VOLUME 08 - NUMBER 02 SUMMER 1972

East Lynn Flynn. When the Door Opened Roy The 5,000 Fingers of Dr. T, Fran z Planer. I Am a Fugitive from a Chain Gang , Sol Polito. Barker. Wages for Wives Frank Borzage. Fine Cloths Stahl. Flames of Desire D. Cliff. FRANZ PLANER ( 1894-1963) Del Lord. Leave It to BlondieAbby Berlin . • ,926 The Palace of Pleasure Flynn . Earl y to . 1946 The Chase Arthur Ripley. Snafu Jack Wed Borzage. Yellow Fingers (with Ivano) Flynn . 1920 Der Ochsenkrieg Franz Osten. Moss. Her Sister'S Secret Edgar E. Ulmer. Marriage Li cense Borzage. Honesty, the Best . '924 Ihrwegzum Gluck . Die Finanzen der . ,947 The Exil e Ophuls . ,948 Letter from an Policy Bennett . ,927 Seventh Heaven (with Grossherzogs (with Freund) F. W. Murnau. Unknown Woman Ophuls. One Touch of Venus Valentine) Borzage. Married Alive Flynn . The . ,927 Alraune Henrik Galeen . ,928 Volga, Seiter .1949 Criss Cross Robert Siodmak. Once High School Hero David Butler . ,928 SHeet Volgal Victor Tourjanski . ,930 Huete Nacht , More, My Darling Robert Montgomery. Take One Angel (with Ivano) Borzage (AAN) . Four Devils Even tuell E. W. Em o. Zapfenstreich am Rhein J. False Step Chester Erskine. Champion Mark (wi th L. W. O 'Connell) F. W. Murnau (AAN) . No Speyer. Der Sohn der Weissen Berge Mario Robson (AAN) . 1950 711 Ocean Drive Joseph Other Woman (with Ivano) Lou Tellegen . Bounard. Die Drei von der Tankstelle Wilhelm M. Newman . Three Husbands Irving Reis. • ,929 The River Borzage. Thru Different Eyes Thiele. Hans in Allen Gassen Carl Froelich . Cyrano de Bergerac Michael Gordon . Vendetta (with A. Brick) John Blystone. Sunny Side Up . ,93, L'Aiglon Victor Tourjanski. Der Herr Mel Ferrer . 1951 Death of a Salesman Laslo (with J. Schmitz) Butler (Multicolor sequence). Burovorsteher Hans Behrendt. Der Herzog von Benedek (AAN). The Blue Veil Curtis Bernhardt. . ,930 City Girl Murnau . Women Everywhere Rei chstadt Tourjanski. Der Storch Streikt Emo. The Scarf E. A. Dupont. Decision Before Dawn Alexander Korda. Just Imagine Butler . ,93, A Nie Wieder Liebe Anatole Litvak. Sein Litvak . ,953 Roman Holiday (with H. Alekan) Connecticut Yankee Butler. Six Cylinder Love T. Scheidungsgrund Alfred Zeisler . ,932 Der Prinz William Wyler (AAN). The 5000 Fingers of Dr. T Fruland.•• Goldie Benjamin Stoloff. Plutocrat von Arkadien Karl Hartl. Das Erste Recht des Roy Rowland (Tech), 99 River Street Phil Karlson. Butler. Delicious Butler . ,932 Cheaters at Play Kindes Fritz Wendhausen . Die Grafin von Monte Bad for Each Other Irving Rapper . 1954 20 ,000 Hamilton MacFadden . Trial of Vivie nne Ware Cristo Karl Hartl. Der Schwarze Husar Gerhardt Leag ues Under the Sea (2nd camera) William K. Howard. Down to Earth Butler. The Lamprecht. Teilnehmer Antwortet Nicht Rudolf Richard Fleischer (CScope, Tech). The Long Painted Woman Blystone . ,933 Cavalcade Katscher, Marc Sorkin . Eine Stadt Steht Kopf Wait Victor Saville. The Caine Mutiny Dmytryk Frank Lloyd. Pleasure Cruise Frank Tuttle. Gustaf Grundgens . ,933 Der Choral von (Tech). A Bullet Is Waiting John Farrow ( Tech ). Charlie Chan's Greatest Case MacFadden . Leuthen Carl Froelich. Ihre Durchlaucht , die . 1955 Not As A Stranger Stanley Kramer. The Berkeley Square Lloyd. Hoopla Lloyd. Verkauferin Karl Hartl. Liebelei Max Ophuls. Left Hand Of God Dmytryk (CScope, DeLuxe). . ,934 Sleepers East Kenneth MacKenna. Stand Leise Flehen Meine Lieder Willi Forst. . ,956 The Mountain Dmytryk (VV, Tech ). . , 934 Maskerade Forst. So Endete Eine Liebe . ,957 The Pride and the Passion Kramer (VV, Up and Cheer (with O'Connell) MacFadden Hartl. Les Nuits Moscovites Alexis Granowsky. Tech) . 1958 Stage Struck (with M. Hartzband) Now I'll Tell Edwin Burke. Caravan (with T. The Dictator Victor Saville . ,935 Casta Diva Sidney Lumet (Tech). The Big Country Wyler Sparkuhl) Erik Charrell. Music in the Air Joe Carmine Gallone, The Divine Spark Gallone. (Technirama, Tech) . ,959 The Nun 's Story Fred May . ,935 Mystery Woman Eugene Forde. . ,936 Tarass Boulba Alexis Granowsky. The Zinnemann ( Tec/1) (AAN) . 1960 The Un forg iven Charlie Chan in Paris Lewis Seiler. Great Hotel Beloved Vagabond Curtis Bernhardt. 1m John Huston (Pan , Tech ) . 1961 Breakfast at Murder Forde. Way Down East Henry King. Sonneschein Gallone. Premiere Geza Von Tiffan y's Blake Edwards (Tech) . King of Kings . ,936 Gentle Julia Blys tone. Under Two Flags Bolvary . ,938 Holiday George Cukor. Girl 's (with Krasner, Berenguer) Nicholas Ray (70 mm (with S. Wagner) Lloyd. The Crime of Dr. Forbes School John Brahm . Adventure in Sahara 0 Super- Technirama, Tech) . ,962 The Children 's George Marshall. Star for a Night Lewis Seiler. Ross Lederman . '940 Glamour for Sale Hou r Wyler (AAN). Banjo on My Knee John Cromwell. Can This be Lederman. Escape to Glory Brahm . ,941 The Dixie (with Glennon) Marshall . ,937 Slave Ship Face Behind the Mask Robert Florey. Meet SOL POLITO (1892 -1960) Tay Garnett. Love Under Fire Marshall. Second Boston Blackie Florey. They Dare Not Love Honeymoon Walter Lang. Ali Baba Goes to James Whale . Time Out for Rhythm Sidney 1914 Rip Van Winkle (World Comedy Stars Town Butler . ,938 Four Men and a Prayer John Salkow. Sweetheart of the Campus Edward Film Company) . ,916 The Sins of Society Ford. Three Blind Mice William Seiter. Kentucky Dmytryk. Our Wife John Stahl. Three Girls About (World). The Wo rld Against Him Fran k Hall (with Rennahan) Butler ( Tech ), Straight, Place Town Leigh Jason . ,942 The Adventures of Crane . ,9,7 Queen X John 0 'Brien. Her and Show Butler . ,939 Wife, Husband and Martin Eden Salkow. Harva rd , Here I Come Lew Second Husband Dell Henderson . 1918 The Friend Gregory Ratoff. News Is Made at Night Landers . The Wife Takes a Fl ye r Richard Imposter Henderson . Who Loved Him Best Alfred Werker. 20 ,000 Men a Year Alfred E. Wallace. Flight Lieutenant Salkow. Sabotage O 'Brien . Her Husband 's Honor Burton King. Green. Hollywood Cavalcade (with A. Davey) Squad Landers, The Spirit of Stanford (with J. Ruling Passions A. S. Schomer. Treason King. Irving Cummings ( Tech) . ,940 He Married His Stumar) Charles Barton . Sing for Your Supper Reckoning Day King . 1919 What Love Forgives Wife Roy Del Ruth . Shooting High Alfred E, Barton . Honolulu Lu Barton . Canal Zone Perry Vekroff. The Love Defender Tefft Johnson . Green. Sailor's Lady Allan Dwan. The Great Landers . ,943 The Daring Young Man Frank Are You Legally Married Robert Thornby. Bill Profile Walter Lang. Public Deb No.1 Ratoff. Strayer. Tropicana (Credited to Planer in ASC Apperson 's Boy James Kirkwood. Burglar by Chad Hanna (with Rennahan) Henry King records, but no other information available). Proxy John F. Dillon. Soldiers of Fortune Allan (Tech) . ,94, Tall , Dark and Handsome H. Something to Shout About Gregory Ratoff, Dwan . Should a Woman Tell Joh ll Ince. Bruce Humberstone. Blood and Sand (with Appointment in Berlin Alfred Green. My Kingdom . ,920 Alias Jimmy Valentine Maxwell Karger. Rennahan) Rouben Mamoulian ( Tech) (AA). for a Cook Wallace. Destroyer William A. Seiter. Price of Redemption Dallas Fitzgerald. Weekend in Havana Walter Lang (Tech). Belle The Heat's On Ratoff . 1944 Once Upon a Time . 1921 The Roof Tree Dillon. Misleading Lady Starr (with Rennahan) Cummings (Tech). Alexander Hall. Secret Command Edward A. George Irving . ,922 Trimmed Harry Pollard. . ,942 Song of the Islands Walter Lang (Tech ), Sutherland. Carolina Blues Jason . Strange Affair The Loaded Door Pollard. Strength of the Pines My Gal Sal Cummings (Tech). Springtime in the Green . 1945 I Love a Bandleader (with 0 , Short) Edgar Lewis . , 923 Mighty Lak Rockies Cummings (Tech), Thunder Birds a Rose Edwin A. Care we . The Girl of the Golden William Wellman ( Tech) . ,943 Coney Island Walter Lang (Tech). Sweet Rosie O'Grady Cummings (Tech) . ,944 Pin Up Girl Humberstone (Tech). Something for the Boys Lewis Seiler (Tech) . '945 Diamond Horseshoe George Seaton (Tech ) . ,945 The Dolly Sisters Cummings (Tech ) . ,946 Centennial Summer Otto Preminger ( Tech). Three Little Girls in Blue Humberstone (Tech) . ,947 I Wonder Who's Kissing Her Now Lloyd Bacon (Tech). • ,948 Scudda Hoo! Scudda Hayl F. Hugh Herbert (Tech ) . ,950 Broken Arrow Delmer Daves (Tech) (AAN). \" Although credited in various sources, Palmer does not remember working on these films. FILM COMMENT 49

The Wa x Museum , Ray Rennahan. Tempest , Charles Rosher, Service for Ladies , Harold Rosson. West (Wi th T. Storey) Carewe. The Badman ,\"Iobert Florey. The G-Men Keighley. In Caliente ( Te ch) . 1935 Becky Sharp Rouben Mamoulian Carewe, Bishop of the Ozarks Finis Fox, (with Barnes) Lloyd Bacon, Shipmates Forever ( Tech) . 1937 Wings of the Morning Harold . 1924 Why Men Leave Home John M. Stahl, Borzage, Frisco Kid Bacon . 1936 The Petrified Schuster ( Tech) , Vogues of 1938 Irving The lightning Rider Lloyd Ingraham , Roaring Forest Mayo, Co ll een (with B, Haskin) Green , Cummings ( Tech ), Ebb Tide (wi th Tover) James Rails Tom Forman, The Siren of Seville Hunt Sons 0' Guns Bacon, The Charge of th e light Hogan ( Tech) . 1938 Th e Goldwyn Follies (with Stromberg, Jerome Storm, A Cafe in Cairo Chet Brigade (with F, Jackman) Michael Curtiz, Three Toland) George Marshall (Tech). Her Jungle Withey. The Flaming Forties Forman , Men on a Horse LeRoy . 1937 Read y, Willing Love (wl lh Jennings) George Archambaud . 1925 Beyond the Border Scott Dunlap , Soft and Able Ray Ennght, The Prince and the (Tech), Kentucky (with Palmer) David Butler Shoes Ingraham , The People vs Nancy Preston Pauper Keighley. Va rs ity Show Keighley. (Tech) . 1939 Drums Along th e Mohawk (with Forman , The Crimson Runner Forman , Silent . 1938 Gold Is Where You Find It Curtiz (Tech), Glennon) John Ford ( Tech). Gone With the Wind Sanderson Dunlap , The Bad Lands Henderson , The Adventures of Rob in Hood (with GaudiO, (wi th Garmes, Haller, Kline) Victor Fleming , Sam Paint and Powder Stromberg . 1926 Driftin ' Thru Greene) Curtiz and Keighley (Tech), Gold Wood, George Cukor ( Tech ) (A A) . 1940 The Dunlap , The Seventh Bandit Dunlap , Senor Diggers in Pans (with Barnes) Enrigh t, Bo y Blue Bird (wifh A. Miller) Walter Lang (Tech) Daredevil Albert Rogell, The Frontier Trail Meets Girl Bacon , Angels with Dirty Faces (AAN), Maryland (wl lh Barnes) Henry Kmg Dunlap . Satan Town Edmund Mortimer, The Curtiz, Valley of the Giants ( with Davey) Keighley (Tech), Down Argentina Way (wi th Shamroy) Unknown Cavalier Rogell . 1927 The Overland (Tech) . 1939 Dodge City Curtlz (Tech), You Cummings (Tec h) (AAN), Chad Hanna (with Stage Rogell, Somewhere in Sonora Rogell, The Can't Get Away With Mu rder Lewis Seller, The Palmer) King ( Tech) . 1941 That Night In Rio Land Beyond the Law Harry Joe Brown , Private lives of Elizabeth and Essex (with (with Shamroy) Cummings (Tech), Blood and Lonesome Ladies Joseph Henaberry. Hard Greene) Curtiz (Tech) (AAN). Four Wives Curtiz, Sand (wilh Palmer) Mamoulian ( Tech) (AA), Boiled Haggerty Charles Brabin, Gun Gospel . 1940 Virginia City Curtiz, The Sea Hawk Curtiz, Belle Starr (wilh Palmer) Cummmgs ( Tech ), Harry Brown . 1928 The Shepherd of the Hills City for Conquest (with Howe) Analole Lilvak, Louisiana Purchase (with Hallenberger) Rogell, Burning Daylight Brabin, The Hawk 's Santa Fe Trail Curliz . 1941 Navy Blues (wilh Cummings ( Tech) (AAN) . 1943 Fo r Whom the Nest Benjamin Christensen . Heart to Heart Gaudio , Howe) Bacon, The Sea Wolf Curliz, Bell Tolls Sam Wood (Tech) (AAN), Victory Wi/llam Beaudine, Show Girl Alfred Santell, Sergeant York (rural scenes only) (with Edeson) Through Air Powe r Walt Disney Productions Burn ing Bndges James Hogan. The Border Howard Hawks (AAN) . 1942 Captains of the (Tech) . 1944 Belle of the Yukon W,lliam A. Patrol Hogan , The Haunted House Chnstensen , Clouds (with Hoch, Oyer, Marshall, Cline) Curtiz Seiter ( Tech) , Lady in the Dark Mitchell Leisen . 1929 Scarlet Seas John F. Dillon , Seven (Tech) (AAN). The Gay Sisters Irving Rapper, (Tech ) (AAN), The Three Caballeros Norman Footprints to Satan Christensen , House of Now , Voyager Rapper . 1943 This Is the Army Ferguson ( Tech ), Up In Arms Elliott Nugent Hor ror (with Haller) Christensen , Broadway (with Glennon) Curliz ( Tech ), Old Acquaintance (Tech) . 1945 It's a Pleasure Seiter (Tech), A Babies Mervyn LeRoy. The Man and the Moment Vincenl Sherman . 1944 The Advent ures of Mark Th ousand and One Nights Alfred Green ( Tech), George Fitzmaurice, Twin Beds San tell, The Isle Twain Rapper, Arsenic and Old Lace Frank Incendiary Blonde George Marshall (Tech), of Lost Ships Irvin Willat. Paris Clarence Badger Capra . 1945 The Corn is Green Rapper. . 1946 Califo rn ia John Farrow (Tech) , (Tech) . 1930 Girl of the Golden West Dillon , Rhapsody in Blue (with Gerstad, Haller) Rapper, . 1947 Duel In the Sun (with Garmes , Rosson) PlaYing Around LeRoy, No , No Nannette Badger . 1946 Cinderella Jones Busby Berkeley, A King Vidor (Tech), The Penis of Pauline Marshall (Tech sequence), Show Girl in Hollywood LeRoy Stolen Life (with Haller) Curtis Bernhardl, Cloak (Tech), Unconquered Cecil B, De Mille ( Tech) , ( Tech sequence). Numbered Men LeRoy. The and Dagger Fritz Lang . 1947 The Long Night . 1948 The Paleface Norman Z. McLeod (Tech) , Widow from Chicago Edward Cline, Madonna of Anatole Litvak, Escape Me Never Peter Godfrey, Whispering Smith Leslie Fenton (Tech). the Streets John S, Robertson . 1931 GOing Wild Voice of the Turtle Rapper . 1948 Sorry, Wrong . 1949 Streets of Laredo Fenlon ( Tech), A William A. Seiter, The Hot Heiress Badger, Number Litvak . 1949 Anna Lucasta Rapper, Connecticut Yankee in King Arthur 'S Court Tay Woman Hungry ( with Schoenbaum) Badger Garnett (Tech) . 1950 The White Tower Ted (Tech). Upper Underworld Rowland V, Lee, Bi g RAY RENNAHAN * ( 1896- Telzlaff ( Tech ), Th e Great Missouri Ra id Gordon Business Girl Seiter, The Bargain Robert Milton , Douglas ( Tech) . 1951 Flaming Feather Ray Five Star Final LeRoy. The Ruling Voice Lee, 1922 Toll of the Sea Chester Franklin (Tech), Enrighl (Tech), Silver City Byron Haskm ( Tech ), Local Boy Makes Good LeRoy. SuiCide Fleet . 1923 Blood Test Don Marquis , Wa rpath Haskin ( Tech) . 1952 At Sword s Point Rogell . 1932 Union Depot Alfred E, Green . 1924 Wanderer of the Wasteland Irvin Willat Lewis Allen ( Tech). The Denve r and the Rio Fireman , Save My Child Lloyd Bacon , It's Tough ( Tech) . 1929 Redskin (with Estabrook, E. Grande Haskin (Tech), Hurricane Smith Jerry to be Famous Green , Two Seconds LeRoy. Dark Cronjager) Victor Schertzinger (Tech), Gold Hopper ( Tech ) • 1953 Arrowhead Charles Horse Green . Blessed Event Roy Del Ruth, Three Digg ers of Broadway (with McGill) Roy Del Marquis Warren (Tech). Pon y Exp ress Hopper on a Match LeRoy, I am a Fugitive from a Chain Ruth ( Tech ) . 1930 The Vagabond King (with ( Tech ) Flight to Ta ngier Warren (3 -0, Tech). Gang LeRoy . 1933 Forty-Second Street Bacon, Gerrard) LudWig Berger ( Tech ), The King of Jazz . 1954 Rage at Dawn Tim Whelan (Tech), The Picture Snatcher Manon Genng , Mind (with Mohr, Ash) John Murray Anderson ( Tech). . 1955 Stra~ger on Horseback Jacques Reader Del Rutl1 , Gold Diggers of 1933 LeRoy. Whoopee! (with Garmes, Toland) Thornlon Tourneur (Ansco-Colo r) , A Lawless Street . 1934 Hi, Nellie LeRoy, Dark Hazard Green , Freeland (Tech) . 1931 Fann y Foley Herself Joseph H, LeWIS ( Tech), Texas Lady Tim Whelan Wonder Bar Bacon , Dr, Monica William Keighley, Melville Brown (Te ch), The Runaround (Lovable (Superscope, Tech) . 1956 Seventh Cavalry Madame Dubarry William Dieterle, Flirtation Walk and Sweet) W1IIiam Craft ( Tech ) . 1932 Doctor X Lewis (Tech). The Halliday Brand LeWIS, (wi th Ray Tower) Michael Curliz ( Tech). . 1957 Guns of Fo rt Petticoat Marshall ( Tech), (wi th Barnes) Frank Borzage . 1935 Sweet . 1933 Mystery of the Wax Museum Curtiz . 1958 Terr or in a Texas Town Lewis , Adeline LeRoy. Go Into Your Dance (wifh ( Tech) . 1934 La Cucaracha Lloyd Corrigan In addllion, Rennahan worked uncredited as Gaudio) Archie Mayo , The Woman In Red 50 SUMMER 1972

Technicolor photographer on Innumerable short Woman Knows La Cava. Outcast Lady Leonard. Open Range Clifford Smith . 1928 The Docks of films and Technlcolor Inserts. including the Moulin Rouge Sidney Lanfleld. The Affairs of New York Josef von Sternberg. Gentlemen following : Ben Hur (1924), The Merry Widow Cellini La Cava (AAN) . After Office Hours Prefer Blondes Mal St Clair. The Sawdust (1925) , The Wedding March (1928), The Leonard. The Call of the Wild William Wellman . Paradise Reed. Three Week Ends Clarence Broadway Melody (1929), Broadway (1929) , . 1935 Broadway Melody of 1936 Roy Del Ruth . Badger. The Drag Net von Sternberg . Able 's Irish The Desen Song (1929), Paramount on Parade . 1936 Small Town Girl Wellman . Little Lord Rose Victor Fleming . 1929 The Far Call Dwan . ( 1929) , GlorifYing the American Girl (1929) , Fauntleroy John Cromwell . 1937 Men Are Not Trent 's Last Case Howard Ha wks. Frozen Holl ywood Revue (1929), The Show of Shows Gods Walter Reisch. The Woman I Love Anatole Justice Dwan. South Sea Rose Dwan . The Case ( 1929), The Rogue Song (1930), Under a Texas Litvak. The Perfect Specimen Michael Curtlz. of Lena Smith von Sternberg . 1930 Hello Sister Moon ( 1930 ), Hell 's Angels (1930), Puttln ' on Hollywood Hotel (wi th Barnes) Busby Berkeley. Walter Lang. This Mad World (with Marley) Cecil the Ritz (1930). Manhattan Parade (1931) , . 1938 Hard to Get Ray Enright. White Banners B. De Mille. Madame Satan De Mille. Passion Waiting at the Church (193 1), The Cat and the Edmund Goulding . 1939 Espionage Agent Flower William DeMille . 1931 Men Call It Love Fiddle (1934), Holl ywood Party ( 1934), House of Lloyd Bacon. Hell 's Kitchen Louis Seiler and E. Edgar Selwyn . The Prodigal Harry Pollard. The Rothschild (1934) A. Dupont. Otf the Record James Flood. Yes My Squaw Man Cecil B. De Mille. Son of India Darling Daughter William Keighley . 1940 A Jacques Feyder. Sporting Blood Charles Brabln. CHARLES ROSHER ' (1885- Child Is Born Bacon . My Love Came Back Curtis The Cuban Love Song W. S. Van Dyke. Bernhardt. Three Cheers for the Irish Bacon . . 1932 Red Headed Woman Jack Conway. Red 191 2 Earl y Days Out West OtiS Turner. Brother Rat and a Baby Enright . 1941 Four Dust Fleming . Tarzari , the Ape Man Van Dyke. • 1913-14 With General Pancho Vil la in MeXICO Mothers Keighley . Million Dollar Baby Bernhardt. When a Fel ler Needs a Friend Pollard. Are You Mutual . 191 4 In Bermuda J Searle Dawley. The One Foot in Heaven Irving Rapper . 1942 Stand Listening? Harry Beaumont. Downstairs Monta Oath of a Viking James Gordon . The Next in by for Action. Leonard. Mokey Wells Root. Pierre Bell. Kongo William Cowan . 1933 Hold Your Command Gordon . The Mystery of the Poisoned of the Plains George B. Seltz . 1943 Swing Fever Man Sam Wood. Bombshell Fleming . Hell Below Pool Gordon . 1915 Gene of the Northland Tim Whelen. Assignment in Brittany Jack Conway. The Barbarian Wood. Turn Back the James Clarke. The Smugglers ' Lass Clarke. The Conway . 1944 Kismet William Dieterle (Tech ) Clock Selwyn . Penthou se (with Andrio/) Van Mad Maid of the Forest Clarke. The Dumb Girl (AAN) . 1945 Yolanda and the Thief Vincent Dyke . 1934 The Cat and the Fiddle (With of POtlCI Th e Smalleys . 1916 Blackbi rds J. P. Minnelli (Tech) • 1946 The Yearling (with L. Clarke) William K. Howard (Tech sequence). McGowan . Voice in the Fog McGowan . Pudd 'n Smith , A. Arllng) Clarence Brown (Tech) (AA). Th is Side of Heaven Howard. Treasure Island Head Wilson Frank Reicher The Sowers William Ziegfield Follies (with Folsey, S. Wagner) (with June, De Vinna) Fleming . 1935 The DeMille. The Blacklist William DeMille. Anton the Minneili (Tech) . 1947 Fiesta (wllh S. Wagner) Scarlet Pimpernel Harold Young . 1936 As You Terrible William DeMille. The Plow Girl Robert Z. Richard Thorpe (Tech). Song of the Thin Man Like 11 Paul CZlnner. The Ghost Goes West Rene Leonard. The Clown William DeMille. Common Edward Buzzell. Dark Delusion Willis GOldbeck. Clair. The Man Who Could Work Miracles Lothar Ground William DeMille . 191 7 On Record . 1948 On an Island with You Thorpe (Tech). Mendes. The Devil is a Sissy (with Leonard. At First Sight Leonard. Hashimura Words and Music (with Stradling) Norman Schneiderman) Van Dyke. The Garden of Allah Togo William DeMille. The Primrose Ring Taurog (Tech) . 1949 Neptune's Daughter (with Greene) Richard Boles/awski (Tech). Leonard. Secret Game William DeMille. Mormon Buzzell (Tech). The Red Danube George Sidney. . 1937 Captains Courageous Fleming. They Maid Leonard. A Little Prin cess (with Walter East Side, West Side Mervyn LeRoy. Gave Him a Gun Van Dyke. The Emperor' s Stradling) Marshall Neilan . 1918 Too Many . 1950 Annie Get Your Gun Sidney (Tech) Candlesticks George Fitzmaurice . 1938 Too Hot Millions James Cruze. The Dub Cruze. Till I (AAN) . Pagan Love Song Robert Alton (Tech) . to Handle Conway. A Yank at Oxford Conway. Come Back to You (wi th Wyckoff) Cecil B. De . 1951 Showboat Sidney (Tech) (AAN). Gone With the Wind (burning of Atlanta Mille. Widow 's Might William DeMille. One More . 1952 Scaramouche Sidney (Tech) . 1953 The sequences) (Tech) . 1939 The Wizard of Oz American William DeMille. Honor of His House Story of Three Loves (with Rosson) Gottfried Fleming (Tech) . 1940 Boom Town Conway William DeMille. How Could You, Jean? William Reinhardt. Minnelli (Tech). Young Bess Sidney (AAN). I Take This Woman Van Dyke. Edison Desmond Taylor. White Man 's Law James (Te ch). Kiss Me Kate Sidney (3-0, Tech) . the Man Clarence Brown . Dr. Kildare Goes Home Young . Johanna Enlists Taylor. Captain Kidd , Jr. • 1955 Jupiter's Darling (with Vogel) Sidney Harold S. Bucquet. Flight Command Frank Taylor . 1919 The Hoodlum Sidney Franklin . (Cinema. East). Borzage . 1941 The Penalty Bucquet. Men of Daddy Long Legs Neilan. Heart 0 ' the Hills Boy's Town Norman Taurog . Washington Franklin . 1920 Pollyanna Paul Powell. Suds HAROLD ROSSON * (1895- Melodrama S. Sylvan Simon . Honky Tonk John F. Dillon . 1921 The Love Light Fran ces Conway. Johnny Eager Mervyn LeRoy. Marion. Through the Back Door Alfred E. Green. 1915 David HarumAllan Dwan . 1917 Panthea . 1942 Somewhere I'll Find You Wesley Ruggles. Little Lord Fauntleroy Green and Jack Pickford. (With R. Overbaugh) Dwan . 1919 The Cinema Tennessee Johnson William Dieterle. Sant lIario (in Italy) Henry Kolker . 1922 Smilin ' Murder George D. Baker . 1920 Polly of the Storm . 1943 Slightly Dangerous Wesley Ruggles. Through Franklin . Tess of the Storm Country Country Baker . 1921 Heliotrope Baker. Buried . 1944 Thirty Seconds Over Tokyo (With Surtees) John Robertson . 1923 Tiger Rose Franklin . Treasure Kenneth Webb . Everything for Sale LeRoy (AAN). An American Romance King Rosita Ernst Lubltsch . 1924 Dorothy Vernon of Frank O'Connor . 1922 A Homespun Vamp Vidor (Tech ). Between Two Women Willis Haddon Hall Neilan . 1925 Little Annie Roon ie O 'Connor. A Virgi nia Courtship O 'Connor. The Goldbeck . 1946 Three Wise Fools Edward (with Mohr) William Beaudlne . 1926 Sparrows Cradle Paul Powell. For the Defense Powell. Buzzell. No Leave , No Love (with Surtees) (with Mohr, Struss) Beaudine . 1927 Sunrise Through a Glass Window Maurice Campbell. Charles Martin. My Brother Tal ks to Horses (with Struss) F. W. Murnau (AA) . My Best Girl . 1923 OUlcksands (with MacWilliams) Jack Fred Zinnemann . 1947 The Hucksters Conway. Sam Taylor (AAN) . 1928 Tempest Taylor (AAN). Conway. Lawful Larceny Allan Dwan . Garrison 's Living in a Big Way . Gregory La Cava . Duel In . 1929 Atlantic E. A. Dupont. The Vagabond Finish Arthur Rosson. Dark Secrets Victor the Sun (wllh Garmes, Rennahan) King Vidor Oueen Geza von Bolvary • 1930 La Route est Flem ing . The Glimpses of the Moon Dwan . Zaza ( Tech) . 1948 Command DeCision Sam Wood. Belle Pierre Wolfe and Robert Florey. Two Dwan . 1924 Manhattan R. H. Burnside. A Homecoming LeRoy . 1949 On the Town Worlds Dupont. KnOWing Men Elinor Glyn . War Society Scandal Dwan . Manhandled Dwan . The Gene Kelly and Stanley Donen (Tech). Any Nurse Edgar Selwyn . Paid Wood . 1931 Dance, Story Without a Name Irvin Willat . 1925 A Man Number Can Play LeRoy. The Stratton Story Fool , Dance Harry Beaumont. Husband's Must Live Paul Sloane. Too Many Kisses Sloane. Wood . 1950 To Please a Lady Clarence Brown . Holiday Robert Milton . This Modern Age Nick The Little French Girl Herbert Brenon . The Street Key to the City George Sidney. The Asphalt Gnnde. Laughing Sinners Beaumont. Silence of Forgotten Men Brenon . Classified Alfred LoUIS Gasnler and Max Marcin. Beloved Santell . 1926 Infatuation Irving Cummings. Up KEY: Tech (Techn icolor); Warner (Warnerco- Bachelor Lloyd Comgan . 1932 Two Against the in Mabel's Room E. Mason Hopper. For Wives lor); Pathe (Pathecolor); DeLuxe (DeLu xe Color); World Archie Mayo What Price Hollywood? Only Victor Heerman . Say It Again Gregory La Metro (Metrocolor); East (Eastmancolor) ; Pan George Cukor. Rockabye Cukor • 1933 Bed of Cava. Almost a Lady Hopper. Man Bait Donald (Panavision ); CScope (CinemaScope) ; W (Vista Roses Gregory La Cava. After Tonight George Cnsp . 1927 Rough House Rosie (With J. Vision) ; AA (Academy Award) ; AAN (Academy Archalnbaud. Our Betters Cukor. The Past of Murray) Frank Strayer. Jim the Conqueror Award Nomination). Other terms are spelled out. Mary Holmes Harlan Thompson and Slavko George B. Seitz. Getting Gertie's Garter Hopper. A symbol such as East! Path indicates East- Vorkapich . Silver Cord John Cromwell. Evening Clothes Luther Reed. Service for Lad ies mancolor processed by Pathe. • 1934 Flaming Gold Ralph Ince. What Every Harry d 'Arrast. A Gentleman of Paris d'Arrast. FILM COMMENT 51

