THE STING reunites the co-stars and the director of "Butch Cassidy and the Sundance Kid," a movie I thought was overrated.
The director is George Roy Hill, and the stars are those two good old buddies Paul Newman and Robert Redford. This time, they play con men who methodically and with great ingenuity fleece a rich mark (Robert Shaw). Their methods are incredibly complex (it would take all of today's space to attempt to explain them.) A lot of the fun in the movie is watching Hill and his screenwriter, David S. Ward, keep the plot straight.
The movie is set in Chicago of the 1930s, and many of the outdoor scenes were shot here (including an effective platform shot at Union Station). We see a big, confused, lusty, brawling city where the big guys with the muscle are somehow always losing to the guys with the confidence angles. Robert Shaw never figures out what hit him. Shaw is a high-stakes gambler who first gets hooked during a poker game between New York and Chicago on the 20th Century Limited. Newman and Redford spot him, mark him and begin to manipulate him. He never figures out they even know each other, and that's part of the charm: They have to play a lot of scenes for him as complete strangers, as Redford casually lets drop that he knows the location of the biggest wire room in Chicago.
The idea, Redford explains, is to allow Shaw to win big on a fixed horse race in order to . . . but I wasn't kidding when I said the scheme is complicated. Paul Newman operates the wire room. Or should we say it appears to be operated by Newman. Or, more accurately, it appears to be a wire room, because the entire operation is simply a theatrical set, and everybody in the room is an actor, and the "broadcasts" from the track actually are being made up by an announcer in the back room.
The movie has a nice, light-fingered style to it. Hill gently kids the 1930s with his slight exaggerations of fashions and styles. He tells his story episodically, breaking the movie down into the various plateaus of the con game. And he's awfully good at maintaining a kind of off-balance pacing; we can never quite pin Newman and Redford down. They're always sort of angling into scenes, making enigmatic statements under their breath and staying at least a step ahead of us. Hill's visual style is oblique; instead of stationing his actors in the frame and recording the action, he seems to sneak up on it. Newman and Redford almost seem on their way to another movie. If that sounds like a criticism, it's not meant as one: The style here is so seductive and witty it's hard to pin down. It's like nothing else I've seen by Hill, and at times, it almost reminds me of Jacques Tati crossed with Robert Altman. It's good to get a crime movie more concerned with humor and character than with blood and gore; here's one, as we say, for the whole family.
STRANGERS ON A TRAIN
The abiding terror in Alfred Hitchcock's life was that he would be accused of a crime he did not commit. This fear is at the heart of many of his best films, including "Strangers on a Train" (1951), in which a man becomes the obvious suspect in the strangulation of his wife. He makes an excellent suspect because of the genius of the actual killer's original plan: Two strangers will "exchange murders," each killing the person the other wants dead. They would both have airtight alibis for the time of the crime, and there would be no possible connection between killer and victim.
It is a plot made of ingenuity and amorality, based on the first novel by Patricia Highsmith (1921-1995), who in her Ripley novels and elsewhere was fascinated by brainy criminals who functioned not out of passion but from careful calculation, and usually got away with their crimes. The "criss-cross" murder deal in "Strangers on a Train" indeed would have worked perfectly -- except for the detail that only one of the strangers agrees to it.
Guy Haines, a famous tennis player, is recognized on a train by Bruno Anthony, whose conversation shows a detailed knowledge of Guy's private life. Guy wants a divorce from his cheating wife, Miriam (Kasey Rogers), in order to marry Anne Morton (Ruth Roman), the daughter of a U.S. senator. Over lunch in his private compartment, Bruno reveals that he wants his father dead, and suggests a "perfect crime" in which he would murder Guy's wife, Guy would murder Bruno's father, and neither would ever be suspected.
Bruno's manner is pushy and insinuating, with homoerotic undertones. Guy is offended by the references to his private life, but inexplicably doesn't break off the conversation -- which ends on an ambiguous note, with Bruno trying to get Guy to agree to the plan, and Guy trying to jolly him along and get rid of him.
