The film is the story of a man who rents an apartment as its previous tenant had attempted suicide where the man believes that it wasn’t a suicide as he deals with his elderly neighbors and landlord who make complaints about him while he is baffled by these little complaints. It’s a film that explores a man who just rented this apartment unaware about what happened to its previous tenant as he believed something isn’t right as he grows into paranoia. The film’s screenplay by Roman Polanski and Gerard Brach is largely straightforward in its narrative yet it largely follows the life of its protagonist Treklovsky (Roman Polanski) who arrived in the apartment looking for a place to live as he sees that this apartment has a room opened though the apartment’s landlord Zy (Melvyn Douglas) is reluctant to take him but does under certain conditions. Still, Treklovsky often finds way to agitate other tenants including Zy though he doesn’t mean to while also refusing to sign the petition against a tenant because of the noises her child makes.
The script also has Treklovsky befriend Stella (Isabelle Adjani) who is a close friend of the previous tenant who had died as the two begin a relationship even though she never visits the apartment her friend was in. Treklovsky would learn that the tenant had indeed died from her injuries yet he would also notice little things in his apartment such as a tooth but also the fact that he switched cigarette brands from Gauloises to Marlboro. It adds to these little things that would play into Treklovsky’s psyche as he also believes he’s becoming his previous tenant due to the fact that he’s putting on finger polish and dressing up like a woman.
Polanski’s direction is definitely stylish for the way he uses the crane tracking shot as the opening shot has him going inside the center of the apartment building in Paris to showcase the rooms and other tenants as the building itself is a character in the film. Shot on location in Paris, Polanski does play into a city that is vibrant but also going through changes where the apartment building itself is filled with an eccentric group of people with much of the tenants being elderly including Zy and the concierge (Shelley Winters) running the place as they don’t want any trouble or chaos. Yet, Polanski maintains an intimacy through medium shots and close-ups to play into the dramatic tension as well as the paranoia that Treklovsky would go through. There are wide shots for some scenes in Paris including a scene at a park where Treklovsky is watching kids sailing their toy boats on a fountain where he would act strangely towards a child. Polanski also play into certain visual motifs where mirrors are all over his apartment as it would add to this sense of paranoia that Treklovsky would endure.
Polanski would also play into this world where the city is vibrant where Treklovsky would meet some of Stella’s friends though there is this air of isolation within him as the life outside of the apartment building where his co-workers and the people in his age group or younger are thriving. Still, Polanski would also play into this blur of reality in its third act as it relates to Egyptian imagery that Treklovsky would find in the apartment’s main bathroom as well as a postcard from a man who was in love with the previous tenant. The third act plays into Treklovsky’s paranoia as it relates what he watches as it relates to a couple of tenants whom many have been complaining about where Treklovsky becomes the target. The film’s ending is ambiguous into what Treklovsky experiences as it adds to this idea of reality and fiction as well as his own brief encounter with the previous tenant. Overall, Polanski crafts a mesmerizing and offbeat film about a man who finds himself troubled in a new apartment he bought as well as learning about its previous tenant.
Cinematographer Sven Nykvist does incredible work with the film’s cinematography with its emphasis on low-key lights for many of the nighttime interior/exterior scenes in the apartment as well as its emphasis on cold grey winters for the daytime exterior scenes as it is a highlight of the film. Editor Francoise Bonnot does brilliant work with the editing as it play into the suspense with some unique jump-cuts and other rhythmic cuts that help add to the sense of terror. Production designer Pierre Guffroy, with art directors Claude Moesching and Albert Rajau, does amazing work with the look of the apartment building in its interiors including Treklovsky’s apartment as well as the apartment home of Stella. Costume designer Jacques Schmidt does fantastic work with the costumes from the suits that Treklovsky wears along with some of the fashionable clothing that Stella wears.
Hair stylist Didier Lavergne and makeup artist Ludovic Paris do terrific work with the look of Stella with her hairstyle but also Treklovsky when he goes in drag and wear women’s clothing. Optical effects work by Jean Fouchet does nice work with some of the shots including a key shot late in the film as it play into the terror that Treklovsky would endure. Sound editor Michele Boehm does superb work with the sound as the way noise sounds from another room and such add to the dramatic suspense. The film’s music by Philippe Sarde is wonderful for its orchestral score that feature themes that play into its suspense with its orchestral flourishes as well as somber pieces that play into the drama.
The casting by Catherine Vernoux is marvelous as it feature some notable small roles from Albert Delby as a neighbor in the apartment, Eva Ionesco as the disabled daughter of a neighbor that Treklovsky helps out, Jacques Monod as a café owner who often gives Treklovsky hot chocolate instead of coffee and Marlboros instead of Gauloises, the trio of Josiane Balasko, Romain Bouteille, and Patrice Alexsandre as co-workers of Treklovsky, Bernard Fresson as a friend/co-worker of Treklovsky in Scope who gives him advice about dealing with the neighbors, and Rufus in a superb small role as a man who was in love with the previous tenant who laments over not expressing his love to her. Lila Kedrova is fantastic as Madame Gaderian as a woman who has a disabled daughter that is getting complaints as she despises her neighbors for being mean to her while she has her own idea of revenge.
