
[Editor's Note: In honor of the Brooklyn Academy of Music's (BAM) ongoing Montgomery Clift series, we here present an altered version of a previous House article. Wild River screens today, Monday, March 22nd, at 6:50 and 9:15pm. And it's not on DVD.]
If 1960's Wild River is director Elia Kazan's most successful film, it's because this is the most successful example of how Kazan liked to contrast actors. The wrestling matches are the most exciting parts of his movies: Carroll Baker paddling her husband's neck flab in Baby Doll, or James Dean throwing his brother at their mother in East of Eden, or Brando shoving the door in to get to Eva Marie Saint, say far more about characters' relationships than the film's overwritten scripts do. The best moments in Kazan's films are inevitably full two-shots, bespeaking his theatrical training. Unlike the work of the great film stylists, we watch Kazan not for the shots but for the struggles in them. The acting style he favored doesn't work in abstraction—the actors need something concrete to push against.
In River, he gets two performers that are as concrete as they come. Montgomery Clift plays a 1930s Tennessee Valley Authority rep who comes to a small town to buy out a family's home so the TVA can build a dam. The family lives on an island that he has to row to, and as he's pulling away after a visit, one of the group's young women (Lee Remick) leaps onto his raft. He stares at her, amazed, and she explains hurriedly: She barely ever leaves, and she's lonely. Continue Reading »
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