmmakers, actors, actresses, and technicians he worked with in his illustrious career.

Some of which involves his process into the art of photography where Cardiff revealed that he was inspired more by painters rather than what was happening film. When Technicolor arrived in Britain in the late 1930s, Cardiff was the first who would understand the process as he would serve as a cameraman for a few documentaries that led to him working with Michael Powell and Emeric Pressburger as a second unit cameraman in The Life and Death of Colonel Blimp. This would get him a job to work as a cinematographer in their great works such as A Matter of Life and Death, Black Narcissus, and The Red Shoes. Cardiff also talks about some his early experiences as a cameraman in the 1930s where he talked about Marlene Dietrich’s fondness for lighting which he was impressed by.

With interviews from actors like Kirk Douglas and Lauren Bacall as well as filmmakers Martin Scorsese and Richard Fleischer plus Scorsese’s editor Thelma Schoonmaker, many of them discuss Cardiff’s methods in the art of photography. Even as Bacall, who would often visit’s the sets where her husband Humphrey Bogart was starring in, talked about how good he shot the actors which made actresses like Sophia Loren, Marilyn Monroe, Katherine Hepburn, Ava Gardner, and Marilyn Monroe look great as they would do photos for him for fun. There’s also discussions about Cardiff’s brief period as a filmmaker where despite getting accolades for films like Sons and Lovers and My Geisha in the 1960s, he would eventually return to cinematography in the late 1970s.

With some unique editing from Dan Roberts and Chris Dickens along with some terrific sound design from Sandra Portman, the film definitely takes a unique look into Cardiff’s career as he also talks about some of the drawbacks he had upon his return when it came to photographic special effects as Scorsese, who is an admirer of Cardiff’s work, expresses the sense of loss in the transition between film and digital where Scorsese favors the former. With some wonderfully low-key yet whimsical music from Mark Sayer-Wade, the film has this appreciation for Cardiff‘s contributions which begins and ends with the honorary Oscar he would receive at the 2001 Academy Awards.

Cameraman: The Life and Work with Jack Cardiff is an extraordinary film from Craig McCall. The film isn’t just a mesmerizing piece on one of cinema’s great photographers but also a man who brought a lot of new things to cinematography when film was getting a sense of how to present color. In the end, Cameraman: The Life and Work of Jack Cardiff is a sensationally rich film from Craig McCall.

© thevoid99 2014

Ace in the Hole

Directed by Billy Wilder with a screenplay by Wilder, Walter Newman, and Lesser Samuels from a story by Victor Desny, Ace in the Hole is the story of an amoral newspaper reporter who uncovers a major scoop in the hopes that he would regain his job in the world of newspapers. The film is an exploration into a man’s desire to regain his position in the world of journalism as he does whatever it takes to get the big story. Starring Kirk Douglas, Jan Sterling, Robert Arthur, and Porter Hall. Ace in the Hole is a chilling yet captivating film from Billy Wilder.

The film explores a disgraced yet charming newspaper reporter who arrives to Albuquerque, New Mexico for a job where he learns that a man is trapped in a cave as he decides to make it into a big story. That is pretty much the premise where it explores the desire of Charles Tatum (Kirk Douglas) in his attempt to get the biggest scoop of his career and become the toast of the journalist world. While he hopes that Leo Minosa (Richard Benedict) to survive the ordeal so that it would make a great story. Tatum knew he had to deal with other reporters vying to get the story while he masterminds everything to ensure that things will be great for himself, Leo’s wife Lorraine (Jan Sterling), the town’s sheriff (Ray Teale), and the contractor (Lewis Martin) who is drilling above the cave. Still, there are forces that Tatum couldn’t foresee as well as something inside him as the days to save Leo get closer.

The film’s screenplay is very unique in the way it presents Tatum as this very amoral yet charming man who arrives in Albuquerque with this idea that the only way to sell newspapers is to give them big juicy stories that embellishes and maybe even have lies. Something that Tatum’s new editor Jacob Q. Boot (Porter Hall) believes as he only believes in one thing when it comes to journalism and that is to tell the truth. When Tatum gets the story about Minosa by accident when he was supposed to cover a rattlesnake hunt, Tatum uses his swagger and wit to make one man’s ordeal into a major story. Once is story becomes known all over New Mexico and other parts of the country, people come in to see if Minosa will be saved as it becomes an event with carnivals and such. For Tatum, it’s like a party that is already happening and he is going to reap the rewards while helping out a few including a young photo-journalist in Herbie Cook (Robert Arthur) who wants in so he can get his break with Tatum’s help.

The script’s structure does start out in a sort of upbeat way as Tatum wanders into his newfound situation and the hopes that he can profit and prosper from this event. Yet, things begin to creep in a dark way in its second half where Minosa’s wife doesn’t really love him as she wants something more while the sheriff is eager to be re-elected and get more power. Even as the plan to get Leo out of the cave becomes just as problematic considering the other solutions where he can get out but it’s all due to Tatum’s planning of the event that troubles everything. Even as Tatum has to talk to Leo through the cave where it becomes clear that there’s some things that Tatum couldn’t mastermind in the reality of Leo’s situation. Largely as Tatum has to face some truths as well as the fact that things have gotten out of hand as it plays to not just the sense of cynicism that Tatum has but also the world in general where something has to happen.

