From the Summer 1984 Film Quarterly (Vol. XXXVII, No. 4). I can happily report that some copies of this book are still available on the Internet. — J.R.
By John Belton. Metuchan, N.J. & London: The Scarecrow Press, 1983. $19.50.
From the outset, in his Introduction, John Belton makes the organizing stance of Cinema Stylists admirably clear. Revised auteurism — that is to say, non-vulgar and non-biographical auteurism, an auteurism brought more in line with the qualms of Barthes and Foucault (and subsequently Wollen) about authorship, and tempered with some of the notions about authorial presence in Wayne Booth’s The Rhetoric of Fiction — is the dominant (if not exclusive) mode in this collection of over three dozen pieces, written over the past fourteen years. With the specters and examples of Robin Wood and Andrew Sarris hovering over his shoulders – his right and left consciences, as it were – Belton lacks the stylistic fluidity of either of his mentors, but has certain sound academic virtues which match and occasionally surpass the capacities of both.
A champion of the underdog film as well as the neglected figure, Belton can be seen going to bat in Cinema Stylists for Robert Mulligan, Edgar G. Read more
From Film Comment, September-October 1984. — J.R.
Rear Window, The Leopard Man [see first two photos above], Phantom Lady, The Window, The Bride Wore Black, Mississippi Mermaid. Considering that almost 30 features have been Cornell Woolrich adaptations, it seems a genuine anomaly that he should remain so shadowy a figure. He is as central to the thriller as Olaf Stapledon is to science fiction, and has been comparably eclipsed by a singularity that exceeds and surpasses some genre expectations while grievously falling short of certain others. Despite all the purple prose, tired rewrites, and preposterous plots that crop up in his fiction, perhaps no other writer handles suspense better, or gives it the same degree of obsessional intensity. More soft-boiled than hard-boiled in the depiction of his heroes and heroines, Woolrich nonetheless seems central to the overall pessimism of film noir in the violent contrasts of his moods and the dark tempers of his villains.
Webster’s New Collegiate gives three definitions of dreadful: “(1) (adjective) inspiring fear or awe, (2) (adjective) distressing, shocking; very distasteful, (3) (noun) a morbidly sensational story or periodical; as, a penny dreadful.” Woolrich assumes all these meanings and invents a few more of his own. Read more