But Bruno does murder Guy's wife, and then demands that Guy keep his half of the bargain. As a plot, this has a neatness that Hitchcock must have found irresistible -- especially since Guy has a motive to murder his wife, was seen in a public fight with her earlier on the day of her death, and even told his fiancée he would like to "strangle" Miriam.
Hitchcock said that correct casting saved him a reel in storytelling time, since audiences would sense qualities in the actors that didn't need to be spelled out. Certainly the casting of Farley Granger as Guy and Robert Walker as Bruno is crucial. Hitchcock allegedly wanted William Holden for the role of Guy ("he's stronger," he told Francois Truffaut), but Holden would have been all wrong -- too sturdy, too put off by Bruno (despite the way Holden allowed an aging actress to manipulate him in "Sunset Boulevard").
Granger is softer and more elusive, more convincing as he tries to slip out of Bruno's conversational web instead of flatly rejecting him. Walker plays Bruno as flirtatious and seductive, sitting too close during their first meeting, and then reclining at full length across from Guy in the private compartment. The meeting on the train, which was probably planned by Bruno, plays more like a pickup than a chance encounter.
It is this sense of two flawed characters -- one evil, one weak, with an unstated sexual tension -- that makes the movie intriguing and halfway plausible, and helps explain how Bruno could come so close to carrying out his plan. Highsmith was a lesbian whose novels have uncanny psychological depth; Andrew Wilson's 2003 biography says she often fell in love with straight women, and her stories frequently use a buried subtext of unstated gay attraction -- as in "The Talented Mr. Ripley," made into a 1999 movie in which her criminal hero Tom Ripley falls in love not so much with his quarry Dickie Greenleaf as with his identity and lifestyle.
Although homosexuality still dared not speak its name very loudly in 1951, Hitchcock was quite aware of Bruno's orientation, and indeed edited separate American and British version of the film -- cutting down the intensity of the "seductiveness" in the American print. It's worth noticing that Hitchcock also cast Granger in "Rope" (1948), based on the Leopold-Loeb case; it was another story about a murder pact with a homosexual subtext.
"Strangers on a Train" is not a psychological study, however, but a first-rate thriller with odd little kinks now and then. It proceeds, as Hitchcock's films so often do, with a sense of private scores being settled just out of sight. His obsession with being wrongly accused no doubt refers to a traumatic episode in his childhood, when his father sent naughty little Alfred to the police station with a note asking the sergeant to lock him up until called for. Interesting, in this context, is Hitchcock's casting of his own daughter, Patricia, as the outspoken young Barbara Morton, kid sister of Guy's fiancée Anne. Patricia Hitchcock and Kasey Rogers look a little alike and wear very similar eyeglasses; Bruno is playfully demonstrating strangling techniques at a party when he sees Barbara, flashes back to the murder, and flips out. The kid sister gets the creepiest lines in "Strangers on a Train," especially during an early meeting involving Guy and the senator's whole family; she keeps blurting out what everyone is afraid to say.
Hitchcock was above all the master of great visual set pieces, and there are several famous sequences in "Strangers on a Train." Best known is the one where Guy scans the crowd at a tennis match and observes that all of the heads are swiveling back and forth to follow the game -- except for one head, Bruno's, which is looking straight ahead at Guy. (The same technique was used in Hitchcock's "Foreign Correspondent," where all the windmills rotate in the same direction -- except one.)
Another effective scene shows Guy floating in a little boat through the Tunnel of Love at a carnival; Miriam and two boyfriends are in the boat ahead, and shadows on the wall make it appear Bruno has overtaken them. In a scene where Guy goes upstairs in the dark in Bruno's house, Hitchcock told Truffaut, he hit on the inspiration of a very large dog to distract the audience from what he would probably find at the top.
Then there's the famous sequence involving a runaway merry-go-round, on which Guy and Bruno struggle as a carnival worker crawls on his stomach under the revolving ride to get to the controls. (This shot was famously unfaked, and the stunt man could have been killed; Hitchcock said he would never take such a chance again.) Another great shot shows Bruno's face in the shadow of his hat brim, only the whites of his eyes showing.