Billy Wilder’s direction is very engaging for the way he presents the film in not just the world of journalism that can be very cutthroat and competitive where everyone tries to get the big story. Notably as the newspaper that Tatum works for is just a small paper that only is only successful enough to keep going and pay its workers despite the big competition it faces from other newspapers all over the country. Much of the direction that Wilder creates in the newspaper building is simple while he goes for a wider canvas including some gorgeous wide shots of the landscape that Tatum encounters though it is presented in its 1:33:1 Academy full-frame ratio. Still, Wilder manages to get enough depth-of-field in those scenes as well as the desert land where it seems very wondrous and empty until the circus and many people come in make it into this strange fundraiser.

Wilder does infuse a lot of noir-like touches to some of the scenes that includes Tatum’s encounters with Lorraine as she is definitely intrigued by him as she sees Tatum as her ticket out of New Mexico. Wilder does create some interesting images in those scenes as well as the way Tatum and Leo are shot together inside the cave where Tatum has to talk to him through a whole where they barely see each other’s faces. It’s among one of the great moments in the film as it plays into the drama as well as an unexpected development in Tatum’s character who is this very hardened cynic that only believes in selling newspapers where he would realize that there is more to that. Overall, Wilder creates a very mesmerizing yet harrowing film about a reporter’s desire to get a big story.

Cinematographer Charles Lang does amazing work with the film‘s black-and-white photography from the grimy yet entrancing look of the interiors inside the cave to the gorgeous exteriors of the deserts and landscapes in New Mexico. Editors Arthur Schmidt and Doane Harrison do excellent work with the editing with its use of rhythmic cuts to play into some of its suspense and drama while keeping things straightforward. Art directors Hal Pereira and Earl Hedrick, with set decorators Sam Comer and Ray Moyer, do fantastic work with the look of the cave interiors as well as the trading shop/restaurant that Lorraine runs.

Costume designer Edith Head does nice work with the costumes with the clothes that Lorraine wears to convey her look and desire to be part of the world outside of New Mexico. The sound work of Bob Carr and John Cope is superb for the way the atmosphere of the cave sounds like as well as the chaos that goes on outside where carnivals and such are happening. The music of Hugo Friedhofer is brilliant for its low-key yet haunting score with its orchestral arrangements to play into the drama and suspense that clashes with the original song about Leo that was written by Jay Livingston and Ray Evans.

The casting by Bert McKay is marvelous as it includes some notable small roles from John Berkes and Frances Dominquez as Leo’s parents, Frank Cady as a tourist who is the first to arrive to the place after reading Tatum’s story, Richard Gaines as Tatum’s old New York editor Nagel, and Lewis Martin as the contractor McCardle who is swayed into Tatum’s plan until he reveals the reality of the situation when an alternate plan wasn’t going to work. Ray Teal is terrific as the smarmy Sheriff Kretzer who hopes to prosper from the event as is he is up for re-election as he’s also obsessed with rattlesnakes. Ray Benedict is excellent as Leo Minosa as the man trapped on some rocks in a cave who hopes to stay alive while dealing with the reality of his situations and everything else as he becomes a crucial element to Tatum’s development as a man.

Porter Hall is superb as Tatum’s editor Boot as a man who carries an old-school idea of telling the truth as he realizes what Tatum is doing as he watches from afar to see how far Tatum will go to tell the story. Robert Arthur is fantastic as the young photo-journalist Herbie as a young man willing to make a name for himself in aiding Tatum while eager to get his break. Jan Sterling is amazing as Leo’s wife Lorraine as a woman who is intrigued by Tatum as she sees him as her way out while unveiling a dark side to herself in the way she speaks about her husband. Finally, there’s Kirk Douglas in a towering performance as Chuck Tatum as this once-revered but disgraced reporter who is eager to get back on top as Douglas has this charm and energy but also a dark cynicism to his role as a man eager to do what it takes only to face the reality of what he’s done.

Ace in the Hole is an incredible film from Billy Wilder that features a remarkable performance from Kirk Douglas. The film is a strange yet intoxicating mix of film noir and human drama that explores the dark side of journalism. Especially as it follows an amoral man’s quest to get back on top with a major scoop only to see a much harsher world of humanity. In the end, Ace in the Hole is a spectacular film from Billy Wilder.

Billy Wilder Films: (Mauvaise Graine) - (The Major and the Minor) - (Five Graves to Cairo) - Double Indemnity - The Lost Weekend - (The Emperor Waltz) - (A Foreign Affair) - Sunset Boulevard - Stalag 17 - (Sabrina) - (The Seven Year Itch) - (The Spirit of St. Louis) - (Love in the Afternoon) - (Witness for the Prosecution) - Some Like It Hot - The Apartment - (One, Two, Three) - (Irma La Douce) - (Kiss Me, Stupid) - (The Fortune Cookie) - (The Private Lives of Sherlock Holmes) - (Avanti!) - (The Front Page) - (Fedora) - (Buddy Buddy)

© thevoid99 2013

The Fury

Directed by Brian De Palma and written by John Farris that is based on his novel, The Fury is the story of a young woman who is asked by a man to find his son as they both share psychic powers where the man’s son is being used by an intelligence operative as a weapon. The film is an exploration into the world of telekinesis and other psychic powers where a man asks a girl to find his son and save him from total destruction. Starring Kirk Douglas, John Cassavetes, Amy Irving, Andrew Stevens, Carrie Snodgress, and Charles Durning. The Fury is a chilling yet stylish film from Brian De Palma.

