Labors of love can be executed well or badly, and one of the many pleasures of this new book from McFarland — quite apart from the fact that its author, Ben Davis, interviewed me at some length for it (full disclosure), and quotes me accurately — is that it’s done so well. This is above all a work of social history, and because the 34 years that it covers includes all of my own extended sojourns in Manhattan and environs (in particular, 1961-1963, 1966-1969, 1978-1983), I can vouch for its accuracy as well as its success in evoking a now-vanished film culture without ever succumbing to the distortions of nostalgia. (I was interviewed mainly about my adventures in programming at the Carnegie Hall Cinema and the Bleecker Street Cinema, thanks to the support and assistance of Jackie Raynal and Sid Geffen.) The fine selection of photographs also helps a lot — although, thanks to the vagaries of the Internet, only one of these (the first) is posted below. [5/25/17]
Daily Archives: April 29, 2021
From The Soho News (November 24, 1981). — J.R.
Nick’s Movies (Nicholas Ray retrospective)
The Public Theater through December 13
Fantasy and counter-fantasy are perpetually at war in the films of Nicholas Ray — accounting in no small measure for the highly charged heat, light, fury, beauty, and pain that most of them project. In its most brilliant representations — the separate divisions of Vienna’s saloon in Johnny Guitar (1954), an almost surrealist Western; the house and mind of Ed Avery in Bigger Than Life (1956), an almost expressionist domestic melodrama — this graphic warfare actually becomes expressed in terms of discrete zones of action and confinement. “Down there I sell whisky and cards,” announces the imperious Vienna (Joan Crawford) on a stairway, gun in hand, to an itchy search party below that’s somewhere between a lynch mob and a sheriff’s posse. “All you can get up these stairs is a bullet in the head.”
Or consider another scene, one of the most memorable jaded love duets in movies, again spelled out through architecture and spatial balances as well as words and faces. Johnny Guitar (Sterling Hayden) sits at a kitchen table, drink in hand, while Vienna stands behind him, on the other side of a serving window, also facing us.… Read more »