Shelley Winters is excellent as the concierge who is a no-nonsense woman that helps run the apartment building though she doesn’t take a liking towards Treklovsky believing he’s causing a lot of trouble. Jo Van Fleet is brilliant in her brief yet effective role as a tenant in Madame Dioz who has created a petition to get rid of Madame Gaderian which Treklovsky refuses to do as she warns him about the trouble she and the others would bring to him. Melvyn Douglas is incredible as Monsieur Zy as the landlord who reluctantly takes Treklovsky in as a tenant while lecturing him about what to do as he brings a lot of ambiguity into his character. Isabelle Adjani is amazing as Stella as a friend of the previous tenant as she befriends Treklovsky that later becomes a romantic relationship as she is this young woman that is just trying to make sense of what happened. Finally, there’s Roman Polanski in a phenomenal performance as Treklovsky as this young man who rents this apartment as he deals with all of the chaos around him where he becomes paranoid and confused where Polanski brings that sense of humility in his physical performance but also some humor when he starts to camp it up in drag.
The Tenant is a sensational film from Roman Polanski that features great performances from Polanski, Isabelle Adjani, Melvyn Douglas, Jo Van Fleet, Rufus, Lila Kedrova, and Shelley Winters. Along with Sven Nykvist’s cinematography, its eerie visuals, chilling music soundtrack, and its exploration of isolation and paranoia in a claustrophobic setting. It is a film that explores a man dealing with his new surroundings while trying to figure out what happened to the previous tenant as he wonders is it really happening to him or is it in his head. In the end, The Tenant is a phenomenal film from Roman Polanski.
Roman Polanski Films: Knife in the Water - Repulsion - Cul-de-Sac - The Fearless Vampire Killers - Rosemary's Baby - Macbeth (1971 film) - (What?) – Chinatown - Tess (1979 film) - (Pirates) – Frantic - Bitter Moon - Death and the Maiden - The Ninth Gate - The Pianist - Oliver Twist (2005 film) - The Ghost Writer - Carnage (2011 film) - (Venus in Fur) – (Based on a True Story) – (An Officer and a Spy) – (The Palace)
© thevoid99 2022
Based on the novel An American Tragedy by Theodore Dreiser and its adapted play by playwright Patrick Kearney, A Place in the Sun is the story of a young man who is love with two women including a socialite while the other is a woman whose uncle he works for as it leads to trouble. Directed by George Stevens and screenplay by Michael Wilson and Harry Brown, the film is inspired on a real-life story of love gone wrong that lead to murder as it plays into a young man caught up in a torrid love triangle. Starring Montgomery Clift, Elizabeth Taylor, Shelley Winters, Anne Revere, and Raymond Burr. A Place in the Sun is an evocative and haunting film from George Stevens.
The film is the simple story of a young man who is given a job at his uncle’s factory where he dates a co-worker, despite rules against dating co-workers at the factory, while finds himself falling for a heiress where the love triangle leads to trouble. It’s a film that explores a man who arrives into a small town where his uncle is rich and gives him a job in the hope he can stay out of trouble and work hard. Yet, he befriends a co-worker as they start to date but he would fall for this heiress who represents a life that he might want with all of the splendors that it offers. The film’s screenplay by Michael Wilson and Harry Brown opens with George Eastman’s arrival into this small town where his uncle Charles (Herbert Hayes) is a rich industrialist who met George back in Chicago when George was a bellhop as he decide to give him a job working at his factory.
While he meets his posh relatives, George is aware that he’s an outsider to the family as he’s more concerned with just wanting to do good for his uncle. Upon working at the factory, he meets Alice Tripp (Shelley Winters) whom he would date despite a rule in the factory for co-workers to not date each other. Yet, Alice intrigues George due to the fact that they both come from similar backgrounds with George not really wanting to be part of his relatives’ world of luxury and parties. That is until he formally meets the society girl Angela Vickers (Elizabeth Taylor) whom he had seen at his uncle’s home and much earlier when he was hitchhiking. Vickers is a completely different person from the more introverted Alice as she’s lively and often enjoying party while she finds George intriguing as the two fall in love but George cares for Alice as things become complicated when she becomes pregnant. Even as she confides in a shrink about what to do just as she learns that George is with Vickers leading to a lot of trouble all in the film’s first half.
George Stevens’ direction is largely straightforward in terms of the compositions he creates yet he does manage to play into some of the dramatic tension that occurs throughout the film. Shot on various locations around Lake Tahoe, Echo Lake, and Cascade Lake in California as well as interiors at Paramount Studios, Stevens showcased a world that has this air of social divide where George lived in a small apartment while his uncle and Vickers lived in spacious homes. Stevens would create some unique wide shots to play into the spacious homes but also in some of the locations including the lakes where some of the characters go to. Stevens’ direction is also intimate in its approach to close-ups and medium shots in the way he would shoot certain scenes that include some gazing shots that goes on for a few minutes to play into a conversation. Especially during a moment where George meets Alice at his apartment for a dinner as he arrived late as it is about the lack of space and where the camera is placed as he shoots them from behind.
Much of the its first act has Stevens establishing the characters and setting while its second act is where the drama intensifies as it relates to this love triangle between George, Alice, and Vickers as both Alice and Vickers would never meet each other during the course of the film. It is also where George deals with his own internal conflicts as it relates to what he wants as it leads to this eerie third act in relation to the aftermath of what he got himself involved in. Stevens’ direction definitely intensify not just this air of anguish and guilt but also this social divide as it relates to George being somewhat in the middle. Even as it relates to this tragedy where there are sides yet not everyone is willing to hear George’s story despite his involvement in what happened. Overall, Stevens crafts a rapturous and mesmerizing film about a young man caught in a love triangle that leads to trouble and tragedy.