The film is a simple tale about a man trying to find his son one year after he had been presumed dead following a terrorist attack in the Middle East where he asks a young woman who shares the same kind of psychic power that his son has to find him. Yet, it is filled with a lot of suspense where this young woman is just trying to learn more about her psychic powers as she’s afraid to hurt people while learning that an intelligence operative will try to find her so she would be used as a weapon the same way he’s doing to a young man that he’s taken from his former best friend. It is a film that explores the world of the psychic powers where this young woman tries to find some control yet learns about the horrors of what is happening to this young man as she would eventually help this man’s father who just wants him back.

John Farris’ script definitely takes its time to play into the suspense while exploring the world of psychics while making it an adventure film where a father asks a young girl to find his son. Even as its lead character Peter Sandza (Kirk Douglas) just wants to find his son Robin (Andrew Stevens) and give him back a life without danger or secrets since Peter is known as a spy. Yet, the betrayal of his friend Childress (John Cassavetes) makes the search more personal as Peter knows he’s being watched as the only ally he has is a nurse named Hester (Carrie Snodgress) who works at an institute that Robin was briefly was in. When Esther learns that a young girl named Gillian (Amy Irving) is taken in as she has the same powers that Childress wants, she helps Gillian escape in order to help Peter find Robin before he becomes this ticking time bomb that will destroy everything around him.

Brian De Palma’s direction is definitely very stylish in the way he creates some compositions as well as the presentation of some of the film’s horror. Still, De Palma keeps things simple with the opening sequence where Peter and Robin are in the Middle East having some fun with Childress until a terrorist attack occurs where Peter is presumed dead yet he realizes what is really going on. Since much of the film is set in Chicago, De Palma creates some very suspenseful sequences where Peter is being chased by Childress’ men as well as create some small yet suspenseful moments where Gillian deals with her powers. When she’s taken to an institute, things seemed fine until she touches one of her doctors where she has this image of what is happening to Robin where it would amp up the suspense.

The direction would also include some very chilling scenes that involve Robin trying to maintain control of his powers but it becomes very clear that he is also very unstable where a sequence set in an amusement park showcases what he’s becoming. Though there’s a few moments where some of the presentation of the suspense doesn’t work entirely, it does play into the stakes that Peter Sandza and Gillian have to deal with where the eventually confrontation with Robin and Childress does occur. Even as it involves psychic powers and emotions that play into this climax. Overall, De Palma crafts a very thrilling yet fascinating film about a father trying to get back his son from dark forces.

Cinematographer Richard H. Kline does excellent work with the cinematography for many of the film‘s nighttime interior and exterior looks with its lights while keeping things simple for its daytime interior and exterior scenes. Editor Paul Hirsch does brilliant work with the editing where it is emphasized by its sense of style from its jump-cuts, dissolves, and slow-motion cuts to play into the film‘s suspense. Production designer Bill Malley, with set decorator Audrey A. Blasdel and art director Richard Lawrence, does terrific work with the set pieces from the look of the institute as well as the mansion that Childress lives in.

Costume designer Theoni V. Aldredge does some nice work with the costumes as it‘s mostly casual in some parts with the exception of the people working for Childress. Special makeup effects by Rick Baker does fantastic work with some of the makeup work that happens whoever people touch Gillian where they bleed and such. Sound editor Dan Sable does superb work with the sound to play into the atmosphere in some of the film‘s location as well as the scenes of terror. The film’s music by John Williams is amazing for its sublime orchestral score to play into its suspense as well as its use of electronic backgrounds to help build up the suspense.

The casting by Lyn Stalmaster is incredible for the ensemble that is created as it features some early appearances from Daryl Hannah as a schoolmate of Gillian, James Belushi as a beach bum, and Dennis Franz as a patrol officer Peter carjacks. Other small roles include William Finley as a man who follows Gillian early in the film for Peter, Rutanya Alda as a secretary at the institute, Joyce Eaton as Gillian’s mother, Carol Rossen as a doctor at the institute, and Fiona Lewis as Dr. Susan Charles who watches over Robin as she tries to manipulate him for Childress. Charles Durning is terrific as the institute head Dr. Jim McKeever who is aware of Gillian’s powers knowing that Childress will do something bad to her. Andrew Stevens is superb as Robin Sandza as a young man who is taken by Childress where he finds himself as this unstable psychic weapon that has no control of his emotions.

Carrie Snodgress is wonderful as Peter’s lover Hester who helps him to find Gillian as she works as a nurse in the institute while dealing with what is really going on inside. Amy Irving is amazing as Gillian as this young woman who deals with her psychic powers and visions as she also helps Peter find Robin realizing the psychic connection she has with him. John Cassavetes is brilliant as the slimy Childress as a man who realizes the power that Robin and Gillian have as he tries to use them as weapons while also trying to eliminate Peter. Finally, there’s Kirk Douglas in a phenomenal performance as Peter Sandza as a man just trying to get his son back from the man who portrayed him where Douglas brings a lot of gravitas and charm to a good man while also proving to be a badass.