Jungle John Huston (AAN) . 1951 The Red Gigi, Jose ph Rutte nberg. La Boheme, Hendrik Sart ov. Badge of Courage Huston . 1952 The Lone Star Vincent Sherman . Love Is Better Than Ever Young to Kiss Leonard . 1952 Because You're Howard Mitchell. Just Pals John Ford. Sunset Stanley Donen . Singin ' in the Rain Kelly and Mine Alexander Hall (Tech). The Prisoner of Sprangue T. Heffron, P. Cazenueve . 1921 Bare Donen ( Tec h) . 1953 The Actress George Zenda Thorpe (Tech ). Young Man with Ideas Knuckles James P. Hogan . Children of the Night Cukor. I Love Melvin Don Wels ( Tech ). The Story Mitchell Leisen . 1953 Julius Caesar Joseph L. John F. Dillon. Colorado Pluck Jules Furthman . of Three Loves (with Rosher) Gotfried Mankiewicz (AAN). Small Town Girl Leslie Jackie Ford. Oueenle Mtlchell. The Singing River Reinhardtand Vin cent Minnelli ( Tech). Kardos (Tech). Latin Lovers LeRoy (Tech). The Charles Giblyn . 1922 The Fast Mail (with D. Dangerous When Wet Charles Walters ( Tech ). Great Diamond Robbery Leonard . 1954 The Short) Bernard Durning . Pardon My Nerve! B. . 1954 Mambo Robert Rossen . Ulysses Mario Last Time I Saw Paris Richard Brooks. Her Reeves Eason. Pawn Ticket 210 Dunlap. The Camerini ( Tech) . 1955 Strange Lad y in Town Twelve Men Leonard (Ansco-Color) . Brigadoon Village Blacksm ith Ford. Western Speed Dunlap LeRoy (CScope, Warner). Pete Kelly 's Blues Vincent Minnelli (CScope, Ansco-Color). and C. R. Wallace. Youth Must Have Love Jack Webb (CScope, Warner / Tech ) . 1956 The . 1955 Interrupted Melody (with Vogel) Curtis Joseph Franz . 1923 Boston Blackie Dunlap. Bad Seed LeRoy (AAN). Toward the Unknown Bernhardt (CScope, East). The Prodigal Thorpe Cameo Kirby Ford. The Face on the Barroom LeRoy ( Warner) . 1957 The Enem y Below Dick (CScope, East). Kismet Minnelll (CScope, East). Floor Ford. Hoodman Blind Ford. Man's Size Powell (eScope, DeLuxe) . 1958 No Time for • 1956 The Swan ( with Surtees) Charles Vidor (with E. Miller) Mtlchell. Snowdrift Dunlap. Sergeants LeRoy Onionhead Norman Taurog. (CScope, East).Somebody Up There Likes Me . 1924 Hearts of Oak Ford. The Iron Horse Ford. • 1967 EI Dorado Howard Hawks ( Tech). Robert Wise (AA). In vitation to the Dance (With The Roughneck Jack Conway . 1925 Kentucky Young) Gene Kelly (Tech) . 1957 The Vintage Pride Ford. Lazybones (with MacWilliams) Frank JOSEPH RUTTENBERG \" (1889- Jeffrey Hayden (CScope, Metro). Man on Fire Borzage. Thank You Ford . 1926 Black Paradise Ronald MacDougall. Until They Sail Wise Roy William Neill. The Blue Eagle Ford. The 1917 A Painted Madonna o.A.C. Lund. Thou (CScope) • 1958 Gigi Minnelli (CScope, Metro) Johnstown Flood Irving Cummings. The Shalt Not Steal William Nig h . 1918 Doing Their (AA) . The Reluctan t Debutante Minnelli (CScope, Shamrock Handicap Ford. Three Bad Men Ford. Bit Kenean Buel. The Debt of Honor Lund. The Metro) . 1959 Green Mansions Mel Ferrer Whispering Wires Albert Ray . 1927 The Woman Who Gave Buel. Women , Women[?]. (CScope, Metro). Wreck of the Mary Deare Auctioneer Alfred E. Green . Colleen Frank • 1919 The Fallen Idol Buel. My Little Sister Buel. Michael Anderson (CScope, Metro) . 1960 The O'Connor. Is Zat So? Green Two Girls Wanted . 1920 Tiger's Cub Charles Giblyn . The Thief Subterraneans Ronald MacDougall (CScope, Green . 1928 Four Sons Ford. Napoleon 's Giblyn . From Now On Raoul Walsh. The Shark Metro). Butterfield 8 ( with Harten) Daniel Mann Barber (short ftlm) Ford. Hangman 's House Dell h enderson . 1921 Beyond Price J. Searle (CScope, Metro) (AAN) . 1961 Two Loves Ford. Road House Richard Rosson , James Dawley. Know Your Men Giblyn . The Mountain Charles Walters (CScope. Metro). Ada Daniel McGuiness . 1930 The Big Party John Blystone. Woman Giblyn. A Vi rgin Paradise Dawley Mann (CScope, Metro). Bachelor in Paradise Born Reck less Ford. Good Intentions William K. • 1922 Who Are My Parents? Dawley The Town Jack Arnold (CScope, Metro) . 1962 Who 's Got Howard. Scotland Yard Howard. Part Time Wife That Forgot God Harry Millarde. Over the Hill the Action? Daniel Mann (Pan, Tech) . 1963 The Leo McCarey Under Suspicion A. F. Erickson . Millarde. My Friend the Devil Millarde . 1923 If Hook George Seaton (Pan). It Happened at the . 1931 Charlie Chan Carries On Hamilton Winter Comes Millarde . 1925 School for World 's Fair Taurog (Pan , Metro). Who's Been MacFadden. Holy Terror Irving Cummings. Wives Victor Halperin. The Fool Millarde. Sleeping in My Bed? Daniel Mann (Pan, TeCh). Riders of the Purple Sage MacFadden . . 1926 Summer Bachelors Allan Dwan. . 1964 A Global Affair Jack Arnold . 1965 Sylvia . 1932 Gay Caballero Alfred Werker. Stepping . 1931 The Struggle D. W. Griffith . Gordon Douglas. Harlow Douglas (Pan, Tech ). Sisters Seymour Felix. Young America Borzage. . 1935 Gigolette Charles Lamont. Frankie and Love Has Many Faces Alexander Singer The Golden West David Howard. Mystery Ranch Johnnie John Auer. People 's Enem y Crane (East / Path) . 1966 The Oscar Russell Rouse (with August) David Howard . 1933 Robber 's Wilbur. Man Hunt William Clemens . 1936 Three (Path) . 1968 Speedway Taurog (Pan , Metro). Roost Louis King. Infernal MaChine Marcel Varnel. Godfathers Richard Boleslawski. Fury Fritz Lang. Pilgrimage Ford. Arizona to Broadway James Picadill y Jim Robert Z. Leonard. Mad Holiday HENDRIK SARTOV Tin ling. Doctor Bull Ford. Walls of Gold Kenneth George B. Seitz . 1937 A Day at the Races Sam MacKenna . 1934 George White's Scandals Wood . The Big City Frank Borzage . 1938 The 1919 Broken Blossoms (2nd camera) D. W. (with Garmes) White , Lachman , Freeland. Hold Great Waltz Julien Duvivier (AA ). The First Griffith . 1920 Way Down East (with Bitzer) That Girl MacFadden . Orient Exp ress Paul Hundred Years Richard Thorpe. Eve rybody Sing Gnffith . 1921 Dream Street Griffith . Orphans of Martin . Judge Priest Ford. The World Moves On Edwin Marin . Three Comrades Borzage. The the Storm (with Bitzer, Paul Allen) Griffith . Ford. Elinor Norton MacFadden . 1935 George Shopworn Angel H. C. Potter. Spring Madness . 1922 One Exciting Night Griffith . 1923 The White 's 1935 Scandals George White. S. Sylvan Simon. Ice Follies of 1939 (with Marsh) White Rose (with Bitzer, Hal Sintzenich) Griffith . Steamboat Round the Bend Ford . 1936 The Reinhold Schunzel (Tech sequence) . 1939 Tell . 1924 America (with Bitzer, Sin tzentch , Marcel Devil Is a Sissy (With Rosson) W. S. Van Dyke. No Tales Leslie Fenton . On Borrowed Time Le Picard) Griffith . Isn 't Life Wonderful (with . 1938 The Gladiator Edward Sedgwick. Flirting Harold S. Bucquet. The Women (with Marsh) Sintzenich) Griffith . 1926 La Boheme King wi th Fate Frank MacDonald . 1940 Michael George Cukor (Tech sequence). Balalaika (with Vidor. The Scarlet Letter Victor Seastrom. Shayne, Private Detective Eugene Forde. Freund) Reinhold Schunzel • 1940 Broadway . 1927 Ouality Street Sidney Franklin . The Red Melody of 1940 (with Marsh) Norman Taurog . Mill William Goodrich . 1928 Under the Black JOHN SEITZ · ( 1893- Waterloo Bridge Mervyn LeRoy (AAN). The Eagle W. S. Van Dyke. 1913 Ranger of Lonesome Gulf St. Louis Philadelphia Story Cukor. Comrade X King GEORGE SCHNEIDERMAN ( -1964) Motion Picture Company. The Ouagmlre St. 1919 Love Is Love Scott Dunlap. The Lost Louis Motion Picture Company . 1915 Whose Vidor . 1941 Dr . Jekyll and Mr . Hyde Victor Wlfe?[?] . Edged Tools[?] . 1917 A Soul in Pawn Fleming (AAN). Two Faced Woman Cukor. Princess Dunlap . Vagabond Lu ck Dunlap. . 1942 Woman of the Year George Stevens. Mrs. . 1920 The Hell Ship Dunlap . Molly and I Miniver William Wyler (AA). Crossroads Jack Conway Random Harvest LeRoy. . 1943 Presenting Lil y Mars Taurog. Madame Curie LeRoy (AAN) . 1944 Gaslight Cukor (AAN). Mrs. Parkington Tay Garnett. • 1945 Valley of Decision Garnett. Adventure Fleming . 1947 Desire Me Cukor. Killer McCoy Roy Rowland . 1948 Julia Misbehaves Conway. B. F.'s Daughter Leonard . 1949 The Bribe Leonard. Side Street Anthony Mann . That Forsythe Woman Compton Bennett (Tech ). . 1950 The Miniver Story H. C. Potter. The Magnificent Yankee John Sturges . 1951 The Great Caruso Richard Thorpe (Tech). Cause for Alarm Garnett. Kind Lady John Sturges. Too 52 SUMMER 1972

Stea mboat Round the Bend, Geo rge Schneiderman. The Magician, John F. Seitz. You Only Live Once , Leon Shamroy. Mutuat . 1918 Beauty and the Rogue Henry Madden Josef von Sternberg. SIX Thousand Moment Paul Fejos . Out With the Tide King. Powers t~at Prey King . 1919 The Enemies George B. Seitz Thunder Afloat Hutch inson. The Tell-Tale Heart (sho rt film ) Westerners Edward Sloman . 1920 The George B. Seitz. Bad little Angel William Thiele . Charles Klein . 1930 Alma de Gaucho Henry Sagebrusher Edward Sloman. Hearts Are • 1940 Dr. Kildare's Strange Case Bucquet. Otto . 1931 Women Men Marry Hutchinson . Trumps Rex Ingram . Shore Acres Ingram . A little Bit of Heaven Andrew Marton . . 1932 Stowaway Philip Whflman . A Strange . 1921 The Conquering Power Ingram. The Four Dr. Ki ldare's Crisis Bucquet . 1941 Sullivan 's Adventure Whitman, Hampton Del Ruth . Horsemen of the Apocalypse Ingram . Uncharted Travels Preston Sturges . 1942 Fl y by Night . 1933 Jennie Gerhardt Ma(fon Ge(fng. Her Seas Wesley Ruggles . 1922 The Prisoner of Robert Siodmak. This Gun fo r Hire Tuttle. The Bodyguard (with Fischbeck) William Beaudlne. Zenda Ingram. Trifling Women Ingram. Turn to Moon and Sixpence Albert Lewin (Tech Three Cornered Moon Elliott Nugent. the Right Ingram . 1923 Scaramouche Ingram. sequence). Lucky Jordan Tuttle . 1943 Five . 1934 Good Dame Ge(fng . Thirty Day Princess Where the Pavement Ends Ingram . 1924 The Graves to Cairo Billy Wilder (AAN) . 1944 The Ge(fng. Kiss and Make Up Harlan Thompson . Price of a Party Charles Giblyn . The Arab Miracle of Morgan's Creek Sturges. Ready for Love Ge(fng. Behold My Wife Mitchell Ingram. Classmates (with R. Overbaugh) John S. Hour Before Dawn Tuttle. Double Indemnity Lelsen . 1935 Private Worlds Gregory La Cava. Robertson . 1926 The Magician Ingram. Mare Wilder (AAN). Hail the Conquering Hero Sturges. She Married Her Boss La Ca va. Accent on You th Nostrum tngram . 1927 The Fair Co-Ed Sam Casanova Brown Sam Wood . 1945 The Unseen Wesley Ruggles. She Couldn 't Take It Tay Wood . 1928 Across to Singapore Will1am Nigh . Lewis Allen . The Lost Weekend Wilder (AAN). Garnett. Mary Burns. Fug itive Willfam K. Howard. Adoration Frank Lloyd. Outcast William A. Seiter. . 1946 The Well Groomed Bride Sidney Lanfield. . 1936 Soak the Rich Ben Hecht and Charles The Patsy King Vidor . 1929 The Divine Lady Home , Sweet, Homicide Lloyd Bacon. Wild MacArthur. Fatal Lady Edward LudWig . Lloyd (AAN). Careers John F. Dillon. Hard to Get Harvest Tay Garnett . 1947 The Imperfect Lady Spendthrift Raoul Walsh . Wedding Present William Beaudine. Her Private life Alexander Allen. Calcutta John Farrow . 1948 Saigon Richard Wallace . 1937 You Onl y Live Once Fritz Korda . A Most Immoral Lady John Wray. The Leslie Fenton . The Big Clock Farrow. A Miracle Lang. Her Husband lies Ludwig . The Great Painted Angel Millard Webb . Saturday 's Children Can Happen (On Our Merry Way) (with Biroc) Gambtnl Charles Vidor. She Asked for It Erie C. Gregory La Cava. The Squall Korda. The Trail Fenton and King Vidor. Beyond Glory Farrow. Kenton . Blossoms on Broadway Wallace . of '98 Clarence Brown . 1930 Back Pay William The Night Has a Thousand Eyes Farrow. . 1938 Young in Heart Wallace (AAN). A. Seiter. The Bad Man Clarence Badger. In the . 1949 The Great Gatsby Elliott Nugent. Chicago . 1939 Made for Each Other John Cromwell. The Next Room Edward Cline. Kismet John F. Dillon Deadline LewIs Allen . 1950 Captain Carey, Story of Alexander Graham Bell Irving (65 mm Vitascope). Mu rder Will Out Badger. U.S.A. Mitchell Leisen . Sunset Boulevard Wilder Cummings . The Adventures of Sherlock Holmes Road to Paradise Beaudine. Sweethearts and (AAN). The Goldbergs Walter Hart . 1951 Dear Alfred Werker . 1940 little Old New York Henry Wives Badger. Misbehaving Ladi es Beaudine. Brat Will1am A. Seiter. Appointment With Danger King . I Was an Adventuress ( with E. Cronjager) . 1931 East Lynne Frank Lloyd. Young Sinners Allen. When Worlds Collide (with Greene) Gregory Ratoff. Lillian Russell Cummings. Four John Blystone. Hush Money Sidney Lanfleld. Rudolph Mate (Tech) (AAN) . 1952 The San Sons Archie Mayo. Down Argentine Way (with Men of the Sky Alfred E. Green . Merely Mary Francisco Story Robert Parrish. The Savage Rennahan) Cummings ( Tech ) (AAN). Tin Pan Ann Henry King. Age for Love (with Flschbeck) George Marshall (Tech). The Iron Mistress Alley Walter Lang . 1941 That Night in Rio (with Lloyd. Over the Hill Henry King . 1932 She Gordon Dougtas (Tech) . 1953 Desert Legion Rennahan) Cummings ( Tech ). The Great Wanted a Millionaire John Blystone. Ca reless Joseph Pevney (Tech). In vaders from Mars American Broadcast (with Marley) Mayo. Moon Lad y Kenneth MacKenna. Woman in Room William Cameron Menzies (Cinecolor). Botan y Over Miami (with Marley. Davey) Walter Lang Thi rteen King. Passport to Hell Lloyd. Six Hours Bay John Farrow (Tech) . 1954 Saskatchewan ( Tech ). A Yank In the RAF King. Confirm or to live William Dieterle . 1933 Dangerously Raout Walsh (Tech) . Rocket Man Oscar Deny Mayo . 1942 Roxie Hart William Wellman . Yo urs Frank Tuttle . Ladles They Talk About Rudolph . Rogue Cop Roy Rowland (AAN). Ten Gentlemen from West Point Henry Hathaway Howard Bretherton , William Keighley. Adorable • 1955 Many Rivers to Cross Rowland (CScope, (AAN). The Black Swan King ( Tech ) (AA). Dieterle. Paddy, the Next Best Th ing Harry East). The McConnell Story Gordon Douglas . 1943 Crash Dive Mayo ( Tech). Stormy Weather Lachman . Mr. Skitch James Cruze. (CScope , Warner) . Hell on Frisco Bay Frank Andrew Stone. Claudia Edmund Goulding . • 1934 Coming Out Party John Blystone. All Men Tuttle (CScope, Warner) . 1956 Santiago • 1944 Buffalo Bill Will1am Wellman ( Tech). Are Enemies George Fitzmaurice. Springtime fo r Douglas (Warner). A Cry in the Night Tuttle . Greenwich Village (with H. Jackson) Walter Lang Henry Tuttle. Marie Galante King . . 1957 The Big Land Dougtas ( Warner) . ( Tech ). Wilson King ( Tech ) (AA) . 1945 A Tree • 1935 Helldo rado Cruze. One More Spring . 1958 The Deep Six Mate (Warnercolor). The Grows in Brooklyn EI1a Kazan. Where do We Go King. Our little Girl Robertson. Curly Top Irving Badlanders Delmer Daves (CScope, Metro). from Here? Ratoff ( Tech ). State Fair Walter Lang Cummings. Beauty's Daughter (wflh Mate) Allan . 1959 Island of Lost Women Tuttle . The Man in (Tech). The Shocking Miss Pi lgrim George Dwan . The Littlest Re bel David Butler . 1936 The the Net Michael Curtiz . 1960 Guns of the Seaton ( Tech) . 1946 Leave Her to Heaven John Co untry Doctor (with D. Clark) King. Captain Timberland Robert Webb (Tech). M. Stahl ( Tech) (AA) . 1947 Forever Amber Otto January Butler. Poor little Rich Girl Cummings. Premmger ( Tech ). Da isy Kenyon Premlnger. Fifteen Maiden Lane Dwan . 1937 Between Two LEON SHAMROY (1901- . 1948 That Lady In Ermine Ernst Lubftsch , Otto Women George B. Seitz. Madame X Sam Wood. Premmger ( Tech) . 1949 Prince of Foxes King Navy Blue and Gold Wood . 1938 Love Is a 1927 Catch as Catch Can Charles (AAN). Twelve 0 Clock High King . Head ache Richard Thorpe. Lord Jeff Wood. Hutchinson. Hidden Aces Howard Mitchell. Land • 1950 Cheaper by the Dozen Walter Lang Young Dr. Kildare Harold S. Bucquet. of the Lawless Thomas Buckingham . Pirates of ( Tech). Two Flags West Robert Wise . 1951 On Stablemates Wood. The Crowd Roars Thorpe . the Sky Charles Andrews. Tongues of Scandal the Rivi era Walter Lang ( Te ch). Davi d and . 1939 Huckleberry Finn Thorpe. Sergeant Roy Clements. The Trunk Mystery Frank Crane. Bathsheba King ( Tech ) (AAN) . 1952 With a . 1928 Bitter Sweets Hutchinson . The Last FILM COMMENT 53