Hitchcock was a classical technician in controlling his visuals, and his use of screen space underlined the tension in ways the audience is not always aware of. He always used the convention that the left side of the screen is for evil and/or weaker characters, while the right is for characters who are either good, or temporarily dominant. Consider the scene where Guy is letting himself into his Georgetown house when Bruno whispers from across the street to summon him. Bruno is standing behind an iron gate, the bars casting symbolic shadows on his face, and Guy stands to his right, outside the gate. Then a police car pulls up in front of Guy's house, and he quickly moves behind the gate with Bruno; they're now both behind bars as he says, "You've got me acting like I'm a criminal."
The Robert Walker performance benefits from a subtle tense urgency that perhaps reflected events in his private life; he had a nervous breakdown shortly after filming was completed, was institutionalized for treatment, and died of an accidental overdose of tranquilizers. (Leftover closeups from this film were used to finish his final film, "My Son John.") Although Hitchcock said in Francois Truffaut's book-length interview that he didn't much like either of the actors, Walker's Bruno has been called one of Hitchcock's best villains, and Hitch agreed with Truffaut that the audience sympathy was more with him than with Granger's playboy.
The movie is usually ranked among Hitchcock's best (I would put it below only "Vertigo," "Notorious," "Psycho" and perhaps "Shadow of a Doubt"), and its appeal is probably the linking of an ingenious plot with insinuating creepiness. That combination came in the first place from Highsmith, whose novels have been unfairly shelved with crime fiction when she actually writes mainstream fiction about criminals.
There's an intriguing note from a user of the Internet Movie Database, claiming to have spotted Highsmith in a cameo in the film. She's behind Miriam in the early scene in the record store, writing something in a notebook. No Highsmith cameo has even been reported in the movie's lore (all the attention goes to Hitchcock's trademark cameo) but you can look for yourself. To think she may have been haunting it all of these years.
If we identify strongly with the characters in some movies, then it is no mystery that “Casablanca” is one of the most popular films ever made. It is about a man and a woman who are in love, and who sacrifice love for a higher purpose. This is immensely appealing; the viewer is not only able to imagine winning the love of Humphrey Bogart or Ingrid Bergman, but unselfishly renouncing it, as a contribution to the great cause of defeating the Nazis.
No one making “Casablanca” thought they were making a great movie. It was simply another Warner Bros. release. It was an “A list” picture, to be sure (Bogart, Bergman and Paul Henreid were stars, and no better cast of supporting actors could have been assembled on the Warners lot than Peter Lorre, Sidney Greenstreet, Claude Rains and Dooley Wilson). But it was made on a tight budget and released with small expectations. Everyone involved in the film had been, and would be, in dozens of other films made under similar circumstances, and the greatness of “Casablanca” was largely the result of happy chance.
The screenplay was adapted from a play of no great consequence; memoirs tell of scraps of dialogue jotted down and rushed over to the set. What must have helped is that the characters were firmly established in the minds of the writers, and they were characters so close to the screen personas of the actors that it was hard to write dialogue in the wrong tone.
Humphrey Bogart played strong heroic leads in his career, but he was usually better as the disappointed, wounded, resentful hero. Remember him in “The Treasure of the Sierra Madre,” convinced the others were plotting to steal his gold. In “Casablanca,” he plays Rick Blaine, the hard-drinking American running a nightclub in Casablanca when Morocco was a crossroads for spies, traitors, Nazis and the French Resistance.
The opening scenes dance with comedy; the dialogue combines the cynical with the weary; wisecracks with epigrams. We see that Rick moves easily in a corrupt world. “What is your nationality?” the German Strasser asks him, and he replies, “I'm a drunkard.” His personal code: “I stick my neck out for nobody.”
Then “of all the gin joints in all the towns in all the world, she walks into mine.” It is Ilsa Lund (Bergman), the woman Rick loved years earlier in Paris. Under the shadow of the German occupation, he arranged their escape, and believes she abandoned him--left him waiting in the rain at a train station with their tickets to freedom. Now she is with Victor Laszlo (Henreid), a legendary hero of the French Resistance.