The Fury is a remarkable film from Brian De Palma that features some exhilarating performances from Kirk Douglas, Amy Irving, and John Cassavetes. The film is definitely one of De Palma’s finest films in terms of the horror that he creates as well as create an engaging tale of a father trying to get his son back. In the end, The Fury is a sensational film from Brian De Palma.

Brian De Palma Films: (Murder a la Mod) - (Greetings) - (The Wedding Party) - (Dionysus in ‘69) - (Hi, Mom!) - (Get to Know Your Rabbit) - Sisters - Phantom of the Paradise - Obsession - Carrie - (Home Movies) - Dressed to Kill - Blow Out - Scarface - Body Double - (Wise Guys) - The Untouchables - Casualties of War - The Bonfire of the Vanities - Raising Cain - Carlito’s Way - Mission: Impossible - Snake Eyes - Mission to Mars - Femme Fatale - The Black Dahlia - (Redacted) - Passion (2012 film) - (Domino (2018 film))

© thevoid99 2013

Spartacus

Based on the novel by Howard Fast, Spartacus is the story of a slave who leads a revolt against the Romans during first century B.C. Directed by Stanley Kubrick, with additional work by Anthony Mann, and screenplay by Douglas Trumbo, the film is an epic about a man who becomes a gladiator and the voice to slaves as he fights off against his oppressors. Starring Kirk Douglas, Laurence Olivier, Jean Simmons, Charles Laughton, Tony Curtis, Peter Ustinov, and John Gavin. Spartacus is a grand yet adventurous epic from Stanley Kubrick.

After being a slave for all of his life, Spartacus (Kirk Douglas) is sold to Roman businessman Lentulus Batiatus (Peter Ustinov) where he’s to be trained as a gladiator to fight against others in the arena. Despite dealing with abuse of trainer Marcellus (Charles McGraw), Spartacus is able to make friends with a few slaves while falling for a serving woman named Varinia (Jean Simmons). When Roman senator Marcus Licinius Crassus (Laurence Olivier) arrives for a visit, he asks to see what Batiatus has to offer where he has four gladiators fight to the death. Spartacus pairs up with the African Draba (Woody Strode) where the two have a good fight but Spartacus is nearly killed by Draba only for Draba to do something that would unfortunately lead to his own death. After learning that Varinia is being sold to Crassus, Spartacus revolts against Batiatus and Marcellus where he and the slaves decide to fight for their own freedom.

With Spartacus gathering an army to lead his revolt, the Romans including Gracchus (Charles Laughton) are aware of what Spartacus is doing as he decides to have Julius Caesar (John Gavin) to control the Roman army. Spartacus manages to gain more numbers including Varinia who had fled Batiatus while they also gain a young slave named Antoninus (Tony Curtis) who had just been a slave for Crassus. After defeating an army led by Marcus Glabrus (John Dall), Glabrus returns to Rome to unveil what happened to him. A power struggle happens in the Senate where Caesar learns about Gracchus’ bribery on the Cilicians to get Spartacus and the slaves out of Italy. Caesar reveals Spartacus’ plans to Crassus who would make a move on his own as Spartacus finds out from Cilician envoy Tigranes Levantus (Herbert Lom).

Realizing that they’re trapped and nowhere to go, Spartacus reveals to the slaves that the Romans are coming and there’s no choice to fight them all the way to Rome. A battle finally ensues where the results fall in favor of Crassus as Batiatus is also there to identify Spartacus. Unable to find him, they were able to find Varinia and her newborn baby where Crassus decides to take her for his own to the disgust of Batiatus. With Crassus having full control and Caesar joining Crassus, Gracchus realizes what Rome is becoming as he starts to lose control of his power. In a final act of defiance against Crassus, Gracchus organizes a plan to retrieve Varinia and her son from Crassus and take her to freedom with Batiatus to accompany her. Spartacus faces Crassus for the first time as he becomes fully aware of his fate while he begins to ponder if there was any good that came out of his rebellion against Rome.

The film is an epic story about a slave who rebels against his masters and the rule of Rome where he leads a revolt against slavery in hopes to bring Rome to its knees. Meanwhile, a power struggle occurs inside Rome as two politicians try to out-do one another in how to handle Spartacus’ revolt. One of which wants nothing to do with the revolt knowing that Rome is already in enough trouble with other countries while the other is hoping to maintain control of Rome and put things back in order with more restrictions. Eventually, all of these events would collide where many would question abut everything that had happened where one faces death, another faces an uncertain future, and one rises to power all of which contain an element of ambiguity.

Dalton Trumbo’s screenplay is very multi-layered in the way it establishes a lot of what was happening in Rome as it begins with narration by Vic Perrin to unveil a lot about Spartacus’ early life. This is a man who has only known oppression his entire life as he is aware of the cruelty he faces not just to himself but those around him. When he’s sold to a businessman in Batiatus, Spartacus learns the art of being a gladiator as well as finding someone like Varinia who represents a world that is away from oppression. After a fight where his opponent shows compassion and spirit, it gives Spartacus a lot of reasons to rebel where he leads a revolt. Despite his courage and ability to lead the people, Spartacus is fully aware that he’s also uneducated and wants the freedom to not just live a nice life but also the freedom to learn.