Song in My Heart Walter Lang ( Tech ). Walt Till Handcuffs McCarty. While the City Sleeps Jack The Cro wd, Henry Sharp. the Sun Shines, Nellie Henry King ( Tech) . Down Conway . 1929 The Iron Mask Allan Dwan . Among the Sheltering Palm s Goulding (Tech). Speedway Harry Beaumont. Thunder William . 1929 Mother's Boy (with P. Tannura . W. The Snows of Kilimanjaro King (Tech) (AAN). Nigh. Where East Is East Browning . 1930 lord Strenge) Bradley Parker lucky in love (With . 1953 Tonight We Sing Mitchell Leisen ( Tech) . Byron of Broadway Nigh and Beaumont (Te ch Tannura) Webb . 1931 Ole Manner um lucie Call Me Madame Walter Lang ( Tech). The Girl sequence). love In the Rough Reisner. Sins of Alexander Korda . 1933 Rund um elne Million Next Door Richard Sale (Tech). White Witch the Children Sam Wood. Way Out West Fred Max Neufeld. le Grand Jeu Jacques Feyder. le Doctor Hathaway ( Tech ). The Robe Henry Niblo . 1931 The lion and the lamb George Maitre des Forges Abel Gance . 1934 le Koster (CScope, Tech ) (AAN). King of the Seitz. Around the World In 80 Minutes Victor Bonheur Marcel I'Herbier. Jeanne Victor Khyber Rifles King (CScope. Tech) . 1954 The Fleming , Douglas Fa irbanks. False Madonna Tourjanski. Nous ne Somme Plus des Enfants Egyptian Michael Curtiz (CScope, DeLuxe) Stuarl Walker . 1932 This Reckless Age Frank Augusto Genlna. Jeunesse George Lacombe. la (AAN). There 's No Business Like Show Business Tuttle. Strangers in love Lothar Mendes. Broken Dame aux Camelias Fernand Rivers. Walter Lang (CScope, Deluxe) . 1955 Dadd y love Lloyd Corrigan. Strange Case of Clara . 1935 Compartlment de Dames Seules long legs Jean Negulesca (CScope. DeLuxe). Dean Louis Gasnier. Max Marcin . Madame Christlan-Jaque. Ouelle Orale en Grosse Leo love Is a Many Splendored Th ing King (CScope. Racketeer Alexander Hall, Harry Gribble. Man Voannon. la Kermesse Heroique Feyder. Ole DeLuxe) (AAN). Good Morning , Miss Dove Called Back Robert Florey. 70,000 Witnesses Klugen Frauen Feyder. Episode Walter Reisch . Koster (CScope. DeLuxe) . 1956 The King and Ralph Murphy. Madison Square Garden Harry . 1936 Ungekusst Soil Man Nicht Schlafen I Waller Lang (CScope 55, DeLuxe) (AAN). The Joe Brown . The Devil Is Driving Benjamin Stoloff. Geh 'n E. W. Emo . le Grande Refra in Yves Best Things in life Are Free Curtiz (CScope, . 1933 From Hell to Heaven Erie C. Kenton . Mirande . 1937 Knight Without Armour Feyder. DeLuxe). The Girl Can 't Help It Frank Tashlln Song of the Eagle Murphy. Duck Soup Leo Action for Slander Victor SaVille . 1938 The (CScope. DeLuxe) . 1957 The Desk Set Waller McCarey. Alice in Wonderland (Wllh Glennon) Divorce of lad y X Tim Whelan South Riding Lang (CScape, OeL uxe) . 1958 South Pacific Norman Z. McLeod . 1934 Melody in Spring Saville. Pygmalion Leslie Howard. The Citadel (wl lh Wheeler, de CU/r) Joshua Logan McLeod. Six of a Kind McCarey. Here Comes King Vidor . 1939 Over the Moon Thornton ( Todd-A 0 , Tech ) (AAN). The Bravados King the Groom Edward Sedgwick. Many Happy Freeland ( Tech). Jamaica Inn Alfred Hitchcock. (CScope. Tech ). Rally Round the Flag , Boysl Returns Norman McLeod. ladies Should Listen Leo McCarey (CScope. DeLuxe) • 1959 Po rgy Tuttle. lemon Drop Kid Marshall Neilan . It's a o Planes Whelan . The Lion Has Wings Brian and Bess Preminger ( Todd-AO , Tech ) (AAN). Gift McLeod . 1935 All the King 's Horses Tuttle . The Blue Angel Edward Dmylryk (CScope. The Glass Key Tuttle . 1936 Earl y to Bed Hurst . 1940 My Son , My Son Charles Vidor. DeLuxe). Beloved Infidel King (CScope , Norman Z. McLeod. lady be Careful Jay . 1941 They Knew What They Wanted Garson DeL uxe) . 1960 Wake Me When It 's Over Theodore Reed. The Accusing Finger James Kanin. SuspiCion Hitchcock. Mr . and Mrs . Smith Mervyn LeRoy (CScope, DeLuxe). North to Hogan . 1937 Murder Goes to College Charles Hitchcock. The Devil and MIss Jones Sam Alaska Hathaway (CScape, DeLuxe). F. Riesner. Hotel Haywire George Archainbaud. Wood. Men in Her life (With A Miller) Gregory . 1961 Snow White and the Three Stooges Wild Money Louis King . Blonde Trouble Ratoff. Mr . and Mrs . North Robert Sinclair. The Waller Lang (CScape, DeLuxe) . 1962 Tender is Archainbaud. Partners in Crime Frank Strayer. Corsican Brothers Ratoff . 1942 Fingers at the the Night King (CScape, DeLuxe). Hold 'em Navy Kurt Neumann . 1938 Scandal Window (with Lawton) Charles Lederer. Nazi • 1963 Cleopatra Joseph L. Mankiewicz Street James Hogan . Booloo Clyde Elliott. Agent Jules Dassln . Her Cardboard lover (with ( Todd-AO , DeLuxe) (AA). The Cardinal Campus Confessions Archainbaud. Just Around Planck) George Cukor. Maisie Gets Her Man Preminger (Pan. Tech ) (AAN) . 1964 What a the Corner Irving Cummings. Illegal Traffic Louis Roy Del Ruth . White Cargo Richard Thorpe . Way to Go J. Lee Thompson (CScope. DeLuxe). King . 1939 Geronimo Paul Sloane . 1940 Dr . . 1943 The Human Comedy Clarence Brown . 1965 John Goldfarb. Please Come Home Cyclops (with Hoch) Ernest Schoedsack (Tech). (AAN). SWing Shift MaiSie Norman McLeOd. Thompson (CScope, DeLuxe). The Agony and Golden Gloves Edward Dmytryk. . 1944 Song of Russia Raloff. Bathing Beauty the Ecstasy Carol Reed ( Todd-AO , DeLuxe) . 1941 Adventure in Washington Alfred E. George Sidney (Tech) . 1945 The Picture of (AAN). Do Not Distu rb Ralph Levy (CScope, Green . Broadway lim ited Gordon Douglas. DOrian Grey Albert Lewin (Tech sequence) (AA). DeLuxe) . 1966 The Glass Bottom Boat Frank . 1942 The Hidden Hand Ben Stoloff. Henry Thrill of a Romance Richard Thorpe (Tech). Her Tashlin (Pan , Metro) . 1967 Caprice Tashlin Aldrich , Editor Hugh Bennett . 1943 The Highness and the Bellboy Thorpe . 1946 Holiday (CScope. DeLuxe) . 1968 Planet of the Apes Mysterious Doctor Stoloff . 1944 Crime by Night in MexIco Sidney (Tech). Easy to Wed Edward Franklin Schaffner (Pan, DeLuxe). The Secret Geoffrey Homes [pseudonym of Daniel Buzzell (Tech). Till the Clouds Roll By (with Life of an American Wife George Axelrod Mainwaring). The National Barn Dance Bennett. Folsey) Richard Whorf ( Tech) . 1947 Song of (DeLuxe) . 1969 Skidoo Preminger (Pan, Tech ). Man in Half-Moon Street Ralph Murphy. Ministry love Brown . Sea of Grass Elia Kazan .1 948 The Justine George Cukor (Pan, DeLuxe). of Fear Fritz Lang . Tomorrow the World Leslie Pirate Vincenl Minnelli ( Tech) . Easter Parade Fenton . 1945 Jealousy Gustav Machaly. What Charles Walters (Tech). Words and MusIc (wl lh HENRY SHARP ( -1966) Next , Corporal Hargrove? Richard Thorpe . The Rosher) Norman Taurog ( Tech ) . 1949 In the Woman Who Came Back Walter Colmes . Good Old Summertime Roberl Z. Leonard 1920 Homespun Folks John Griffith Wray. . 1946 The Glass Alibi W. Lee Wilder. The (TeCh). The Barclays of Broadway Wallers .1 921 Beau Revel Wray. Hail the Woman Wray. Fabulous Suzanne Steve Sekely . 1947 It ( Tech) (AAN). Tension John Berry . 1950 The lying Lips (with Stumar) Wray. Mother 0 ' Mine Happened on Fifth Avenue Roy Del Ruth . The Edge of Doom Mark Robson.The Yellow Cab Fred Niblo . 1922 The Hottentot James W. GUilty John Reinhardt. Violence Jack Bernhard. Man Jack Donohue . 1951 ValentinO LewIs Allen Horne. lorna Doone Maurice Tourneur. The High Tide Reinhardt. In Self Defense Bernhard. (Tech). A Streetcar Named Desire Kazan (AAN). Third Alarm Emory Johnson . 1923 Anna . 1948 Perilous Waters Bernhard. Strike It Rich A Millionaire for Christy George Marshall. I Want Christie Wray. Human Wreckage Wray. Soul of Lesley Selander . 1949 The lawton Story You Robson . 1952 My Son John Leo McCarey. the Beast Wray. The Sunshine Trail Horne. What William Beaudine, Harold Daniels (Cinecolor). Five Finger Exercise Daniel Mann . Androcles a Wife learned Wray . 1924 Barbara Frietchie Daughter of the West Harold Daniels and the lion Chesler Erskine. Hans Christian Lambert Hillyer. Christine of the Hungry Heart (Cinecolor) . 1959 The Young land (with Hoch) George Archainbaud. Dynamite Smith C. Ted Tetzlaff (Tech). Gardener Sullivan . A Girl of the Limberlost (with H. Anderson) James Leo Meehan. Judgment of HARRY STRADLING, SR. ( -1970 ) the Storm (with Max Dupont) Del Andrews. The Marriage Cheat Wray. The Mirage Archainbaud. 1921 Jim the Penman Donald Blackwell. Tiger Thompson B. Reeves Eason . 1925 Don 0 , The DevII 's Garden Blackwell. The Great Son 01 Zarro Donald Crisp. Enticement Adventure Blackwell . 1922 His Wife's Husband Archainbaud . 1926 The Black Pirate Albert Kenneth Webb. Fair lady Webb . How Women Parker (Tech). The Boy Friend Monta Bell. love Webb . Secrets of Paris Webb . 1925 The . 1927 The lovelorn John P. McCarty. Slide, Substitute Wife Wifred May. Wandering Fires Kelly , Slide Edward SedgWick . 1928 The Big Maurice Campbell . 1927 Burnt Fingers City Tod Brown ing. Brotherly love Charles F. Campbell. The Nest William Nigh . Reisner. The Crowd King Vidor. Diamond 54 SUMMER 1972

The Pic tur e of Do rian Gray, I larry St radlin g, Sr. The Sto ry of Temp le Drake, Karl Str uss. Raintree county, Robert Surtees. Anderson Charles Vidor (Tech) (AAN). Rosher) William Beaudine . 1927 Babe Comes Island Ralph Murphy (Tech) . 1945 Bring on the . 1953 Angel Face 0110 Preminger. A Liofl Is in Home Ted Wilde. Sunrise (with Rosher) F. W. Girls Sidney Lanfield (Tech). Tarzan and the the Streets Raoul Walsh (Tech). Forever Female Murnau (AA) . 1928 The Battle of the Sexes Leopard Woman Neumann . 1946 Suspense Irving Rapper . 1954 Johnny GUitar Nicholas (with Bitzer) D. W. Griffith. ' \" Drums of Love Tuttle . Mister Ace Edwin Marin . 1947 The Ray (Trucolor) . 1955 Gu ys and Dolls Joseph L. (with Bitzer, Jackson) Griffith (AAN). \",' The Macomber Affair (with Francis, Wilcox, Mank,ew,cz (CScape, East) (AAN). Helen of Troy Night Watch Alexander Korda . 1929 Coquette Borradallle) Zoltan Korda. ':' ,', Heaven Only Robert Wise (CScope, Warner) . 1956 The Eddie Sam Taylor. Lady of the Pavemen ts Griffith. Knows Rogell . 1948 The Dude Goes West Duchln Story George Sidney (CScope, Tech) Taming of the Shrew Taylor . 1930 Abraham Neumann. Siren of Atlantis Arthur Ripley, Gregg (AAN) • 1957 A Face In the Crowd Kazan. The Lincoln Griffith. The Bad One George Tallas. Tarzan 's Magic Fountain Lee Sholem. Pajama Game George Abboll and Stanley Fitzmaurice. Be Yourself (with Planck) Thornton . 1949 Bad Boy Neumann . 1950 Rocketship Donen (Warner) . 1958 Marjorie Morningstar Freeland. \"\" Danger lights (with J. Boyle) X-M Neumann. It's a Small World William Cast/e. Rapper (Warnercolor). Auntie Mame Morton Da George B. Seitz (65mm Spoor-Berggren Natural The Return of Jesse James Arthur Hilton. The Costa (Technlrama, Tech) (AAN) . 1959 Ttle Vision). Lummo x Herbert Brenon. One Romantic Texan Meets Calamity Jane Ande Lamb Young Philadelphians Vincent Sherman (AAN). A Night Paul Stein . 1931 Klki Taylor. Skippy (Clnecolor). Father's Wild Game Herbert Leeds. Summer Place Delmer Daves (Tech) . 1960 Who Norman Taurog . Up Pops the Devil Edward A. . 1951 Tarzan 's Peril Byron Haskin . 1952 Rose Was That Lad y? Sidney. Dark at the Top Sutherland. Women Love Once Edward of Cimarron Harry Keller (Natural Color). of the Stalls Delbert Mann (Tech). Tile Crowded Goodman . Murder by the Clock Edward Sloman. Tarzan 's Savage Fury Cy Endfield. limelight Sky Joseph Pevney (Tech) . 1961 Parrish Daves The Road to Reno Richard Wallace . 1932 Dr. Charles Chaplin . 1953 Tarzan and the She Devil (Tech). On the Double MelVille Shavelson (Pan, Jekyll and Mr. Hyde Rouben Mamoulian (AAN). Neumann. II Piu Comlco Spettacolo del Mondo Te ch) . 1962 A Majority of One Mervyn LeRoy Two Kinds of Women William deMllle. Dancers (With Riri, Pallottini) Marla Malloli (3-0, (Tech) (AAN). Five Finger Exercise Daniel Mann. In the Dark David Burton . The World and the Ferraniacolor). II Turco Napoletano (With Gypsy LeRoy (Technlrama. Tech) (AAN). Flesh John Cromwell. Forgotten Pallottln i) Mattoli (3 -0, Ferran iacolo r). Cavallerla . 1963 Island of Love Morton Da Costa (Pan , Commandments Gasn ier. The Man from Rusticana (with Pallottini) Carmine Gallone TeCh). Mary. Mary LeRoy ( Tech ) . 1964 My Fair Yesterday Berthold Viertel. Guilty as Hell Erie C (Ferran iacolor) . 1954 Attila (with Tonti. Trasatti) Lady George Cukor (Super-Pan 10, Tech) (AA). Kenton. The Sign of the Cross Cecil B. De Mille Pietro Francisci (Tech). Due Notte con Cleopatra • 1965 How to Murder Your Wife Richard OUlne (AAN). Islano of Lost Souls Kenton . (With Pallo11mI) Mattoli (Ferran iacolor). ( Tech). Synanon OUlne . 1966 Moment to • 1933 Tonight Is Ours Stuart Walker. The . 1955 Mohawk Neumann (Wide vision, East). Moment LeRoy (Tech ). Walk, Don 't Run Walters Woman Accused Paul Sloane. The Story of . 1957 The She Devil Neumann (Regalscope) . (Tech, Pan). Penelope Arthur Hiller (Pan, Metro). Temple Drake Stephen Roberts. The Girl in 419 Kronos Neumann (Regalscope). The Deerslayer . 1968 Funny Girl William Wyler (Pan. Tech) Alexander Hall. Disgraced Kenton. Torch Singer Neumann (CScope, DeLuxe) . 1958 The (AAN) • 1969 Hello , Dolly Gene Kelly ( Todd-AO, Hall . 1934 Four Frightened Peop le Cecil B. De Rawhide Trail Robert Gordon. The Fly Neumann DeLuxe) (AAN) . 1970 On a Clear Day You Can Mille. Belle of the Nineties Leo McCarey. The (CScope, DeLuxe). Machete Neumann. The Hot See Forever Mlnnelli (Pan , TeCh). The Owl and Pursuit of Happiness Hall. Here Is My Heart Angel Joe Parker . 1959 Here Come the Jets the Pussycat (completed by Andy Laszlo) Frank Tuttle . 1935 Goin' to Town Hall. Two for Gene Fowler, Jr. (Regalscope). The Sad Horse Herbert Ross (Pan , East). Tonight Tuttle . 1936 Anything Goes Lewis James Clark (CScope, DeLuxe). The Rebel Set Milestone. The Preview Murder Mystery Robert Fowler. The Alligator People Roy Del Ruth KARL STRUSS · (1886- Florey. Too Many Parents Robert McGowan. (CScope). Counterplot Neumann. Rhythm on the Range Norman Taurog . \"\" Although sources split credit here, Struss 1920 Something to Think About Cecil B Hollywood Boulevard Florey. Go West, Young claims sale credit as director of photography. De Mille . 1921 The Affairs of Anatol De Mille. Man Henry Hathaway. Let's Make a Million Fool 's Paradise (with Wyckoff) De Mille. The Law Raymond McCarey . 1937 Walkiki Wedding ROBERT SURTEES· (1906- and the Woman Penryhn Stanlaws . 1922 Fools Tuttle . Mountain Music Florey. Double or First (with D. Kesson) Marshall Neitan. Minnie Nothing Jay Theodore Reed. Thunder Trail 1942 This Precious Freedom Arch Oboler. (with Kesson) Neitan. Rich Men 's Wives Louis Charles Barton . 1938 Every Day 's a Holiday . 1943 Lost Angel Roy Rowland. Gasnier. Saturday Night (with Wyckoff) De Mille. Sutherland. Thanks for the Memory George • 1944 Meet the People Charles F. Reisner. Thorns and Orange Blossoms Gasnler. Music for Millions Henry Koster. Thirty Seconds . 1923 Daughters of the Rich Gasnler. The Hero Archalnbaud. Sing , You Sinners Wesley Ruggles. Over Tokyo (with Rosson) Mervyn LeRoy (AAN). Gasnler. Maytime Gasnier. MotherS-in-Law • 1939 Paris Honeymoon Tuttle. Zenobia Two Girls and a Sailor Richard Thorpe. Gasnler. Poor Men 's Wives Gasnier . 1924 Idle Gordon Douglas. Some like It Hot Archainbaud. . 1945 Our Vines Have Tender Grapes Rowland. Tongues Lambert Hillyer. The Legend of Island of Lost Men Kurt Neumann. The Star Hollywood Renaud Hoffman . POisoned Paradise: Maker Roy Del Ruth . 1940 The Great Dictator KEY: Tech (Technlcolor); Warner (Wa rnerco- the Forbidden Story of Monte Carlo Gasnier. (with Totheroh) Charles Chaplin. \" lor); Pathe ( Pathecolor); DeLu xe (DeLuxe Color); White Man Gasnler . 1925 Ben -Hur (with • 1941 Caught in the Draft David Butler. Aloma Metro ( Metrocolor); East ( Eastmancolor); Pan GU/ssart, Hilburn , De Vinna) Fred Niblo (Tech of the South Seas (with Kline, Snyder) Alfred (Panavision) ; CScope (Ci nemaScope); VV (Vista sequence). The Winding Stair John G. Wray. Santell ( Tech ) (A AN) . 1943 Happy Go Lucky Vision); AA (Academy Award ); AAN (Academy . 1926 Forever After F. Harmon Weight. Hel l's (with Cline, Hoagland) Curtis Bernhardt (Tech). \" Award Nomination). Other terms are spelled out. 400 Wray (Tech sequence). Meet the Prince Journey Into Fear Norman Foster. Riding High A symbol such as East/ Path indicates East- Joseph Henaberry. Sparrows (with Mohr, (with Hallenberger) George Marshall ( Tech). *\" mancolor processed by Pathe. • 1944 And the Angels Sing Marshall. Rainbow FILM COMMENT 55

Who's Afraid of Virgi nia Woolf ?, Haskell We xler. . 1946 No Leave, No Love (with Rosson) Others (With Folsey) W. S. Van Dyke. Nana Charles Martin . Two Sisters from Boston Koster. Dorothy Arzner, We Live Again Rouben Blood and Sand, Alvi n Wyckoff . . 1947 Unfinished Dance Koster ( Te ch). Mamoulian . 1935 The Wedding Night King . 1948 The Big City Norman Taurog. Tenth Vidor. Public Hero No . 1 J. Walter Ruben. Les KEY: Tech (Technicolor) ; Warner (Warnerco- Avenue Angel Ro wland. The KIssing Bandit Miserables Richard Boleslawski (AAN). Mad lor); Pathe (Pathecolor); DeLu xe (DeLu xe Color); Laslo Benedek ( Tech). A Date With Judy Thorpe Love (Wllh Chester Lyons) Karl Freund. The Metro (Metrocolor); East (Eastmancolor); Pan ( Tech). Act of Violence Fred Zinnemann . Dark Angel Sidney Franklin . Splendor Elliott (Panavision) ; CScope (CinemaScope); VV (Vista . 1949 Big Jack Thorpe. Intruder in the Dust Nugent . 1936 Strike Me Pink (with M. Gerstad) Vision) ; AA (Academy Awa rd) ; AAN (Academy Clarence Brown . That Midnight KIss Norman Norman Taurog . These Three William Wyler. Award Nomination) . Other terms are spelled out. Taurog ( Te ch) . 1950 King Solomon 's Mines Come and Get It (with Mate) Howard Hawks and A symbol such as East! Path indicates East- Compton Bennett ( Te ch) (AA) . 1951 The Light William Wyler. The Road to Glory Hawks. mancolor processed by Pathe. Touch Richard Brooks. The Strip Leslie Kardos . Beloved Enemy H. C. Potter . 1937 History is Ouo Vadis (with Skall) Mervyn LeRoy ( Tech ) Made at Night Frank Borzage. Woman Chases (AAN) . 1952 The Wild North Andrew Marton Man John Blystone. Dead End Wyler (AAN) . (Ansco-Color). The Merry Widow Curtis . 1938 The Goldwyn Follies George Marshall Bernhardt ( Te ch), The Bad and the Beautiful ( Tech). Kidnapped Alfred Werker. The Cowboy Vincent Min nelli (AA) . 1953 Ride Vaquero John and the Lady Potter . 1939 Wuthering Heights Farro w (AnsCQ, Tech), Mogambo (with F. A. Wyler (AA). They Shall Have Music Archie Mayo . Young) John Ford ( Tech). Escape from Fort Intermezzo , a Love Story Gregory Ratoff. Bravo John Sturges (Ansco-Color) . 1954 The . 1940 Raffles Sam Wood. The Grapes of Wrath Long , Long Tra iler Minnelli (Ansco-Color). John Ford. The Westerner Wyler. The Long Valley of the Kings Robert Pirosh (East, Tech ). Voyage Home Ford (AAN) . 1941 Citizen Kane . 1955 Trial Mark Robson . Oklahoma Fred Orson Welles (AAN) . The Little Foxes Wyler, Ball Zinnemann ( Todd-AO, East) (AAN) . 1956 The of Fire Hawks .1 942 December Seventh Gregg Swan ( with Ruttenberg) Charles Vidor (CScope, Toland . 1943 The Outlaw Howard Hughes. East). Tribute to a Bad Man Wise (CScope, East). · 1946 The Kid from Brooklyn Norman Z. McLeod ( Tech). Song of the South Harvey . 1957 Les Girls George Cukor (CScope, Metro). Foster and Wilfred Jackson ( Tech). The Best Raintree County Edward Dmy tryk (Camera 65 , Years of Our Lives Wyler . 1947 The Bishop 's Tech) . 1958 Merry Andrew Michael Kidd Wife Henry Koster. A Song is Born Hawks (CScope, Metro), The Law and Jake Wade John ( Tech) . 1948 Enchantment Irving Reis . Sturges (CScope, Metro) . 1959 Ben-Hur William Wyler (Camera 65, Tech) (AA) . 1960 It Started JOSEPH WALKER * (1892- in Naples Melville Sha velson (Tech ). . 1961 Cimarron Anthony Mann (CScope, 1920 Back to God 's Country Nell Shipman . Metro) . 1962 Mutiny on the Bounty Lewis . 1921 Girl from God's Country Shipman and Milestone (Ultra-Pan 70 , Tech ) (AAN). Bert van Tuyle . 1923 Danger Clifford Elfelt. The . 1963 PT-1 09 Leslie Martinson (Pan , TeCh). Grub Stake Bert van Tuyle . Richard the Lion . 1964 Kisses for My President Curtis Bernhardt. Hearted Chet Wlfhey . 1924 The Girl on the . 1965 The Satan Bug Sturges (Pan , DeLuxe). Stairs William Worthington , The Wise Virgin The Hallelujah Trail Sturges (Cinerama, Tech). Lloyd Ingraham , No More Women Ingraham, The Collector ( with Krasker) Wyler ( Tech ). The What Shall I Do? Frank Woods . Chalk Marks Th ird Day Jack Smig ht (Pan , Tech) . 1966 The Joh n Adolfi • 1925 Let Women Alone Paul Last Command Mark Robson (Pan , Path). Powell. Clash of the Wolves Noel Smith . My . 1967 The Graduate Mike Nichols (Pan , Path) Neighbor's Wife Clarence Geldert, Fighting (AAN) . Dr . Doolittle Richard Fleischer (Todd-AO, Courage Elfe/(. The Pleasure Buyers Withey. The Deluxe) (AAN) . 1968 Sweet Charity Bob Fosse North Star Powell . 1926 The Di xie Flyer Charles (Pan 70 , Tech ) . 1969 The Arrangement Elia Hunt,\"\" Flaming Fury James Hogan . Tentacles Kazan (Pan , Tech) . 1970 The Liberation of of the North Louis Chaudet . 1927 Tarzan and L. B. Jones Wyler (East) . 1971 Summer of '42 the Golden Lion J. p, McGowan , The Outlaw Robert Mu lligan ( Tech) (AAN). The Last Picture Dog McGowan , The Baited Trap Stuart Paton , Show Peter Bogdano vich (AAN). The Cowboys Temporary Sheriff Dick Hatton . Great Mail Mark Rydell (Pan . TeCh ). The Other Mu lligan Robbery George B. Seitz. Fire and Steel (With R. (Ea st). Cline) Bertram Bracken . •• Isle of Forgotten Women George B. Seitz, Th e Warning Sellz. GREGG TOLAND (1904-1948) Death Valley . Powell. Shanghaied Ralph Ince. The Flying U Ranch Robert de Lacy. Co ll ege 1929 Bulldog Drummond (with Barnes) Hero Walter Lang . Aflame in the Sky J. P. F. Richard Jones. This is Heaven ( with Barnes) McGowan , The Tigress Seitz. Stage Kisses Alfred Santell. Condemned ( with Barnes) Wesley Albert Kelly . 1928 That Certain Thing Frank Ruggles. The Trespasser (With Barnes) Edmund Capra . Modern Mothers Phil Rosen . After th e Goulding . 1930 Whoopee l (with Garmes, Storm Seitz. Virgin Lips Elmer Clifton . Ransom Rennahan) Thornton Freeland (Tech). Raffles Seitz. Lady Raffles Roy William Neill. Say It With (with Barnes) Harry d 'Arrast. One Heavenly Sables Capra , Beware of Blondes Seitz, Night (With Barnes) George Fitzmaurice. Submarine Capra. Court Martial Seitz (Tech). . 1931 The Devil to Pay ( with Barnes) Street of Illusion Erie C, Kenton . Driftwood Fitzmaurice. The Unholy Garden ( with Barnes) Christie Cabanne. Nothing to Wear Kenton . Fitzmaurice. Indiscreet (with June) Leo Restless Youth Cabanne. Side Show Kenton . McCarey. Tonight or Never Mervyn LeRoy. . 1929 Object Alimony Scott Dunlap . Eternal Palmy Days Edward Sutherland . 1932 Playgirl Woman John McCarthy. Trial Marriage Kenton . Ra y Enright. Man Wanted William Dieterle. The The Ouitter Joseph Henaberry, Fl ight Capra. Tenderfoot Ennght. The Washington Song of Love Kenton .1 930 Murder on the Roof Masquerade Charles Brabin. The Kid from Spain Seitz. Dirigible Capra. Broadway Hoofers George McCarey . 1933 The Nuisance Ja ck Conway. Archalnbaud, Ladies of Leisure Capra. Around Tugboat Annie LeRoy. The Masquerader the Corner Bert Glennon . Midnight Mystery Richard Wallace. Roman Scandals Frank Tuttle. . 1934 Jazz River George B. Seitz. Forsaking All 56 SUMMER 1972