Cinematographer William C. Mellor does amazing work with the film’s black-and-white cinematography at it helps set a mood for some of the film’s dramatic scenes with its usage of available light and shadows for scenes set at night as well as the way some of the daytime interiors/exteriors are presented as it helps heighten the world of Vickers and her friends. Editor William Hornbeck does excellent work with the editing with its stylish usage of dissolves and transition wipes as well as some rhythmic cutting to help play into some of the dramatic tension that occurs in the film. Art directors Hans Dreier and Walter H. Tyler, with set decorator Emile Kuri, do brilliant work with the look of the mansions George’s uncle and the Vickers family lived in as well as the small and cramped apartment he lives in.
Costume designer Edith Head does fantastic work with the costumes from the design of the dresses that Alice wears to the stylish gowns that Vickers wears. Sound recordists Gene Garvin and Gene Merritt do terrific work with the sound in the atmosphere of the parties as well as some quiet scenes in the film including scenes that involve a bird that would frighten George. The film’s music by Franz Waxman, with un-credited work by Daniele Amfitheatrof, is wonderful for its usage of lush orchestral textures in the strings as well as the usage of bombastic percussions to help maintain a tense atmosphere in the suspense.
The film’s superb cast feature some notable small roles and appearances from Kathleen Freeman as a factory worker who testified in court, Ian Wolfe as the psychiatrist Dr. Wolfe, Sheppard Strudwick and Frieda Inescort as Vickers’ parents, Kathryn Givney as George’s aunt Louise, Keefe Brasselle as George’s cousin Earl, Walter Sande as George’s attorney, Fred Clark as a defense attorney, and Herbert Heyes as George’s uncle Charles Eastman who gives George the chance to make something of himself. Anne Revere is superb as George’s mother who lives in the Midwest as she hopes that her son would succeed and stay away from trouble. Raymond Burr is fantastic as District Attorney R. Frank Marlowe as a man who investigates the aftermath of the tragedy as he believes that George did create trouble and is guilty.
Shelley Winters is amazing as Alice Tripp as a poor factory worker that George befriends and would date despite rules from the factory as she is fascinated by George but questions about the validity of their relationship as she becomes pregnant and learns about his time with Vickers. Elizabeth Taylor is brilliant as Angela Vickers as a young heiress who is often the center of attention as she is always at parties where she takes an interest in George whom she sees as someone different but also a man who has a lot of value in introducing her to the world outside of her posh existence. Finally, there’s Montgomery Clift in a phenomenal performance as George Eastman as a man trying to not to get into trouble by working at his uncle’s factory and make something of himself only to be involved in a love triangle as well as two different lifestyles that offer a lot as he becomes tormented by his world as it is a haunting yet intense performance from Clift.
A Place in the Sun is a tremendous film from George Stevens that features great performances from Montgomery Clift, Elizabeth Taylor, and Shelley Winters. Along with its supporting cast, gorgeous visuals, evocative music score, and its study of love and desire. It is a film that explore a man’s own torment and anguish that lead to tragedy due to not just the love triangle he involved himself in but also two different world that play into the social divide and their respective lifestyles. In the end, A Place in the Sun is a spectacular film from George Stevens.
George Stevens Films: (The Cohens and the Kellys in Trouble) – (Kentucky Kernals) – (Bachelor Bait) – (Laddie) – (The Nitwits) – (Alice Adams) – (Annie Oakley) - Swing Time - (Quality Street) – (A Damsel in Distress (1937 film)) – (Vivacious Lady) – (Gunga Din) – (Vigil in the Night) – (Penny Serenade) – (Woman of the Year) – (The Talk of the Town (1942 film)) – (The More the Merrier) – (That Justice Be Done) – (On Our Merry Way) – (I Remember Mama) – (Something to Live for) – Shane - Giant (1956 film) - (The Diary of Anne Frank) – (The Greatest Story Ever Told) – (The Only Game in Town)
© thevoid99 2020
Directed by John Carpenter and written by Anthony Lawrence, Elvis is a made-for-TV movie about the life and career of Elvis Presley from his early beginnings to the aftermath of his comeback in the late 1960 and early 1970s. Told in a stylistic fashion, the TV movie explores the turbulent and raucous life of the King of Rock N’ Roll as he tries to deal with many ups and downs as he is played by Kurt Russell. Also starring Shelley Winters, Season Hubley, Bing Russell, and Pat Hingle. Elvis is a towering and mesmerizing TV movie by John Carpenter.
The life of Elvis Aaron Presley is one of the most unique in the history of the world as he was the man that brought a new sound to the post-war era of the 20th Century and became the King of Rock N’ Roll through many hit songs that are timeless. The TV movie is a typical story of Elvis Presley’s life as it’s told in a straightforward fashion though it begins in 1970 where Presley is about to mount his big comeback concert at the International Hotel in Las Vegas where he would reflect on his life and the journey he took from obscurity to being a troubled icon. The teleplay by Anthony Lawrence does take some dramatic liberties in aspects on Presley’s life yet it’s main focus is on Presley and the need to find balance in his success but also wanting to remain humble. There is a structure to the script where it’s first act is about Presley’s childhood and the need to help out his parents anyway he can but also wanting to become a singer.