All this is handled with great economy in a handful of shots that still, after many viewings, have the power to move me emotionally as few scenes ever have. The bar's piano player, Sam (Wilson), a friend of theirs in Paris, is startled to see her. She asks him to play the song that she and Rick made their own, “As Time Goes By.” He is reluctant, but he does, and Rick comes striding angrily out of the back room (“I thought I told you never to play that song!”). Then he sees Ilsa, a dramatic musical chord marks their closeups, and the scene plays out in resentment, regret and the memory of a love that was real. (This scene is not as strong on a first viewing as on subsequent viewings, because the first time you see the movie you don't yet know the story of Rick and Ilsa in Paris; indeed, the more you see it the more the whole film gains resonance.)
The plot, a trifle to hang the emotions on, involves letters of passage that will allow two people to leave Casablanca for Portugal and freedom. Rick obtained the letters from the wheedling little black-marketeer Ugarte (Peter Lorre). The sudden reappearance of Ilsa reopens all of his old wounds, and breaks his carefully cultivated veneer of neutrality and indifference. When he hears her story, he realizes she has always loved him. But now she is with Laszlo. Rick wants to use the letters to escape with Ilsa, but then, in a sustained sequence that combines suspense, romance and comedy as they have rarely been brought together on the screen, he contrives a situation in which Ilsa and Laszlo escape together, while he and his friend the police chief (Claude Rains) get away with murder. (“Round up the usual suspects.”)
What is intriguing is that none of the major characters is bad. Some are cynical, some lie, some kill, but all are redeemed. If you think it was easy for Rick to renounce his love for Ilsa--to place a higher value on Laszlo's fight against Nazism--remember Forster's famous comment, “If I were forced to choose between my country and my friend, I hope I would be brave enough to choose my friend.”
From a modern perspective, the film reveals interesting assumptions. Ilsa Lund's role is basically that of a lover and helpmate to a great man; the movie's real question is, which great man should she be sleeping with? There is actually no reason why Laszlo cannot get on the plane alone, leaving Ilsa in Casablanca with Rick, and indeed that is one of the endings that was briefly considered. But that would be all wrong; the “happy” ending would be tarnished by self-interest, while the ending we have allows Rick to be larger, to approach nobility (“it doesn't take much to see that the problems of three little people don't amount to a hill of beans in this crazy world”). And it allows us, vicariously experiencing all of these things in the theater, to warm in the glow of his heroism.
In her closeups during this scene, Bergman's face reflects confusing emotions. And well she might have been confused, since neither she nor anyone else on the film knew for sure until the final day who would get on the plane. Bergman played the whole movie without knowing how it would end, and this had the subtle effect of making all of her scenes more emotionally convincing; she could not tilt in the direction she knew the wind was blowing.
Stylistically, the film is not so much brilliant as absolutely sound, rock-solid in its use of Hollywood studio craftsmanship. The director, Michael Curtiz, and the writers (Julius J. Epstein, Philip G. Epstein and Howard Koch) all won Oscars. One of their key contributions was to show us that Rick, Ilsa and the others lived in a complex time and place. The richness of the supporting characters (Greenstreet as the corrupt club owner, Lorre as the sniveling cheat, Rains as the subtly homosexual police chief and minor characters like the young girl who will do anything to help her husband) set the moral stage for the decisions of the major characters. When this plot was remade in 1990 as “Havana,” Hollywood practices required all the big scenes to feature the big stars (Robert Redford and Lena Olin) and the film suffered as a result; out of context, they were more lovers than heroes.
Seeing the film over and over again, year after year, I find it never grows over-familiar. It plays like a favorite musical album; the more I know it, the more I like it. The black-and-white cinematography has not aged as color would. The dialogue is so spare and cynical it has not grown old-fashioned. Much of the emotional effect of “Casablanca” is achieved by indirection; as we leave the theater, we are absolutely convinced that the only thing keeping the world from going crazy is that the problems of three little people do after all amount to more than a hill of beans.
