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Emil L. Rinderspacher selected papers, 1970-1971
Refocus '71 Page 12
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The third offering of Robert Louis Stevenson's eerie novel about one man's two personalities - the charming Dr. Jekyll (the good guy) who, upon drinking a special potion is eventually transformed into Mr. Hyde (the bad guy) a repellent ape like monster who practices diabolical evil and kills for the joy of killing. An imaginative pre-Freudian essay on schizophrenia directed by Rouben Mamoulian whose use of lighting and sound to achieve the startling changes in March's physiognomy was widely acclaimed by critics. Few horror films enjoy the exalted reputation of this one, created by one of Hollywood's finest craftsmen at the height of his powers. The cinema interestingly transforms Stevenson's morbidly insightful tale into a nightmare or eroticism and repression - and Mamoulian's literate adaptation makes one question the pious sweetness of Jekyll, more evil perhaps than the bestial thing his experiments loose into the world. A film also valued for its advanced technique. FEARLESS VAMPIRE KILLERS 1967 Friday/March 26/ 9 p.m. Ballroom Directed by Roman Polanski Modern comedy finds its subject matter, as comedy always has, in what society considers "taboo". Here the subject is blood and death, and the master of the revels is Roman Polanski - without any doubt the screen's leading director of grisly comedie noire. FLESH 1968 Thursday/ March 25/ 7 and 9 p.m. Ballroom Directed by Paul Morrissey; Produced by Andy Warhol; Starring Jose Dallasandro. "...epitomizes the unisex world of The Factory. The Barndoesque Joe Dallasandro is virtually the embodiment of polymorphous, perverse man as Morrissey interprets him: the archetypal erotic body responding to the pleasure of the flesh without ideals or violence in a pansexual universe." - Expanded Cinema FLESH AND THE DEVIL 1927 Sunday/ March 21/ 2 p.m. Ballroom Directed by Clarence Brown; Starring Greta Garbo, John Gilbert, Lars Hanson, Barbara Kent, William Orlamund, George Fawcett, Eugene Besserer. In all the fuss surrounding Greta Garbo, we tend to forget that her films were directed as well as acted. The film has long been noted by film historians, but usually for its relation to Garbo alone. According to the legend, the star's affair with John Gilbert was at its height during the filming, and those with romantic inclinations have seen evidences of passion and particular sincerity in the love scenes ever since. The fact is that Flesh and the Devil may be on of the masterworks of the American cinema in the twenties. It is certainly one of the best directed films of that period. In the brash tracking shots in the opening sequence precisely the right tone is established. Brown's timing is impeccable as he builds the mood of the film ever more intensely using a dazzling string of visual devices to tell the story. Rarely has setting been used so smoothly, completely, and effectively as an integral part of the action and development of a film. On the evidence of this extraordinary classic work, Clarence Brown's reputation is long overdue for reappraisal. Other Brown-Garbo collaborations: Anna Christie, Romance, Inspiration. Anna Karenina, Conquest. THE GRAPES OF WRATH 1940 Thursday/ March 25/ 7 p,m, Illinois Room Directed by John Ford; Produced by Darryl F. Zanuck; Script written by Nunnally Johnson ; Camera by Gregg Toland; Edited by Robert Simpson; Music directed by Alfred Newman; Starring Henry Fonda, Jane Darwell, John Carradine, Charlie Grapewin, Doris Bowton, Russell Simpson. As Woody Guthrie pointed out, Ford's Grapes of Wrath concentrates on the inchoate struggles of the evicted dust bowl victims to produce a leader. Pa Joad, Ma Joad and Preacher Casey each try to lead but each has weakness. Only the slow simplicity and strength of Tom Joad, convincingly played by Henry Fonda, is adequate to the task. He comes to lead not because of revolutionary rhetoric, but through the strength gained by his daily experience of dust, hunger, brutality and exploitation. Ford tells the story with genuine artisitry. He does not blurt out his message, but lets it come across as three set faces mirrored dimly in the windshield of the truck with only a determined hand on the steering wheel clearly visible. Long shots of desolate countryside, murky interiors and compositions which render only outlines of faces visible communicate much of the story. There are not great swelling musical passages, only bits of song or the sound of a tinny instrument at a camp. HOMBRE Tuesday/ march 23/ 7 p.m. Illinois Room Directed by Martin Ritt; Starring Paul Newman, Frederic March, Richard Boone. A humorless, stark character study of a white man who was raised among the Apaches and then forced back into the white man's world. Hombre can identify with neither, but his affections lie with the oppressed Indians. The story unfolds on a stagecoach with taciturn Hombre and passengers March. Indian agent turned thief; Rush, his disillusioned wife; Cilento, a wasp tongued widow; Boone, a disgusting, treacherous bandit. When they are forced to hide in a mining camp, Hombre's set of values is tested. To end the film on
