Direkt zum Hauptbereich

The Shanghai Gesture (Sternberg, 1941) #TSPDT #790


The daughter of a businessman in Shanghai is lured into the swamp of booze and gambling by the owner of a troubled casino.

This movie caught me on the wrong foot. Largely, I didn't know what to make of it WHILE I was watching. It seems to me, that this is the much better *after* you've seen it, than during the course of its run. There is a bizarre quality in how Sternberg has framed his shots. Sometimes it felt that he just recorded close-ups of every actor, added some stunning total shots and then tried to figure out the script after the fact.

Obviously, this is totally untrue, but those amazing close-ups only came to life in my head after the film was over. Huston as the brooding father with the dark past has amazing images and looks like somebody with a seemingly very dark past. The hairstyles have not to be commented on - an image is more than enough and Tierney looks breathtaking.

There is one jaw-dropping sequence where the camera enters the casino for the first time. The image is simply amazing and the architecture of the room works great for the camera. I've never seen this in a newer film, but I'm sure people must have tried to copy it here and there.


Kommentare

Beliebte Posts aus diesem Blog

Time of the Gypsies / Dom Za Vesanje (Emir Kusturica, 1988)

A supernaturally gifted boy from a Gypsy community is forced to survive in the world of crime. The intriguing qualities of Kusturica's films I've seen is his relentless depiction of basically crazy communities. Not just agreeably potty, they're usually outright interstellar-nuts. Here, he follows the fate of the rather harmless boy Perhan, that leaves for Italy in hope of a better future for him and his loved ones. There are some enormously interesting images in the film that kept ringing long after. The ritual in the river and the last scene in the church ruin (with a horse standing somewhere far back in the image...). After sketchily mapping out the scenes it is surprising how rigorously three-acty the screenplay is constructed. The first act seems quite long in terms of time and number of scenes, but there is also a lot of imagery spent on depicting life in this crazy universe, which makes the second part in Italy much more believable. And there is a certa...

Detour (Ulmer, 1945) #TSPDT #390

A hitchhiker is picked up by death and then picks up his personal tormenting devil. The plot looked fairly straightforward, but the magic of this gem is that the story strand convolutes until it tightens into a strangling gordic knot - which is pretty much exactly what happens towards the end. The flashback structure are very noir-ish, so was the plot - everything straight down, right from the beginning. I really rooted for the guy to get out of this situation, but every time he takes a decision it actually gets worse - so in the end I was just hoping he might die and get relieved. Most striking was the jaw-dropping performance of Ann Savage. She pops out about a mile and her character is rendered so immensely unlikeable that I wondered that she has not been called the godmother of a new type of acting school (maybe she was?) This is definitively a film worth studying again. Its shortness does nothing to diminish the impact and it is rich on details.

Scarface (de Palma, 1982) - TSPDT #490

A cuban refugee wreaks havoc on Miamis drug industry and realizes his version of the American Dream. The main character is really something - the acting is great and the character suffers from the most fatal of all flaws: He cannot lie - although in a practical sense he does exactly that. So his attacks on the american society he has worked so hard to become a part of work really great - he has a deep insight but at the same time he is hypocrite enough to fall in the same trap in a way. The only time when I felt that the script had to "pull" a little to take the story where it wanted it is when Tony's mother calls to ask about his sister. Her character was a little too much on hating Tony.