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Emil L. Rinderspacher selected papers, 1970-1971
Refocus '71 Page 13
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a highly ironical note, the seemingly selfish hero gives his life in a noble cause - for the despised white people. Tightly directed by Martin Ritt, brilliantly photographed by James Wong Howe, this new breed of Western offers first rate acting, salty dialogue, and very believable character development. MACAO 952 Tuesday/ March 23/ 2 p.m. Ballroom Directed by Joseph Von Sternberg (uncredited, Nicholas Ray); Produced by Alex Gottlieb; Script written by Bernard Schoenfield and Stanley Rubin; Camera by Harry J. Wild; Edited by Samuel Beetley and Robert Golden; Music directed by Anthony Collins; Starring Robert Mitchum, Jane Russell, Thomas Gomez, William Bendix. Gloria Grahame, Edward Ashley, Brad Dexter, Philip Ahn;Based on the novel by Bob Williams. Mayhem, mischief and true love overtake wandering night club minstrel Jane Russell in Macao, the last remaining stronghold of laissez-faire economics in China. Problems are not political but cops-and-robbers affairs involving brawny Mitchum in a slickly-written, smoothly paced adventure. Macao features the famous Von Sternberg pictorial style. He builds his movie around the physical presence of Robert Mitchum and Jane Russelll much as he had done with Dietrich. The lighting, the settings, and composition receive great attention with the result that the movie is almost entirely a visual experience. The climax comes in a mobile, unusual chase among fish nets and boats. Only by understanding Von Sternberg's interest in the visual can one see the real virtues of this film. The classic film noir is an example of the director's ability to triumph over all difficulties in order to set his own stamp upon a work. Here Von Sternberg made use of the perverse personalities of Jane Russelll, Robert Mitchum and Gloria Graham plus some of the flashiest post war malaise dialogue the screen has ever known. Things done to the film after it shooting tend to rupture the tone, but Von Sternberg's mockingly cynical awareness survives even this to produce one of those films one cannot forget. Von Sternberg's encounter with film noir- a genre, which , after all, he came close to inventing twice (1927, 1939) - is one of the cinema's happy accidents. Despite the unevenness of Macao (assuredly not the director's fault) the film's ironic, uneasy tone and its sensual ambiguity at time raise it to a very high region indeed. Ray shot several sequences as a favor to Howard Hughes (then head of RKO) clarifying the Jane Russell- Robert Mitchum relationship. The result is a surprisingly unified and visually coherent work. THE MAGNIFICENT AMBERSONS 1942 Sunday/ March 21/ 2 and 7 p.m. Illinois Room Directed by Orson Welles; Produced by Orson Welles; Script written by Orson Welles; Camera by Stanley Cortez; Edited by Robert Wise; Music directed by Bernard Herrmann; Starring Joseph Cotten, Tim Holt Annie Baxter, Agnes Moorhead, Dolores Costello, Richard Bennett, Ray Collins, and the voice of Orson Welles; Based on the novel by Booth Tarkington; Awards: National Board of Review ("10 Best," Actor and Supporting Actress), Film Daily (Supporting Actress, Photography and Direction) Orson Welles' vivid imagination turns this film into a classic of cinematic invention. He makes much use of stationary camera and long tracking shots in this story of the declining magnificence of the Amberson dynasty, where the individual was forced to change to meet the new socio-economic world head on. Greed, arrogrance, ruthlessness are traded for fear, remorse, tragedy. Many critics assign to Citizen Kane only historical precedence, claiming that The Magnificent Ambersons is in fact the better film. Certainly it is as ambitious and as enthralling as Citizen Kane, and narrative experimentation is as much a part of one as of the other. Comparison can be productive here. Another tack to take with The Magnificent Ambersons is to examine the film to see if students can perceive the approximate point at which Welles stopped editing the film. MARK OF ZORRO 1940 Thursday / March 25/ 2 p.m. Ballroom Directed by Rouben Mamoulian Mamoulian's flamboyance is ideally suited to the genre. His visual flair and bravado are admirably seconded by on of the classic plots of romance, and the result is an enduring work in which elegance and wit provide their own justification. The question of a proper visual style might be raised here. THE NAKED SPUR 1952 Tuesday / March 23/ 4 p,m. Directed by