Christina von Blanc and Britt Nichols in A Virgin Among the Living Dead (Jesus Franco - 1973)
Christina von Blanc and Britt Nichols in A Virgin Among the Living Dead (Jesus Franco - 1973)
Bai ri yan huo
Diao Yinan - 2014
Well Go USA Entertainment Region 1 DVD
With a bad cold, trying to watch Black Coal, Thin Ice on the big screen at the Udine Far East Film Festival was less than ideal. While the momentum of the win at Berlin in January of last year has dissipated, the film can now be more widely seen with the home video version.
Diao's film has been described as film noir. As overused as that genre appellation may be, it is fitting here, with it's drunken ex-cop doggedly trying to solve a case, five years after a botched arrest, and his pursuit of the woman who is the possible link to several murders. The story takes place first in 1999, and primarily in 2004, in an unnamed city in northern China. Most of the action takes place during winter nights, where people meet in cheap restaurants, low rent dance halls, or little movie theaters on dark streets. As others have pointed out, the milieu here is not to different from that of the novels by James Cain's with their working class settings.
Wu Zhizhen may not be the most obvious femme fatale. Gwei Lun-mei is neither as exotic nor as glamorous as seen in several of her roles for Tsui Hark. Diao departs from convention as Wu is fairly ordinary in appearance. Lana Turner bared her midriff, while Barbara Stanwyck showed off her anklet. Gwei remains fully dressed, more so, in exterior scenes with a scarf around her face. For most of the film, Wu reveals little of herself, exposing only the smallest of parts that she chooses to be seen.
What is visible are the results of grisly murders, body parts that appear in the coal processed at different plants. Zhang, the cop on the case in 1999, now a security guard, has a chance meeting with his former partner, and discovers similar murders taking place five years later. He knows Wu is connected to the murders but he doesn't know how. As in classic noir, the two briefly become lovers, though everyone - the audience as well as the characters - knows nothing good will come of their liaison.
The Chinese title translates as "Daylight Fireworks", which becomes more significant as a clue later in the story. Diao has explained this original title as expressing the need for catharsis. Diao has also gone on record as having seen The Maltese Falcon, The Third Man and Touch of Evil while preparing his screenplay, an eight year effort. Unmentioned by Diao, but of possible influence would be two later films influenced by film noir, Band of Outsiders and Pulp Fiction. Zhang makes a return visit to the dance studio from an earlier scene. Given the chance to be appreciated, Liao Fan's wild, solo dance to contemporary Chinese pop music is as memorable as Anna Karina doing the Madison, or Travolta and Thurman twisting to Chuck Berry.
Gloria Grahame in Sudden Fear (David Miller - 1952)
Richard Wilson - 1955
KL Studio Classics BD Region A
Man with the Gun begins with titles superimposed over a sheet of burlap, kind of like a film from Yasujiro Ozu. The similarity to Ozu is unintentional, but Richard Wilson's take on the western is to strip it down to the essential elements. There is a lot of empty space here. Wilson probably had a very modest budget, so he worked that in as part of the narrative, about a small town with a dispirited citizenry, bare trees, surrounded by flat, dusty plains.
Wilson's film is something of a companion piece to Invitation to a Gunfighter, with a professional gun man hired at the behest of the townspeople. Robert Mitchum's character of Clint Tollinger is what is termed a "town tamer". The deputy's badge gives Tollinger the right to start establishing a bit of law and order in a town mostly owned by the unseen Dade Holman. Holman's presence is felt by the thugs he sends to town to do his dirty work.
This was the directorial debut of Wilson, a former assistant to Orson Welles. Wilson also had a hand in the screenplay, and plays a bit with genre conventions. Tollinger is noted for wearing gray. That's a nice bit of shorthand, a visual queue for Tollinger's moral ambiguity, and seeming ambivalence. In the meantime, some of the bad guys can be spotted seeing the biggest hats, with oversized crowns and brims, that even a pimp from a blaxploitation movie might find in dubious taste. One of those hats is worn by perennial bad guy Claude Akins. Playing another of Holman's henchmen is Leo Gordon, who shoots a boy's dog in the opening scene. Somewhat less malevolent is Ted De Corsia as the proprietor of a small bar dominated by an absurdly oversized chandelier.
Photographed by Lee Garmes, the film provides some good examples of economical filming, especially in keeping two or more characters within the frame during conversations. While not as obviously showy as Welles could be, Wilson would seem to have taken what he's learned from Welles, especially in blocking his actors, keeping scenes of exposition visually interesting.
Wilson obeys some of the genre rules expected of a Hollywood western from the Fifties. It's hardly a spoiler to know that Tollinger is going to clean up the little town of Sheridan, or that he will finally reunite with his former sweetheart, now the town madame. The joys to be found here are mostly due to watching the cast of character actors, credited or not, such as Henry Hull as the talkative, if ineffective, sheriff, Jan Sterling is the woman from Tollinger's past, Barbara Lawrence as a dim-witted dancing girl, Emile Meyer as the town blacksmith. James Westerfield, as the mysterious Mr. Zender, is one of the several faces that will strike some as familiar, even if they don't know the name, as with much of the supporting cast. Some viewers will also recognize Burt Mustin, an actor often tapped as as the old man, as a hotel clerk. It would be a year later that Angie Dickinson would be formally "introduced" in Gun the Man Down. Dickinson, and her famous legs, are seen here as one of Sterling's dancing girls, Kitty. Dickinson is only seen for a few minutes, but it's no surprise that Samuel Fuller and Howard Hawks took notice.
