Tuesday, August 23, 2011

The Third Man 8/27 @ 5pm



The Third Man
 is a 1949 British film noir, directed by Carol Reed and starring Joseph Cotten, Alida Valli, Orson Welles, and Trevor Howard. Many critics rank it as a masterpiece, particularly remembered for its atmospheric cinematography, performances, and unique musical score.The screenplay was written by novelist Graham Greene, who subsequently published the novella of the same name (which he had originally written as a preparation for the screen play).Anton Karas wrote and performed the score, which used only the zither; its title cut topped the international music charts in 1950.

American pulp Western writer Holly Martins arrives in Post-World War II Vienna seeking his childhood friend, Harry Lime, who has offered him a job. Martins discovers that Lime was killed by a car while crossing the street. At Lime's funeral, he meets two British Army Police: Sergeant Paine, a fan of Martins's books, and his superior, Major Calloway. Afterwards Martins is asked to give a lecture to a book club a few days later. He then meets a friend of Lime's, Baron Kurtz, who tells Martins that he and another friend Popescu, carried Lime to the side of the street after the accident, and before he died Lime asked them to take care of Martins, and Lime's actress girlfriend Anna.
Martins goes to see Anna, and becomes suspicious that Lime's death was not an accident. The porter at Lime's apartment building says Lime was killed immediately and that three men carried the body, not two.
Martins and Anna discover the police are searching her apartment. They confiscate a forged passport and detain her. The next evening Martins visits Lime's "medical advisor", Dr. Winkel, who says he arrived at the accident after Lime was dead, and only two men, were there.
The porter offers to give Martins more information, but is murdered before Martins can see him. Escaping from a hostile crowd, Martins is taken to the book club. He makes a poor speech, but when Popescu asks about Martins's next book he says it will be called The Third Man, "a murder story" inspired by facts. Popescu says Martins should stick to fiction. Martins sees two thugs advancing towards him, and flees.
Calloway again advises Martins to leave Vienna: Martins refuses and demands Lime's death be investigated. Calloway reveals that Lime’s racket was stealing penicillin from military hospitals, diluting it, and selling it on the black market, leading to many deaths. Martins, convinced, agrees to leave.
Martins learns that Anna too has been told about Lime's crimes and is about to be sent to the Russian sector. Leaving her apartment, Martins notices someone watching from a dark doorway. A shaft of light reveals Harry Lime, alive; Martins summons Calloway, but Lime has escaped through the sewers. The British police exhume Lime's coffin and discover the body is Joseph Harbin, an orderly in a military hospital who stole the penicillin for Lime.
The next day, Martins meets with Lime and they ride Vienna's Ferris wheel, the Wiener Riesenrad. Lime obliquely threatens Martins, reveals the full extent of his ruthless callousness, and then reiterates his job offer before hurrying off.
Major Calloway then asks Martins to help capture Lime, and Martins agrees, asking for Anna's safe conduct out of Vienna in exchange, but when Anna learns this, she refuses to leave. Exasperated, Martins decides to go, but en route to the airport Calloway detours to show Martins children dying of meningitis that had been treated using Lime's diluted penicillin.
Lime arrives to rendezvous with Martins, but Anna warns him. He tries once again to escape using the sewer tunnels, but the police are there in force. Lime kills Sergeant Paine and is wounded by Major Calloway. Badly injured, Lime drags himself up a ladder to a street grating, but is unable to lift it. Martins then kills him using Paine's revolver, but only after Lime has told him "Yes" with a nod.
Martins attends Lime's second funeral. Afterwards he waits, hoping to speak to Anna, but she ignores him. WIKIPEDIA

Wednesday, August 17, 2011

The Stranger 8/20 @ 5 pm





IMDB
"As intelligent as one would expect from Welles"