On the day that Kasparov was defeated by Deep Blue, I found myself thinking of the film "Being There'' (1979). The chess champion said there was something about the computer he did not understand, and it frightened him. There were moments when the computer seemed to be . . . thinking. Of course, chess is not a game of thought but of mathematical strategy; Deep Blue has demonstrated it is possible to be very good at it without possessing consciousness
The classic test of Artificial Intelligence has been: Can a computer be programmed to conduct a conversation that seems human to another human? "Being There'' is a film about a man whose mind works like a rudimentary A.I. program.
His mind has been supplied with a fund of simplistic generalizations about the world, phrased in terms of the garden where he has worked all his adult life. But because he presents himself as a man of good breeding (he walks and talks like the wealthy older man whose house he lived in, and wears the man's tailored suits) his simplicity is mistaken for profundity, and soon he is advising presidents and befriending millionaires.
The man's name is Chance. We gather he has lived all of his life inside the townhouse and walled garden of a rich recluse (perhaps he is his son). He knows what he needs to know for his daily routine: Where his bedroom and bathroom are, and how to tend the plants of the garden. His meals are produced by Louise, the cook. The movie provides no diagnosis of his condition. He is able to respond to given cues, and can, within limits, adapt and learn.
Early in the film he introduces himself as "Chance . . . the gardener,'' and is misunderstood as having said "Chauncey Gardener.'' Just the sort of WASP name that matches his clothing and demeanor, and soon he is telling the President: "Spring, summer, autumn, winter . . . then spring again.'' Indeed.
Chance is played by Peter Sellers, an actor who once told me he had "absolutely no personality at all. I am a chameleon. When I am not playing a role, I am nobody.'' Of course, he thought himself ideal for this role, which comes from a novel by Jerzy Kosinski. Sellers plays Chance as a man at peace with himself. When the old man dies, the household is broken up and Chance is evicted, there is a famous scene where he is confronted by possible muggers, and simply points a channel changer at them, and clicks. He is surprised when they do not go away.
Sellers plays Chance at exactly the same note for the entire film. He is detached, calm, secure in his own knowledge, unaware of his limitations. Through a series of happy chances, he is taken into the home of a dying millionaire named Benjamin Rand (Melvyn Douglas). The millionaire's wife Eve (Shirley MacLaine) establishes Chance in a guest suite, where he is happy to find a television (his most famous line is, "I like to watch.'')
Soon the rich man grows to treasure his reassuring friend. The family doctor (Richard Dysart) is perceptive, and begins to have doubts about Chance's authenticity, but silences himself when his patient says Chauncey "has made the thought of dying much easier.'' Chauncey is introduced by Ben to the president (Jack Warden), becomes an unofficial advisor, and soon is being interviewed on television, where his insights fit nicely into the limited space available for sound bites.
Satire is a threatened species in American film, and when it does occur, it's usually broad and slapstick, as in the Mel Brooks films. "Being There,'' directed by Hal Ashby, is a rare and subtle bird that finds its tone and stays with it. It has the appeal of an ingenious intellectual game, in which the hero survives a series of challenges he doesn't understand, using words that are both universal and meaningless. But are Chance's sayings noticeably less useful than when the president tells us about a "bridge to the 21st century?'' Sensible public speech in our time is limited by (1) the need to stay within the confines of the 10-second TV sound bite; (2) the desire to avoid being pinned down to specific claims or promises; and (3) the abbreviated attention span of the audience, which, like Chance, likes to watch but always has a channel-changer poised.
If Chance's little slogans reveal how superficial public utterance can be, his reception reveals still more. Because he is WASP, middle-aged, well-groomed, dressed in tailored suits, and speaks like an educated man, he is automatically presumed to be a person of substance. He is, in fact, socially naive ("You're always going to be a little boy,'' Louise tells him). But this leads to a directness than can be mistaken for confidence, as when he addresses the president by his first name, or enfolds his hand in both of his own. The movie argues that if you look right, sound right, speak in platitudes and have powerful friends, you can go far in our society. By the end of the film, Chance is being seriously proposed as a presidential candidate. Well, why not? I once watched Lamar Alexander for 45 minutes on C-SPAN, as he made small talk in a New Hampshire diner, and heard nothing that Chance could not have said.