The second act is about his meteoric rise but also tragedy when he deals with the death of his mother Gladys (Shelley Winters) around the time he would serve in the U.S. Army and later meet Priscilla (Season Hubley) who would become his wife in 1967. The third act is about the birth of their daughter Lisa Marie Presley but also Presley’s struggle with fame and fulfillment that would culminate with his comeback at the International Hotel. Yet, it all plays into Presley and his need to entertain and have his friends be along for the ride but also wanting to make his parents proud. Presley also talks to his stillborn twin brother Jesse as it adds to that lack of fulfillment and guidance that Presley craves for where he would also cope with the chaos of his fame that would eventually affect his marriage to Priscilla.
John Carpenter’s direction is largely straightforward which isn’t a complete surprise considering that it’s a sprawling TV movie with a near three-hour running time (in its Blu-Ray release). Still, Carpenter does manage to create something that is very engaging as it plays into the rise of this young man born at Tupelo, Mississippi who would later live in Memphis, Tennessee with his family. Shot largely in Los Angeles with some of it shot in Tennessee and some second unit shots of Las Vegas. Carpenter does manage to create something that play into a period of time where Presley is trying to maintain that sense of humbleness as he is devoted to family and his roots. With the usage of wide and medium shots for the locations as well as some close-ups to maintain some of the intimacy. Carpenter does create some compositions that are beautiful and lively where he allows the simplicity of these images to really say a lot without the need to be overly stylish. Overall, Carpenter creates an entertaining yet compelling film about the life of Elvis Presley.
Cinematographer Donald M. Morgan does excellent work with the film‘s cinematography from the usage of shadows and lights for some of the interiors to the beautiful usage of natural colors for many of its exterior scenes in the daytime. Editors Christopher Holmes and Ron Moler do nice work with the editing as it‘s mostly straightforward with a few stylish dissolves as well as fade-outs that is common with most TV movies. Art directors Tracy Bousman and James William Newport, with set decorator Bill Harp, do fantastic work with the look of the homes that Presley lived throughout his life as well as the look of some of the venues he would play at. Costume designers Suzanne Grace and Richard Mahoney do brilliant work with the costumes to play into the period of the times as well as the evolution of the clothes that Presley would wear as a performer.
Hair stylist Ruby Ford and makeup artist Marvin G. Westmore do terrific work with the look of the hairstyles that play into the way Presley looked throughout the years as well as the hairstyles that Priscilla would have in those years. Sound mixer Willie D. Burton does superb work with the way the music is presented as well as other sounds to play into Presley‘s lifestyle away from the world of performing. The film’s music by Joe Renzetti is wonderful as it’s mostly low-key in its orchestral setting to play into the dramatic elements of the film while most of it features a lot of the music of the times including songs performed by Elvis and country singer Ronnie McDowell as the live singing voice of Presley.
The casting by Joyce Selznick is great as it feature some notable small roles from Meg Wylie as Elvis’ fraternal grandmother, Felicia Fenske as Lisa Marie Presley, Abi Young as actress Natalie Wood, Joe Mantegna as Memphis Mafia member Joe Esposito, Dennis Christopher as film actor Nick Adams, Les Lannom as Sonny West of the Memphis Mafia, Peter Hobbs as Jim Denny of the Memphis Mafia, Randy Gray as the young Elvis, Elliott Street as Elvis’ bassist Billy Black, James Canning as Elvis’ guitarist Scotty Moore, Melody Anderson as Elvis’ first girlfriend Bonnie, and Ellen Travolta as Marion Keisker as the person who would record Elvis’ first songs. Charlie Cyphers is terrific as Sun Records founder Sam Phillips who would discover Elvis and give him his first break while Pat Hingle is superb as Elvis’ manager Col. Tom Parker who would make Elvis into a megastar as well as handle some of Elvis’ business.
Robert Gray is fantastic as Elvis’ friend Red West who would be part of the Memphis Mafia that would protect and hang around with Elvis as makes sure Elvis have a good time and keep him grounded. Bing Russell is excellent as Elvis’ father Vernon who does whatever he can to help Elvis following the death of his wife as well as watch over some of his son’s finances. Shelley Winters is amazing as Elvis’ mother Gladys as this woman who adores her son and strives for him to succeed while being overwhelmed by all of his success as she helps try to ground him from not having fame get over his head. Season Hubley is brilliant as Priscilla as Elvis’ wife whom he met in Germany when she was 14 as she would be the love of his life while later coping with living in a world that she has very little control of. Finally, there’s Kurt Russell in a phenomenal performance as the titular character who does whatever he can to succeed and help out his parents while dealing with all sorts of trials and tribulations where Russell displays a charm and humility that brings the man back to life as it’s one of Russell’s defining performances.
Elvis is a sensational TV film from John Carpenter that features an incredible performance from Kurt Russell as the titular character. It’s a TV movie that doesn’t just tell a fascinating story about the King of Rock N’ Roll but also manages to be a bio-pic that does a lot in creating a story that is engaging though still manage to be conventional. In the end, Elvis is a remarkable TV film from John Carpenter.
John Carpenter Films: Dark Star - Assault on Precinct 13 - Halloween - Someone’s Watching Me! - The Fog - Escape from New York - The Thing - Christine - Starman - Big Trouble in Little China - Prince of Darkness - They Live - Memoirs of an Invisible Man - Body Bags - In the Mouth of Madness - Village of the Damned - Escape from L.A. - Vampires - Ghosts of Mars - The Ward
The Auteurs #60: John Carpenter Part 1 - Part 2
© thevoid99 2016
Based on the novel by Davis Grubb, The Night of the Hunter is the story of a reverend who has become a serial killer as he woos a widow and her two children in an attempt to steal money that the children had been hiding as it was stolen by their late father. Directed by Charles Laughton and written by Laughton and James Agee, the film is based on the real life story of Harry Powers who would do a similar crime and later be hanged to death in 1932. Starring Robert Mitchum, Shelley Winters, and Lillian Gish. The Night of the Hunter is a gripping and astonishing film from Charles Laughton.