Independently produced by Sam Spiegel, "The Stranger" is a fascinating work by Orson Welles, only flawed by its anti-Nazi preaching, though I guess this judgmental posture was common in movies released after World War II. Even a more praised movie as Roberto Rossellini's "Rome: Open City" contains such discourses. Welles' visuals are something else. Under the influence of Expressionism (a very appropriate treatment for a story about German "legacy"), his images are elegant, and his mise-en-caméra is as intelligent as one would expect from him. From the first time we see the investigator (from his nape), to the following sequence as a Nazi arrives in Mexico and is followed through eerie streets full of shadows, the peculiar tone is set, even if most of the action takes place in a sunny Connecticut town and the story is told directly. Though the movie follows the dictates of so-called zero-degree style, there are indications in Welles' direction to the strangeness of the subject: slightly out of focus shots; bizarre positions of characters' faces in a frame, suggesting dislocation, or a very unconvincing "I will" said by the wife in her wedding ceremony. In one of the most upsetting scenes, Welles keeps the suspect's face out of frame during most of the dialogue, first as his long shadow approaches his wife in bed, and she describes a nightmare, until his hand offers her a lit cigarette. Welles also constructs long takes with few camera movements (as opposed to his famous opening shot in "Touch of Evil"): the conversation between the Nazi comrades in the forest and the subsequent killing in broad daylight, while birds sing and young athletes run around; and a checkers game with the investigator sitting with his back to the camera, creating expectation as he constantly turns to watch the clock in the church. On the other hand, the energetic final confrontation is fragmented in shots from all the main characters' point of view. After this movie, Welles worked again for a major studio, when the following year he did "The Lady from Shanghai" for Columbia, another great movie with a memorable final sequence. Again he was misunderstood (especially for his handling of his star and wife Rita Hayworth) and had to wait ten years until he made "Touch of Evil" for Universal. In my opinion, Welles was most of the time on target, and he did not make only one masterpiece. He did quite a few. "The Stranger" may not be in that category, but it's pretty close.

Tuesday, August 9, 2011

The Lady From Shanghai 8/13 @ 5PM



The Lady from Shanghai is a 1947 film noir directed by Orson Welles and starring Welles, his estranged wife Rita Hayworth and Everett Sloane. It is based on the novel If I Die Before I Wake by Sherwood King.

Michael O'Hara (Orson Welles) meets the beautiful blonde Elsa (Rita Hayworth) as she rides a horse-drawn coach in Central Park. Shortly thereafter three hooligans waylay the coach, Michael rescues her and escorts her home. Michael reveals he is a seaman and learns Elsa and her husband, the famous disabled criminal defense attorney Arthur Bannister (Everett Sloane), are newly arrived in New York City from Shanghai. They are on their way to San Francisco via the Panama Canal. Michael, attracted to Elsa despite misgivings is persuaded to sign on as an able seaman aboard Bannister's yacht.
After setting sail, they are joined on the boat by Bannister's law partner, George Grisby (Glenn Anders), who proposes that Michael "murder" him in a plot to fake his own death and collect the insurance money for himself. He promises Michael $5,000 and explains that since he wouldn't really be dead and thus there would be no corpse, Michael couldn't be convicted of murder (reflecting corpus delicti laws at the time.) Michael agrees to this, intending to use the money to run away with Elsa, with whom he's begun a relationship. Grisby has Michael sign a confession.