Anthony Mann; Produced by William Wright Script written by Sam Rolfe and Harold J. Bloom; Camera by William Mellor; Edited by George White; Starring James Stewart, disgraced cavalryman Meeker, and aging prospector Mitchell combine brains, brawn and guns to capture fugitive killer Ryan for a $3,000 reward. The captive probes for their weaknesses and preys on their natural greed in an effort to escape Anthony Mann's cycle of post-war westerns helped to define the sur-western genre, pushing it into realms beyond realism and epic. It is proper to consider Mann's films in terms of tragic poetry. The Naked Spur explicitly raises the question of what role the landscape can play in the fashioning of the western film. NATIONAL STUDENT FILM FESTIVAL Wednesday/ March 24/ 7 and 9 p.m Ballroom The Fifth National Student Film Festival award-winning package is presented by Schlitz. Introduction, 3 min, color, Produced by Dove Productions. This short features youngsters making a space movie followed by some words from Haskell "Medium Cool" Wexler. Old Glory, 3 min., color. Satire on the use of the American flag. Submitted by Stephen Boyd of San Diego State College for Farquahar Productions. A $500 second prize winner. Natural Habitat, 18 min, black/white. A montage of routineness, workers and worker situations. By Ralph Arlyck of San Francisco State College. Second prize winner. Nth, 2 1//2 min, color. Animation. A personal comment on the state of the nation. Ellen Olean of Pratt Institute won an honorable mention with it. Pas de Deux, 20 min.,color. Sensitive story of a young married battling the advances of a lovely temptress. A $2,500 grand prize winner by Frank Dandridge of the American Film Institute. That's When Your Heart Aches, 4 min, black/white. Very funny. Chaplinesue account of coincidence and the eternal triangle. Won a second prize for Mike Dirham. Oklahoma University. Airborn, 4 min, color, Kaleidoschopic portrayal similar to a colorful Rorschach test. UCLA's Charles Wyndham received a $500 second prize for it. Stanley, Stanley, 26 min., black/white. A very contemporary story showing "where Stanley's head is at" Winner of a $2,500 grand prize for Jonathan Kaplan, New York University. Putting the Babies Back, 5 min black/white. This very unusual entry receives audience reactions from fear to laughter.
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a highly ironical note, the seemingly selfish hero gives his life in a noble cause - for the despised white people. Tightly directed by Martin Ritt, brilliantly photographed by James Wong Howe, this new breed of Western offers first rate acting, salty dialogue, and very believable character development. MACAO 952 Tuesday/ March 23/ 2 p.m. Ballroom Directed by Joseph Von Sternberg (uncredited, Nicholas Ray); Produced by Alex Gottlieb; Script written by Bernard Schoenfield and Stanley Rubin; Camera by Harry J. Wild; Edited by Samuel Beetley and Robert Golden; Music directed by Anthony Collins; Starring Robert Mitchum, Jane Russell, Thomas Gomez, William Bendix. Gloria Grahame, Edward Ashley, Brad Dexter, Philip Ahn;Based on the novel by Bob Williams. Mayhem, mischief and true love overtake wandering night club minstrel Jane Russell in Macao, the last remaining stronghold of laissez-faire economics in China. Problems are not political but cops-and-robbers affairs involving brawny Mitchum in a slickly-written, smoothly paced adventure. Macao features the famous Von Sternberg pictorial style. He builds his movie around the physical presence of Robert Mitchum and Jane Russelll much as he had done with Dietrich. The lighting, the settings, and composition receive great attention with the result that the movie is almost entirely a visual experience. The climax comes in a mobile, unusual chase among fish nets and boats. Only by understanding Von Sternberg's interest in the visual can one see the real virtues of this film. The classic film noir is an example of the director's ability to triumph over all difficulties in order to set his own stamp upon a work. Here Von Sternberg made use of the perverse personalities of Jane Russelll, Robert Mitchum and Gloria Graham plus some of the flashiest post war malaise dialogue the screen has ever known. Things done to the film after it shooting tend to rupture the tone, but Von Sternberg's mockingly cynical awareness survives even this to produce one of those films one cannot forget. Von Sternberg's encounter with film noir- a genre, which , after all, he came close to inventing twice (1927, 1939) - is one of the cinema's happy accidents. Despite the