Seltz. Rain or Shine Capra. Ladles Must Play . 1947 The Guilt of Janet Ames Henry LevIn . The of Virginia De Mille. The Unafraid De Mille. The Raymond Cannon . 1931 Subway Express Fred Velvet Touch John Gage . 1948 The Mating of Captive De MIlle. The Wild Goose Chase De Newmeyer. The Miracle Woman Capra Fifty Millie Henry Levin . The Dark Past Rudolph Mate. Mille. The Arab De Mille. Chlmmie Fadden De Fathoms Deep Nelfl. Platinum Blonde Capra. . 1949 Mr. Soft TOUCh Levin . Tell It to the Judge Mille. Kindling De MIlle. Carmen De Mille. . 1932 Forbidden Capra. Shopworn NIck Norman Foster . 1950 Hamet Craig Vmcent Chlmmle Fadden Out West De Mille. The Cheat Grinde. By Whose Hand? Benjamin Stotoff. Sherman. A Woman of DistinctIOn Buzzell. No De Mille. The Golden Chance De MIlle. American Mad ness Capra. Virtue Edward Buzzett. Sad Songs for Me Mate. Born Yesterday George • 191 6 Temptat ion De Mille. Trail of the . 1933 Bitter Tea of General Yen Capra. Air Cukor. Never a Dull Moment George Marshall. Lonesome Pine De Mille. The Heart of Nora Hostess AI Rogell. Below the Sea Rogell (Tech . 1951 The Mob Robert Pamsh . 1952 The Flynn De MIlle. Marla Rosa De Mille. The Dream sequence). Lady for a Day Capra . 1934 It Marrying Kind Cukor. Affair in Trinidad Girl De Mille . 1917 Joan the Woman De Mille. Happened One Nigh t Capra. The Lady Is Wi lling Sherman . Romance of the Redwoods De Mille. The Little Gilbert MIller. One Night of Love VIctor American De Mlfle. The Woman God Forgot De Schertzlnger. Broadway Bill Capra . 1935 The Although credIted m various sources, Walker Mille. The Devil Stone De Mille . 191 8 The Best Man Wins Kenton. Let's Live Tonight does not remember working on these films . Whispering Chorus De Mille. Old Wives for New Schertzlnger. Eight Bells Neitl. Love Me Forever De Mille. We Can 't Have Everything De MIlle. Till Schertzlnger. The Girl Friend Buzzell. A Feather HASKELL WEXLER · I Come Back to You (WIth Rosher) De Mille. The In Her Hat Santell . 1936 The Music Goes Squaw Man De Mille. Something to Think About Around Schertzmger. Mr. Deeds Goes to Town The Living City Wexler . 1955 Pi cnic (2nd unit) (with Struss) De Mlfle . 1919 Don 't Change Your Capra. Theodora Goes Wild Richard Joshua Logan . 1958 Stakeout on Dope Street Husband De Mille. For Better, For Worse De Boleslawskl . 1937 When You're in Love Robert (uncredIted) Irvin Kershner . 1959 Five Bold Mille. Male and Female De Mille . 1920 Why Riskin . Lost HOri zon Capra. There Goes My Gi rl Women Jorge Lopez-Portillo (East) . 1960 The Change Your Wife? De Mille . 1921 The Affairs Ben Holmes. ,. It Happened in Hollywood Harry Savage Eye (with Couffer, Levitt) Ben Maddow, of Anatol (with Struss) De Mille. Fool 's Paradise Lachman. The Awful Trut h Leo McCarey. Sidney Meyers, and Joseph Strick. Studs (with Struss) De Mille . 1922 Blood and Sand . 1938 Joy of living Tay Garnett. Start Cheering Lonigan Irving Lerner . 1961 The Hoodlum Priest Fred Niblo . The Man Who Saw Tomorrow Alfred Rogell. There's That Woman Again Alexander Kershner. Angel Baby (with Jack Marta) Paul E. Green. Manslaughter ( with G. Wilky) De Mille Hall. You Can't Take It With You Capra (AAN). Wendkos. Jangadero Guggenheim . 1962 T for Saturday Night (with Struss) De Mille. • 1939 Only Angels Have Wings Howard Hawks. Tumbleweed (short film) . 1963 A Face In the . 1923 Adam 's Rib (with Wilky) De Mille. Mr. Smith Goes to Washington Capra . 1940 HIs Ra in Kershner. America America Ella Kazan . Pleasure Mad (with Brodine) Reginald Barker. Girl Friday Hawks. Too Many Husbands Wesley • 1964 The Best Man Franklin Schaffner. Strangers of the Night Niblo .1 924 The Border Ruggles. He Stayed for Breakfast Hall. Arizona . 1965 The Bus Wexler. The Loved One Tony Legion William K. Howard. Lily of the Dust (WI th Hallenberger. Browne) Ruggles (Tech) . Richardson . 1966 Who's Afraid of Virginia Dimitri Buchowetski. Men Buchowetski. When A . 1941 This Thing Called Love Hall. Penny Woolf MIke Nichols (AA) . 1967 In the Heat of Girl Loves Victor Halperin . 1925 Irish Lu ck Serenade George Stevens. Here Comes Mr. the Night Norman Jewison (DeLuxe) . 1968 The Victor Heerman. A Kiss in the Dark Frank Tuttle. Jordan Hall (AAN) . Yo u Belong to Me Ruggles. Thomas Crown Affair Jewison (DeLuxe). Lu cky Devil Tuttle. The Man Who Found Himself Bedtime Story Hall . 1942 They All Kissed the . 1969 Medium Cool Wexler (Tech). Green. Old Home Week Heerman. The Swan Brid e Hall. Tales of Manhattan julian DuvlVier. . 1970 Interviews with MyLai Veterans (with Buchowetski • 1926 The Canadian William My Sister Eileen Hall . 1943 A Night to Richard Pearce) (short film) Strick (colo r). Beaudine. It 's the Old Army Game Edward A. Remember RIchard Wallace. What's Bu zzin' , . 1971 Brazil, a Report on Tortu re Wexler and Sutherland. The New Klondike Lewis Milestone. Cousin? Charles Barton . First Comes Courage Sol Landau. Interview With President Allende Tin Gods Allan Dwan . 1927 Blind Alleys Tuttle. Dorothy Arzner. What a Woman Irving Wexler and Sol Landau . 1972 Trial of the Spider Webs (with Roy Hunt) Wilfred Noy. Cummmgs . 1944 The Impatient Yea rs Catonsville Nine. . 1930 Hell 's Angels (2nd camera) Howard Cummmgs. Mr Winkle Goes to War Alfred E. Hughes and James Whale ( Tech sequence). Green . Together Again Charles VIdor. ALVIN WYCKOFF • 1945 Roughly Speaking Michael Curtlz. She Night Ride John S. Robertson . The Storm Wouldn't Say Yes Hall . 1946 Tars and Spars 1914 Monte Cristo[?). The Spoilers Colin William Wyler . 1933 Wine , Women and Song Green. The Jolson Story Green ( Tech ) (AAN) . Campbell. The Wizard of Oz[?). The Call of the Herbert Brenon . 1934 Lost Jungle (with W. It 's a Wonderful Life (with Blroc) Capra. North Cecil B. De Mille. The Virginian De Mille. Nobles) Schaefer and Howard . 1936 The Bold What's His Name De Mille. The Man from Home Caballe ro (with J. Marta) Wells Root (Hirlicolor). De Mille. Rose of the Ra ncho De Mille. The Girl of the Golden West De Mille . 191 5 The War ren s A lthough sixty filmographies are printed here, seventy-five were prepared for printing. Last minute cuts we re necessary because of space limitations. The entire seventy-five, includ ing Richard Kosza rski 's introduction will be available as a separate booklet. at a cost of $1.00 in US funds late in the summer of 1972. Quantities over 10 will be 60¢ each. Please orde r through FI LM COMM ENT, box 686, Village Station , Brook- line MA 02 147 USA, or th rough you r fi lm bookstore. FILM COMMENT 57

FILM FOCUS SERIES Series Editor: Ronald Gottesman and Harry M. Geduld The best that has been written about the art of film and the men who created it, through criticism, history, biography, and analysis of technique. Each volume is lavishly illustrated. Cloth $5.95 ; paper $2.45 FOCUS ON CITIZEN KANE Edited by Ronald Gottesman \" A fascinating compendium.\" -ANDREW SARRIS, Village Voice FOCUS ON D. W. GRIFFITH Ed ited by Harry M. Geduld \" Highly informative.\" -Publishers' Weekly FOCUS ON BLOW-UP Edited by Roy Huss Features reviews, essays, interpretations, other criticism by Knight, Sarris, Kaufmann, and others. FOCUS ON THE BIRTH OF A NATION Edited by Fred Silva Includes noted critics and film analysts such as Meyer, Sarris, and Agee. FOCUS ON CHAPLIN Edited by Donald W. McCaffrey An exam ination of the comedian 's development as an actor and director from his one-reel beginnings with Mack Sennett to Limelight. FOCUS ON HITCHCOCK Edited by Albert J . LaValley A beh ind-the--scenes look at the private life and work of the man who has spent his life in the ex- quisite pleasure of making people scream. FOCUS ON THE SEVENTH SEAL Edited by Brigitta Steene Selections range from discussions of the film as a philosophical credo , or as an allegory, to an an- alysis of the structural aspects and cinematic tech- niques that create its dramatic rhythm. Includes Bergman 's short morality play \" Wood Painting. \" SATURDA~ fNtITGTHHEt~. \".OUI At your bookseller: SPECTRUM ~ BOOKS PRENTICE-HALL Englewood Cliffs, N. J . 07632 when writing to advertisers please mention FILM COMMENT L-_ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _- - l

PASSION, DEATH AND TESTAMENT by David Bordwell Carl Dreyer's Jesus Film Carl Dreyer's career offers a striking instance of Resnais were obl ivious to Dreyer's obstinate clas- director's temperament being persistently out of sicism. But even more remarkable than the individu- synchronization with the changing practices of the ality of these films -wh ich , after all , did get made-is film industry. He entered Danish film production as the uniqueness of Dreyer's Jesus film . This project, a writer in 1912-the same year that Sjostrom and which commanded most of Dreyer's energies for Stiller entered Svensk Film as directors-and by the twenty years, could well have been the climax of time Dreyer was permitted to direct, the golden age his career. Yet partly because of the industry's indif- of the Danish ci\"ema was over. He made the silent ference and partly because of Dreyer's refusal to PASSION OF JOAN OF ARC just as sound was coming compromise , not a frame of the film was shot. in , so that by the time it was released , it already looked archaic. In the early Thirties , he ex peri- The Jesus theme struck two chords to which mented with a serious horror film , VAMPYR , which Dreyer responded strongly. First, he saw it as a audiences promptly laughed off. And when GERTRUD chance to exonerate the Jews of the charge of appeared in i 965 , critics swooning over Godard and deicide. Dreyer had already dealt sympathetically with Jewish life in his 1922 film LOVE ONE ANOTHER , Carl Dreyer (on the left) work ing on PASSION OF JOAN OF ARC. photo: Museum of Modern Art/Film Stills Archive. FILM COMMENT 59

and in 1934 he had curtly declined an offer to make flowers and animals were in the Garden of Geth- films in Germany : \" I am not disposed to work in semane in Jesus ' days. Details .. . but important an anti-Semitic country.\" He saw the Jesus film as ones. \" Upon completing the treatment, he submitted one \" which all of us Christians (and the Catholics it to the scrutiny of Solomon Zeitlin , a New Tes- in particular) owe it to the Jews to realize , in order tament scholar. When Dreyer returned to Denmark to rehabilitate them for the infamies we through in 1950, he seemed to feel that most of the prepara- centuries have heaped upon them .\" The film would tion was over; he expected Davis to set up a film fi x the blame for Jesus ' death on the Romans since production company shortly. crucifi xion was a Roman and not a Hebrew custom . Furthermore, Dreyer's script (originally \" The Story But Davis didn 't. Dreyer kept busy writing docu- of the Jew Jesus \" ) would place Jesus firmly in the mentary shorts and managing a movie theatre context of Jewish traditions and mores. (whose license the government had granted him as a pension) . For several years Dreyer waited . Perhaps But, on a deeper level, Dreyer was devoted to Blevins Davis ' hugely popular production of Porgy the project because , as Preben Thomsen observed , and Bess (1952-56) occupied all his time and energy; \" the subject of Jesus embraced the whole sum of perhaps he could not round up the three million his subjects.\" Dreyer's films often center on suffer- dollars which Dreyer had set as his minimum budget; ing , both as futility and as redemption: LEAVES FROM perhaps he felt that the pachydermous Biblical epics (QUO VADIS , THE ROBE , DAVID AND BATHSHEBA) which SATAN ' S BOOK , THE PASSION OF JOAN OF ARC , DAY OF lumbered through the early Fifties would crush a film like Dreyer 's. Davis ' death in July of 1971 leaves WRATH , and ORDET are all variations on the theme such speculations unsettled. of Jesus ' passion . In the Christ myth Dreyer found his recurring themes of the clash of spontaneous For whatever reason , the subsequent history of faith and repressive dogma, the conflict of inno- the Jesus project is one of false hopes. In November, cence and intolerance , and, in the figure of the 1953, the Danish Ministry of Education gave Dreyer suffering martyr, man 's acceptance of his mortality. a grant to visit London to study and negotiate. When With the Jesus film , Dreyer hoped \" to arrive at approached , J. Arthur Rank answered : \" We are not tragedy. \" interested in this film . It's too ambitious for us in these uncertain times . In April , 1954 , Blevins Davis From Dreyer's concern for the Jews and his sen- wrote to Dreyer, suggesting that the film first appear sitivity to human suffering the project was born. After in book form (\" like they did with 'The Robe ' \" ). THE PASSION OF JOAN OF ARC , he had considered Dreyer's answer seems to have been to go ahead making a Christ film , and in 1931 , when Nazis began with filming ORDET. In 1955 , he announced that smashing the windows of Jewish stores and the first production would begin soon , prepared to go to Jewish refugees fled Germany, he intuited a con- Israel , and sent all his research material to Jerusa- nection between his idea and the rise of Fascism . lem , but the Suez crisis canceled his trip . In 1959 , But it was not until 1940, when the Nazis captured Blevins Davis was forced to sell his farm in order Denmark, that Dreyer grasped his donnee . \" Two or to payoff debts of over $400 ,000 ; yet in 1960, Dreyer three days after Germany invaded our country, the announced that he had heard from the United States idea suddenly took form . I saw that the Nazi invasion and that he expected final information soon. In the was like the Romans invading ancient Palestine. same year, Dreyer appealed to the Danish govern- D. Best, the Nazi Gauleiter, seemed Pilate come to ment for backing ; he was turned down . In 1962, he life.\" Provided with the commanding analogy of the told an interviewer that Davis would be producing film , Dreyer began to seek financial backing . the film jointly with Israel and that shooting would begin the following year. In 1963, Dino de Laurentiis It was not until 1949 that he began to make offered Dreyer a Biblical project, but, since it was headway. In the spring of that year, Dreyer met not about Christ, Dreyer declined. After GERTRUD , Blevins Davis , an American stage producer, when Dreyer completed his script for MEDEA , which he saw Davis' Hamlet was being performed at Elsinore. as a step toward the Jesus film ; but no one was Davis became interested in the project and financed interested in financing it. Finally , in November of a trip to Palestine to enable Dreyer to study the 1967, the Danish Film Foundation offered three cou ntry and research h is ideas . In Septem ber 1949, million kroner (about half a million dollars) to any Dreyer returned to the United States. After some Danish company will ing to engage Dreyer to shoot study at the New York Public Library, Dreyer went the film . By early 1968, the most interested party to Davis' Misssouri farm , where he worked through- was not a Danish company but RAI , the Italian tele- out the winter on the first draft of the film treatment. vision corporation . Enthusiastic, the seventy- eight-year-old Dreyer exhumed his script and told Dreyer conducted his research with his custom- students at the Danish Film School , \" I've been ary zeal. For fifteen hours a day he studied Jewish promised a free hand.\" But the support had been history, Roman law, and Biblical exegesis. \" You have delayed too long . Dreyer died three weeks later. In to know the details,\" he explained . \" That the climate at the Sea of Galilee is only suitable for shooting for a short time every year-that the plains of Sharon are only in blossom for a few months every year-what 60 SUMMER 1972

1969, Denmarks Radio discovered three crates of a tragically ambiguous doctrine to a desperate peo- Dreyer's research materials-thousands of photos, ple . clippings, notes, sketches, and books-in a corner of a Jerusalem warehouse, untouched for fourteen Accordingly, the film 's narrative traces the devel- years . opment of the relationship between Jesus and the Palestinian people on one hand and the Jewish and What remains of the Jesus project exi sts primarily Roman authorities on the other. Jesus beg ins his in two similar versions: the original 1949 treatment ministry with a politically ambiguous announcement: and the final abbreviated 1968 scenario . Both ver- \" The time is fulfilled and the kingdom of God is at sions follow the ch ronology of the Gospels, but hand .\" Jesus' teachings and miraculous curing at- Dreyer eliminates Jesus' birth and childhood , the tract the people, impress the zealots, and baffle the imprisonment and execution of John the Baptist, priests . At one point, zealots arouse a crowd by Satan 's temptations, some of Jesus' flashier mira- claiming that Jesus has come to overthrow Roman cles, Judas' suicide, the descent from the cross, oppression . As Jesus and his disciples leave in a and the resurrection . On the other hand , some fa- boat, the people follow on shore begging him to miliar parables-e.g. , the w ise virgins, the good Sa- become king. \" Will you make us free? \" someone maritan- are enacted in the cou rse of the film. On shouts. \" If ye continue in my word ,\" Jesus answers, the whole , Dreyer's is an intimate narrative , empha- \" ye shall know the truth and the truth shall make sizing Jesus as teacher and healer. \" This film ,\" you free. \" When he admonishes them to love their Dreyer remarked in 1964, \" is the story of Jesus the enemies, a voice cries: \" Shall we also love the man . Whether or not he was the Son of God matters Romans?\" As the disciples row the boat away, an little to me. \" unanswered shout floats across: \" Art thou he that should come or have we to look for another?\" Jesus The political parallels Dreyer had noticed during is preach ing a gospel of spiritual renewal , but the the Nazi occupation are stressed in the preface to populace want a political revolution. From this con- the 1949 treatment. Judea is an occupied country , flict springs the tragic action of Dreyer's film . the Romans are the conquerors, the Sadducees and Pharisees are collaborators, and the zealots are More healing and teaching , climaxed by the rais- underground revolutionaries . In this conte xt , Jesus ing of Lazarus, win the people's favor again. The becomes an ambiguous figure: he obviously threat- priests are worried , but they dare not oppose such ens the Roman regime , yet he refuses to confront a popular figure . Episodes of guerilla sabotage political problems. Dreyer's narrative begins not with punctuate the narrative, reminding us of the zealots' Jesus' miraculous birth but with his being called determination to overthrow Ro man rule . After Jesus by John the Baptist, and it ends not with the resur- enters Jerusalem , greeted by the people as king , rection but with the dying Jesus on the cross . By he scatters the temple moneychangers. This pro- eliminating material bearing on Jesus' divinity, fanation enrages the council of priests, but they Dreyer focuses attention on Jesus' doctrine and the decide to see how far Jesus will go. ways it is misunderstood . At this point, the people's ambivalent attitude The ambiguity of Jesus' role becomes the central toward Jesus is crystallized in the figure of Judas. issue of the film . The Palestinian populace, goaded Dreyer 's Judas is at first totally devoted to Jesus, by the zealots , see the concept of a Messiah in but gradually he is beginning to lose his conviction . traditional terms : that is, \" one who is anointed ,\" \" Skeptical and doubting , he was nevertheless not a descendant of the lineage of King David-in short, a traitor,\" Dreyer insists, explaining that the film 's a political figure . But the cru x of Jesus' character action is to develop from Judas ' wavering between is his refusal to connect spiritual leadership with faith and doubt. political power. The people's misconception of Jesus ' mission is suggested in Dreyer's interpolated That wavering is resolved when a Pharisee in the comment: crowd interrupts Jesus' preaching to ask if the peo- Jesus never publicly proclaimed himself the Messi- ple should pay ta xes to Caesar . In Dreyer 's context, ah, but certainly he had slowly reached the con clu- it is a political question : the people resent the tax , sion that he was the awaited Messiah, called by God and o ne word from Jesus could ign ite a popular to establish his reign on earth . His mission in the uprising. But his answer restates his d istinction be- world was on an infinitely higher level than the tween the world and the spirit: \" Render to Caesar granting of nationalistic and political wishes. .. . what is Caesar 's and to God what is God 's.\" Jesus ' apparent acquiescence to Roman rule destroys the The revolution that Jesus wanted was a spiritual people 's faith in him . The crowd slowly disperses. one . .. but the populace thought of a Messiah If the un iqueness of an artist's sensibility is most solely in political and military terms. clearly defined by his handling of a con venti on, then No wonder, then , that when Jesus enters Jerusalem the most strik ing element in the film is Dreyer 's and is hailed as King of the Jews , his eyes fill with rendition of Judas' betrayal. The reason for Judas' tears ; for Dreyer, he becomes a visionary preaching disloyalty to Jesus has always posed a thorny ques- tion to Biblical scholars, but the very obsc urity of FILM COMMENT 61

his motives allows an artist to flesh him out as a on the spot. \" Likewise, the final script describes credible character and interweave his actions with close-ups and some camera movements, but rarely a larger thematic pattern. This is just what Dreyer in enough detail to permit us to visualize the shots does . Borrowing an idea from his earlier LEAVES precisely. Thus the handling of actors and the com- FROM SATAN 'S BOOK , Dreyer makes Judas a man position of shots-two skills in which Dreyer was whose faith in Jesus is uncertain. Judas ' perplexity supreme-rarely emerge from the script. allows him to be drawn into the Pharisees' plan to prove or disprove Jesus ' divinity . If Jesus is the Son Nevertheless, the 1968 script contains three clues of God , they argue, then God would pass a miracle to the \" feel\" of the finished film. Most striking are to save his life. Judas agrees. After an interview with the frequent scenes of humble life that suggest the Caiaphas , Judas consents to learn where Jesus will intimacy and warmth of Dreyer's approach . The spend the night. \" Could it not be ,\" a Pharisee asks scripts include no spectacular elements-no Sa- Judas in the 1949 version , \" that God may have lome, no Barabbas, no walking on water or calming chosen thee to lead the Messiah to victory or to the storm or distributing loaves and fishes-nothing , unmask a visionary dreamer?\" (Again , Dreyer had that is , to supply gratuitous sensation or special- put the same argument into the mouth of Satan in effects set-pieces. In their place we find vivid vi- LEAVES FROM SATAN 'S BOOK .) There is thus no ques- gnettes. The sinner Ruth returns to her family and tion of paid betrayal; Christ's sufferings become takes off her jewelry while her mother quietly conseq uences of man 's lack of faith. If th is treatment watches ; the scene ends with the family at supper, blurs the hard edges of the ritual of sacrifice and where the father recites from Scripture as he breaks expiation , it also makes the enigmatic Judas of the the bread. On the Sea of Galilee , as the disciples' Gospels a credible and interesting character, un- boat drifts off, the camera pans to another boat, derstandable in universal ethical terms. where two fisherman are rowing in time to a song. Before their wedding , Miriam and Joseph quote the Dreyer likewise renders the Pharisees and Sad- Song of Solomon to each other with humor and ducees in some depth. Jesus' disruption of the state concludes: \" Jesus died , but in death he accom- has attracted the attention of Pilate, who demands plished what he could not in life. His body could that Jesus be arrested as an example. Before this , be killed but his spirit lived. His immortal words the priests have been more worried about blas- brought to people allover the world the good news phemy that sedition . But when Jesus continues his of love and charity announced by the ancient ministry , they decide that he must be silenced in prophets. \" order to appease Pilate. Refusing to obey Pilate would risk losing what little self-rule the Jews have Even in outline , Dreyer's Jesus film challenges left and perhaps also incur bloody reprisals from the complacent orthodoxy of most religious pictures the Romans. Dreyer 's Caiaphas is a practical politi- by representing a significant position taken by Bibli- cian and a shrewd compromiser. \" For Caiaphas, it cal scholars. Dreyer was particularly influenced by was a question of good sense to prefer the sacrifice Solomon Zeitlin 's WHO CRUCIFIED JESUS? (Harper, of one man to save the lives of many people, espe- 1947), which concludes that Jesus was killed by the cially since that one man was a continual danger Romans , not by the Jews. In addition , Dreyer 's de- to public order. \" As a result, the Sanhedrin order piction of Judas as a misguided skeptic has some Judas to lead the soldiers to Gethsemane and arrest precedents in a tradition of ingenious theories; Jesus. Goethe and de Quincey, among others, had sug- gested similar explanations for Judas' betrayal. At his trial, Jesus is charged with claiming to be King of the Jews-again, a political accusation. More important, what would the completed film \" Art thou a king?\" Pilate demands. Jesus' answer have looked like? Dreyer rarely planned his shots summarizes his character and his tragic fate: \" If my before seeing sets and locations, but after sixteen kingdom were of this world , then would my servants years of work on the Jesus project, he announced: \" I have fought for me; but now is my kingdom not have the mise-en-scene completely prepared in my from hence. \" To the end , Jesus distinguished be- mind. \" Unfortunately Dreyer on paper is less in- tween spiritual and political power. But for Pilate tense than Dreyer on film . The 1968 script concen- this religious reformer is simply a danger to the state . trates on details of narrative and historical back- He delivers Jesus to be crucified . ground and is vague about acting and visual style. How, for instance, would the actor have expressed The final scene caps the development of the Judas' skepticism? It reveals itself, Dreyer explains, film's theme. Jesus is crucified , ironically, between \" neither in gesture nor in mimicry but mainly in two revolutionaries. Slowly the figures and the other exclamations of approval or disapproval, improvised two crosses disappear. As the shadow of Jesus' irony. During the Last Supper, Dreyer intercuts cross stretches across the shot, the narrator's voice 62 SUMMER 1972