On the eve of the crime, Sydney Broome, a private investigator who has been following Elsa on her husband's orders, confronts Grisby. Broome has learned of Grisby's plan and that he is actually intending to murder Bannister, frame Michael for the crime and escape suspicion by pretending to have also been murdered. Grisby shoots Broome and leaves him for dead. Unaware of what has happened, Michael proceeds with the night's arrangement and sees Grisby off on a motorboat before shooting a gun into the air to draw attention to himself. Meanwhile, a severely injured Broome goes to Elsa for help and warns her that Grisby is intending to kill her husband.
Thinking the plan is done with, Michael calls to inform Elsa but is surprised to find Broome on the other end of the line. Broome's dying words are to warn Michael that Grisby was setting him up. Michael rushes to Bannister's office in time to see Bannister is alive but that the police are removing Grisby's body from the premises. The police instantly find evidence that Michael was the killer, including his confession, and take him away.
At trial, Bannister has offered to act as Michael's attorney and feels the case is more likely to be won if he pleads justifiable homicide, due to all the evidence against his client. As the trial progresses Bannister learns of the extent of his wife's relationship with Michael and ultimately takes pleasure in his suspicion that they will lose the case. Bannister also indicates that he knows the real killer's identity. Michael is able to escape from the courtroom by feigning a suicide attempt before the verdict is to be announced. Elsa follows and she and Michael hide out in a theater in Chinatown. Elsa calls some Chinese friends to meet her. As Michael and Elsa wait and pretend to watch the show, Michael discovers that she had killed Grisby. Elsa's Chinese friends arrive and take Michael, unconscious, to an abandoned Fun House. When he wakes, he realizes that Grisby and Elsa had been planning to murder Bannister and frame him for the crime, but that Broome's involvement ruined the scheme and obliged Elsa to kill Grisby for her own protection.
The film features a surreal climactic shootout in a hall of mirrors, the Magic Mirror Maze, in which Elsa is mortally wounded and Bannister is killed. Heartbroken, Michael leaves presuming that events which have unfolded since the trial will clear him of any crimes. Wikipedia



Tuesday, July 26, 2011

The Misfits 7/30 @ 5 pm


This once nearly forgotten movie, the last film of Clark Gable and Marilyn Monroe is now coming forward in the lexicon of film history as an underrated gem. Universally misunderstood for the most part at the time it came out it is clear now that this film was at least five of six years ahead of it's time. It fits in more comfortably with films of the late 60's and early 70's. The screenplay by Miller is one of his most striking works. A story of a group of people lost in the wide expanse of the West in search of the discarded souls of their misspent lives. The film's beautiful cinematography by Russell Metty stands out as superb artistry at the demise of the black and white era. It shimmers with the silver of the deep expanse of the desert and the flat grays and blacks of the distant mountains upon which the last act of the story plays. The music by Alex North is among his best work and gives a savage punch to the aerial scenes and the round up at the end of the wild mustangs. Montgomery Clift, by now sliding into the last years of his life is touching in his performance of Perce. His broken cowboy with the broken heart is almost painful to watch. His phone call home to his mother is among some of his best work. Eli Wallach gives a strong deeply moving portrait of Guido who has lost his wife, his way, and his humanity. He shines in his scene with Monroe where he asks her to save him. When she can't to at least say `Hello Guido'. Thelma Ritter is, well, Thelma Ritter in yet another of her excellent character roles. Ritter is the master of the one line wisecrack but here as Isobel she laces the cracks with an underlying sadness and vulnerability.....

Review on IMDB
by MGMboy 
(San Francisco) see the rest at:
http://www.imdb.com/title/tt0055184/

2 other links of interest:

Thursday, July 21, 2011

Name of the Rose 7/23 @ new time: 5PM


Last week we saw the Terence Malick film: The New World predicated by a discussion and interest in Malick's most recent and somewhat controversial film: Tree of Life; see a preview of that film and a link to a review below.






The Name of the Rose is the first novel by Italian author Umberto Eco that you may want to check out at the Gardiner Library. It is a historical murder mystery set in an Italian monastery in the year 1327, an intellectual mystery combining semiotics in fiction, biblical analysis, medieval studies and literary theory. First published in Italian in 1980 under the title Il nome della rosa, it appeared in English in 1983, translated by William Weaver.

Source: Wikipedia


San Diego : Harcourt Brace Jovanovich, 1983.
ISBN: 
0151446474
 

Thursday, July 14, 2011

Film: The New World 7/16



Terrence Malick directed Tree of Life out in theaters now and these other films:
2005 The New World (written by)
 
2002 Bear's Kiss (screenplay - uncredited)
 
1998 The Thin Red Line (screenplay)
 
1978 Days of Heaven (written by)
 
1974 The Gravy Train (as David Whitney)
 
1973 Badlands (written by)
 
1972 Pocket Money (screenplay / as Terry Malick)
 
1972 Deadhead Miles (written by)
 
1971 Drive, He Said (uncredited)