unevenness of Macao (assuredly not the director's fault) the film's ironic, uneasy tone and its sensual ambiguity at time raise it to a very high region indeed. Ray shot several sequences as a favor to Howard Hughes (then head of RKO) clarifying the Jane Russell- Robert Mitchum relationship. The result is a surprisingly unified and visually coherent work. THE MAGNIFICENT AMBERSONS 1942 Sunday/ March 21/ 2 and 7 p.m. Illinois Room Directed by Orson Welles; Produced by Orson Welles; Script written by Orson Welles; Camera by Stanley Cortez; Edited by Robert Wise; Music directed by Bernard Herrmann; Starring Joseph Cotten, Tim Holt Annie Baxter, Agnes Moorhead, Dolores Costello, Richard Bennett, Ray Collins, and the voice of Orson Welles; Based on the novel by Booth Tarkington; Awards: National Board of Review ("10 Best," Actor and Supporting Actress), Film Daily (Supporting Actress, Photography and Direction) Orson Welles' vivid imagination turns this film into a classic of cinematic invention. He makes much use of stationary camera and long tracking shots in this story of the declining magnificence of the Amberson dynasty, where the individual was forced to change to meet the new socio-economic world head on. Greed, arrogrance, ruthlessness are traded for fear, remorse, tragedy. Many critics assign to Citizen Kane only historical precedence, claiming that The Magnificent Ambersons is in fact the better film. Certainly it is as ambitious and as enthralling as Citizen Kane, and narrative experimentation is as much a part of one as of the other. Comparison can be productive here. Another tack to take with The Magnificent Ambersons is to examine the film to see if students can perceive the approximate point at which Welles stopped editing the film. MARK OF ZORRO 1940 Thursday / March 25/ 2 p.m. Ballroom Directed by Rouben Mamoulian Mamoulian's flamboyance is ideally suited to the genre. His visual flair and bravado are admirably seconded by on of the classic plots of romance, and the result is an enduring work in which elegance and wit provide their own justification. The question of a proper visual style might be raised here. THE NAKED SPUR 1952 Tuesday / March 23/ 4 p,m. Directed by Anthony Mann; Produced by William Wright Script written by Sam Rolfe and Harold J. Bloom; Camera by William Mellor; Edited by George White; Starring James Stewart, disgraced cavalryman Meeker, and aging prospector Mitchell combine brains, brawn and guns to capture fugitive killer Ryan for a $3,000 reward. The captive probes for their weaknesses and preys on their natural greed in an effort to escape Anthony Mann's cycle of post-war westerns helped to define the sur-western genre, pushing it into realms beyond realism and epic. It is proper to consider Mann's films in terms of tragic poetry. The Naked Spur explicitly raises the question of what role the landscape can play in the fashioning of the western film. NATIONAL STUDENT FILM FESTIVAL Wednesday/ March 24/ 7 and 9 p.m Ballroom The Fifth National Student Film Festival award-winning package is presented by Schlitz. Introduction, 3 min, color, Produced by Dove Productions. This short features youngsters making a space movie followed by some words from Haskell "Medium Cool" Wexler. Old Glory, 3 min., color. Satire on the use of the American flag. Submitted by Stephen Boyd of San Diego State College for Farquahar Productions. A $500 second prize winner. Natural Habitat, 18 min, black/white. A montage of routineness, workers and worker situations. By Ralph Arlyck of San Francisco State College. Second prize winner. Nth, 2 1//2 min, color. Animation. A personal comment on the state of the nation. Ellen Olean of Pratt Institute won an honorable mention with it. Pas de Deux, 20 min.,color. Sensitive story of a young married battling the advances of a lovely temptress. A $2,500 grand prize winner by Frank Dandridge of the American Film Institute. That's When Your Heart Aches, 4 min, black/white. Very funny. Chaplinesue account of coincidence and the eternal triangle. Won a second prize for Mike Dirham. Oklahoma University. Airborn, 4 min, color, Kaleidoschopic portrayal similar to a colorful Rorschach test. UCLA's Charles Wyndham received a $500 second prize for it. Stanley, Stanley, 26 min., black/white. A very contemporary story showing "where Stanley's head is at" Winner of a $2,500 grand prize for Jonathan Kaplan, New York University. Putting the Babies Back, 5 min black/white. This very unusual entry receives audience reactions from fear to laughter.
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