Set in 1930s West Virginia, the film revolves a devious preacher who kills as he learns that his cellmate, who is to be hanged for theft, has hidden the stolen money with his children prompting the preacher to marry the man’s widow and terrorize the children into giving him the stolen money. It is a film that plays into the world of sin and temptation as it’s all driven by this preacher named Harry Powell (Robert Mitchum) who believes he is doing God’s work as he marries lonely women and then kill them so he can collect their money. When he meets the widow Willa Harper (Shelley Winters), he charms and marries her so he can be close to her and his family. While the people in their small town think Harry is a nice man as does Willa’s young daughter Pearl (Sally Jane Bruce), only Willa’s son John (Billy Chapin) isn’t so sure about Powell where he and Pearl eventually learn the truth as they would do whatever it takes to hide from him.
James Agee’s screenplay, which featured re-writes by Charles Laughton, definitely plays into this idea of sin and doing what is right as the man driving these ideas is Reverend Powell who would get Willa to see sin in herself. Especially as she feels guilty for the death of her husband Ben (Peter Graves) who killed two men and stole $10,000 where he would be hanged for his crimes. Powell is an intriguing individual where he dresses up like a preacher and acts like a preacher while his right hand would have “love” tattooed on his fingers while the word “hate” is on his left hand. It’s an interesting duality that he brings yet it is one that is full of hate as he would bring terror to John and Pearl who would eventually flee from his clutches where they would eventually find the safety in an unlikely person in a woman named Rachel Cooper (Lillian Gish) who is this no-nonsense person that can see through everything.
Laughton’s direction is definitely quite stylish as he definitely goes for an expressionistic style in the way he tells the story. Some of which involves some unique wide shots where it has elements of style while mostly focusing on medium shots and close-ups with some very stylish camera angles. Especially as it plays into the air of suspense and drama where Laughton’s framing is among the key moments in the film. He would infuse a lot of images into the frame such Billy telling Pearl a story where the shadowy image of Powell would suddenly come in as a sense of foreshadowing of what is to come. Even as Laughton would create moments in the film that are quite startling but also filled with such beauty in the images as it plays into the sense of duality of love and hate.
The direction would also feature expressionistic images set in the Ohio River as Laughton would create something that is quite somber to explore a world that is very dangerous and also unforgiving at times. When the film’s third act would introduce Rachel Cooper, there is that sense of the unknown at first yet Laughton would change the tone a bit since it adds a glimmer of hope to John and Pearl in their plight. Especially as the confrontation between Powell and Cooper come ahead as both would recite the words of God but it would play into who really stands for what is right and wrong. Overall, Laughton crafts a very chilling yet evocative film about a murderous preacher who kills for profit as he terrorizes two innocent children.
Cinematographer Stanley Cortez does brilliant work with the film‘s black-and-white photography with its use of shadows, distorted images, and lighting schemes to play out the film‘s expressionistic style as well as set an eerie mood for the suspense. Editor Robert Golden does excellent work with the editing to convey the slow-burn of the film‘s suspense as well as bringing some unique rhythmic cuts to bring in some bite for some of these moments. Art director Hilyard Brown and set decorator Alfred E. Spencer do amazing work with the set pieces from the home of Willa as well as the farm exterior where John and Pearl briefly hid at. The sound work of Stanford Houghton is fantastic for the way some of Powell‘s singing is heard throughout as it acts as a voice of terror while some of the sound effects help add to the film‘s suspense. The film’s music by Walter Schumann is superb for its chilling orchestral themes as well as some somber moments such as it plays into the plight and innocence of John and Pearl.
The casting by Mille Gusse is incredible as it features some notable small roles from Peter Graves as Willa’s late husband Ben, Gloria Castillo as Rebecca’s adopted daughter Ruby who is often a victim of temptation, Don Beddoe and Evelyn Varden as a couple of local shopkeepers who are friends of Willa and the children, and James Gleason as a river man that John is friends with as he would make a very chilling discovery. Sally Jane Bruce is wonderful as Pearl as this young girl who exudes innocence as she is confused by the presence of Powell. Billy Chapin is superb as John Harper as this young boy who is suspicious about Powell as well as the questions about the money as he knows about its whereabouts while dealing with the world of good and evil.
Shelley Winters is excellent as Willa Harper as this widow who is consumed with guilt over her husband’s death as she marries Powell unaware of his intentions as she later learns that there’s something about him that makes her uncomfortable. Lillian Gish is phenomenal in a small but memorable performance as Rachel Cooper as this old woman who adopts lost children as she is this stern figure that not only keeps John and Pearl in check but also knows a lot about the ways of the world as she is someone not to be trifled with. Finally, there’s Robert Mitchum in an absolutely magnificent performance as Reverend Harry Powell as Mitchum brings this dark charm to the role that makes him so engaging but it is balanced by this brooding presence that just sends chills as his character is, without question, one of the greatest villains in cinema as he is the epitome of absolute evil.