scenes of various families celebrating Passover. again, shutting off the tomb 's entrance. At the same Such vignettes remind us that community life goes on beneath the history-shaking events of Jesus' time, the camera tracks in and the scene ends with min istry ; and , as in ORDET , grace is connected to an acceptance of holiness of everyday life . a close-up of the stone. The script's authenticity, understatement, and A second clue to the finished film is the script's pervasive authenticity. Dreyer demands that the Last casual detail combine in the crucifi xion scene. Gol- Supper table be horseshoe-shaped , that Jesus ' trial be conducted in the open air , and that Pilate sit gotha looks like a timber yard ; the executioners (who on a raised ivory throne as he uses an interpreter to talk to Jesus. Such historical accuracy not only \" look more like workmen \" ) rinse off their blood- builds up a realistic milieu but also creates insights into character . \" It is not possible to understand the stained hands in a barrel ; one hums as he works. personality and character of Pilate,\" the script notes, \" without knowing the contrasting opinions After Jesus is stripped and stretched out on the of the Romans and the Jews concerning the rela- tionship between the state and the individual. \" Sim- cross, the executioners methodically bind his wrists ilarly, the personalities of the priests emerge from the context of their uneasy political and religious and measure where his palms and ankles lie . As position. Authenticity was important to Dreyer (he researched a film , Preben Thomsen recalls , \" as if the camera slowly dollies in , Jesus says : \" Father, in preparation for a thesis \" ), but it was only a means to the end of revealing his characters' souls. forgive them , for they know not what they do .\" \" We In such a realistic conte xt, Dreyer can afford a now see the nails, another angle , being driven good deal of de-dramatization . After the Last Sup- per, Jesus and the disciples walk out singing to Geth- through Jesus' hands, first the right hand , then the semane ; as Dreyer 's camera lingers in the empty room , a dog wanders in and begins to gnaw on left, the camera angle being so adjusted as to leave an unfinished loaf of bread . Equally muted is the film 's treatment of what is usually considered the something to the spectator's imagination : the full most spectacular of Jesus' miracles, the raising of Lazarus: cruelty of it,\" Dreyer insists, \" must not be seen The stone is removed. An impatient movement directly.\" Like that ex cruciating tracking shot in DAY stirs the crowd, but no one makes any noise. OF WRATH that slowly surveys the torture chamber Jesus does not move or speak. Finally he raises his eyes and speaks in a deep voice . as Heriot's Marte 's screams split the silence , the Jesus: Father, I thank thee that thou hast heard crucifi xion scene has Dreyer's characteristic rigor: me. authenticity and detail intensify the human drama, For a moment there is a profound silence. Then Jesus cries: Lazarus, come forth . and suffering is presented obliquely , un hysterically, All who are present hold their breath in fearful but compassionately. ex citement. The idiosyncrasies of Dreyer' s version of the story After a few seconds, a white shape is moving slowly in the corridor leading out from the anteroom. connect it to his other works. On one hand , the It is Lazarus, wrapped in his funeral clothes, a hand- kerchief in his hand. Jesus turns to Martha and scenes of domestic life among humble people recall Mary. THE MASTER OF THE HOUSE , THE BRIDE OF GLOMDALE , Jesus: Loose him and let him go. Martha runs to help her brother, undoing his and ORDET . On the other hand , the theme of martyr- bandage and embracing him. Mary, frightened, presses herself against her father. dom links the script with JOAN OF ARC , DAY OF WRATH , The pharisees and their scribes murmur among themselves . \" Certainly this is not the work of God. \" and GERTRUD : like the Jesus film these works center \" Certainly not. \" The disciples gather around Jesus in both sur- on the spirit's longing to be free of constraint, and , prise and fear. The youths roll the stone into position like Jesus, Dreyer's heroines sacrifice themselves to the ideal of the individual 's integrity. What might have made JESUS OF NAZARETH the crown of Dreyer 's career, though , is the way it extends the themes of his work into archetypal dimensions. At the script's close, the narration daringly omits the res- urrection , and the final shot of Jesus on the cross leaves us with an emblem of both agony and deliv- erance . Such an image would be the consumma- tion of Dreyer's tragic vision . Still , despite all that the Jesus project might have been , one would almost rather have no film at all than the butchered product of any concessions Dreyer might have had to make to the industry. Since Dreyer strove to keep his integrity throughout his career, his mature output is small but pure. For twenty years he made no film that he did not want to make, even if that meant he couldn 't make the film he wanted most to make . In a curious way , then , the loss of the Jesus film constitutes an ironically appropriate testament to a man who , like his tragic characters, refused to compromise a spiritual vision with the demands of worldly authority. 11111111 FILM COMMENT 63

The Shadow of~Wacoqruldess Tourneur by Robin Wood The series of horror films (for want of a better had become too conscious of the thematic level of term) produced by Val Lewton in the Forties can their work. I shall not discuss it here , as it does stand as at once a demonstration of the limitations little that is not done better in the two earlier films , of the auteur theory and its vindication . They are but it is useful in offering confirmatory evidence for usually regarded , and with some justice, as essen- the decisive influence on the films of Tourneur's tially Lewton 's films . Much of their taste, intelligence personality . Decisive on their precise character and and discretion is attributable to his planning and to some extent on their quality; and memories of supervision , and it becomes peculiarly difficult-in CURSE OF THE DEMON , made later without Lewton , the last resort impossible-to sort out the precise and exhibiting very much the same character and contributions of producer, writer and director. Yet quality, tended further to support my growing sense important discriminations remain to be made. None of Tourneur as essential auteur. of the series , not even BEDLAM , is without interest; and to be the producer of an interesting film directed But before going the whole auteurist hog and by Mark Robson is in itself evidence of distinction . regarding THE CAT PEOPLE and ZOMBIE as Tourneur movies tout court, it is salutary to glace at some Perhaps THE BODY SNATCHER-which I thought on of his other work. My own experience here has been first viewing (mistakenly , as I now believe) the finest disconcerting. In the ex citement of discovering of the whole series-testifies best to Lewton 's quali- Tourneur's Lewton films I managed to unearth six ty. It is a marvelously constructed film , a moral fable of his non-horror movies. With CANYON PASSAGE and on the subject of dehumanization carefully struc- OUT OF THE PAST I began to wonder what Tourneur tured in terms of its characters-brutalized body- was doing outside Mr. Sarris's Pantheon , and felt snatcher, experienced doctor tormented by his confident I had discovered one of the great unac- complicity yet too involved to extricate himself, knowledged masters of the American cinema ; DAYS young doctor in continual danger of getting drawn OF GLORY , EXPERIMENT PERILOUS, BERLIN EXPRESS and into the same trap-yet given considerable com- EASY LIVING constituted four successive blows to that plexity by the varying play of sympathy elicited for confidence. each (Karloff's body-snatcher remains disturbingly human) . Yet , if one places it beside THE CAT PEOPLE Not that they offer any incontestable refutation: and I WALKED WITH A ZOMBIE , one cannot but be everyone makes bad movies sometimes (even aware of a comparative crudeness of sensibility directors with total control over their material and apparent in the realization. Insofar as it is a Lewton free choice of subject matter, like Mr. Dennis Hop- film , THE BODY SNATCHER is a potential masterpiece per), and a Hollywood contract director has the right (a producer's film cannot be more than potential) ; to claim forgiveness for any number of unre- insofar as it is a Robert Wise film , it is inferior to deemable fiascoes . One could not possibly ask an certain of its companions . artist of any intelligence and sensibility to interest himself passionately in the scenario of , for example , THE CAT PEOPLE and ZOMBIE were both directed BERLIN EXPRESS , which is of a stupidity one would by Jacques Tourneur. Interestingly, they exhibit not find unbelievable were one not hardened by so many only stylistic but thematic features that at once precedents. connect them with each other and distinguish them from other films in the series . And similar features What raises some doubt is the nature of the failure are discernible in THE LEOPARD MAN , the other film of these films. Tourneur's visual style-charac- Tourneur directed for Lewton. Though it contains terized by a penchant for long-shot and camera- several excellent-and recognizably Tourneur- movement-is intermittently recognizable in all of esque-sequences , THE LEOPARD MAN is notably in- them (except perhaps EASY LIVING , overall the most ferior to its predecessors , striking one as at once competent but least Tourneuresque of the four). But over-explicit and under-developed , as if its makers it is simply applied to the subject-matter externally, without in any way transforming it. One begins to 64 SUMMER 1972

question , tentatively, the strength and force of Tour- fascinating . The sociologically-inclined will doubt- neur's creativity; to ask oneself on which side of less like to interpret the films in terms of American the shadowy borderline between creator and inter- isolationism (as Mr. George A. Huaco in The Sociol- preter he belongs. An inability to enter deeply into ogy of Film Art explains NOSFERATU for us as reflect- not entirely congenial subject-matter, to penetrate ing \" the growing economic crisis in 1922 \" ). The its surface and transform it from within , is not incon- treatment is in fact extremely comple x and ambiva- sistent with the excellence of the Lewton films or of CANYON PASSAGE or OUT OF THE PAST. lent. Tourneur 's father , Maurice, was not , as ignorant Related to this is one 's general sense that Tour- neur is not a particularly distinguished director of people like myself tend to assume , a director in actors . In a Nicholas Ray movie , for example , no France who emigrated to America to complete his one ever gives a bad performance, not even Curt career in Hollywood . It was precisely the other way Jurgens or Robert Taylor or even , heaven help us, round : from 1914 to 1926 he made films in America , Mr. Quinn . But in both CAT PEOPLE and ZOMBIE Tom th,en went to Europe where he continued making Conway remains, unshakably, Tom Conway. If there films , mostly in France , until 1948. Jacques , born are few really bad performances in Tourneur's films in 1904, spent parts of his childhood in Europe and there are no great ones (with the possible exception in fact began his career in France in 1931 , where of Mitchum in OUT OF THE PAST; and Mitchum , to he made three films before settling in America in adapt Michel Mourlet's famous remark about CharI- the late Thirties. One would scarcely wish to claim ton Heston , is an axiom). His best scenes are typi- him as a cinematic Henry James , but one can cally either atmospheric (certain sequence in the perhaps assume that the intermixture of American Lewton films discussed below) or ensemble scenes and European culture in his background gave him (the wedding in CANYON PASSAGE , where the con- a particular sensitivity to the ambivalences inherent necting camera-movement leads one to compare in the subject-matter of his Lewton films. (The pres- the status of the various couples present) in which ence , or at least the potential , of a similar ambiva- individual performances are subordinated to a sense lence in the subject-matter of EXPERIMENT PERILOUS of relatedness between the parts. makes the failure of that film-Tourneur's inability, for whatever reason , to transcend the melodramatic It is obvious that all directors are dependent on banalities of the script-all the more disappointing). their scripts; Tourneur appears unusually so . His chief qualities-words like \" reticence\" and \" delica- If the American protagonists embody a norm of cy \" come first to mind , rather than Mr. Sarris 's straightforward decency, all the poetry emanates somewhat belittling \" gentility\" (see his maddening , from the foreign elements ; and in both films the indispensable American Cinema, the most-thumbed decency is revealed as decidedly limited . One small , reference work in my book collection)-are not nec- specific clue to Tourneur's sympathies can surely essarily negative ones but can easily become so . be found in the fact that the little song he gave Irena His bad films have nothing actively offensive about in THE CAT PEOPLE is a French lullaby he remembered them ; they are simply colorless and boring . Perhaps from his childhood. One is led to forget about he could be fairly described as a born collaborator geography and interpret the films in terms of an in search of someone with whom to collaborate . On opposition between day-consciousness and night- the other hand , the humility that led him to accept consciousness, between a surface world of conven- whatever chores were thrown his way , however tional and unimaginative \" normality\" -for want of unpromising , is a quality that , in his best work , a better word-and a far richer underworld of dan- assumes great positive significance: I WALKED WITH gerous and fascinating dreams. A ZOMBIE is, in its humble and masterly way , a lesson in humility . Some such opposition is , of course , a common and universal theme in the arts ; it manifests itself Though I think it is Tourneur 's contribution that in the American cinema with both frequency and distinguishes them from their companions in the intensity. It is there in SUNRISE , in the comparison series , I feel , then , that CAT PEOPLE and ZOMBIE (implicit in the imagery) of the City Woman to a cat. should be regarded as group achievements , with (The fact that in that film sympathies are reversed , due credit to Lewton and the scriptwriters-DeWitt and the \" underworld \" is presented as almost exclu- Bodeen and Curt Siodmak respectively . Both films sively evil and destructive , is more characteristic of are beautifully planned and mostly (minus a few German Expressionism than of Hollywood.) One lapses into triteness) well-written ; under Tourneur need only mention-to suggest the variety of tone their implicit poetry reaches sensitive visual expres- and manner, the range of genres in which it can sion . clothe itself-BRINGING UP BABY and MARNIE , both of which use cats (leopard and jaguarundi , respec- I have suggested that the two films are linked tively) prominently in their imagery of the dangerous thematically as well as stylistically . Both are about instinctual world on whose suppression bourgeois honest, upright, uncomplicated Americans (in ZOM- stability depends. Thematically , MARNIE in particular BIE , in fact , a Canadian nurse primly commended offers fascinating and detailed parallels to THE CAT by her employer and potential lover for her \" clean , PEOPLE , rendering explicit that film 's psychological decent thinking \" ) who are impinged upon by outside implications. \" foreign \" forces at once sinister , mysterious and Confronted, however, with such delicate and reticent works, one wants to preserve a corre- sponding reticence in the interpretation . THE CAT FILM COMMENT 65

PEOPLE and I WALKED WITH A ZOMBIE both suggest , a panther. Imagery derived from this basic opposi- and in a more conscious and sophisticated way than tion pervades the film . Even the apparently banal is the case in the majority of horror films , that the and incongruous movement when Oliver dismisses myths they draw on are capable of psychological Irena-as-panther by brandishing a cross and ex- interpretation ; neither is reducible to clear-cut psy- claiming \" in the name of God! \" is partly redeemed chological allegory. They work by means of poetic by the fact that they are in the draftsmen 's office suggestiveness rather than of clearly definable and the cross is a set-square . 'meaning ' and any attempt to 'explain ' them beyond a certain point can only do them harm. The sexual The film 's delicate life is in the wealth of poetic overtones of THE CAT PEOPLE are clear enough: Irena invention . Oliver and Irena are in her dimly lit apart- is afraid that her \" cat \" nature will be released if ment. In the background an armchair casts its shad- she is sexually aroused , and it eventually is released ow on the wall. Oliver, lying on the sofa, declares by sexual jealousy. Similarly, I WALKED WITH A ZOMBIE his love for Irena. She draws back, disturbed , and hints at an equation between the zombie state ( \" the her head becomes superimposed upon the shadow living dead \" ) and emotional death . but the film- so that the uprights of the chair become cat's makers have in both cases respected the poetic ears-the shape is very like that of the Egyptian power of the myth . Psychological meaning remains cat-goddess beside which Irena pauses , later, in the a matter of suggestion ; it is never insisted upon or museum. Characteristically, Tourneur does nothing spelled out. Rather than attempt an allegorical inter- to force the point-he neither cuts nor tracks in ; pretation (which would , inevitably , become an inter- the effect is conveyed solely through the actress's pretation of the script), I want to examine some of movement. Nor are such pOints underlined with the films ' poetic detail , or poetic movement, to show music ; credit for the discreet and sparing way in something of their richness of suggestion. which music is used in these films (even truer of ZOMBIE than of CAT PEOPLE) doubtless belongs to The priest in Greene 's The Power and the Glory Lewton as much as Tourneur , the score being one regards ironically the tendency of the good, and of the last things over which a Hollywood contract incorrigibily \"innocent,\" Americans he meets to director is likely to have control. Later in the film , place cleanliness next to godliness-but only just. when Irena is spying on Oliver and Alice before her THE CAT PEOPLE opens (after an impressive-sound- first attempt to kill her rival , Alice says, shuddering , ing quotation about sin lingering on in the uncon- as she and Oliver emerge from the building , \" A cat scious like fog in low places, from The Anatomy of walked over my grave.\" Tourneur cuts to Irena Atavism by \" Dr. Louis Judd ,\" who turns out later standing before the window of a flower-shop, with to be the glib and skeptical psychiatrist played by a wreath behind her. Most unobtrusive touch of all: Tom Conway) with a similarly ironic association of the chain that bars Irena from the panther's cage surface cleanliness with ignorance of deeper evils. during her nocturnal wanderings has , at the end Irena (Simone Simon) is making her obsessive of the film , when her animal nature has been re- sketches , before the panther's cage in the zoo , of leased , mysteriously vanished. a panther transfixed by a sword . When a discarded drawing fails to reach the litter basket, a young man But it would be false to give the impression of (Kent Smith) retrieves it and draws Irena 's attention a series of isolated touches. To suggest how this to the sign nearby : \" Be it not said , and said unto delicate poetry pervades the movement of the whole yourshame / That all was beauty here until you came .\" film it is necessary to examine some extended se- The same idea is referred to unobtrusively in one quences. Consider the sequence of the wedding of the film's climactic scenes: the build-up to the night and the scenes that follow. During the cele- famous sequence where Irena pursues Alice (Jane bration in the Serbian restaurant Irena is confronted Randolph) along a shadowy sidewalk at night is by the cat-like woman who addresses her as \"My twice punctuated by brief scenes in which a clean- sister.\" Afterwards , on the sidewalk outside outside ing-woman meticulously flicks cigarette-ash off her Irena's apartment (where the couple are to live), she uniform . tells Oliver she can 't sleep with him yet , and asks him to be patient with her. Irena goes to the bed- Such details point to the film's central oppositon. room. We see Oliver standing helpless outside the Oliver , the young man at the zoo , is a draftsman closed door; cut to the other side of the door, where in a ship designer's offices . As with Professor Cary Irena is crouching , still hesitant. The mood is inten- Grant in BRINGING UP BABY , the impersonal scientific sified by the snow falling outside the window in the activity represents a surface consciousness whose background of the image. Irena's hand rises to the order depends on ignorance or rejection of the doorknob; the panther's cry comes through the potentially chaotic world of unconscious forces and night from the zoo; her hand draws back. Again , instincts; and , like Professor Grant, Oliver is involved Tourneur 's reticent style is crucial to the effect of with two girls, one who shares his work (it's nice the scene: a single, static shot, the camera at some that in both films she is called Alice) and one who distance from Irena at right of the screen , so that embodies exactly those drives that threaten the the darkness of the room behind her, the falling surface order. But whereas Katharine Hepburn was snow beyond the window in the left background , content to own a leopard , Irena actually turns into the distant, disturbing wail-all make, unforced, their contributions. The next scene shows another of Irena's obses- 66 SUMMER 1972

sive visits to the panther's cage and her dialogue THE CAT PEOPLE. Elizabeth Dunne and Jane Randolph . with the keeper who , in response to her remarks about the panther's beauty, insists upon its ugliness THE CAT PEOPLE. Kent Smith. Jane Randolph and Alan Napier. and refers her to the Book of Revelations and the I WALKED WITH A ZOMBIE . Fran ces Dee. worst \" Beast \" of them all which was \" like unto a leopard .\" The image of the snarling animal suggests both its beauty and its cruelty. The door that sepa- rated Irena from Oliver is paralleled by the cage that separates her from the panther: divided between two worlds , she is barred from access to either. The idea is taken up in the closing quotation-genuine, this time-from Donne 's Holy Sonnet V: \" But black sin hath condemn 'd to endless night/ My world , both parts , and both parts must die. \" From this we are moved back to Irena 's apart- ment . The sequence opens with an image that beautifully links what has gone before with what is to come: the painting of a black panther on a screen , over which fall the shadow of the cage of the bird Oliver has given Irena. The image provides a visual link with the previous scene, taking up the \" caged panther\" motif, and connects the panther with the bird . From this the camera moves back to take in Irena at her drawing-board , connecting her with the pantherI bird image where cutting would have sepa- rated. She is working at a slick , commonplace fash- ion design , the image again suggesting the op- position between surface consciousness and unconscious forces . Irena stands back, and gives a little stretch , slightly drawing up her shoulders and curling her fingers, like a cat. Then she moves to the bird-cage , opens it, tries to take the bird in her hand. The bird flutters in wild hysteria , and an ambiguous smile comes on Irena's face : tender or sadistic? The bird dies of shock. The sequence ends with a long-shot of Irena standing desolate with the bird in her hand. In the foreground is the model of a ship , reminding us of Oliver and his work , balancing the expression of Irena's mysterious, suppressed nature with the idea of conscious con- trol. There follows the scene where Irena takes the dead bird to the zoo and th rows it to the caged panther, an action that crystallizes for us the ambi- guity of her relationship to the beast. Most obviously (since Irena herself , at moments of crisis , assumes its form) it represents her alter ego . Yet it was emphasized earlier that it is a male panther; we may see it as an alternative potential mate to whom she is taking food , and the point is strengthened by the fact that the bird was originally a gift from Oliver. The action also suggests an act of propitiation , with the panther as some kind of dark god which Irena must appease with an offering . Almost wherever one looks in the film one finds a similar accumulation of suggestive detail. The sequences of Irena's pursuit of Alice at night, and its aftermath , are particularly rich . Alice is alone in the draftsmen 's office; Irena phones to ascertain that she is there , without herself speaking . The images of the two women , each with the receiver in hand , are very exactly balanced . Alice is lit from below by an illuminated table used for design work , FILM COMMENT 67

I WALKED WITH A ZOMBIE . Christine Gordon and Frances Dee. Irena by a table-lamp. Beside Irena is the statue of King John of Serbia holding a speared panther aloft I WALKED WITH A ZOMBIE. Christine Gordon , Frances Dee and Darby Jones. on his lance ; beside Alice is a gentle domestic cat I WALKED WITH A ZOMBIE. Tom Conway. (called John Paul Jones) . The sequence of the pursuit is a locus classicus of unnerving effects 68 SUMMER 1972 achieved with the utmost reticence and simplicity of means: movement, rhythmic editing , lighting, culminating in the film 's one \" shock \" effect-the more startling for being unique-as the bus slides into the frame with a loud hissing noise just at the moment we expect the unseen panther to spring . This is followed by the shot of the dead , savaged sheep on which Irena has vented her animal fury (when we next see the panther , there is a leg of lam b in its cage!) , with paw-marks deep in the mud ; then by the simple, magical tracking-shot along the sidewalk as the paw-marks change , step by step , into the marks of high-heeled shoes and we see Irena walking slowly away, dazed-the juxtaposition recalling that of the panther-painting and the fashion sketch in her apartment. Later , when Irena . has returned home, we see the base of her bathtub, resting on a foot shaped like an animal 's claw , and the camera moves up to show Irena above, sitting in the bath , weeping , the unbroken camera-move- ment connecting her to the claw-foot, subtly under- lining our sense of her divided self and of her poignant helplessness. There follows the brief sequence of Irena's dream, one of the finest dream sequences in the cinema because so packed , complex and suggestive. Black panther shapes move outward gracefully and omin- ously toward the camera. From behind them emerges what at first appears to be an erect pan- ther-figure but then reveals itself as Dr. Judd , the psychiatrist, dressed in chain-mail as King John the avenger. It was Judd who , earlier, at the zoo , brought to consciousness Irena's desire to steal the key of the panther 's cage. In the dream , his sword becomes the key, and she wakes up knowing she must steal it. The dream is rich in ambiguities which relate to the role Judd plays but are characteristic of the manner of the whole film , at once concrete and mysterious, always eluding clear-cut definition. Judd is ostensibly the doctor whose job it is to banish Irena 's irrational fears , but he is also another potential mate . Therefore , in the dream he is both panther and avenging knight; he carries the sword which should destroy the panther but it becomes the key that will release it. The sword is also , of course associated with the blade inside his cane which later transfixes Irena. Yet his identification with King John is always at least half-ironic: if he eventually kills the panther , he is also destroyed by it. The dream , in drawing together so many threads , concisely embodies the film 's sense of life itself as a shadow-world in which nothing is certain , no issue is clear-cut , nothing is what it seems . The film's attitude to psychology is also very interesting . Com- ing somewhat in the vanguard of Hollywood 's belat- ed discovery of Freud as a subject for more than party jokes in the Forties (it antedates Hitchock 's SPELLBOUND and Lang's SECRET BEYOND THE DOOR by several years), it suggests the possibility of psy-