Varinia and Antoninus would be the two people in Spartacus’ life that would provide him not just intelligence but also compassion and to be a man of the people. This would raise the ire of the men of Rome who realize how dangerous Spartacus is to not just the ideals of Rome but also the lifestyle they live in. Crassus and Gracchus are two men with very different ideas of politics who are both aware of the kind of power Spartacus would have. The latter is a man who knows that Spartacus is a threat who just wants freedom where would do things that would undermine the ideas of politics just so that he wouldn’t have to deal with Spartacus as well as the lives of Roman soldiers. Then there’s Crassus who is the main antagonist of Spartacus who wants to maintain the kind of control of Rome as he realizes that without slaves, Rome would fall. Crassus and Gracchus would fight for the control of the Roman Senate and its army through political means where part of this is a young Julius Caesar.

Then there’s the character of Batiatus who is just a man that wants to run a house of gladiators where he would prod and do whatever to break Spartacus’ spirit. Yet, it would cost him everything he would have where he also realizes that whatever information he gives wouldn’t necessarily give him any kind of power. After realizing all of that and the kind of humility that Crassus would bring, he begins to understand what Spartacus is all about as he would team up with Gracchus in order to do something about Crassus’ tyranny. Notably in one of the film’s big moments where many slaves say “I am Spartacus” as an act of defiance as it would carry many allusions to what witch-hunt trials that were happening in the 1950s. Trumbo’s screenplay definitely carries references to a lot of what was happening in the 1950s to parallel what was happening during the age of Rome. Yet, there would be some semblance of hope about how people would do in the face of oppression while defying those who want them to do the wrong thing.

Stanley Kubrick’s direction is definitely vast in terms of the presentation that is created for an epic film. While the film doesn’t feature a lot of the visual trademarks and eerie directing style that Kubrick is known for. It is still engaging for the way he creates scenes on a large canvas to showcase a wide depth of field for many of the film’s locations set in Californian desert, parts of Spain, and bits of it in Death Valley, Nevada. With the exception of the film’s opening sequence that was directed by Anthony Mann who was fired after a week, Kubrick’s direction for the rest of the film carries a lot of the visual attributes of the epic film.

Kubrick’s direction definitely has more interesting compositions in some of the film’s more intimate moments involving the Senate meetings and the scenes in some of its interior settings. Largely in where he places the cameras to establish the world of the Romans and how they conduct their lives. Kubrick also uses a lot of close-up and medium shots to help create a mood for some of these scenes while many of the film’s exterior settings do have a lot of amazing imagery. Notably the final scene that features a very hopeful ending despite the ambiguity that it carries. Overall, Kubrick creates a marvelous and exhilarating epic film about oppression and rebellion.

Cinematographer Russell Metty does brilliant work with colorful cinematography to capture the beauty of many of the film‘s daytime exterior locations to the more intimate yet lush lighting schemes for the film‘s interiors including its scenes at night. Editor Robert Lawrence does excellent work with the editing to create rhythmic cuts for some of the action scenes along with more methodical ones in its dramatic moments while utilizing fade-outs for the film‘s transitions. Production designer Alexander Golitzen, along with art director Eric Orbom and set decorators Russell A. Gausman and Julia Heron, does superb work with the set pieces such as the homes of the Romans as well as the Senate room as well as the tents that the slaves live in during their trip towards the sea.

Costume designers Valles and William Ware Theiss do nice work with the costumes from the robes that the Romans wear to the more rugged clothing of the slaves. The sound work of Joe Lapis, Ronald Pierce, Murray Spivack, and Waldon O. Watson is fantastic to capture the intimacy of the Senate meetings as well as the big scenes in the film‘s climatic battle. The film’s music by Alex North is amazing for the bombast that is created in its orchestral presentation as well as more serene and sweeping score pieces to help play out the drama.

The film’s ensemble cast is phenomenal where it features some notable small roles from Woody Strode as the African gladiator Draba, John Ireland as the gladiator Crixus, Herbert Lom as the Cilician envoy Tigranes Levantus, Charles McGraw as the brutish gladiator trainer Marcellus, John Dall as Crassus’ friend and military leader Marcus Glabrus, Nina Foch as Glabrus’ wife Helena, and John Gavin as a young Julius Caesar who tries to deal with the role that he’s set to play. Tony Curtis is brilliant as the young slave Antoninus who provides Spartacus a world outside of violence with stories and songs as he becomes a son of sorts for Spartacus. Peter Ustinov is great as the businessman Batiatus who deals with the rebellion that he unknowingly caused as well as Crassus’ cruelty where he deals with humility but gain something far more valuable.

Charles Laughton is superb as Gracchus who tries to create many political maneuvers to usurp Crassus only to deal with the dark future that lies ahead where he would make moves that would redeem him. Jean Simmons is wonderful as Varinia who would become the woman that would be on Spartacus’ side and broaden his view about a life that could be so much more. Laurence Olivier is fantastic as the villainous Crassus who is cunning in his ambitions but also insecure about the fact that someone like Spartacus could ruin things where Olivier displays a great presence as well as make his character larger than life. Finally, there’s Kirk Douglas in a magnificent performance as the titular character where Douglas displays a lot of charisma to the character as well as something that is larger than life. Douglas also display a sensitivity to the character that balances the kind of man Spartacus is where it’s really one of Douglas’ great performances.

