Daily Archives: October 13, 2022

Two Off-the-Charts DVD Box Sets (Hou & Hanoun)

HHHEarly Works

saisons

Since I’m about to leave in a few days for visits to Madrid and Lisbon — to be followed, only four days after I return, to a separate trip to Bologna, Paris, Potsdam, and Frankfurt, in that order — I can’t pretend to do justice to either of these exceptional releases, apart from telling you that they exist, where they come from, and a little bit about them. The two excellent labels responsible for them — Cinematek in Brussels, Re:Voir in Paris — were kind enough to send me review copies at my request in each case. Ordinarily, I would (and should) have covered both in my “Global Discoveries on DVD” column in Cinema Scope, and the only excuse I can offer about why I haven’t is that both of them are sufficiently special to seem daunting. In fact, so far I’ve only sampled each package long enough to glimpse some of the riches that I’m still looking forward to savoring in detail later.

In other respects, I hasten to add, they’re really quite different from one another, apart from the fact that both have suggested to me, from disparate angles, the postulate that being regarded as an auteur qualifies in certain ways as a class privilege. Read more

High Noon

From the October 13, 1988 Chicago Reader. — J.R.

After many years of being vastly overrated, this liberal adult western of 1952 may be underrated in some quarters today. While the film angered Howard Hawks into making one of his masterpieces (Rio Bravo) as a kind of rebuttal, it got smothered in Oscars; still, it’s not entirely devoid of virtues. Gary Cooper is a sheriff who’s about to retire (so he can marry Grace Kelly) but has to face a final gunfight alone when all of the townspeople refuse to help him. Carl Foreman wrote the script and planned to direct until the Hollywood blacklist made this impossible; Fred Zinnemann took over and did a fairly good job of milking suspense out of the situation — the film’s 84 minutes are meant to correspond to the actual time in which the plot unfolds — with his usual somewhat mechanical polish. Some of the results ring false, but the memorable theme song and some equally memorable character acting (by Thomas Mitchell and Lon Chaney Jr. more than Lloyd Bridges and Katy Jurado) help things along. (JR) Read more

On CinemaScope, Snakes, Funerals, Lang, and Welles

There seems to be a general agreement among cinephiles that Fritz Lang thought that Cinemascope was suitable only for filming snakes and funerals — despite the fact that Lang’s own Moonfleet (1955), shot in the related format of Metroscope, uses that rectangular shape quite effectively, as does the similarly anamorphic While the City Sleeps (1956).

But that wisecrack about snakes and funerals is more or less what Lang delivers while playing himself in Jean-Luc Godard’s Contempt (1963), also shot in a ‘Scope format. Yet as Pierre Gabastan points out in the Autumn 2016 issue of the French quarterly journal Trafic (No. 99), this is a remark stolen from Orson Welles — specifically, from a French translation of an article by Welles (reprinted in the same issue of Trafic) that appeared in the weekly magazine Arts (no. 673, 4-10 juin 1958), one of the journalistic mainstays of Godard, Truffaut, and Rivette during this period, which stated that CinemaScope was ideal for funeral processions in long shot and snakes in close-up. As Gabastan plausibly argues, Godard must have remembered this line and asked Lang to deliver it as his own.

If so, there might have been a faint sense of getting even on Lang’s part. Read more