The Night of the Hunter is a tremendously haunting yet visceral film from Charles Laughton. Featuring an outstanding performance from Robert Mitchum as well as a strong supporting performance from Lillian Gish, exquisite cinematography, and a chilling score. The film stands as one of the key films of the film noir genre as well as an exploration into the idea of good and evil. In the end, The Night of the Hunter is a remarkable film from Charles Laughton.
© thevoid99 2014
Based on the novel by Henry James, The Portrait of a Lady is the story of an American woman who travels to Europe with her inheritance to confront her destiny while meeting two American expatriates who would change her fortunes for the worse. Directed by Jane Campion and screenplay by Laura Jones, the film is an exploration of an independent woman who seeks to make something of herself only to be trapped by the world that she‘s chosen. Starring Nicole Kidman, Barbara Hershey, John Malkovich, Mary-Louise Parker, Martin Donovan, Viggo Mortensen, Christian Bale, Valentina Cervi, Richard E. Grant, Shelley Winters, Shelley Duvall, and John Gielgud. The Portrait of a Lady is an enchanting yet intoxicating film from Jane Campion.
The film is an exploration into the life of an American woman in the 1870s who craves independence and wants to explore the world as she’s been given an inheritance by her uncle. With her inheritance, Isabel Archer (Nicole Kidman) travels through Europe where she meets Madame Serena Merle (Barbara Hershey) whom she met in England some time earlier as Merle would introduce her to another American expatriate in Gilbert Osmond (John Malkovich). After rejecting several proposals from many suitors including her cousin Ralph (Martin Donovan), Isabel marries Gilbert only for the marriage to be not what it seemed as Isabel becomes concerned for the well-being of her stepdaughter Pansy (Valentina Cervi). Isabel is forced to face the destiny she’s chosen as she finds herself lost while coming to the conclusion that she’s driven away those she was close to but also couldn’t help those who really need her.
Laura Jones’ screenplay creates this very complex story as it plays into the world of Isabel Archer as the first act is about her in England as she’s approached by suitors including Lord Warburton (Richard E. Grant), Boston mill heir Casper Goodwood (Viggo Mortensen), and her cousin Ralph Touchett. They all mean well but Archer wants more as she knows that the world is changing as her friend Henrietta (Mary-Louise Parker) is already acting like a modern woman. Upon meeting Madame Merle and gaining her inheritance, Isabel is convinced that she will get the chance to live a life of great wonderment and independence where she meets Gilbert Osmond who shares her ideas about the world. Much of the first half is about Isabel’s search for herself and meeting Madame Merle and Osmond as they have plans about what to do with Isabel’s inheritance which brings a lot of suspicion from Ralph.
The film’s second half in the story is much darker where Isabel has to deal with not just the decision she made but also the people she unknowingly drove away like Ralph, Henrietta, and the suitors who still wanted her. The men would question about her happiness which Isabel chooses to dismiss them as she finds herself constrained by Gilbert’s world and what he wants as it takes a toll on her and his daughter Pansy who has fallen for a nice young man in Edward Rosier (Christian Bale) whom Gilbert dislikes. With Ralph becoming ill and Isabel realizing what she’s done, she finds herself in conflict about what to do and who to help. Even as she learns some truths about who is Pansy’s mother as well as into why Madame Merle would introduce her to Gilbert.
Jane Campion’s direction is really filled with exotic imagery and ravishing compositions in not just the way she creates the world of late 19th Century Europe but also a world that is changing where a woman like Isabel Archer seems to be part of these changes. It plays into this interesting conflict between the ideas of the Old World and New World where Campion creates a lot of scenes where it feels like the New World is emerging into the Old World and with new ideas. Even as she brings in some unique images in the way she puts the actors into a frame or how she captures a certain location like Italy and Britain where it’s starting to come in to the modern world. Even as Campion would use mirrors and glass to play into Isabel’s emotions as the world is changing where she’s oblivious to how bad things can become.
There’s also some unique visual effects sequences that Campion does that includes a montage of Archer traveling with Merle in different places of the world in surreal black-and-white images. All of which would play into the de-evolution of Archer as Campion’s presentation would become darker. Even as Campion would create slanted camera angles to play into a world that is returning to the old ways where things are becoming more complicated and constrained. Largely as the framing becomes tighter to play out the drama that is unfolding. Even as it would play into an ending where it’s not just about loss but uncertainty. Overall, Campion creates a very ethereal yet haunting film about a woman’s search for her identity in an ever-changing world.
Cinematographer Stuart Dryburgh does fantastic work with the film‘s very colorful cinematography from the use of colors for many of the film‘s first half to play out something natural in some of its exterior and interior settings to more usage of filters in a few scenes set in the winter along with some lighting schemes for the interiors including Pansy‘s cotillion party. Editor Veronika Jenet does brilliant work in the editing as she incorporates a lot of stylistic cuts from the use of dissolves and jump-cuts along with transitional fade-outs to play with its structure. Production/costume designer Janet Patterson and supervising art director Martin Childs do amazing work with the set pieces and costumes from the look of the homes the characters live in to the dresses that Isabel and other female characters wear.
Hair/makeup designer Peter King does terrific work with the hair styles that the women wear in the film along with some of facial hair that some of the men sport. Visual effects supervisor Kent Houston does nice work with some of the film‘s minimal visual effects to play up into Isabel‘s fantasies as well as her trip around the world. Sound designer Lee Smith does superb work with the sound to play into the intimacy of some of the locations and scenes as well as the parties that occur in the film. The film’s music by Wojciech Kilar is excellent for its flourishing and broad orchestral score that features sweeping string arrangements to play out the drama while its soundtrack also includes lots of classical pieces by Johann Strauss, Franz Schubert, and Johann Sebastian Bach.