The film is not flawless. There are two sex-oriented subplots, and neither one is necessary. The story of the president's impotence could have been completely dispensed with. And the seduction attempt by Shirley MacLaine, as the millionaire's wife, requires her to act in a less intelligent way than she should. MacLaine projects brains; she, like the doctor, should have caught on, and that would have created more intriguing scenes than her embarrassing poses on a bear rug.
In the much-discussed final sequence of "Being There,'' Chance casually walks onto the surface of a lake. We can see that he is really walking on the water, because he leans over curiously and sticks his umbrella down into it.
When I taught the film, I had endless discussions with my students over this scene. Many insisted on explaining it: He is walking on a hidden sandbar, the water is only half an inch deep, there is a submerged pier, etc. "Not valid!'' I thundered. "The movie presents us with an image, and while you may discuss the meaning of the image it is not permitted to devise explanations for it. Since Ashby does not show a pier, there is no pier--a movie is exactly what it shows us, and nothing more,'' etc.
So what does it show us? It shows us Chance doing something that is primarily associated with only one other figure in human history. What are we to assume? That Chance is a Christ figure? That the wisdom of great leaders only has the appearance of meaning? That we find in politics and religion whatever we seek? That like the Road Runner (who also defies gravity) he will not sink until he understands his dilemma?
The movie's implications are alarming. Is it possible that we are all just clever versions of Chance the gardener? That we are trained from an early age to respond automatically to given words and concepts? That we never really think out much of anything for ourselves, but are content to repeat what works for others in the same situation?
The last words in the movie are, "Life is a state of mind." So no computer will ever be alive. But to the degree that we are limited by our programming, neither will we. The question is not whether a computer will ever think like a human, but whether we choose to free ourselves from thinking like computers.
Roger Ebert, 1997
DIAL M FOR MURDER
Note: The following review discusses the anatomy of one crucial scene, but does not give away the ending to the film.
In the early 1950s, Warner Bros. had gone crazy for 3-D, and mogul Jack Warner wanted Alfred Hitchcock to experiment in the effect. Hitchcock, of course, had been experimenting in film style for years: the long-take, highly specialized and wholly unique camera movements, confined quarters, unreliable narrators, etc. It seem like the director who would seemingly try anything would embrace the opportunity to work with new technology, but he was smart enough to tell the difference between cinematic possibility and fleeting fad.
Despite his healthy skepticism, he signed on to produce Dial M for Murder utilizing the 3-D effect, chiefly because he knew fulfilling a certain favor could keep the shifty eyes of the studio off his back and let him work uninterrupted. In the fall of 1952, while in New York, he had seen British playwright Frederick Knott's stage play of the same name, about a man who plots to have his adulterous wife murdered in order to secure her hefty fortune. The murder goes awry, and the husband has to cover up his steps – the kind of story right up Hitchcock's alley. And, to add icing to the cake, Cary Grant was interested in playing the husband.
But like the murder itself, things began to slide off the tracks from the very beginning. The budget for Dial M for Murder was extraordinarily tight, and nearly all of Hitchcock's concessions were due to money. Warner vetoed filming on location in London (he didn't want the studio's only 3-D camera traveling overseas), and Warner vetoed Grant (too expensive, plus he claimed audiences wouldn't buy the shift away from lighter fare, which completely ignores Suspicion and Notorious). Production had to begin quickly and end quickly, so there was no time to get into Knott's play and re-tool it extensively for a cinematic rebirth, which left the setting to be very much a "stage." And even though Hitchcock had lost Grant, there still wasn't room in the budget for the lead actress to be anyone greater than a virtual unknown.