chological interpretation while regarding such inter- evokes memories of the sidewalk pursuit in CAT pretation with a healthy skepticism . PEOPLE ; there is a similar delicacy and simplicity. The women 's movement is filmed mostly in medium- I am glad to find that Tourneur (in an interview long-shot, often with foliage intervening between in Positif, No .132) considers I WALKED WITH A ZOMBIE characters and camera; and the various sinister the finer film of the two and , with STARS IN MY CROWN details en route, signposting the way, are introduced and OUT OF THE PAST , one of his three best movies. without over-emphasis, the entire sequence being He also claims it as (again with STARS IN MY CROWN , notable for a total absence of music (until the which I have not been able to see) one of the only voodoo drums become audible through the night). two of his films which he has been in on right from Especially characteristic is the introduction of the the original conception . Though Tourneur's claim giant Negro at the cross-roads : the camera follows that he had the idea of doing \" Jane Eyre in the West the light from Betsy 's torch as it moves forward Indies\" is contradicted by DeWitt Bodeen (in Films along the ground, until it suddenly encounters a in Review, April 1963), who says the idea was Lew- dark foot. There is no shock-cut, no crashing chord ; ton 's, it doesn 't finally matter. It is clear from the the frisson arises from the simple process of discov- way Tourneur talks about ZOMBIE that he regards ery , without underlining . The sequence, recalling it as one of his most personal works , and this is others like it in this and other Tourneur movies , is certainly confirmed by the film itself. unlike the work of any other American director I can think of. The director it evokes , for me , irresist- Tourneur's style , and the natural way it associates ibly, is Mizoguchi-the Mizoguchi of Ugetsu . with Lewton 's taste and intelligence, can be fittingly illustrated by ZOMBIE ' S most celebrated atmospheric The theme of \" clean , decent-thinking \" North set-piece: the scene in which Betsy, the Canadian Americans impinged upon by disturbing outside nurse (Frances Dee) , takes her patient to a nocturnal forces-or of the relationship between the day-world voodoo meeting in a desperate attempt to cure her. and the night-world-is handled more subtly and The sequence is introduced by a medium -long-shot comple xly in ZOMBIE than in CAT PEOPLE . Leaving from a medium-low angle , of an unnaturally tall , aside for a moment the film 's supernatural elements, gaunt Negro standing in the shadowy moonlight at consider the use Tourneur makes of the calypso a cross-roads in the middle of the cane-fields . We singer, Sir Lancelot. Through black / white opposi- don't know at this point who he is or what he is tions playa characteristically ambiguous part in the doing there; the image has a dream-like quality-in- poetic texture of the film, the racial issue never explicable , haunting , beautiful and sinister. It becomes a dominant theme. It is, however, touched creates unease without any suggestion of a shock upon , and has its relevance in the pattern of associ- effect. It also perhaps gives us a sense that the ations the film sets up: voodoo-dark ness-the sub- journey to the voodoo meeting is a journey into conscious; zombie-ism-emotional paralysis-spiri- dream. tual death ; psychological repression-slavery-the continuing resentment of the black people towards The women 's departure is shown in a camera the whites. movement that spatially connects the central char- acters. We see the front of the house from a medi- Tourneur in the Positif interview expresses satis- um-shot position , the foreground of the screen in faction in the fact that he has always treated Negroes darkness, with the foliage of the garden suggesting with respect in his films, taking a stand against the the night world beyond the safety of the lighted pervasive tendency to restrict them to undignified house; the half-brothers, Paul (Tom Conway) and roles ; and his satisfaction is certainly justified . There Wesley (James Ellison) , are disclosed in turn , the can 't be many Hollywood movies of the early Forties former working , the latter drinking , in separate parts in which a colored character is permitted to make of the building. As the camera turns , the two women , sly, malicious fun of whites who are neither comic in distant long-shot, emerge from the door leading nor villainous-with the film's at least partial en- to the tower where Paul's invalid wife is kept , and dorsement-and get away with it. One could, I think , the camera follows them , still keeping its distance, find Tourneur's use of Sir Lancelot more accept- as they move away from the possibility of male able , in its unobtrusive way , than the pious (hence protection and towards the darkness and (we pre- insidiously condescending) treatment of blacks in sume) that strange, enigmatic, dominating figure. the later Forties movies that began to handle racial The shot combines all the functions of long-shot! issues explicitly. camera-movement style: it connects different lives being lived separately but simultaneously. By plac- The end of the sequence in which Sir Lancelot ing the characters in an environment (where close- appears draws together several threads of the film . up would detach them from it), it enhances the As the singer approaches Betsy and the uncon- atmospheric qualities of the scene; by keeping dif- scious Wesley (he has drunk himself to sleep at the ferent characters in our minds simultaneously; and table) out of the darkness in a slow , threatening by preserving physical distance , it also encourages advance, singing his insultingly personal calypso , a certain emotional distance. We never become he becomes associated with the mysterious , dis- identified with Betsy or her actions, hence are free turbing forces by which Betsy feels herself menaced. to consider their implications judicially. Yet the fact that, previously, his dignity, intelligence and irony have engaged our sympathy serves to The ensuing progress through the cane fields detach us further from Betsy; we cannot simply share her awareness of him as a threat. Although , FILM COMMENT 69

obviously , she is the heroine of the film , our con- the birth of her sister's child ; for the tradition has sciousness of the overall action is never limited to been handed down through generations of slaves her point of view. that one mourns birth , rejoices at death . The superiority of I WALKED WITH A ZOMBIE over Uncertainty, ambiguity, the reversal of expecta- THE CAT PEOPLE is primarily one of structure: of-in tions, pervade every aspect of the film. Who is so far as the distinction is possible-poetic structure responsible for Jessica's state? Betsy's lover, Wesley, rather than narrative structure. The linear progres- with whom she was about to run away? Her husband , sion of the earlier film , the development of its story, Paul , who (according to Wesley-and Paul 's treat- leaves nothing to be desired ; but in ZOMBIE the ment of Betsy offers some confirmation) destroys all poetic resonances, the suggestive ambiguities and sense of beauty, all feeling for life? Their mother, uncertainties, are more meaningfully organized . It Mrs. Rand , who believes herself responsible for is by no means a matter of explaining , resolving or Jessica's being a zombie, deadening spontaneous simplifying them-if anything, the contrary. In CAT instinct to preserve family unity? What is Betsy's real PEOPLE the opposition between the \" day\" charac- motive for persuading Paul to give permission for ters and the \" night\" world remains clear-cut. Only Jessica to have insulin shock treatment (which the Oliver's attraction to Irena implicates him in the doctor warns may kill her), or, later, for taking her mysterious urges she embodies; he never reveals to the voodoo meeting ? Does she (already in love anything corresponding to them within himself. But with Paul) want to cure Jessica (as she clearly in ZOMBIE such barriers are dissolved . The night- believe she does) or to kill her? She is , in Paul 's world pervades everything and implicates everyone, words, the \" nurse who 's afraid of the dark\": which even Betsy. To analyse the film is but to define its means, in the terms suggested by the film , afraid ambiguities . of her own subconscious. At its center are two related figures : T-Misery and I remember, during my first viewing of the film , Carrefour. T-Misery is the name the blacks give to at the end of the \" insulin \" sequence , thinking , \" But the figurehead (now a statue in the garden , stream- don 't Tourneur and Lewton realize that Betsy prob- ing with water like tears) from the boat that brought ably wanted Jessica to die? \" -as she and Paul are the first slaves . He is himself an ambiguous figure , expressing their dissappointment that the treatment fusing the film's oppositions. All stuck with arrows, has had no effect. At which precise moment Wesley he is St . Sebastian , the Christian martyr; yet he is stepped out of the shadows and accused them of also unmistakably negroid , and to the blacks the just that. Which shows how one can still underesti- embodiment of slavery. Carrefour, the guardian of mate the possible subtleties of an unassuming little the cross-roads, bears a striking facial resemblance Hollywood thriller. The ambiguities come nearest to to him. He is a zombie , and , as his name suggests , explicitness in the revelation of Mrs. Rand 's involve- the intermediary between the two worlds, the mes- ment with voodoo . Is she Christianizing voodoo or senger the night-world sends to claim its dues. voodooizing Christianity (\"I should have known there's no easy way to do good , Betsy\")? The clue to reading the film is given us in Paul 's speech on the boat that brings Betsy to the island The shadows and half-lights of the film 's haunting (itself called St. Sebastian). He tells her that the atmospheric quality are in fact but the expression beauty she is admiring is illusory, the phospho- of its moral and spiritual world , in which nothing rescence that makes the ocean seem alive is pro- is fi xed or certain, nothing is as it seems: a world duced by a myriad of dead and decomposing crea- subtly dominated by the subconscious, a world of tures , she is coming to a world where nothing is shadows in which we can do no more than cau- what it seems. By the end of the film everything has tiously and hesitantly grope. The last, magical , se- proved to the other than what it seemed-even the quence of the film beautifully and movingly unifies motives of clean , decent-thinking Betsy herself. many of its poetic motifs. The emotional paralysis that deadens the lives of the characters is dissipated The quiet , intense poetry of the film is evident not by the exercise of conscious reason but by a in the scene of Betsy's first encounter with her cathartic gesture activated by the subconscious: patient, Jessica. It opens with a shot of T-Misery, Wesley at last kills Jessica, and then himself. He and with the sound of weeping (seeming at first, kills her by driving through her heart an arrow disturbingly, to emanate from the statue) which plucked from T-Misery; his actions are subcon- awakens Betsy. She crosses the courtyard to the sciously induced by voodoo He carries her body tower door, from which the crying is issuing . When out into the sea, which in Paul 's speech on the boat she has climbed the stairs she is pursued by Jessica, became an embodiment of simultaneous beauty and unnaturally tall and gaunt, moving like a sleep- horror, and drowns himself. As he carries her down walker. The heroine threatened by a sinister figure- the shore , he is followed by Carrefour , arms out- yet Betsy is in black , Jessica in white . stretched ; and it is Carrefour who bears Jessica 's body back to the house when it is retrieved by This poetic ambiguity is developed in the cane fishermen , at night , their spears and torches adding fields sequence , where each woman is given a lace a visual poetry to the poetry inherent in the ideas. badge that will allow her to be ' 'passed \" by Carrefou r The film ends with a track-in on T-Misery. I WALKED and will gain her admittance to the voodoo meeting; WITH A ZOMBIE is a small masterpiece-perhaps the Betsy, in black , has a white badge (which catches , most delicate poetic fantasy in the American cinema . unnoticed , on the foliage as they push their way through) , Jessica, a black , in white . The weeping 11111111 is subsequently explained . It was the maid mourning 70 SUMMER 1972

sII~I war film (BATTLE HYMN, A TIME TO LOVE AND A TIME TO DIE) and one pardonable lapse for June Allyson 's michael INTERLUDE w ith Rosanno Brazzi. mcKegney on The four films which seem to me fully realized Imirarion of li~ masterpieces, however, are ALL THAT HEAVEN ALLOWS , WRITTEN ON THE WIND , THE TARNISHED ANGELS Michael McKegney works in the library at Pace and IMITATION OF LIFE . Of these WRITTEN ON THE WIND College, and has written for Film Heritage and The is probably the greatest, but IMITATION OF LIFE is Village Voice. surely the most complex and endlessly fascinating in its chronicle of two families , of five lives inextrica- The appearance of a recent issue of a prestigious bly entwined from their first meeting on the beach film magazine, Screen (Summer 1971 ), devoted en- at Coney Island in the summer of 1947 to their last tirely to the work of Douglas Sirk suggests that the on the street outside a Brooklyn church on a ra iny time has come to cease our apologies for an under- day in 1957 when one of them will be buried . Pace ground cult and proclaim our admiration for a great Andrew Sarris, the drama that develops between artist. Until now, the lack of serious commentary these two scenes is essentially serious . on Sirk in English has left the curious film student with little to guide him except a brief essay by Who can forget that open ing shot of Lora Mere- Andrew Sarris in his The American Cinema , who dith-looking like a lost child herself-wandering ranks him just below the Pantheon in importance. along the boardwalk searching for her little daughter Sarris deserves our thanks for drawing attention to Susie? First she meets Steve Archer, a freelance Sirk 's merits at a t ime when few of us were aware photographer struck by the image of a \" mother in of his exi stence , but the essay is not likely to w in distress.\" Then she finds Susie at play with Sarah converts from the ranks of the skeptical. Lim ited Jane Johnson and her mother Annie. Swiftly Sirk by considerations of space to a few abstract and establishes Lora's immaturity, Susie's innocence, generalized comments, Sarris becomes downright Annie's self-sacrificing character, Sarah Jane's misleading when he says that \" where John Stahl alienation from her mother and her Negro race, and transcended the lachrymose dramas of IMITATION OF Steve's sincere concern for their welfare. These LIFE and MAGNIFICENT OBSESSION through the force qualities remain constant through the paSSing of ten of his naive sincerity, Sirk transformed the same years and the movement from small Brooklyn apart- plots into hilarious comedies through the incisive- ment to lu x urious suburban house , and thereby the ness of his dark humor.\" Despite an unmistakable film suggests that we never grow up but merely grow undercurrent of Sirkian irony, the plots of these films older. Immaturity gradually turns to self-centered are such that if they are \" hilarious comedies \" then am bition , innocence to naivete , self-sacrifice to mas- they are clearly nothing at all , and the suspicion ochism and alienation to self-destructiveness as his arises that our director is being (albeit reluctantly) characters pursue their impossible dreams and consigned to camp . There is no reason to contend magnificent obsessions only to find themselves that Sirk is laughing at his material , even if the trapped by the rules of life and art. climate in New York intellectual circles is admittedly inhospitable to consideration of an artist who made Lora and Sara Jane are alike in their restless his home in the Universal universe of Ross Hunter discontent; Annie , Susie and Steve in their sweet and Albert Zugsmith . submissive natures. Lora gives Susie everything except the love she lavishes on the stage, while Sirk's early work is still too little known for reliable Annie loves Sarah Jane but cannot comprehend her judgment, but the most important phase of his needs. Susie imagines herself in love with Steve, career can be traced forward from black comedies much as her mother does with David Edwards. like WEEKEND WITH FATHER and NO ROOM FOR THE Sarah Jane wishes that Lora were her mother while GROOM thru melodramas such as ALL I DESIRE, MAG- NIFICENT OBSESSION and THERE 'S ALWAYS TOMORROW, Susie must turn to Annie for maternal affection. Thus pausing along the way to acknowledge his felicitous we have two mothers who behave quite differently encounters with the musical (HAS ANYBODY SEEN MY and yet both end up failing their children ; meanwhile GAL?) and the costume spectacle (CAPTAIN LIGHT- their equally dissimilar daughters are both hurt in FOOT), his valiant but unsuccessful efforts with the attempting to give life to their illusions. When Lora comes to Susie's graduation wearing blue-tinted glasses, our mind 's eye flashes an image of the blind Helen Phillips (Jane Wyman ) in MAGNIFICENT OBSES- SION . Lora 's \" blindness \" is of course metaphorical like that of everyone else in IMITATION OF LIFE-indeed like that of most Sirkian characters, shadowy figures who grope their way to destiny with only brief mo- ments of lucidity . Such a moment is achieved by Annie Johnson when she admits to Sarah Jane that \" nobody's all right or all wrong \" after discovering her daughter at work in Harry 's Club rather than the library. The film reminds us that understanding comes only from the painful experience of life, and that by then it is usually too late to make amends . FILM COMMENT 71

IMITATION Sarah Jane runs off, leaving her mother to collapse LIFE are more firmly rooted in the social reality of OF LIFE. and weep on a stairway with the bannister framing a specific time and place. Its unsparing vision of her face like the bars of a prison. hypocrisy, loneliness and despair in bright images Sandra Dee of sh iny objects is clearly intended as a repre- and Sirk consistently has characters speak their lines sentation of America in the 1950s. Lora 's house- in such a way as to bring out hidden meanings and never fully paid for-seems to discourage communi- Lana Turner. motivations, as when Annie remarks with pride in cation with spatial and architectural barriers, and phot os : her voice that \" Sarah Jane favors her daddy. He Sirk ex ploits its coldness and emptiness to suggest was almost white! \" or when little Sarah Jane (haunt- the quality of its inhabitants ' lives without lapsing Museum of ingly played as a child by Karen Dicker) stares Modern Art/ straight ahead and mechanically entones \" no ainto self-indulgence la Antonioni . place \" after being asked where she lives. Later on Film Stills (sensually incarnated as an adolescent by Susan Like many European artists, Sirk had ambivalent Archive. Kohner) this same Sarah Jane will use the same feelings about the peculiar blend of innocence and consciously dramatic tone to announce \" I've been corruption , materialism and generosity he found in out with my boyfriend!\" that Lora uses when pro- the New World , and IMITATION OF LIFE is his bitter claiming her intention to climb \" up and up and up\" but sympathetic farewell to a land where the inces- on the ladder of theatrical success. Sirk's direction sant pursuit of happiness leads to disillusionment thus constitutes an analysis of the script and the and death. Indeed, the movie's remarkable candor composition of an original text beneath the surface about our racial double-standards may be underes- of the plot. He exercises a precise control over both timated in an age of rhetorical overkill. The fact players and camera toward the steady accumulation remains that Sarah Jane Johnson is beaten up by of nuances within a unified conceptual framework. her boyfriend and fired from at least one job simply IMITATION OF LIFE is his most objective work , and because of her race , and America is shown to make only faithful Steve Archer seems to escape the room for her black citizens most readily in kitchens director 's criticism. Only he is without illusions and and dressing rooms, her high life only glimpsed from consequently only he is never shown within one of back doors and back alleys. Likewise Sirk 's obvious the myriad mirrors which define and limit the world adoration of Annie Johnson does not prevent him of the film-lucid media of directorial irony, impartial from extending a measure of compassion to the reflectors of truth and falsehood, frames within daughter who refuses to acknowledge her kinship. frames which suggest and deny the possibility of another life, multiplying unreality to infinity, encour- If Sarah Jane's performances at Harry's Club and aging emotional detachment in the audience. the Moulin Rouge are unconscious parodies of the desperate gaiety which she sees around her and When playwright David Edwards is left alone with seeks to emulate, they also constitute a grotesque his new protegee Lora after her first opening night, reflection of Lora's stage appearances. Lora playing he takes her to the window of his apartment and the part of a social worker is hardly less ironic than shows her \" ... your new empire,\" pointing down Sarah Jane singing \" the loneliest word I've heard at the familiar bright lights of Broadway. Compared of is 'empty '. \" Lora 's career , like Sarah Jane 's, is with the enclosed dreamworld of WRITTEN ON THE built on deception from the moment she walks into WIND-a Texas-Florida of the imagination wherein the office of theatrical agent Allan Loomis to the melodrama attains the force and stature of Eliza- moment she parts company with her play- bethan tragedy-the stylized settings in IMITATION OF wright-paramour David Edwards. Edwards' sancti- monious hypocrisy and Loomis' relatively frank cynicism (a superb cameo by Robert Aida) epitomize the falseness and superficiality of the world to which Lora devotes herself, an eerie half-real world of furs and jewelry, laughter and applause, parties and pretense. Here Sirk (together with his screenwriters Eleanore Griffin and Allan Scott) departs from the plot of Fannie Hurst's 1933 novel and John Stahl 'S 1934 movie, drawing on years of experience in Berlin and Hollywood to depict the theatrical mi- lieu he knew so well. Note the way actors and audience are visually equated in a montage of overlapping shots record- ing Lora's rise to stardom , and the way Edwards performs a \" theatrical gesture\" when he throws a script into the fire as if it were the only copy , and the way Lora pauses briefly to adjust her appearance and adopt a \" pose\" before entering Loomis' office. Clearly IMITATION OF LIFE , no less than THE GOLDEN COACH or HELLER IN PINK TIGHTS , raises the question of where theater ends and life begins. Sirk 's heroine illustrates the problem by the man- 72 SUMMER 1972

nered behavior she carries from stage and screen traced in IMITATION OF LIFE reach a culmination in IMITATION to home and family , but she fails to recognize it OF LIFE. until Susie finally begs her to \" stop acting \" after the scene of Annie Johnson 's funeral , and I cannot Karen Dicker, Lora has renounced Steve Archer for the third time! Juanita Moore, It is not surprising that Sirk looks upon both charac- close without mentioning this extraordinary finale . Terry Burnham ter and actress with affectionate irony (and here it and must be acknowledged that, for all the jokes made As described by Annie on her deathbed (\" ... a Lana Turn er. about her, Lana Turner is ideally cast as Lora Meredith), for has not the director mannerisms of white coffin pulled by white horses ... like I was his own , and has not his life likewise been motivated by a passion for the theater? The theater , after all , goin ' to glory.\") it functions as yet another form of is merely an intensification of the human condition , and perhaps Sirk is saying that an imitation of life theatrical illusion ; as reali zed on the screen it be- is all we can ever hope to achieve . comes an apocalyptic fantasy of the Fifties zeitgeist . From Lora's stage-like house to her ever-chang- ing wardrobe, from multicolored gems floating down As we in the audience look on together with the under the credits to a riotously colorful funeral pageant at the close , IMITATION OF LIFE is a movie silent crowds who line the streets, the principal which revels in the very artifice it mocks , and few of its scenes are lacking in Pirandellian reverber- characters are brought together for one last time ations. The influence of Brecht (with whom Sirk had come in contact in Germany during the Thirties) and all the pain and suffering in the world is dis- asserts itself in lighting , staging and music used to heighten formal awareness at moments of emotional solved away in their tears . In one shot the camera excitement, in Russell Metty's extravagant imagery reinforced by the string-piano-choral climaxes of looks out at the street procession from behind the Frank Skinner's exquisite score. Thus the red fire hydrant and Christmas tree sign dominating the frosted windowpane of an antique shop , as if the screen when Sarah Jane runs into the snowy street to escape the eyes of her classmates after her spectacle were already somehow receding into the mother visits her at sch o ol. Thus the circular pattern of a metal screen used at different times to \" frame \" past. The passing of Annie Johnson represents the first Lora (when she accepts the movie role which necessitates her leaving Steve and Susie once death of community, of innocence and illusion , of again) and then Sarah Jane (when she parodies her mother by putting on an Aunt Jemima act in front the Christian ideal and the American dream. It is of Lora's guests). Thus the window framing Susie's shocked expression as she looks down at her at least poetically just that this farewell to an era mother kissing Steve outside the house, and the lighted hallway framing Steve against the cold dark should also be Sirk's farewell to the cinema. Visually night after Lora has first left him , and the flaming red candle and theatrical masks on a purple wall ravishing , it lacks any sense of spiritual transcen- surrounding Sarah Jane when she does her number at Harry 's. dence-of what Bazin and Truffaut call \" the share Between them Sirk and Metty perform experi- of God\"-as it constitutes the testament of an artist ments with color and texture which make RED DESERT and JULIET OF THE SPIRITS look awkwardly for whom beauty was the only religion . 11111111 amateurish . But how to convey the Sirkian style in words? How to do justice to these elegant sardonic IMITATION OF LIFE images in which things ex ist less for their own sake than to be observed by us , in which commonplace 1959, Universal, 124 minutes. Distributed in 16mm movements take on the quality of a sin ister ballet, in which people can be reduced to objects (the by Cine-Craft Co ., \" The \" Film Center , Universal 16, contrast between Lora and Annie is on one level that between Lana Turner's cold brittle whiteness Wholesome Film Center. Director Douglas Sirk; pro- and Juanita Moore's soft brown warmth) and objects brought to life while seductive shadows hold the ducer Ross Hunter; screenplay Eleanore Griffin and threat and promise of oblivion? Sirk's esthetic weds the materialism of Resnais to the sensuousness of Allan Scott; based on the novel by Fannie Hurst; Sternberg ; his sensibility unites the propellent pas- sion of Minnelli with the cruel intelligence of Losey. photography Russell Metty. The various thematic and stylistic patterns I have CAST Lana Turner Lora Meredith John Gavin Steve Archer Sandra Dee Susie Meredith (at Six teen) Susan Kohner Sarah Jane Johnson (at eighteen) Juanita Moore Annie Johnson Dan O 'Herlihy Da vid Edwards Robert Aida Allan Loomis FILM COMMENT 73

CRITICS it often seemed , more entranced with the 1939. ) MADE FOR EACH OTHER was bal- review than with the film . In 1934 Nugent anced in its execution ; and its aim , for FRANK S. NUGENT was made Sennwald 's assistant; in 1936, Nugent, was to show common experi- by Bruce Henstell Sennwald , despondent over encroaching ences conveying common, emotional, blindness, committed suicide, and Nu- human values . Nugent saw MADE FOR Bruce Henstell, a staff member of the gent was named his temporary replace- EACH OTHER , a modest work , creating and ment; months later, the city desk informed satisfying a very human appetite-the American Film Institute 's Center for Ad- him the appointment was permanent. The need for meaning . vanced Film Studies, is co-author (with well-springs of Nugent's great love for Stanley Kauffmann) of American Film film are obscure. However, between 1934 Nugent said of an ambitious failure : \" A Criticism , to be published by Liveright. and 1940, when he left for Hollywood , he tragedy , to be fully effective , must have wrote over a thousand individual pieces meaning ... We had a right to expect a Frank S. Nugent's niche in film history including a regular Sunday \" think \" piece. worthy summation , a conclusion that is secure. His work with John Ford , from would have given depth and significance FORT APACHE through the superlative THE Writing in a light, breezy style well to what we have been seeing . THE MYSTIC SEARCHERS , elevates him to the front-rank adapted to the requirements of a news- MOUNTAIN , in failing to provide one , be- of writer-director teams: Ford and Ni- paper reviewer, Nugent managed to c omes merely an evanescent record of chols , Capra and Riskin , Furthman and avoid being cute and chatty. Frequently Hawks. The impending explosion of his reviews revolved around a witticism an isolated tragedy that befell some re- books on screenwriters can be expected which was , more often than not, a pun . mote person on the other side of the to illuminate further the dimensions of his His humor was always broad : \" The pons world . . . A proper motion picture should accomplishment. Less known and appre- asinorum , the equine parado x, the be something more than surface enter- ciated is his career as a film critic . From edification of electricity, the explanation tainment .\" (March 31 , 1936.) Execution 1934 to 1940-and, after 1936, as editor- of the Mona Lisa smile are nothing, abso- required a balance of story. charac- Nugent was the film critic of The New lutely nothing , compared to the great terization , camera , staging; the total de- York Times. The sensitivity of his judg- Norwegian riddle-what to do with Sonia termined the emotional impact. Imbal- ments establish him as a first-rate critic , Henie?\" (September 10, 1938.) His puns ance reduced a tragedy (THE MYSTIC certainly the most important ever to have could be egregious : \" There is a noticea- MOUNTAIN ) to \" surface entertainment. \" In written for the Times. And among the ble air of restraint in the new this case the story development was motley group that acted at various times film ... which is contrary to the De Mille flawed-the lack of a \" worthy summa- both as critics and as screenwriters , cer- philosophy of picture making . .. almost tion \" -and failed to satisfy the expecta- tainly Nugent was far and away the most enough to impel us to shout that the De- tions demanded by the weighty use of distinguished . Millennium has come.\" (February 17, other elements . The result is that the film 1938.) He was perfectly capable of the failed to rise above the particular, to the Nugent was born in New York City in cardinal sin of writing a review for the realm of experiences \" common to most 1908 and attended St. Regis High School. punch line. of us .\" Upon graduation from Columbia and the School of Journalism , he joined the Times Nugent undoubtedly thought of him- In Hollywood film of the Thirties the as a police and general assignment re- self less as a critic than as a reporter- element most frequently the source of porter on the city desk. He reported on reviewer. He never developed coherent, imbalance was the star. The star vehicle such cases as the Lindbergh kidnapping explicit critical politique . He often was a film in which , to Nugent, only and quickly established his credentials as explained that his reviews were merely \" character supports the drama,\" as Nu- a reporter . He also served as a summer his opinion . His yearly protestations gent complained of Bette Davis and JEZE- fill-in on the movie desk. This was a against the traditional \" 10 Best\" lists was BEL. The fault could be remedied but in self-administered department, directed genuine and indicative of his attitude : JEZEBEL and others like it the by its editor who bore the title \" film crit- \" We do not claim infallibility or the pos- screenwriters and the director had failed ic .\" The film critic was responsible for session of any rigid set of standards by to provide , as Nugent put it, \" character both assignments and the department's which films may be accurately measured . shadings\" -variety, tone, acting that layout, including three pages in the Sun- The list is primarily a 'one man ' s opinion ' made a comment. The star system was day edition . The smaller staff, the close- and we have no hesitancy in declaring a fact of movie life which Nugent at best ness of the men working it, and its our personal dissatisfaction with it. \" tolerated . Often he jabbed at it satirically , independence allowed a young writer to (January 1, 1939.) And yet , while not as in his well-known snipes at Tyrone break out faster, to graduate to opinion acknowledging them , Nugent had well Power. Still, acting did matter to Nugent, pieces and important interviews. thought-out feelings and ideas of what especially when it transcended the trap- film was about. His concern was with a pings of the star system which so distort- In 1934, while Nugent was still new to film 's balance , in form and content. His ed it. \" Miss Stanwyck 's portrayal is the desk, Andre Sennwald replaced Mor- criticism was , in a sense , tradition . Few courageous as it is fine . Ignoring the daunt Hall as film critic. Sennwald was critics explored this almost Aristotelian flattery of make-up men and camera , she 28 at the time he was made editor. He balance and proportion in film as fully , plays Stella as Mrs. Pouty drew her- was more an essayist than a critic and , or with as sharp a sense for balance in coarse, cheap, common , given to sleasy a cultural conte xt, as Nugent did. dresses . .. and yet magnificent as a mother.\" (STELLA DALLAS , August 6, In his 1939 roundup , Nugent wrote , 1 9 3 7 .) of MADE FOR EACH OTHER : \" We remember it not as a great picture , but as a very The story was, for Nugent, the organ- human picture, with a panel of characters izing principle around which were clus- who behaved normally, underwent nor- tered all the other effects of the film mal experiences common to most of us medium . Nugent was conservative in his and emerged from them probably no sense of story, preferring a syllogistic pro- wiser than they were before . It wasn 't gression of plot. And the clearer the bet- epochal and it wasn 't especially enlight- ter: \" What we always say is that it is more ening , but it was real and honest and we fun usually when we know what the au- enjoyed it thoroughly .\" (December 31 , thor 's driving at. \" (September 30 , 1939.) He felt uneasy with the use of mood or 74 SUMMER 1972