The casting by Johanna Ray is incredible for the ensemble that is created as it features small yet notable appearances from Shelley Winters as Isabel’s aunt, Shelley Duvall as Gilbert’s flighty yet sympathetic sister Countess Gemini, and John Gielgud as Isabel’s uncle who would be the one to give her the inheritance. Viggo Mortensen and Richard E. Grant are terrific in their respective roles as Isabel’s suitors Caspar Goodwood and Lord Warburton where the latter is offered the chance to marry Pansy while Christian Bale is superb in a small but memorable role as Pansy’s young suitor Edward Rosier. Valentina Cervi is wonderful as Pansy whom Isabel cherishes as she’s a young woman who is confused by what she wants but to also please her father. Mary Louise-Parker is excellent as Isabel’s friend Henrietta who encourages Isabel to be independent only to realize where she ended up as she tries to help the ailing Ralph.
Martin Donovan is amazing as Isabel’s cousin Ralph who is devoted to her as he watches her be wooed by Gilbert from afar while dealing with his illness and what is happening to her. Barbara Hershey is fantastic as Madame Serena Merle as a woman who charms Isabel into confronting her destiny only to have things go too far as she realizes the damage that she caused. John Malkovich is marvelous as Gilbert Osmond as a man who marries Isabel in the hopes to become rich and powerful as he becomes controlling into ensuring what he wants and such. Finally, there’s Nicole Kidman in a tremendous performance as Isabel Archer as she goes from this independent yet ambitious woman wanting to seek new adventures in an ever-changing world only to fall prey by a couple of American expatriates who would trap her into something very dark as she tries to comprehend the decisions she’s made and who to help as Kidman brings a lot of grace and melancholia to her role.
The Portrait of a Lady is an exhilarating yet brooding film from Jane Campion that features an amazing leading performance from Nicole Kidman. Along with a great supporting cast as well as very strong themes on identity, destiny, and modernism. The film isn’t just this fascinating portrait of a woman trying to keep up and embrace the new world but also deal with the ideas of an older world that prove that some things don’t change. In the end, The Portrait of a Lady is a remarkable film from Jane Campion.
Jane Campion Films: Sweetie - An Angel at My Table - The Piano - Holy Smoke! - In the Cut - Bright Star - Top of the Lake (TV miniseries) - (Top of the Lake-China Girl) - The Power of the Dog - The Auteurs #25: Jane Campion
© thevoid99 2013
Based on the novel by Vladimir Nabokov, Lolita is the story of a middle-aged professor who becomes obsessed with a teenage girl as he deals with the consequences of their relationship. Directed by Stanley Kubrick and screenplay by Kubrick, Nabokov, and James Harris, the film explores the world of obsession as it revolves around a man’s relationship with an underage girl. Starring James Mason, Sue Lyon, Shelley Winters, and Peter Sellers. Lolita is a captivating drama from Stanley Kubrick.
Professor Humbert Humbert (James Mason) arrives at a small town in New Hampshire looking for a place to live in the summer as he stops at house owned by Charlotte Haze (Shelley Winters). Haze is a widow who has rooms available at her home as Humbert isn’t sure about living there until he catches a glimpse of Haze’s teenage Dolores (Sue Lyon) who is also named Lolita. Humber lives at the home as he is amazed by Lolita’s presence as he decides to forge a relationship with Charlotte in order to be close to Lolita. Things seem fine in the household though Charlotte is often annoyed by Lolita’s presence as she sends her to summer camp in order to spend more time with Humbert. The two marry as Humbert becomes more infatuated with Lolita where Charlotte makes a discovery in Humbert’s diary.
After a tragic incident, Humbert leaves town to pick up Lolita at camp where the two go on a road trip across the country. At a stop at a hotel, Humbert meets a mysterious man (Peter Sellers) who is bewildered by their relationship. Humbert and Lolita live in another town for Humbert’s tenure as the relationship becomes rocky when Lolita wants to participate in a school play. Humbert refuses until a psychiatrist from Lolita’s school believes that Lolita should be in the play as Humbert finally acquiesces Lolita’s request. Yet, things get more troubling as Humbert and Lolita go back on the road as Humbert’s paranoia leads to health issues for the two of them. Yet, more problems start to emerge where Humbert gets a mysterious phone call that leads to Lolita’s disappearance as he wouldn’t see her until a few years later where would confront the man who picked her up at the hospital.
What happens when a man falls for a teenage nymphet as he tries to pursue a secretive relationship that eventually would cause a lot of trouble? That is the premise of this very provocative story that explore a middle-aged man’s infatuation with this young teenage girl. Professor Humbert is just a man who is intrigued by this young woman who is very unique and has this presence that is just fascinating to watch. Lolita is a young girl who is mature at times while just wanting to be a kid who likes to drink soda pop, chew gum, and do all sorts of things. The two together have this relationship that is strange as they hide it from the outside world yet they would raise question to the people they would encounter during their journey.