Yet what makes Hitchcock great is that when things began to slide away from him, nine times out of ten he could get away with it nevertheless. Dial M for Murder isn't among his banner productions, and it's only referenced in passing in his interviews or writings on him, but it is a remarkable film in many ways, one of his abandoned darlings that teaches us a great deal about what kind of filmmaker he was and happens to be quite entertaining in the process. From a purely cinematic vantage, part of its immense joy is how little the story is changed from the original theatrical production and how Hitchcock and cinematographer Robert Burks literally seem to stage a play. A filmed play is, technically, the best way to describe Dial M for Murder, although its triumph is that it doesn't feel like it. (Note how each time Hitchcock filmed something in a small, enclosed space – Lifeboat, Rope, Rear Window – he filmed it differently.)
With Grant out of reach, the lead role of former tennis star Tony Wendice went to Ray Milland, who in my opinion is perpetually underrated. Tony has left the sport at the request of his wife Margot (Grace Kelly, at the time still relatively unknown), and their marriage can't be described in any way as truly satisfying. Margot is unaware that Tony knows of a previous relationship she had with a crime writer named Mark (Robert Cummings, who played lead in Saboteur). Tony blackmails a former classmate of his going by the name Lesgate (Anthony Dawson, who played the same role in the New York stage production) to kill Margot. When Margot survives, Tony has to juggle Margot, Mark, and a curious and determined inspector.
The story is tight, and overall the film is gripping, if not slightly long. Milland is grand and meticulous, even though Cummings is ... well, Cummings. In the twelve years that passed between Saboteur and Dial M for Murder, Cummings didn't become spectacularly telegenic, and when stacked against Milland, it's easy to tell which of the two had won an Oscar for Best Actor. The real draw to Kelly, who is lovely in Technicolor, in her first of three consecutive Hitchcock roles. Margot doesn't have as prominent of a role in the play as Tony or Mark, so it does feel like there is a large empty space on screen sometimes when Kelly isn't there. (But that's what generally happens when a mesmerizing actor or actress isn't there.) Because of the small sets (and the 3-D process), it was necessary for the camerawork to be as nimble, and Dial M for Murder is a great example of a Hitchcock film where you can detect the director's slightest presence in every shot, particularly the ones that seem to explode across the screen with his typical and artful delicacy.
When Dial M for Murder premiered in May of 1954, Hitchcock's dismissive attitude of 3-D as a mere fad had proved clairvoyant. Almost as soon as it had exploded in popularity, it had imploded and shrunk away lusterless. Dial M for Murder only played in 3-D in selected theaters upon its first run, but subsequent revivals have brought it back to be shown as it was intended. I've never seen it in 3-D, and look forward to the day I might be able to, but what I've read about it normally concludes the same thing you'd be able to tell from the film being shown on your television at home: that Hitchcock used the technology carefully and judiciously, aiming mostly at creating subtle depth on the primary set of the Wendice house. Many objects (such as lamps and furniture) are placed in front of the camera and supposedly "pop." The one grand exception is during the attempted murder scene, where Margot struggles against Lesgate and suddenly reaches her hand out (and directly toward the camera) for something to fend him off, translating into the effect of her "reaching out into the audience." Even on a two-dimensional space, though, the violent jerk of her arm and hand is rather startling.
Although not as beloved as some of Hitchcock's other masterful films, I have a theory that Dial M for Murder is necessary viewing for anyone seeking to prove why the director is cited as among the best. There's a moment of luminousness where the pacing, the camera, the script, and the editing all merge together and form a cohesive and brilliant scene. It occurs in the moment of the attempted murder, and it's a tour de force sequence; although it appears so simple and elegant in execution, in terms of suspense and skill it matches the sophistication and complexity of any scene from Hitchcock's acclaimed masterpieces. The success of the moment alone makes me wonder why Hitchcock would prove so discursive on the subject of the film later in his life.