feeling to creating anticipation , as in his the late Thirties Nugent had not been may be filled with what everyone calls comment on PORT OF SHADOWS (and here especially charitable to 20th Century-Fox Nugent means , by \" patron ,\" himself): and , in a famous episode , Zanuck can- 'hurrying humanity.' But inside the celled Fo x advertising in the Times . In a ... what the new theatre 's patrons rev iew of THE STOR Y OF ALE XANDER GRAHAM theatre , and on its screen particularly, may th ink of it will depend ent irely upon BELL , Nugent had expressed relief that the patron himself. If he is willing to waive Tyrone Power wasn 't in it. After his glow- there are horses and lowing cattle and temporarily the requirements he usually ing review of THE GRAPES OF WRATH , how- makes: swift tempo, a tidy dovetailing of ever, Zanuck offered Nugent a position men with creaking high-heeled boots and plot, with the conflict clearly described in the writing department of the studio . and resolved and all the little plus and Zanuck, so the general interpretation sagging revolver belts. And there are minus marks coming out even , he should runs , bought Nugent off, and Nugent's find it one of the most engrossing and subsequent dissatisfaction with the job villains to be foiled and a winsome lass provacative films of the season . If he is helped maintain the rumor that Zanuck's unwilling to check his customary yard- sole purpose had been to make life mis- to be won ... \" (February 22 , 1935.) stick at the gate, he cannot avoid being erable for the film critic of The New York confused and disappointed by a story Times. The incident is well-known. Westerns , biographies as well , ex- that is not a story at all , but is a sad philosophy, a conjecture of mood, with But it doesn 't ring true . Zanuck wasn 't pressed for Nugent-and Ford-a ro- a conclusion that simply shrugs its Machiavellian enough to be concerned shoulders in the gloom and murmurs with buying Nugent, and Nugent wasn 't manticism that was life itself. Not the 'such is life .' And which is the proper stupid enough to be bought. Nugent was course? We refuse to answer, for there restless and looking for a change. He felt , \" feminine \" romance that Nugent found is no answer .\" (October 30 , 1939.) as have many critics before and since , that he could do at least as well as the in most boy-meets-girl fi lms : \" They are Whatever form it might take , story in moviemakers he was criticizing . Finally, the hands of the director had to be made it appears that Nunnally Johnson , a friend feminine in their eternal occupation with more than just interesting events: \" It of Nugent's, convinced him the offer was [GONE WITH THE WIND] is pure narrative , sincere . romance .\" Nugent relished a masculine as the novel was , rather than great drama , as the novel was not,\" Nugent What Nugent was to do at Fo x is the sentimentality: a longing for those who wrote . \" By that we would imply that you source of misunderstanding . He was not will leave it , not with the feeling you to be a screenwriter per se. He was to cleared paths , broke trails , and in the have undergone a profound personal ex- be a member of Zanuck 's brain-trust with perience, but with the warm and grateful the job of criticizing scripts and suggest- process created the sweep of history- remembrance of an interesting story ing changes. Contemporaries who knew beautifully told .\" (December 20, 1939.) Nugent add that he found screenwriting Juarez, Lincoln , the first cowboys and What made narrative a drama and conse- far more difficult than he had expected . quently a \" profound personal experi- Philip Dunne , high in the Fo x hierarchy , cavalrymen . In reviewing an unpreten- ence?\" A clue can be deduced from remembers nothing vindictive in manage- another comment, made about the direc- ment's treatment of Nugent but rather tious little film called OF HUMAN HEARTS , tor for whom Nugent would later write bemusement at the critic who found the eleven films: \" Its [THE GRAPES OF WRATH 'S] going tougher than it had appeared from Nugent had written what might be an greatness lies in many things , not all of behind a typewriter at the Times. Nugent them readily reducible to words . It is stayed at Fo x through the early Forties apologia for both himself and Ford: \" It difficult, for example , to discuss John working on a number of scripts but never Ford's direction except in pictorial terms . making a defi nite contribution to anyone. is curious in a way , that the story of the His employment of camera is reportage When he left, he worked briefly as story and editorial and dramatization by turns editor at Disney , for which he was far too backwoods family has not been done or all in one ... \" (January 25 , 1940.) sophisticated, and continued free-lance writing , mainly for The New York Times before . It is almost as though the histori- Drama for Nugent was a compendium Magazine and Good Housekeeping. of effects, each element of the film mir- ans had been blinded by the color of the roring , elaborating , commenting upon the Nugent met John Ford during his ten- basic human values arranged as story. ure at Fox. After the War, the writer frontier scouts, Indian fighters , and hunt- It was a director' s ability to make an planned an article concerning the making audience see and experience a great of THE FUGITIVE , Ford 's first film with ers and had forgotten that our wilderness deal through very little. Nugent saw this Merian C. Cooper. The article was not in FURY : \" elemental in its simplicity , [it] finished , although Nugent did eventually was not conquered by them , but by the is yet an encyclopedia of lynch law . It do one on Ford , entitled \" Hollywood 's permits us to study this great American Favorite Rebel \" (Saturday Evening Post, quiet, unassuming , common place folk institution from every angle and from July 23, 1949.) By then Ford and Nugent points of view provided by Mr. Lang 's were close friends and Nugent was given who made homes, ventured , endured , unquestionable camera genius .. his chance with FORT APACHE . (June 6, 1936.) And , on GRAND ILLUSION , and became the stanch backbone of a a film Nugent admired but felt uneasy Ford liked and admired Nugent for his with : \" So it becomes a story of escape, Irish temperament, exuberant nature and new nation . . . \" (February 18, 1938.) a metaphysical escape on de Boeldieu 's diligence as a researcher . Nugent also part, a tremendously exciting flesh and had long-held preference for Westerns: Nugent had admired Ford above all bone escape on the part of Marechal and \" This corner derives no small satisfaction Rosenthal. \" (September 13, 1938.) from the Westerns that occaSionally find others in a medium he felt was the direc- their way into the Broadway sector. Out- Nugent's years with the Times were side , the taxicabs may be making life tor ' s. He had said of STAGECOACH: \" In one rich , for film criticism and for himself. In miserable for pedestrians, and the streets superbly expansive gesture ... John Ford has swept aside ten years of artifice and talking compromise and made a mo- tion picture that sings a song of camera. It moves , and how beautifully it moves , across the plains of Old Arizona ... Here, in a sentence , is a movie of the old school, a genuine rib-thumper and a beautiful sight to see . .. His [Ford 's] atti- tude , if it spoke its mind , would be: 'All right, you know what's coming , but have you ever seen it done like this?' And once you 've swallowed your heart again , you ' ll have to say: 'No sir! Not like this! ' . .. This is one STAGECOACH that 's powered by a Ford.\" (March 3, 1939.) The collaboration between Ford and Nugent was model. Nugent prepared scenes and dialogue, detailed outlines and character sketches, often conferring with Ford each day. Ford, although not a writer, had an intuitive sense of drama and contributed much in these meetings . Nugent, for his part, had realized long before as a critic that Ford liked his dialogue tense and apt. His collaboration with Ford , however, was only the height of a career that began with an illustrious accomplishment as a critic. Nugent, who died on January 5, 1966, was a man who gave much to American film , not least the love of its movement and emotion. 11111111 FILM COMMENT 75

BOOKS Despite its very few primary sou rces , Solid as Armes ' survey generally is , Patterns of Realism constructs an or- though , it may be faulted for its Sadoul- PATTERNS OF REALISM: A Study of dered historical account of a movement like faith that the boundaries of social and Italian Neo-Realist Cinema still too little known in England and political history sufficiently demarcate a BY ROY ARMES America. Armes carefully traces neo-real- period in film history. Armes defines the ism 's sources in Fascist regional come- beginning of neo-realism proper with the A. S. Barnes & Co. , New York , 1971 ; dy and documentary, in the pedagogical deposition of Mussolini in 1943, which hardcover $12 .00 ; 226 pages ; illustra- and polemical activities of Centro Speri- forces him to consider OSSESSIONE , in- tions , inde x, bibliography , filmography . mentale , in the French cinema , in current terestingly enough , as less a precursor journalism , in American literature, and , of neo-realism than a summation of many REVIEWED BY DAVID BORDWELL more generally , in idiosyncrasies of Ita- tendencies of the pre-Resistance years . David Bordwell is a graduate student lian culture as a whole . From these ori- Less precisely, Armes synchronizes the gins, Armes follows the course of end of neo-realism with the rise of the of film at the State University of Iowa and neo-realism through ROME OPEN CITY De Gaspari Christian Democratic coali- has written several articles and book re- (1945) to UMBERTO 0 (1951 ). Along the tion , the Andreotti law, and Italy's grow- views for FILM COMMENT. way , one learns a great deal about the ing affluence; consequently he places crucial importance of the 1943-1945 neo-realism 's demise at around 1951 . No The film historian who wants to ex- period , about the radicalization of Vis- doubt these social and political factors plore a movement calling itself \" realistic \" conti and Rossellini , and about lesser- played a major part in silencing neo-real- is venturing into turbulent waters : one known directors like Verga no, De Santis, ism , but excessive reliance on them step too far and he may be carried out Lattuada, Germi , Zampa, Emmer, and blocks from consideration other relevant of his depth. The historical drift of a Castellani. Armes neatly sabotages sev- factors. For example , after UMBERTO D \" realist\" movement leads with powerful eral pleasant fictions : e.g. , that the neo- (1951) , there appeared ACHTUNG , BAN- ease to a huge theoretical maelstrom, realists were opposed to the use of actors DITTI! (1951 ), ROME ELEVEN O'CLOCK which in turn tugs one toward the deep (\" All neo-realist directors , without excep- (1952) , and LOVE IN THE CITY (1953). waters of ultimate aesthetic judgments. tion , turned to professional actors when Moreover, Armes makes no mention of The historian can quite properly study a the films contained roles beyond the the 1953 Paris congress on neo-realism , \" realist \" movement as a set of stylistic abilities of the most talented amateur\" ) which seems a more logical terminus for and formal conventions operating at a or that Zavattini was the spokesman of much activity of the period . There is also certain time ; he can compare the move- the movement (\" Much of this theoretical merit in the suggestion (put forth in Bous- ment's program with what it actually writing deals with the way he thought the sinot's Encyclopedie du Cinema ) that it turned out; he can trace sources, trends, movement ought to develop rather than is LO VE IN THE CITY which writes finis to influences, and deviations within the with what it actually was \" ). neo-realism and initiates the trends of the conventions of the \" realism \" in ques- Fifties and Si xties . In short, film history tion . Beyond this, the historian need not Furthermore, since Armes has looked may often proceed under its own steam go . He need not speculate whether the closely at virtually all the films he dis- and not be synchronized with the time- films in question ever actually \" captured cusses, there are sound critical analyses table of external events. But since Armes reality \" (whatever that means), for this of individual works , especially OSSESSIONE , doesn 't argue for his period demarca- ushers in colossal theoretical problems ; tions, one must assume that he accepts and although he can judge the films as ROME OPEN CITY , PAiSA , LA TERRA TREMA , a meshing of social change with changes films, he need not evaluate whether the and Lattuada 's IL MULINO DEL po . Armes in film art . notion of \" realism \" espoused by the realizes the tendency of neo-realism to movement makes its films superior to be somewhat reportorial and didactic, so After surveying the neo-realist period , others , for this is an ultimate aesthetic his critical explications are careful to find Armes isolates the characteristics of neo- judgment. Such speculations and judg- each film 's balance of the particular with realist style . Its typical subject matter is ments are valuable, of course, but they the universal and of the rhetorical with contemporary Italian social problems, but are not necessary to the historian 's task. the aesthetic . ROME OPEN CITY is thus not rarely seen in a historical perspective . But more often than not, the historian is only about the Resistance but also \" the The emphasis is on the suffering victims . tempted to bite off more than he can success and failure of love \" (page 74) , Beneath such a subject is an assumption chew , to venture into ahistorical areas whereas UMBERTO D is seen as both \" so- that \" if the problems treated are insoluble that need more detailed analysis than he cial study and meditation on solitude \" in terms of ex isting society, then it is can muster in a historical enterprise . Few (page 163). Certain of Armes ' judgments society that must be changed \" (page film historians have managed to resist seem unimpeachable in their stability and 185), but the films suggest that change this temptation , and Roy Armes , in his good sense-for instance, his evaluation will not come simply by a switch of politi- new volume on neo-realism , is no excep- of the De Sica-Zavattini collaboration : cal orthodo xies. At a thematic level , the tion. Like many such studies of a brand \"Everything in the career of Vittorio De subjects of poverty and unemployment of \" realism ,\" the book handles large the- Sica fits satisfactorily into a neat pclttern represent basic aspects of man 's nature: oretical and evaluative issues with some -e xcept for the works he produced dur- the neo-realists focused on \" individuals confusion, but as a critical history it is ing the period covered by this who experience the full impact of eco- generally interesting and insightful. book . .. There can be little doubt that it nomic and social pressures in the conte xt was his scriptwriter Cesare Zavattini who of their everyday life and are helpless to encouraged and sustained De Sica dur- resist it, for it is in such confrontations ing the difficult years of neo-realism \" of man and environment that humanity (pages 141-142). There are also some defi nes itself\" (page 186). It follows that provocative comparisons (e .g., Visconti 's the neo-realist filmmaker tended to know work and certain Italian novels) and a his subject at firsthand , and the absence valuable examination of the literary con- of any outstanding literary figures tended te xt of neo-realism . The volume con- to make the director the key creative cludes with an excellent evaluation of the figure . Neo-realist camera style is char- impact of Italian neo-realism on world acterized by directness and simplicity , cinema . 76 SUMMER 1972

relying little on close-ups or obtrusive \" Neo-realism means looking at reality with that if reality c lashes with the artist 's editing . Finally , neo-realist narrative form an honest eye-but any kind of reality : not prejudices , the realistic artist will set is basically simple chronology , \" a way of just social reality, but spiritual reality, aside his prejudices and \" describe what unobtrusively capturing a sense of anything man has inside him \" (page 199). he really sees \" (page 19). This totall y human existence slowly unfolding and To put it bluntly , what then would not be begs the question : what aspec t of life and being shaped by social and economic neo-realism? Who's to call Expression- what manner of seeing is to be called forces \" (page 193). ism , say , a \" dishonest \" look at \" an ything \" realist ic \"? After an inadequate and erro- man has inside him \" ? The fact is that art neous treatment of Kracauer 's theory of This anatomy of a style , like the rest can relate to life in a huge variety of ways , c inema , Armes admits that \" in art any of Patterns of Realism , is useful and im- each of which has been called \" realistic \" formal or methodological ad vance in re- portant as work toward defining the aes- by somebody sometime . We might con- alism is no more than a matter of changed thetic norms of a period . But Armes goes clude from such a muddle that it would conventions \" (page 21 ). But on the very on to suggest that neo-realism is \" realis- be best to simply drop the term \" realism \" next page , he asserts that \" neo-realism tic \" in a significant theoretical sense and altogether, but this would not eliminate was an attempt to get closer to reality by that this \" realistic \" trait is one source of the problems left for us by filmmakers and refusing old and outmoded con ventions the films ' aesthetic superiority . \" The critics who have chosen to use the term which inevitably falsify our picture of it \" major advances brought about by neo- in some way or another . We must try to (page 22 ). This implies that somehow realism-those that have proved more make sense of what we have. neo-realism does not \" fals ify \" reality . But influential on the subsequent develop- only if one assumes that art's ultimate ment of film art-lie in its presentation of To his credit, Armes does try. Unfortu- goal is to duplicate reality do con ventions physical reality and take the form of a nately , he leaves all the basic questions become \" outmoded .\" If Armes is assum- stripping away of such outmoded con- unanswered . He takes realism as \" an ing Bazin 's premise that cinema is ventions as reliance on actors , contrived attitude of mind , a desire to adhere strict- asymptotic to real ity , the premise needs lighting , and studio-bu ilt decor\" (page ly to the truth , a recognition that man is to be spelled out and defended against 192). That the neo-realist fi Ims presented a soc ial animal and a con viction that he problems. How, for instance, could any \" physical reality \" is a theoretical claim ; is inseparable from his position in soci- convention, \" realistic \" or not, escape that because of this they are an advance ety \" (page 17). Aside from the problem falsifying reality in a fundamental way? over \" outmoded conventions \" is an ulti- of inferring artists' attitudes, desires, and Are these conventions really \" outmoded \" mate aesthetic judgment. To analyze convictions from their works, who would or simply different, based on aesthetic these cla ims we must examine some principles that cannot be reduced to an basic issues. say that the recognition of man as a attempt to transcribe the world? Indeed, \" social animal \" is the truth? Armes re- is there a single , neutral , absolute \" reali- We should , I think , approach the term fuses to face a central problem of the con- ty\" for art to imitate? And why should art's \" realism \" as gingerly as a cow would cept of realism : what kind of \" truth \" does goal be the faithful reproduction of any draw near a barbed-wire fence . \" Real- art communicate? If it is propositional , reality? As Virginia Woolf remarked , \" Art ism \" is at bottom a relational term : real- cognitive truth , why use art and not dis- is not a copy of reality ; one of the damn ism is not an autonomous quality art cursive reasoning to commun icate it? things is enough .\" works have; they become realistic only That is, if the neo-realists want to tell us if considered faithful to something I will about certain social conditions, why not Given the book's unstated and unexa- broadly call \" life .\" But since life has many make documentaries instead of fiction mined premises , it is no surprise that its aspects , it is rarely clear what aspect films? A propositional conception of \" re- handling of theoretical issues is inconsist- someone is referring to when he calls an alistic truth \" makes art merely the sugar ent. Realism is both a lack of \" theatrical art work \" realistic .\" Warhol's films are on the pill. But if the \" truth \" of realism contrivance \" (pages 31 , 45-46 , 100, 103) \" real istic \" in the sense that they are as is not propositional , what is it? Obviously , and \" the transformation of reality and a unselectively inclusive as some aspects the problem is not easy , and it will not heightening of its dramatic moments \" of life are , yet Eisenstein defended mon- be clarified without some detailed theo- (page 99 ); both a refusal to impose ideo- tage as a faithful analogy to the way our retical e x amination-which Armes logical patterns (page 126) and a moral minds connect sense data and concepts . doesn 't provide. Moreover, Armes' \" so- concern (page 147) which focuses on \" Real ism \" in a fight scene equals \" ugli- cial-animal \" definition refers only to con- poverty (page 187). Realism is also the ness ,\" but in a standard film it can mean tent and not to style or form ; by this recording of minutiae (page 24 ), a lack simply \" nondistortion .\" For neoclassic of idealization (page 148), and the oppo- aesthetics , realism consists of typicality, definition , METROPOLIS becomes a \" real- site of \" myth \" (page 105). Early in the regardless of individual differences (cf. istic \" film . book Armes accepts Lukacs ' premise Dr. Johnson 's \" general Nature\" ), but for nineteenth-century naturalism, realism Later , Armes approvingly quotes Lukacs' rephrasing of Engels to the effect resides in individuality, specificity, and uniqueness . One viewer calls PERSONA NOW~VAILABemQb\\\\\\Q \"unrealistic \" because it has portions (\\n which are visually abstract; another CATALOGUE OF FILM LrrERATIJRE argues that PERSONA ' S admission that it is a film is highly \" realist ic \" (i.e., faithful Over 270 pages( iIIus.) fully indexed. Complete listing of to what we know ); another disputant all books stocked: current & out of print $2.50 postpaid shoots back that PERSONA is \" unrealistic \" CINEMABILIA 10 CorneliaSt,NYC 10014 212/989-8519 because it is staged ; someone else calls it \" realistic \" because Elisabeth Vogler's when writing to advertisers please mention FILM COMMENT withdrawal is plausible ; yet there will always be someone to argue that the film is \" unrealistic \" because no nurse would ever act like that. At one time or another we have all played this game. Here is Fellini , quoted approvingly by Armes: FILM COMMENT 77

Now available that \" ruthlessness towards their own FOCUS ON CHAPLIN in English- EDITED BY DONALD W. MCCAFFREY subjecti ve world-picture is the hall-mark Prentice-Hall, Englewood , New Jersey, 2 new books from 1971 ; hardcover , $5.95 , softcover $2 .45 ; of all great realists \" (page 19 ), but at the 174 pages ; illustrations, index, bibliog- EDITIONS SEGHERS' raphy. CINEMA D'AUJOURD'HUI end Armes retreats into the complete REVIEWED BY FOSTER HIRSCH \"the world's solipsism of Nathalie Sarra ute : .'the real- leading The \" Focus on Film \" series has the series on film ist is one who tries to capture what ap- same academically ritualized format as d irecto rs\" the Prentice-Hall collections of essays on pears to him to be reality \" (page 204 ; literature. Now a collection of eassys -International Film Guide on , say, Dubliners or Huck Finn or Moby italics mine). Now all the cards are wild: Dick does serve some purpose, does have some connection to the academic no director is not a realist in some sense . factory . Such surveys are convenient for cramming and they 're handy references This question-begging treatment of theo- as well , offering the student and the teacher, at a glance, a general sense of retical issues (which , ironically, need not critical approach to a particular te xt. have been raised in a historical enter- But what can be the use of such a format for movies and directors? Case in prise ) is characteristic of the book as a point: what can be the function of a whole . snapshot survey of the career of Chaplin? To assist students in reviewing for the The foregoing will also have suggest- exam in Early American Comedy (Film 182)? To provide footnote references for ed the ultimate claims made by Armes ' papers in the Chaplin seminar (Film 183, prerequisite : Film 182)? judgments of neo-realism . He maintains, A group of essays from numerous writ- for instance, that the films are valuable ers always runs the risk of scattered focus : bits and pieces culled from hither as films and their influence is widespread ; and yon do not usually commingle pro- fitably or interestingly unless they have but the persistent denigration of \" theatri- been selected with particular astuteness. This collection altogether lacks just what cal contri vance \" and \" outmoded con- it most needs, a single , sustained \" voice \"; what we get instead are abbre- ventions ,\" taken with Armes ' final dec- viated glimpses of Chaplin . Because we see him through randomly shifting laration that neo-realism offers an perspectives, we end up not \" seeing \" him very much at all. The \" introductory \" example of \" the true application of the nature of most of the pieces merely rein- forces cliche ; the book tells us what sure- principles of realism to the cinema \" (page ly we already know : ChalUlin speaks a universal language ; mi xing farce with 204), suggests that we are to rate the sentimentality , he makes us laugh at the same time that he warms our hearts; films highly at least partly because they Chaplin always had a serious purpose, and his moralistic concerns are especial- are \" realistic .\" But CALIGARI , CITIZEN KANE , ly evident in his later work . An inves t igation into hie LES PARENTS TERRIBLES , IVAN THE TERRIBLE , Choppily, superficially, the collection f'ilms and philosophy offers some early biographical history and GERTRUO all rely to some degree on (Chaplin 's English music hall back- by pierre leprobon ground, his early stage work, his Sennett \" theatrical contrivance \"; how can one apprenticeship) and some peeks into Chaplin 's comic technique (the evolution claim that because of this they are inferior of the tramp, the dependence on incon- gruity, the transformation of potential to the \" realistic \" THE BICYCLE THIEF and tragedy into comedy). Some pieces billed misleadingly as \" essays \" turn out to be UMBERTO o? Armes ' assumption about the \" appreciations \": a gushing valentine from Minnie Maddern Fiske , a very ho- absolute value of realism is nowhere ex- hum note from Winston Churchill on (you guessed it) Chaplin 's universality. The plained or defended . (Just such assump- reviews of individual films have been se- lected , I suppose, to suggest a variety of tions, incidentally, rule Bazin 's writing on critical methods. Free-floating impres- sionism from Louis Delluc. Gilbert Seldes ' neo-realism, but there they are set out detailed descriptive analysis (always a and argued explicitly. Actually, Bazin 's In Englieb theoretical essays on neo-realism nicely complement Armes ' historical study; ORSON WEllES taken together, the two writers offer a by Maurice Bessy start toward a coherent account of neo- realist theory and filmmaking .) JEAN RENOIR This review has not aimed at demol- by Pierre Leprohon ishing Armes ' book , for its historical vir- tues far outweigh its theoretical faults . Illustrated with photographs, The point is simply that some theoretical paperbound, $3 .50 each matters cannot be treated piecemeal in Other English editions in the a historical study . Perhaps the historian series : and critic are better off in avoiding the JEAN COCTEAU term \" realism \" wherever possible and by Rene Gilson talking instead about concrete properties FEDERICO FELLINI .z... of specific films . If the term seems un- w avoidable , we need to stipulate precisely :; :; by Gilbert Salachas how it is used , to apply it consistently , u0 :; JEAN-LUC GODARD and to remember that it is a relational ..J by Jean Collet term which demands that we clarify what Ii: aspect of art is imitating what aspect of c c.~ SERGEI EISENSTEIN \"E by Leon Moussinac life . Finally, although art's ultimate impor- 5: tance resides in its connection with man , ~ Illustrated with photographs, perhaps we ought not to appeal to \" real- .\"Q. paperbound, $2.95 each ism \" as art's sole justification , for it is lii.t: Now at your bookstore, or crude and limiting to assume that art ~ CROWN PUBLISHERS becomes most valuable when it is copy- .\" ing something else . The problem of cin- ~ £ 419 Park Ave . South ematic realism is turbl lient , treacherous , CI New York, N.Y. 10016 and rather murky, and this alone should :E ~ ~6f+7t con vince us either to build sturdy crafts c ~ or to stay safely onshore . IIIIIIII .\"c 78 SUMMER 1972