Spartacus is an exquisite yet majestic epic from Stanley Kubrick that features Kirk Douglas in a towering performance as the titular character. Armed with amazing images, Dalton Trumbo’s complex screenplay, thrilling music, and a top-notch supporting cast that includes Laurence Olivier, Jean Simmons, Charles Laughton, Peter Ustinov, and Tony Curtis. It’s a film that is definitely carries a lot of strong themes about rebellion and oppression as it is still relevant more than 50 years since it’s release. While it may not be a film that features a lot of visual attributes of Kubrick, it is still a very strong to film to be engrossed by. In the end, Spartacus is an incredible film from Stanley Kubrick.

Stanley Kubrick Films: Fear & Desire - Killer's Kiss - The Killing - Paths of Glory - Lolita - Dr. Strangelove, or How I Learned to Stop Worrying and Love the Bomb - 2001: A Space Odyssey - A Clockwork Orange - Barry Lyndon - The Shining - Full Metal Jacket - Eyes Wide Shut

Related: Stanley Kubrick: A Life in Pictures - The Auteurs #18: Stanley Kubrick

© thevoid99 2012

Paths of Glory

Based on the novel by Humphrey Cobb, Paths of Glory is an anti-war film about a group of French soldiers who are accused of cowardice during a battle as their colonel tries to defend them against these charges. Directed by Stanley Kubrick and screenplay by Kubrick, Jim Thompson, and Calder Willingham, the film explores war at its ugliest as it’s set during the first World War. Starring Kirk Douglas, Ralph Meeker, Adolphe Menjou, and George Macready. Paths of Glory is a chilling anti-war drama from Stanley Kubrick.

It’s 1916 during World War I as the trench warfare between the French and Germans is reaching a breaking point where General George Broulard (Adolphe Menjou) of the French General Staff asks his insubordinate in General Mireau (George Macready) to lead the attack. Mireau accepts the job in hopes for a big promotion thinking it will succeed as he goes to the trenches to inspect where he encounters a few shell-shocked soldiers and its leader Colonel Dax (Kirk Douglas). The two officers discuss their plan of attack where Dax is convinced taking that hill would be impossible as it will kill lots of men but Mireau remains convinced that the mission will succeed. The drunken Lieutenant Roget (Wayne Morris) heads a scouting report Corporal Paris (Ralph Meeker) and another soldier where things go bad when the soldier doesn’t return where Paris makes a discovery about what happened.

On the day of the battle, Dax leads the soldiers to attack and capture the hill but the results become extremely impossible as a regiment refuses to move outside of the trenches. Mireau is angered by this as he asks for artillery to fire on his own troops but gets into an argument with Artillery Captain Rousseau (John Stein) who wants a signed paperwork for the attack. The battle is over as Mireau wants punishment on what he believes is cowardice though Dax refutes the claim after what he went through in battle. Dax reluctantly asks his officers to get three different men to answer the charges of cowardice as Corporal Paris, Private Ferol (Timothy Carey), and Private Arnuad (Joe Turkel) are chosen despite their innocence. Dax defends them in their court-martial trial where he realizes that not even his passionate defense will help these men as they’re set to face execution.

With the execution happening as the soldiers are anguished over what is to happen, Colonel Dax’s discover Captain Rousseau’s reports over his conversation with Mireau. After reporting it to Broulard in hopes to save his men and expose Mireau, it isn’t enough where Dax realizes the games that Broulard is playing would undermine everything he stands for.

The film is about a colonel trying to defend three young soldiers from a general’s blunder where he realizes that the general might get away with it and three men will die for his mistakes. It’s a film that revels into the idea of war as it involves officers trying to create a positive spin on battle where they’re willing to risk thousands of soldiers into an impossible situation where they’re killed. Leading all of this is a staff general who is masterminding everything for the good what he thinks will be for the good of the country. Helping him is a general who really becomes a lackey for this officer because he thinks the success of taking that hill will get him a promotion and prestige. Then there’s this idealistic colonel, who was once a defense attorney, who knows more about his soldiers and what they’re dealing with as he is at the center of the battlefield trying to rally his soldiers into fighting only to face the impossible.

The screenplay that Stanley Kubrick, Jim Thompson, and Calder Willingham create explores the fallacies of war where there’s soldiers who are aware that they’re fighting something that is impossible. They know they’re going to get killed but they don’t want to die as cowards. Things get worse when Colonel Dax learns that they were going to be killed by their own guns during battle all because they wouldn’t move out of their trenches amidst a barrage of artillery fire. While the battle scenes and other combat-related parts of the film only takes a portion of the film. A lot of is set outside of the war ground where officers try to devise what to do or how to create damage control to not deal with public embarrassment.