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The third offering of Robert Louis Stevenson's eerie novel about one man's two personalities - the charming Dr. Jekyll (the good guy) who, upon drinking a special potion is eventually transformed into Mr. Hyde (the bad guy) a repellent ape like monster who practices diabolical evil and kills for the joy of killing. An imaginative pre-Freudian essay on schizophrenia directed by Rouben Mamoulian whose use of lighting and sound to achieve the startling changes in March's physiognomy was widely acclaimed by critics. Few horror films enjoy the exalted reputation of this one, created by one of Hollywood's finest craftsmen at the height of his powers. The cinema interestingly transforms Stevenson's morbidly insightful tale into a nightmare or eroticism and repression - and Mamoulian's literate adaptation makes one question the pious sweetness of Jekyll, more evil perhaps than the bestial thing his experiments loose into the world. A film also valued for its advanced technique. FEARLESS VAMPIRE KILLERS 1967 Friday/March 26/ 9 p.m. Ballroom Directed by Roman Polanski Modern comedy finds its subject matter, as comedy always has, in what society considers "taboo". Here the subject is blood and death, and the master of the revels is Roman Polanski - without any doubt the screen's leading director of grisly comedie noire. FLESH 1968 Thursday/ March 25/ 7 and 9 p.m. Ballroom Directed by Paul Morrissey; Produced by Andy Warhol; Starring Jose Dallasandro. "...epitomizes the unisex world of The Factory. The Barndoesque Joe Dallasandro is virtually the embodiment of polymorphous, perverse man as Morrissey interprets him: the archetypal erotic body responding to the pleasure of the flesh without ideals or violence in a pansexual universe." - Expanded Cinema FLESH AND THE DEVIL 1927 Sunday/ March 21/ 2 p.m. Ballroom Directed by Clarence Brown; Starring Greta Garbo, John Gilbert, Lars Hanson, Barbara Kent, William Orlamund, George Fawcett, Eugene Besserer. In all the fuss surrounding Greta Garbo, we tend to forget that her films were directed as well as acted. The film has long been noted by film historians, but usually for its relation to Garbo alone. According to the legend, the star's affair with John Gilbert was at its height during the filming, and those with romantic inclinations have seen evidences of passion and particular sincerity in the love scenes ever since. The fact is that Flesh and the Devil may be on of the masterworks of the American cinema in the twenties. It is certainly one of the best directed films of that period. In the brash tracking shots in the opening sequence precisely the right tone is established. Brown's timing is impeccable as he builds the mood of the film ever more intensely using a dazzling string of visual devices to tell the story. Rarely has setting been used so smoothly, completely, and effectively as an integral part of the action and development of a film. On the evidence of this extraordinary classic work, Clarence Brown's reputation is long overdue for reappraisal. Other Brown-Garbo collaborations: Anna Christie, Romance, Inspiration. Anna Karenina, Conquest. THE GRAPES OF WRATH 1940 Thursday/ March 25/ 7 p,m, Illinois Room Directed by John Ford; Produced by Darryl F. Zanuck; Script written by Nunnally Johnson ; Camera by Gregg Toland; Edited by Robert Simpson; Music directed by Alfred Newman; Starring Henry Fonda, Jane Darwell, John Carradine, Charlie Grapewin, Doris Bowton, Russell Simpson. As Woody Guthrie pointed out, Ford's Grapes of Wrath concentrates on the inchoate struggles of the evicted dust bowl victims to produce a leader. Pa Joad, Ma Joad and Preacher Casey each try to lead but each has weakness. Only the slow simplicity and strength of Tom Joad, convincingly played by Henry Fonda, is adequate to the task. He comes to lead not because of revolutionary rhetoric, but through the strength gained by his daily experience of dust, hunger, brutality and exploitation. Ford tells the story with genuine artisitry. He does not blurt out his message, but lets it come across as three set faces mirrored dimly in the windshield of the truck with only a determined hand on the steering wheel clearly visible. Long shots of desolate countryside, murky interiors and compositions which render only outlines of faces visible communicate much of the story. There are not great swelling musical passages, only bits of song or the sound of a tinny instrument at a camp. HOMBRE Tuesday/ march 23/ 7 p.m. Illinois Room Directed by Martin Ritt; Starring Paul Newman, Frederic March, Richard Boone. A humorless, stark character study of a white man who was raised among the Apaches and then forced back into the white man's world. Hombre can identify with neither, but his affections lie with the oppressed Indians. The story unfolds on a stagecoach with taciturn Hombre and passengers March. Indian agent turned thief; Rush, his disillusioned wife; Cilento, a wasp tongued widow; Boone, a disgusting, treacherous bandit. When they are forced to hide in a mining camp, Hombre's set of values is tested. To end the film on
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