Catch the latest in film books ... with these two new series from The Viking Press. One presents the greatest scripts from Hollywood's Golden Age. The other, the greatest directors of any age. The MGM Library of Film Scripts Screenplays of film classics produced through- out the years by Metro-Goldwyn-Mayer. Each volume contains the original script with sound effects, transitions, camera movements, music, and gestures clearly indicated .Annotations show variations and add itions appearing in the com- pleted film . Plus thirty to forty stills carefully and specifically chosen to illustrate important seg- ments of the film. Cloth $5.95 ; paper $2.25. ADAM 'S RIB By Ruth Gordon and Garson Kanin NINOTCHKA Screenplay by Charles BrackeH, Billy Wilder, and Walter Reisch from a story by Melchior Lengyel NORTH BY NORTHWEST By Ernest Lehman Cinema One Some of the greatest directors of our age are in- terviewed and analyzed in this distinguished series published in association with the British Film Institute. Hailed as \" the best collection of books on film being published today,\" the books are illustrated and available in cloth ($6.95) and paper ($2.75) . SAMUEL FULLER By Nicholas Garnham MELVILLE ON MELVILLE Edited by Rui Nogueira JEAN-MARIE STRAUB By Richard Roud SIRK ON SIRK Edited by Jon Halliday Fo r a free bro chure desc rib ing . all of Vi ki ng 's fi lm books. write : ~: ~~~~~~~ THE VIKING PRESS 625 Madison Ave nue , New York, N.Y. 10022 when writing to advertisers please mention FILM COMMENT

hopeless procedure in dealing with LETTERS DOUBLE LIFE . We would be happy to fur- nish catalogs of Ivy Film's complete film comedy-the inundating detail squeezes rental library on request from your readers addressed to Ivy at 165 West the life out of the material). The inadvert- 46th Street, NY , NY 10036. ently comic academicism of Timothy J. Very truly yours, Sidney Tager, Ivy Film / 16 Lyons ' masters' essay research into the To the Editor: STOCKHOLM JOURNAL continued from page 2 historical analogue s to DToHnEneGrOPLDartRyUhSaH~ For those familiar with my discussion as if knowing about The vigorous shot in the arm for home pro- ?f The Citizen Kane Book in the spring duction-with two new funds open to ap- anyth ing to do with the flavor of the film . plications from directors and WOUld-be 72 FILM COMMENT, I'd like to point out filmmakers . Once the committee has Because we all love him , it's hard to agreed to a project, then hard cash will that (1) it was written not as a book review be released in advance of actual produc- write on Chaplin with clear-eyed common tion , thus reversing the trend of the past but as an article entitled , \" I Missed it at decade whereby financial rewards have sense ; because it touches soft spots, his been forthcoming only after a film 's re- the Movies: Objections to Raising Kane,\" lease . The government is wisely abolish- work has prompted far too much gush . ing the \"general quota \" fund , which , like and the decision to run it in its present Britain 's anachronistic EADY Fund , has And it's always hard , of course , to write merely succeeded in helping those films form was not my own ; (2) a key passage earning most on the domestic market. about what makes comedy comic without There will be a further fund , which will was cut, and consequently part of my automatically donate 15% of a proposed being foolishly stern or solemn . The budget to any Swedish film with produc- argument was obscured: when I suggest- tion costs of 200,000 crowns or more. essays selected here avoid neither haz- ed that a brain (Kael 's) that could be There is some consternation in Stock- ard . The sentimentality flows free , and if holm about the fact that the new law will \" crushed \" by Bazin 's essays in English be administered by a small board of direc- it's not that , it's a flat , bookish recital of tors , all probably appointed by the gov- was \" less than well-equipped to deal with ernment. Until now, the Institute has Chaplin 's \" greatness,\"-all official obei- been run by a larger committee , half of intellectual subjects,\" and cited her re- whose members were chosen by the film sance and stiff-upper-lip decorum in the branch and half by the government. The marks on Eisenstein and Resnais as ex- underlying problem , which film folk hardly presence of classics. Take, for example, dare mention in Stockholm , is that the amples, I quoted from each of these and Swedish people no longer want to see Editor McCaffrey's opening sentence: Swedish films-apart from rare birds like then commented on them, as follows : THE EMIGRANTS that have a strong nation- \" The importance of Charlie [at least he alistic appeal. Until the man in the street \" IVAN THE TERRIBLE , for her, is 'so lack- can be wooed back to a domestic film didn 't write Charles] Chaplin as an actor all the incentives to production described ing in human dimensions that we may above cannot really halt the slump. and director could be measured by the stare at it in a kind of outrage . True every There are pundits who claim that in great number of books and articles that these circumstances it would be prudent frame In It looks great ... fbruetqausenatlmy olvudiei~ for Sweden to nationalize its film industry have been devoted to his life and works.\" it's static , grandiose, and along Czech or Polish lines . Yet for all its anti-American strictures and the dis- If that's the best you can do for the first crous, with elaborately angled, over- tinct scarlet of its \" welfare state,\" Swe- den will probably not follow Warsaw Pact sentence of your introduction , and if composed photography , and over- practice as far as cinema is concerned . For one thing the government is in a weak that's your angle of approach toward wrought, eyeball-rolling performers slip- position at the moment, with an election year ahead and the prospect of defeat Chaplin , and if that's the way you mea- ping In and out of the walls ... Though no by the more conservative parties. For another, Swedish filmmakers relish their sure \" importance \" -you ' re in trouble. 11111111 doubt the extraordinarily sophisticated liberty of expression, their freedom to criticize a complacent social democracy Eisenstein intended all this to be a non- and authorities such as the army and police . Certainly filming is still conducted reali~tic stylization , it 's still a heavy dose on a very personal level in Sweden . I was in Stockholm in March to appear as a TV of decor for all except true addicts ' (Kiss reporter in a short film made by the Swed- ish Film Institute. The crew was mi- Kiss Bang Bang). And LAST YEAR AT MARIEN- nute: director, cameraman, sound engi- lor y BAD is \" a 'classier' version of those Forties neer, electrician , script girl cum clapper, .00 S op you-can-call-it-supernatural-if-you-want- and a production manager. They worked with barely a break or glance at their Inc. to movies like FLESH AND FANTASY-only 6658 Hollywood Boulevard now it's called 'Jungian '.\" (I Lost it at the Hollywood, California 90028 213/463-3273 Movies) Basic to both these reactions is Most complete stock of film a refusal or inability to respond to self publications and related material now in existence. proclaiming art on its own terms , an im- 525 page catalog pulse to cut the work down to size-or now available $2.95 chop it up into bite-size tidbits-before even attempting to assimilate it. Since I believe that these two quotes and following sentence are the crux of what I had to say, I hope that my accom- panying remarks can be reconsidered in that context: as the passage now reads , it is likelier to sound like gratu itous invec- tive , which was certainly not my intention. Sincerely yours, Jonathan Rosenbaum when writing to advertisers please mention FILM COMMENT To the Editor: Your Spring 1972 issue carried an interview and filmography on Robert Al- drich but failed to mention Ivy Film / 16 as the rental source for many of the films in his filmography . For your information , Ivy Film / 16 is the exclusive , nontheatrical distributor for the following Aldrich films : THE SOUTHERNER , THE PRIVATE AFFAIRS OF BEL AMI , BODY AND SOUL, ARCH OF TRIUMPH , SO THIS IS NEW YORK , FORCE OF EVIL, THE RED PONY , WORLD FOR RANSOM . In addition , the filmography on George Cukor in the same issue fails to mention Ivy Film / 16 as the exclusive 16mm distributor for A 80 SUMMER 1972

watches from 10 a.m. to 7 p.m. on loca- NEW INTEGRAL POWER ZOOM tion in a suburb of the city and in the is coupled to the fine Angenieux civilized lu xury of Studio 2 at the Institute 12-120mm \"auto\" zoom lens, providing itself. There was an atmosphere of friend- an infinitely variable zoom range ly collaboration and mutual respect , with from 3 seconds thru IS seconds. everything designed to allow a director Zoom speeds can be changed while to impart his vision of things . running. Zoom speed is continuously smooth and even, with instant and It's this climate , naturally, that has absolute Start-Stop. nourished the art of Ingmar Bergman , and yet even he is coming to terms with A 16mm Motion Picture Camera System economic realities in planning to shoot his next film on 16mm, probably for TV, The Beaulieu Rl6B \"Automatic\" gives you important features with just such a skeletal crew as the unit of 16mm cameras costing and weighing more than twice as described above . I met him during the last much. Features: Fully automatic exposure control system. Lens week of rehearsals for his stage produc- interchangeability. Mirrored shutter. Extremely bright reflex tion of The Wild Duck at Dramaten , and viewfinder. Camera body weight - 41/4 lbs . Plus a full range with WHISPERS AND CRIES , his new feature , of professional accessories, including a \"sync\" generator and already safely edited . More at ease now, 200 ft. daylight-load 16mm magazine. one feels , than at any stage in his life , he cheerfully announces that THE TOUCH FOR SALE or RENT has proved to be his most controversial film (\" I don 't know whyl \" ) and prefers to Get it at Camera Mart . .. Use it Anywhere. enthuse over Jan Troell (THE EM- IGRANTs)- \" He 's only just at the begin- THE CAMERA MART INC ning of his career . He 's the best thing that's happened to the Swedish cinema 456 W. 55th ST., NEW YORK, N. Y. 10019 • (212) 757-6977 in ten years .\" RENTALS 0 SALES 0 SERVICE If told of critics who complain about his always dealing with the same obses- when writing to advertisers please mention FILM COMMENT sions and characters, he says (with a big laugh) that he sides with Chopin who , when pressed to compose an opera for a change in place of all those lovely nocturnes , replied , \" My kingdom is a small one , but I am king there .\" Bergman is indeed the first to admit that there are intimate links between his films . \" Film is a dialogue,\" he stresses. \" Sometimes I ask the questions and the film answers them . Sometimes the film asks the ques- tions and I answer them . And sometimes the questions refer to another film of mine .\" The human face and its revelations concern him almost exclusively now, he says. Thus the long-lasting frontal close- ups in PERSONA , A PASSION , and THE TOUCH . But how does he prevent these seemingly endless takes from weighing down a film? Because, he rep lies, the rhythm of a fi 1m is not just to be found in the cutting ; it's in everything , the movement of an actor's features , the sound of the human voice , and a hundred other details. He 'd recently met Natalya Markvarova, and her companion had told him that perhaps her genius as a ballerina lay in the rubato of her dancing ; and \" that was the best definition of genius I know .\" In Stig Bjorkman 's documentary profile film , INGMAR BERGMAN , the great man is glimpsed with candor and perception . His preliminary conference with his team re- sembles an animated board meeting ; his humor leavens even the sharpest of com- mands to his players and technicians while shooting THE TOUCH on location in Visby ; and in the interviews with Bjork- man he expresses his beliefs with un- canny precision-film is for him a realiza-

tion of dreams; his method of creating placing his freezing son in the depths of cinema has been evolved over nearly thirty years and-just as the fisherfolk of the wa rm carcass). He communicates L.A . JOURNAL continued from page 2 Faro have built their boats in the same fashion for ages-he sees no reason to Moberg 's idea of the settlers ' house as and lecturing about the dangerous ef- change what is such \" a practical ma- fects of these movies-on adults , as well chine .\" an Ark against the elements and other as on children. We are beginning to read less and less tentative warnings that vio- And what of the new films? UNTO A intruders, as a remote outpost of the lent movies stimulate aggression, de- GOOD LAND (NYBYGGARNA) is the second sensitize and brutalize the audience, and half of Troell 's epic version of Vilhelm Swedish rural life that Kristina can never increase tolerance for violence in the real Moberg's novels about the Swedish world . There is, of course , still no more migration to North America in the mid- quite forget. UNTO A GOOD LAND traces a conclusive evidence about the impact of 19th century. It continues the story of screen violence than there is in regard Karl-Oskar and his wife Kristina as they declining happiness , while THE EMIGRANTS to sexual material. Yet it is interesting struggle to survive on the shores of their how desperately liberals want to believe lake in Minnesota. Karl-Oskar 's brother sang of hope and the prospects of youth. that the TV violence report, for example , Robert (Eddie Axberg) strikes out West was a \" whitewash .\" Without even read- with a friend to look for gold , but en- So while temperamentally one may be ing the studies, they are convinced that counters only the deserts of Colorado television violence must be harmful ; any and unscrupulous traders. These sec- drawn to the first film , there is no denying other conclusion would disturb their pre- tions of the narrative, recalled by Robert conceptions. At the same time they insist as ·he lies close to death in his brother 's the cumulative and overwhelming sense they are against censorship-though they house, are the best. Troell cunningly- are supplying the censors and the eager eliminates the voice-track but retains the of fulfillment at the end of the second part beaver CLOCKWORK ORANGE-like social other sounds, so that the episodes have scientists with all the ammunition they the same effect as italicized passages in as Karl-Oskar sits before his wife 's grave could possibly need. a novel , realistic and yet dreamlike, op- pressive and yet strangely distant. on a promontory overlooking the lake. The arguments about the fascist ten- dencies of the new movies also seem Troell has photographed the film him- And the single bird one hears offscreen terribly glib. The critics who talk this way self-superbly. He has an eye for natural just haven 't looked at the films very beauty (birds against a skyscape, the seems to call as freshly as it did when closely . STRAW DOGS , for example , does changing face of the lake) and also indeed toy with reactionary attitudes, but for impressionistic effect (Karl-Oskar Karl-Oskar, a young man , first arrived at these are not presented without question slaughtering his ox during a blizzard and or qualification. If the film is simply a Ki-Chi-Saga and staked out his claim. celebration of brute force, as so many people assume, how does one explain Few films are as yet firmly scheduled Peckinpah 's harsh treatment of the local villagers , who live by violence and are for production this summer. Perhaps the clearly portrayed as dangerous and mind- less savages? If Dustin Hoffman , fighting most interesting is a screen adaptation to protect his home, transforms himself into a replica of these Neanderthals, isn 't of The Air Cage and Luftburen, two it possible that Peckinpah sees that as a rather ironic victory? Similarly, Peckin- novels by the ex-infant prodigy of Swed- pah has been attacked for sexism in suggesting that women really want to be ish letters , Per Wastberg . Bengt Forslund , raped . Again , there is a strain of misogyny running through the film , but the rape hitherto the scriptwriter and producer of scene is not the unredeemed male chau- vinist fantasy that critics have protested. Troell 's pictures, will make his directing Amy is attracted to one of her rapists-but then he is a former lover, not a complete debut on this project, searching , he says , stranger; the second rape truly horrifies and defiles her. And when she recalls the for a style akin to Eric Rohmer 's in experience at the church social, it is with revulsion , not sensual pleasure. The CLAIRE 'S KNEE to describe the triangle point is her ambivalent response to vio- len ce that is the film 's major theme. But story that Wastberg has set in an upper these details are ignored-and the com- plex experience of the film reduced-be- middle-class milieu of contemporary cause the critics don 't want facts to inter- fere with their preaching . I don 't think Stockholm. Lena Granhagen and Mar- Peckinpah has resolved his feelings on violence and masculinity, but he 's work- garetha Bystrom will play the intelligent ing through his uncertainties , and it's appalling to see one of the most convolut- mistress and wife of a flight controller at ed films ever made treated as nothing more than a fascist call to arms. Arlanda airport. IIIIIIII For that matter, even a more simple- Full- and part-time summer programs in: minded movie like DIRTY HARRY may have been taken too solentnly . I admit that it VIDEO WORKSHOP SUPER-8 and 16mm FILMMAKING MEDIA WORKSHOP FOR TEACHERS FILM SEMINARS: z~ Contemporary American Film UJ FILM APPRECIATION New Wave Directors ::;; ::;; o Documentary Film u ::;; Directing Workshop u...J: ~ c.~ For full details and Catalog. write: ~ .E The Film School at the Orson Welles Center :li~ Box FC Q. 1001 Mass. Ave, Cambridge, Ma. 02138 Call (617) 661-3900 .i'\"ii Summer accommodation available in Cambridge :;: .~ (1972 - 3 courses begin October 7 - Catalog available) > \"C .8 ,'g\" ~ _~~~L- _____________________________________________________________~ ~ 82 SUMMER 1972

WR- MYSTERIES OF the Garden of THE ORGANISM the Finzi-Continis The Sorrow and The Pity Now available in 16 mm from Cinema 5 -16 mm 595 Madison Avenue, New York, New York 10022 - (212) 421-5555

16mmlsuper16mm disturbs me to hear an audience laugh at Harry's brutal, reactionary remarks, Ektachrome ~dailies' Lab Schedule and cheer his sadistic outbursts. But I'm commercial &high speed (ECO - EF) not sure what the laughter and cheers ultimately mean . Isn 't it possible that au- diences take the movie as no more than an outlandish fantasy , an old-fashioned Saturday matinee melodrama that can be enjoyed just because it does draw ob- viously oversimplified contrasts between Work Prints good and evil? That may not be the most Ordered At NORMAL DEVELOPING Same Time exalted form of entertainment, and DIRTY HARR Y should confirm once and for all \"Ready Siegel's irresponsibility and lack of Days In Lab \"Ready 6 p.m. seriousness as a director. But isn 't it maybe a little arrogant and patronizing 10 a.m. 2 p.m. 11 p.m. to assume that although we can see through the movie , the rubes in the au- dience take it completely straight, and walk out convinced of the virtues of po- 3 p.m. 7 p.m. lice brutality? They may not be terribly Nights up to 10 a.m. 1 p.m. sophisticated about the distinctions be- 9 p.m. tween art and reality , but then it doesn't take much sophistication to recognize that DIRTY HARRY is about as real as a (Receiving Dept. Open Until 11 p.m.) Mighty Mouse cartoon , an improbable genre piece with a crime-fighting Sir Forced developing takes longer. Timed Prints Galahad and an incredibly treacherous Take Longer villain-su c h a freak that it would be diffi- cult even for reactionaries to argue that And 16mm & 35mm B&W Reversal Developing and Printing. his case is typical of the crimes confront- ing the police. I certainly don 't admire the film , but neither do I believe its success portends a totalitarian coup in the streets SILVER TRACK SOUND of San Francisco . ON EKTACHROME After all the arguments and coun- PRINT STOCK terarguments about cause and effect, the fact remains that a majority of interesting and important American films have always dealt with violence-though in the • Internegatives - CRls - Masters· past it was much less explicitly treated than is the fashion today . And this obses- sion with violence is not a characteristic of our movies alone . As Leslie Fiedler demonstrated in his landmark study , Love and Death in the American Novel, vio- 16mm/super8mm lence and horror are central to our litera- ture too-from Charles Brockden Brown , release prints Poe and Hawthorne up to Faulkner and Mailer. To understand American culture one has to confront the question of vio- COLOR TIMING & CORRECTION lence-and I don 't mean by that simply IS ELECTRONICALLY ANALYZED lamenting the \" sickness \" of American society. Still, America has an extremely b'ib~iSi violent history, and the American ideals MOTION PICTURE LAB DIVISION of free enterprise and rugged individu- when writing to 416 West 45 St. New York 10036 advertisers alism encourage competition and ag- please mention gression ; in American folklore the well- PHONE: (212) 245-8900FILM COMMENT mean ing entrepreneur and pioneer are entitled to use any means-including the 84 SUMMER 1972 most ruthless and brutal-to accomplish their goals. The nihilistic new movies re- flect a sense of disorientation that can't be blamed on the media . It would help if critics try to think about some of the social conditions that contribute to vio- lence on screen , instead of merely squealing in outrage , while they are watching all the violent movies that will be hitting the circuits during the coming year. 11111111

TO OUR READERS have forced us to reject articles which be a sli ght redu c tion in the number of any film magazine would be glad to pub- pages per issue , but even less th an the Starting with our next issue, to be dated lish ; indeed , there are fe w English-lan- barely perceptible reduction between this September-October 1972, FILM COM- guage film magazines that have not pub- year and last. Again , to be specifi c : in MENT goes bimonthly. The reasons for lished , and been enriched by, our its first year under the present editor, this ambitious move are both editorial and \" rejects .\" We concluded that, if FILM FIL M COMMENT ave raged 93 pages ; in economic . The gratifying acceptance of COMM ENT was not to atroph y, it must the second year it averaged 83 pages ; the magazine by readers and writers has expand. The 1OO-odd additional pages in the coming \" bimonthl y\" year it should encouraged us to tap the resources of per year will permit us to accept more average 73 pages . At the contemplated many more excellent critics and scholars material by unknown but knowing critics, length , FILM COMM ENT w ill still be , wo rd than the space limitations of an 80-page to devote closer attention to areas of fi lm for word and page for page , the best buy quarterly could possibly allow us to pub- we have thus far explored only tentative- in American film magazines . lish . We are delighted that Andrew Sarris , ly , and to publish more special issues ( like Robin Wood , Stanley Kauffmann , Rich- those on Screenwriters and Mise-en- Librarians and numerology freaks ard Roud , William Pechter, Donald scene ) without undue emotional or eco- should note that Volume 8 w ill c o nta in Richie, Molly Haskell, Jim Kitses , Stephen nomic hemorrhaging . four numbers (Spring , Summer, Sep- Farber, Graham Petrie and other estab- tember-October, and November-D e- lished eminences of the film community The financial problem can be stated cember 1972), and that Volume 9 w ill be have chosen FILM COMMENT as a forum rather simply. FILM COMMEN T loses a the first to contain si x numbers . FILM for their criticism . And we are proud to lot of money. Published at $1.50 si x times COMMEN T w ill appear on new sstands at have provided early exposure to newer a year instead of four , and al l other things the beginning of each odd-numbered writers , such as Da vid Bordwell , Brian hopefully being equa l, FILM COMMENT month; subscribers may hope to recei ve Henderson, Paul Jensen , Michael Kerbel , will lose a little less money. To be specific : their copies a week or two in advance . Richard Koszarski , Mike Prokosch, Jon- our revenue from subscriptions and athan Rosenbaum , Pierre Sauvage, newsstand sales shou ld increase by 50 %, Th e continuing faith , hope and charity Charles Silver and El liott Sirkin , whom we and our revenue from advertising-the of our readers, writers and advertisers fully expect to help shape the film-critical rates of which are being increased slight- have implicitly justified this further step history of the Seventies and beyond. ly , after a two-year period in which cir- in the magazine 's growth . Th e ne xt few cu lation doubled - should increase by months wi ll tell whether a bimonthly FIL M Too often, though , space demands slight ly more than 50 %. Th ere will also COMM ENT can justify itself . Wish us w e ll. -the staff BACK PAGE Critics and scholars are urged to The Velvet Light Trap is a quarterly film The Cinematographers ' filmographies in participate in a permanent survey of journal from Madison , Wisconsin , now this issue w ill be reprinted and so ld research in progress being conducted entering its second year of publication . separate ly . Seventy-fi ve fi lm ographies by Cal vin Pryluck , Chairman of the Issues to date have been devoted to w ill be in the reprinted booklet. It wi ll be University Film Association 's Research Warner Brothers in the Thirt ies , John available by mai l order from Film Committee . Th e Committee hopes to be Ford , Hol lywood Comedy , Politics and Comment or from film bookstores. publishing an Index of Film Rese arc h In the American Cinema , and the Forties in Reprinting date is mid -summer. Progress on a regu lar basis . Those with Hollywood . Subscriptions are $2 .50 and research und.er way are asked to fill out sing le copies 75<c each from The Velvet The New American Filmmakers Series a one-page questionnaire available from Light Tr ap , 522 State Street :# B, presented at the Whitney Museum of Cal vin Pryluck , Department of Madison WI 53703. American Art in New York is currently Radio-TV-Film , University of North being circu lated by the American Caro lin a, Swain Hall , Chapel Hi ll NC A FILMEXPO organized by the Canadian Federation of Arts. Except for a smal l 275 14. Fil m Institute will be held in Ottawa from administration fee , all rentals go to the 21 July to 3 August . Th e Expo includes filmmakers . A catalog and flyer are A new catalog of films available for a Canadian Film Festival , an available from the Film Department, booking is available from EYR Campus International Film Fe stival and an American Federation of Arts , 41 East Programs . In cluded in the cata log is International Poster Competition More 65th Street, New York NY 10021 Agnes Varda 's LION ' S LOVE , Emile de information from Canadian Film In stitute , 212 / 988-7700. Antonio 's AMER ICA IS HARD TO SEE , Louis 1762 Carling Avenue , Ottawa Canada Malle 's CALCUTTA , Jean-Luc Godard 's LE K2A 2H7. 613 17 29-6193 . The Guide to College Film Courses GAl SAVOIR , and Erni e Pintoff 's DYNAMITE 1971-1972, prepared by the American CHICKEN. EYR also announced that the A Student Film Festival being held by Fil m In stitute and published by the award-winning film THE MAKING OF the Uni versity of Maryland in association American Library Association has been with the AFI is planned for fall , 1972. At released . Th is year 's Guide , the third \" BUTCH CASSIDY AND THE SUNDANCE KID \" least $1000 in cash or equipment is edition , lists 427 schoo ls offering 2,392 offered as prize mo ney and the winning film courses. The Guide may be is now availab le for purchase . For more films w ill be screened at the A FI Theater obtained for $3 .50 from the American information contact EYR Campus in Washington DC , and possibly in Paris , Library Association , 50 East Huron Programs , 78 East 56th Street, New France , and over PBS through live Street, Chicago IL 60611 . York NY 10022 . 212 17 55-7274 . interconnect. Deadline for the festi val is 13 October 1972 , this year's graduates Deadlines for this page and instructions New Films, twenty-three of them , are e ligible for the festival. Fu rther on how to submit news are available on including Diary of A Mad Housewife and details were not available at press time . request. FILM COMM ENT bo x 686 Bullitt, are available for rental from Write Gene S. Weiss , Festi val Director , Village Station , Brookline MA 02147. Twyman Fil ms . Write them for the new Radio-TV-Film Di v ision , University of Deadline for next issue is 15 Jul y 1972. cata log describing the fi Ims. Twyman Maryland, College Park MD 20742 . Films , po bo x 605 , Dayton OH 454'01 .

' (.0 THE iJUN-A film by Jacques Rivette Write for 16mm International Cinema Cafalog AUDIO BRANDON Audio Film Center, Inc. Brandon Films, Inc. Dept. Fe, 34 MacQuesten Parkway So. Mt. Vernon, N.Y. 10550