By blaming three innocent soldiers for one general’s mistake, it’s up to Colonel Dax to defend them in a court-martial trial but is faced with power that is above him. There are things in the courtroom where all of these officers are listening to what Dax and these men are saying but they could care less where Dax would make a passionate monologue about the decision they’re about to make. That decision would unveil lots of harsh truths about the fate of these men as they’re really just pawns in an ugly game where they have no control of what they can do and their lives have no meaning to these men sitting in chairs inside a mansion. It displays a disgusting act of humanity in the part of these men as a colonel is the one trying to defy them where what he would get in the end would be a real insult. It’s a truly engrossing screenplay that suggests the fallacy of war in the hands of men who care about prestige rather than humanity.

Kubrick’s direction is truly entrancing for the way he creates tension and suspense in and outside the battlefield yet it is still focused on this theme of conflict. Notably a conflict on morals where men are forced to be put into positions driven by the mad desire of other men. There’s a lot of tension that goes in the trenches where Kubrick has the character of Mireau walking towards the camera as it tracks his movement inside these trenches where soldiers salute him. It’s among some of the more stylish shots that goes in the battlefield where there’s a chilling scene where three men are scouting at night to see what is happening where it’s all about the emotions and sense of fear that is happening.

There’s a lot of these terrifying shots of men trekking around the battlefield where they have to evade all of this gunfire around them and through this chaos. It is clear that these men are facing the impossible as there’s a lot of tension outside where Mireau is trying to talk to Captain Rousseau to fire at the group of soldiers not wanting to move but Rousseau refuses because what Mireau is doing is dishonorable in the game of war. Once the film moves out of the battlefield and inside these lavish German palaces where the top officers and generals are sitting comfortably in chairs and eating. It becomes a courtroom film of sorts but there’s a feeling that things won’t play fairly because it’s all about these men in great uniforms as they’re trying to deal with a colonel and his accused soldiers. For these soldiers, they’re picked for these accusation of cowardice where one is a social misfit, one is chosen randomly, and another is picked because of personal reasons. Kubrick has them inside a dark room where they’re all trying to deal with the fate that is set upon them.

There’s tension in the room as Kubrick has his camera capturing all of this drama while there’s a party going on inside the mansion. The film’s aftermath where Dax confronts Mireau and Broulard over what happened at the battlefield reveals far more harsh truths. The direction is very intimate but also telling in the way the fate of three innocent soldiers are played and how Dax is really one of them despite wearing a prestigious uniform. There’s an air of sentimentality that is followed where the film’s final scene is a sobering one because of the sense of loss that is happening. Particularly as Dax is watching this very powerful moment only to realize that a war is still going on but he says something that is quite sobering to end the film. That ending manages to work as it is an indication of the power Kubrick has as a filmmaker as he crafts a very majestic but visceral anti-war film that rings true about its horror and fallacies.

Cinematographer George Krause does incredible work with the film‘s very evocative cinematography from the gorgeous interiors with its shading to help set a mood for the film to the nighttime exterior in the scouting scene to help create an air of suspense. Editor Eva Kroll does fantastic work with the editing by creating intense rhythmic cuts for some of the film‘s battle scenes as well as a few transitional dissolves to help the film move at a brisk pace. Art director Ludwig Reiber does excellent work with the set pieces such as the lavish halls in the mansion that the officers meet at to the more claustrophobic room that Dax lives in to establish their different personalities.

Costume designer Ilse Dubois does wonderful work with the costumes to establish the uniforms these men wear from the more ragged but still refined look of Dax to the more prestigious uniforms with medals for the characters of Mireau and Broulard. The sound work of Martin Muller is great for the way the sounds of gunfire is heard throughout the film‘s intense battle scene along with the sparse but atmospheric scenes in the court-martial trial where there‘s a great mix in the way Dax‘s voice is heard in the hall where he gives out his passionate monologue. The film’s score by Gerald Fried is superb for its military-driven score to play up the sense of war as well as low-key orchestral pieces for some of the dramatic scenes.

The film’s cast is brilliant as it features some memorable small roles from Fred Bell as a shell-shocked soldier, Emile Meyer as Father Dupree, Jerry Hausner as a café proprietor, Bert Freed as Staff Sergeant Boulanger, Wayne Morris as the drunken Lieutenant Roget, John Stein as Artillery Captain Rousseau, and Stanley Kubrick’s then-future wife Christiane as the German singer at the end of the film. Other noteworthy performances include Joe Turkel as the anguished Private Arnaud, Timothy Carey as the emotionally-troubled Private Ferol, and Ralph Meeker as the no-nonsense yet cautious Corporal Paris.

Adolphe Menjou is excellent as General Broulard who masterminds all of the things that is happening as a staff member while trying to spin things for the good of the military. George Macready is great as the immoral General Mireau whose mistakes has him trying to do things the wrong way while becoming a target for Dax as it’s a truly incredible role for Macready. Finally, there’s Kirk Douglas in a tremendous performance as the idealistic Colonel Dax who represents all that is good in humanity where he tries to save the lives of three accused men while dealing with both Mireau and Broulard for how they try to deal with things.

