A young boy stands like Peter Pan, hands on his hips against the pale background of his bedroom wall. A light pours through the window before him, casting him brightly despite the darkness in the room. The intersecting beams of the window pane cast a skewed cross across him, this distorted cross moving downward to the right against the wall. Suddenly, a large shadow steps into the frame, a personage of darkness that steals most of the light in the room. The boy is now cast in darkness. Here we have a filmic sequence derived from an appeal to the literature of images, a distorted religiosity beckoning the arrival of a diabolical presence. We have a moving picture demonstrating the shrouding of innocence by the waves of a harsh world, a world frustratingly characterized, as we will later learn, by abusers of power and manipulators of morality. Such flattery and gamesmanship is brought more into the light, as it were, when the light recedes into nighttime.
Welcome to October, ye aulde scavengers of doorstep candies and defacers of guileless pumpkins. This is a month unto itself in the world of film, a sort of embodied actor dictating the atmosphere and mood of its cinematic output with all the gusto of a mad composer. Where December takes us to the stereo systems, bidding us hear the crooners and choirs in their mystic wonderlands of white, October ushers us manipulatively to dark rooms with dull lights emanating from silver screens. It is a haunting force, not unlike the specters that inhabit it, simultaneously possessing us and scaring us away. October is no mere month, it is a phenomenon, beckoning us to consume fear like we would fun-size chocolates and candy corns. Trick-or-treating, costumes, haunted houses, plumes of dry ice flowing from plastic punch-bowls… none of these exorcise that possessive ghost of October quite like a scary movie. Indeed, the genre of horror film lies at the very heart of Halloween celebration. Continue reading →
Where Jean Gabin portrayed a doomed working class hero in Le jour se lève, in Grand Illusion (La grande illusion), he played perhaps the most hopeful symbol of the victorious proletariat that French Poetic Realism would ever come to offer. Grand Illusion uses his character as but one of several others showing the disintegration of the old world, and the rebuilding of a new one after the earth-shattering imbalance of World War I. It tells the story of humanity, divided vertically by borders and divided horizontally by social class. It tells the story of the war that shattered these distinctions: gone were the days of gentleman’s battles, glorious deaths, and the rules of the game. A new world order, one more unified in both suffering and success was being born. Out of this carnage and pain could come a new type of freedom, one both symbolic and practical, one that would elevate the lower class and destroy the arbitrary divisions that threatened humankind. Continue reading →
“A killer! Now there’s something to gossip about! Sure, I’m a killer, but killers are a dime a dozen! They’re everywhere! Everyone kills! They just do it quietly, so you don’t see. It’s like sand. It gets deep inside you.”
So exclaims Jean Gabin’s famous proletarian hero from his apartment balcony to the curious masses below in Marcel Carné’s 1939 masterpiece, Le jour se lève.
This is the sort of movie that you would never think belongs on a blog like this.
The negatives are flipped, the fog machines corny. The actors are transparent, their characters cliched. The lighting seems artificial, the plot seems incomplete. The whole thing is cheap in its production , even cheap in its quasi-Freudian metaphors. It’s the sort of movie that a high-schooler may come up with in about a week. Continue reading →
It always seems to happen in a wave. While the passing of comic sensation Robin Williams is on everyone’s minds, it will unfortunately shadow yesterday’s sad news that the legendary Lauren Bacall died of an apparent stroke. Again, you may wonder why this merits an article on my blog: I don’t write about every celebrity passing, after all. In my tribute to Robin Williams, I even mentioned the names of several significant personalities that passed away in the last several months about whom I probably should have written something. Continue reading →