Robert Parrish - 1974
KL Studio Classic BD Region A
For those who saw this film outside of North America, the title was The Marseilles Contract. I wish I knew why the suits at American International Pictures thought calling this The Destructors was a good idea because it doesn't evoke anything, or at least anything pertinent to what's goes on here. On the other hand, maybe someone thought The Marseilles Contract seemed too much like The French Connection, which was pretty much the point. And while Robert Parrish's final film is no French Connection or, alas, a French Connection II, there are some moments worth checking out.
The story involves gangsters, cops and drugs, but also cars. And while there is nothing here that compares to William Friedkin's wild car chase in The French Connection, one of the best moments here is a race choreographed by Remy Julienne. What begins with Michael Caine and Maureen Kerwin trying to outpace each other becomes, at certain hairpin turns, a duet with the cars turning simultaneously, as they maneuver the narrow French roads. Eventually Caine and Kerwin get together in the flesh, but their roadside manners make for the film's most erotic scene.
Copper Anthony Quinn hires old pal Michael Caine to put a hit on drug kingpin James Mason. For the top lined stars, this was probably done for the paycheck. Better are a couple of French actors, two fairly familiar names, Maurice Ronet as a French cop working with Quinn, and best of all Marcel Bozzuffi, from The French Connection, as Mason's right hand man. Everybody gathers in Marseilles, where there's a big drug shipment due, with Quinn hoping to bust Mason.
Quinn and Mason share the screen near the end, briefly. Before moving to the director's chair, Robert Parrish was an Oscar winning editor. I don't know how much of that scene with Quinn and Mason was personally cut by Parrish, but the timing and coordination of the shots is superb. Without giving too much away, the scene takes place at a dance for French society hosted by Mason. There is motion in each of the shots making it crucial regarding where the two actors are in relation to each other within the crowded floor. The effect is as everything else was building up to this one climatic scene.
Almost as good is the scene with most of the principle actors shooting at each other. Again, there is the sense of space, of placement of the actors, and meticulous timing of each shot, both film and bullets. It is quite possible that the shaky cam chaos of more recent films makes a scene like this look better than it is for someone who prefers old style craftsmanship, but this is another moment that redeems the leisurely paced set up.
The Destructors was one of the few films written by producer Judd Bernard. Notable is that Bernard was the producer of two classics, Point Blank and personal favorite, Deep End. Also of note is a card game that Quinn walks in on, with a who's who of Paris based expatriates including Variety contributor Gene Moskowitz, author James Jones, and JFK press secretary Pierre Salinger.
Frieda Pinto in Trishna (Michael Winterbottom - 2011)
John Sturges -1965
KL Studio Classics BD Region A
Made in between the more expensive and elaborate The Great Escape and The Hallelujah Trail, is this more modest produced thriller. Based on a novel written by Alistair MacLean under the pseudonym of Ian Stuart, the action was moved from Great Britain to the U.S., mostly within driving distance of Los Angeles. Reportedly, Preston Sturges was distracted while making The Satan Bug as he was preparing The Hallelujah Trail at the same time. In retrospect, The Hallelujah Trail either should not have been made or had been directed by someone more adept at comedy. The source book as I recall was pretty good, though the set looks absolutely nothing like Denver of 1867. I suspect that as a reliable moneymaker for the Mirisch Company and United Artists, Sturges may have been encouraged to provide something for the studio pipeline.
The more literal minded will be disappointed to know that there is no Satan, and there are no bugs. The title comes from the naming of a chemical designed for biological warfare that theoretically is capable of killing all forms of life. The security at Station Three might have been state of the art for 1965, but it's not enough to stop someone from stealing a bunch of glass flasks, with the threat of releasing enough toxin to kill everyone in metro Los Angeles. It's a premise that could happen, especially with enough accidents that occur by people who are entrusted with hazardous material. Being 1965 though, most of the heroes are serious white guys in suits and fedoras.
The film is visually of interest in the first half hour or so. The titles, by DePatie-Freleng of Pink Panther fame, attempt to mimic the abstract symbolism of the animated titled by Saul Bass. The best part is when the close-up of the veins of a cartoon eye dissolve into an overhead shot of the forks of a desert road, with a lone truck cruising towards its destination. The secret lab is a collection of glass rooms, with the design enabling the viewer to see action in two different spaces simultaneously. There is also visual beauty in a crane shot with the wide screen filled with the pattern of the security fences outside the lab. An early scene with a hard working scientist is lit from below, giving the actor Henry Beckman the look of a character in a horror movie. A scene involving a shootout between the bad guys and the feds is unsurprisingly reminiscent of the several westerns by Sturges.
Glenn Erickson of DVD Savant provided a commentary track that mostly discusses The Satan Bug in relation to some similar films. What might, for some some, provide a reason to see The Satan Bug is the news that Pauline Kael claimed this was the worse film ever made. This isn't even the worse John Sturges movie ever made - that would be the overlong and unfunny The Hallelujah Trail. In retrospect, the cast is made of top billed actors whose glory days were in the past, and a few supporting actors who were on their way to big things on the small screen. Former television star George Maharis never achieved big screen success like Sturges alumni Steve McQueen. Anne Francis, who stepped in when Joan Hackett dropped out, plays the former girlfriend of Maharis. Unlike her pivotal role in Sturges' Bad Day in Black Rock, there's not much to her role here. Dana Andrews was reduced to supporting roles, while Richard Basehart became a character actor in too many films that wasted his talent. Ed Asner is here, with a head full of hair, as one of the bad guys, while James Doohan, his distinctive Scottish accent not heard, has a dialogue free role as a federal agent.