***Additional Content Written from 5/31/18-6/29/18***

The 2010 Region 1/Region A DVD/Blu-Ray release from the Criterion Collection presents the film in its 1:66:1 aspect ratio with Dolby Digital 2.0. Mono sound (uncompressed in its Blu-Ray release) in a newly restored high-digital transfer made with the permission of Stanley Kubrick’s estate. The film features an array of special features including its original theatrical trailer. The audio commentary track from film critic Gary Giddins about the film as he talks about Kubrick, actor Kirk Douglas, the cast, and the comparisons of the film and the book by Humphrey Cobb that Kubrick adapted with Calder Willingham and Jim Thompson. Giddins talks about a lot of the visual aspects of the film as well as what Willingham and Thompson contributed though it did lead to issues as Willingham claimed to have written almost the entire film which wasn’t true.

Giddins also talks about some of the actors as well as Kubrick’s collaboration with Douglas who was the producer in the film and hired Kubrick to get the film made. Though their relationship was contentious in their next and last collaboration in Spartacus, the two were friendlier in this film as they both wanted to make something different although Kubrick was looking for a commercial hit. Giddins also talked about why the film is often overlooked in comparison to Kubrick’s later films like 2001: A Space Odyssey as it refers to its sentimental ending which some critics disliked yet Giddins feels that it worked and still works many years later as he also talked about how the film presents a battle scene in comparison to a recent film in Paul Greengrass’ Green Zone in terms of editing as he states his disdain for Greengrass’ film due to its fast-cutting style. Still, Giddins’ commentary remains fascinating for its insight into a film that often never gets its due as it does have fans who are passionate about the film.

A two-minute audio excerpt of a 1966 interview with Stanley Kubrick has the director talking about the film as well as its reception in its initial release as well as tidbits on the film’s production as well as the fact that he met his wife Christiane on the film set as it would include pictures of the production. The 30-minute 1979 interview with Kirk Douglas from the show Parkinson that was aired on February 3, 1979 has Douglas talking with Michael Parkinson about his career and background. Douglas also talks about making Paths of Glory as it was a film he wanted to do because he read the script and talked about how difficult it was to get it made. Even as Kubrick wasn’t a big deal back then as he convinced United Artists to get the film made while the rest of the interview is just downright entertaining with Douglas being relaxed, charming, open, and making the audience laugh.

The nine-minute interview with Stanley Kubrick’s brother-in-law/executive producer Jan Harlan has Harlan talk about Kubrick’s career as well as his methods as a filmmaker. Harlan discusses many of Kubrick’s films and how they all relate to each other thematically as well as why his films took such a long time to make. Even as it relates to budget where a daily budget for a studio film would be equal to what Kubrick would use in a week’s time. Harlan also talks about Kubrick’s disdain for the word “genius” as he says that Bach hated that word saying that genius is 10% talent and 90% hard work which is probably true. The 21-minute interview with producer James B. Harris has Harris discussing his collaboration with Kubrick as well as the development of the film which did take a while. Harris also talked his role as a producer as he also did work as a cameraman for the shoot some shots in the battle scenes which was the last scene shot in the production. Harris also talked about some of the difficulty including an incident with actor Timothy Carey who had gotten in trouble with the authorities and was ousted from production because of his troubles.

The seven-minute interview with Kubrick’s wife Christiane Kubrick has Kubrick’s widow talk about her performance in the film and how she met Stanley who saw her on German television. She talked about not just the role she played but also the song she sang as she admits to not being a great singer but that was what Kubrick wanted. She also talked about Kubrick’s other films and the comments his film often gets for being cold and dark as she says that they aren’t entirely true. Even as she would reveal her own paintings that featured Kubrick in her work as it showed that she’s a unique artist in her own right. A three-minute TV piece on the real-life execution party that inspired the film that was shown on French TV in January of 1997 is a brief clip about the incident in 1915 and a widow’s 20-year attempt to clear her husband’s name and a student of that widow who would be the one to clear that man’s name as it is a fascinating piece of journalism as well as making things right for an act that never should’ve happened.

The DVD/Blu-Ray set also features a booklet that includes an essay by film scholar James Naremore entitled We Have Met the Enemy… which is about the film and its production as well as how it relates towards many of the other films Kubrick had done before and after. The essay has Naremore also talk about Kubrick’s background as a photographer which would give him unique ideas for what he wanted to do visually as a filmmaker. Naremore also talks about the story and some of the material that came from Humphrey Cobb’s book and what Kubrick did to retain some of the ideas but also struggled in wanting to make the film commercial. It’s a fascinating read into a film that is often overlooked in comparison by films Kubrick would do in later years.

***End of DVD Tidbits***

Paths of Glory is an outstanding anti-war film from Stanley Kubrick that features a remarkable performance from Kirk Douglas. The film is among one of the great films about war for the way it explores humanity and ambition in the face of war. It’s also very engaging for the way Kubrick captures the terror of war as well as the way war is conducted out of the battlefield. In the end, Paths of Glory is a chilling yet intoxicating film from Stanley Kubrick.

Stanley Kubrick Films: Fear & Desire - Killer’s Kiss - The Killing - Spartacus - Lolita - Dr. Strangelove: or How I Learned to Stop Worrying and Love the Bomb - 2001: A Space Odyssey - A Clockwork Orange - Barry Lyndon - The Shining - Full Metal Jacket - Eyes Wide Shut

Related: Stanley Kubrick: A Life in Pictures - The Auteurs #18: Stanley Kubrick

© thevoid99 2012