The screenplay that its writer Vladimir Nabokov would create explores this strange dynamic between these two very different people. Notably as it revolves around this middle-aged man’s passion with this young woman who feels controlled by her outgoing mother. For Lolita, having Humbert around gives her the chance to be with someone who cares about her and is willing to be attentive to her needs no matter how childish she can be. Then there’s supporting characters like Charlotte Haze who is essentially a widow who has been alone for a long time that is desperate to have a man in her life not just for her own social status but to have someone in her life that doesn’t involve Lolita whom she seems to resent.
Another character that comes into play in the story every now and then is this mysterious man named Clare Quilty. Throughout the film’s reflective narrative that is largely focused on Humbert’s perspective, Quilty is this man who seems to be everywhere as Humbert would only meet this man on a few occasions yet never really come face-to-face except in a confrontation near the end of the story. What becomes more intriguing is what does he have to do with Lolita where Humbert would start asking questions about some of Lolita’s activities in the film’s second half where it is eventually revealed towards the end.
Stanley Kubrick’s direction is definitely hypnotic in the way he presents the film as more than just a typical drama. Instead, Kubrick creates a film that blurs genres where there’s an element of dark humor, some suspense, some eerie film-noir devices, romance, and melodrama all mixed into one entire film. Yet, he opens the film with its ending where it does set-up a lot of what Humbert has to reflect on just as he’s about to commit a horrible crime against this mysterious man who had been around him during this strange journey. Throughout the film, Kubrick creates unique framing devices to present the characters and the situations that happens along some close-ups to help display the mixture of emotions running through these characters.
The direction also has Kubrick taking on some unique ideas of how he frames his actors in a scene. Notably this one moment where Humbert is outside the hotel having a conversation with this mysterious man as Kubrick places Humbert in the background while this mysterious man is almost in front of the camera. It’s Kubrick establishing Humbert’s clueless nature about this man whom is often talked about as he was seen dancing with Charlotte early in the film at a dance. Throughout its first two acts, the film plays off as a bit of melodrama mixed in with romance yet things start to shift towards something darker in the third act as it revolves around a paranoid Humbert and a more indifferent Lolita as their relationship starts to crumble.
This would lead to Lolita disappearing and an penultimate scene between the two that is melodramatic in terms of the revelations that are unveiled as it shows a full-on development between the two and their relationship. Then the film goes back to the very beginning where it would be followed by this epilogue revealed in text over what happened. It would reveal not just moments of tragedy but also the sense of loss that came into this very taboo relationship between a middle-aged man and a teenage girl. Overall, Kubrick crafts a very mesmerizing yet intriguing film about a man’s fascination with a young girl.
Cinematographer Oswald Morris does brilliant work with the stylish cinematography from the lush look of the daytime exterior scenes to more entrancing, noir-like lighting schemes for some of the film‘s interior and exterior nighttime scenes to help set the mood for these moments. Editor Anthony Harvey does wonderful work with the editing by using rhythmic cuts for some of the film‘s emotional moments as well as dissolving transitions to help the film move at a brisk pace. Art director William C. Andrews does fantastic work with the set pieces from the home of the Haze house to the lavish hotel that Humbert and Lolita stay in.
Sound recorders H.L. Bird and Len Shilton do terrific work with the sound from the atmosphere of the dance party Humbert, Charlotte, and Lolita attend to the intimacy of the scenes on the road. The film’s music by Nelson Riddle is amazing for its orchestral-driven score that features dramatic themes and suspenseful cuts along with a playful pop piece that plays to the film’s offbeat dark humor. Additional music by Bob Harris is for the film’s soaring orchestral theme that plays to the sense of romance that occurs in the film.
The casting by James Liggat is superb for the ensemble that is created as it includes some notable small roles from Lois Maxwell as a hospital nurse, Marianne Stone as Quilty’s companion Vivian Darkbloom, Shirley Douglas as Lolita’s piano teacher, Jerry Stovin and Diana Decker as a couple of Charlotte Haze’s friends, and Gary Cockrell as a young man named Richard that Lolita would be with late in the film. Shelley Winters is great as Lolita’s mother Charlotte who resents Lolita as she is desperate to cling to Humbert as she tries to woo him in every way while realizing the horrifying truth about Humbert’s fascination with her daughter.
Peter Sellers is outstanding as the very mysterious Clare Quilty who appears in very strange parts of the film such as the film’s opening scene where he tries to chit-chat his way out of a situation while also being very manipulative in every way as it’s definitely one of Sellers’ great performances. Sue Lyon is wonderful as the titular character from the presence that she creates to the complexity she brings as a young woman who is quite mature but also very childish as she deals with Humbert’s infatuation as well as her sense of rebellion. Finally, there’s James Mason in an incredible performance as the troubled Professor Humbert as he falls for the young Lolita as well as trying to ensure that what he’s doing isn’t wrong where he later becomes a man who descends into madness as he’s desperate to cling into the young woman that he’s in love with.
Lolita is an astonishing film from Stanley Kubrick that features marvelous performances from James Mason, Sue Lyon, and Peter Sellers. While it is definitely a very uneasy film to watch due to its subject matter and Kubrick’s approach to create a story that bends genres. It’s definitely a very engaging film that explores the world of taboo love as well as obsession in the eyes of a middle-aged man. In the end, Lolita is an intoxicating yet chilling drama from Stanley Kubrick.
Stanley Kubrick Films: Fear & Desire - Killer's Kiss - The Killing - Paths of Glory - Spartacus - 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: (Lolita (1997 film)) - Stanley Kubrick: A Life in Pictures - The Auteurs #18: Stanley Kubrick
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