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Posts Tagged: Wild River

New York Film Festival 2010: A Letter to Elia

A Letter to Elia

As the title suggests, A Letter to Elia, co-directed by Martin Scorsese and noted film critic Kent Jones, breathes with the intimacy of slow and purposefully written correspondence between two friends and confidants. This sort of delicacy has been attempted before, especially in documentaries, but often exudes an unpardonable insincerity. A recent exception would be Kurt Kuenne's devastating Dear Zachary: A Letter to His Son About His Father, and like that film, both A Letter to Elia'a power and negligible flaws come from the fact that the film's subject, the controversial filmmaker Elia Kazan, and co-director Scorsese were so close. Continue Reading »




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Four Days at the TCM Classic Film Festival

TCM Classic Film FestivalEver since it was announced that Hollywood would host the inaugural (and ostensibly first annual) Turner Classic Movies Classic Film Festival in April 2010, the general community of film fanatics was set to buzzing. People in the Los Angeles area, and presumably those in other major urban areas like New York and Chicago, seemed enthusiastic, but that enthusiasm also seemed to be tempered by the fact that a certain degree of exposure to revival cinema, of the classic Hollywood and foreign varieties, is a more-or-less everyday phenomenon for these film fans. Even in this age of disappearing repertory screens and evaporating posts for established film critics, we in Los Angeles and New York and Chicago can be, if we choose to be, somewhat spoiled by the opportunities we are offered every month at the venues we frequently haunt. Yes, the announcement was definitely a big deal, backed by the most compelling force in current pop culture for exposing audiences to classic films and making sure those films stay available, but many I imagine suspected that the TCM Classic Film Festival might too readily ride the straight and narrow—didn't the prospect of seeing Casablanca and 2001: A Space Odyssey on the big screen yet again seem, I don't know, kind of ordinary? And why get excited about seeing a bunch of films you can often see here in theaters, or always on DVD? Then TCM announced the full schedule, and suddenly a lot of that talk evaporated too. Suddenly the Turner Classic Movies 2010 Classic Film Festival had acquired, even for the happily jaded, a bit of cache, not to mention all the earmarks of a major event. And of course, for all the millions of people outside of those urban areas, for whom revival cinema pretty much does boil down, if it boils down at all, to the occasional showing of The Wizard of Oz, or Singin' in the Rain or (shudder) Grease on an outdoor screen at some city-sponsored summer family-oriented gathering, the TCM festival represented not just an occasion for major geographically based cinema envy; for some it would translate into an irresistible lure as well. Continue Reading »




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That's Montgomery Clift, Honey!: Wild River

Wild River

[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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One Solution for Two Problems: Acting in Three Kazan Films

Elia Kazan

Andrew Sarris wrote of Elia Kazan in The American Cinema that "his career as a whole reflects an unending struggle between a stable camera and a jittery one." Historically that's more or less been the rap on Kazan—a highly-acclaimed filmmaker with many strong titles, but one whose work was too simultaneously bland and conflicted for the critical establishment to elevate him to auteur. The son of Greek immigrants and eventually a famed Broadway director, Kazan began filmmaking with a group-directed short called People of the Cumberland, broke into feature directing with 1945's adaptation of Betty Smith's A Tree Grows in Brooklyn and left it 18 films later with a version of F. Scott Fitzgerald's The Last Tycoon. He came close to greatness on film, though rarely reached it: At his peak period he was at the high end of the middle bracket of several frankly liberal directors, many of whom had crossed over into movies from film and TV. He's lighter and earthier than the leaden, sententious cinema of Stanley Kramer and Richard Brooks, though he never achieves the pure ecstasy and reverie of the best Nicholas Ray. Continue Reading »




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