But first, to appreciate the sequence in all its cinematic glory, it's necessary to note here that Dial M for Murder was re-adapted in the late 1990s as A Perfect Murder, with Michael Douglas and Gwyneth Paltrow in the Milland and Kelly roles. The murder scene in that below-par film hinges on the shock of a masked man jumping out from off-screen and the ensuing violence as Paltrow fights him off – bogeyman stuff basically, the kind of stuff you might well expect in a thriller film. Yet consider what Hitchcock does with the same scene. There is a splendid trail of guilt dripping across the characters and into the audience that exists only under the watchful eye of Hitchcock. For all intents and purposes, Tony is the bad guy: he has planned his wife's murder (although she's not exactly an angel, either). But beginning with the sequence of the murder, Hitchcock slyly begins to toy with our allegiances. We can't help but root for Margot not only to live and be proven redeemed, but we also find ourselves rooting for Tony, as well, to have his plan be performed successfully, or at least get away with what he has done.
The attempted murder, which occurs roughly forty minutes into the film, has been plotted and spelled out for the audience in an earlier conversation between Tony and Lesgate. Tony is going to be out of the house and is supposed to call Margot at a specific time, and Lesgate will be waiting behind the curtain with a cloth to strangle her when she answers the phone. The scene begins with an anxious Tony, who is keeping a close eye on the time and realizes when his watch stops and he is late to call that he must have inadvertently overwound it. Lesgate, thinking the plan has been postponed, gets ready to leave. Tony gets up to go to the pay-phone to call Margot, and there's a steady shot of him walking through the lobby of the restaurant. He pulls the change out of his pocket and as he makes a slight left turn toward the pay-phone, the camera pans right to reveal someone else in the booth already. Dimitri Tiomkin's somewhat generic but highly effective tick-tock thriller score circles in the background, and Tony paces outside the booth, as frustrated now as we are. Once he gets into the booth, he slides in the coins and as the score booms thunderously, we are given an extreme close-up of the rotary phone, Milland's fingertip sliding into the number 6 spot (the "M"). Cut then to a seemingly unrelated shot of the mechanics inside the phone chirping and ticking away as the call is connected, but in the history of Hitchcock's films, we are given numerous shots of "behind-the-scenes" functionality (The Lodger, for example, includes a montage of how the newspaper is printed).
Back in the apartment, the phone rings. Lesgate, halfway out the door, turns around at its sound. The light snaps on in Margot's bedroom, visible between the door and the floor. She answers the phone in a three-quarter shot and slowly the camera begins to curl around her (she until eventually it staring at the back of her head, just as the Lesgate's cloth, pulled tight between his hands, comes into view. Smash-cut back to the front of her, Lesgate now positioned over her shoulder. The score has drowned out nearly all sounds but Margot repeating "Hello?" into the telephone and pressing the switchhook over and over. The orchestra crescendos as Lesgate finally attacks, with Margot panting and screaming and fighting; he pushes her onto the desk, a lamp breaking in the background – and this is where it gets really tricky – Milland now closes his eyes in what I suppose can only be called mournful (he has planned this, after all, so there's your Hitchcockian complexity). Kelly famously reaches back toward the camera, and grabs a pair of scissors left on the desk. Naturally, they are held stiff in the "X" position with the blades spread apart, and as the light gleams across the silvery metal, she stabs Lesgate in the back, a perfect moment of resistance and self-defense. Lesgate falls onto the floor, the scissors pressing deeply into him and killing him. Tony is stricken but unaware as he listens to the commotion on the telephone, then his eyes grow when Margot picks it up, sobbing and asking for the police.
"What's the matter?" he asks. She says she can't explain now and wants him to come quickly. But he prods her to reveal, unbeknownst to herself, the state of the plan: "Darling, pull yourself together. What is it?" And after she explains the attack, and he knows everything has gone wrong, the fear fills his face like water in a sponge. Although the words are by Knott, the response – utterly callous to Margot's well-being, but leading and hopeful the plan hasn't completely collapsed – is purely Hitchcockian in its dark humor, its duplicity, and its eagerness: "Did he get away?" She says the man is dead, and he tells her not to touch anything and he'll be home quickly.
Dial M for Murder is a 1954 American thriller film directed by Alfred Hitchcock, starring Ray Milland, Grace Kelly, and Robert Cummings. The movie was adapted from a successful stage play by Frederick Knott, and was released by the Warner Bros. studio.
The screenplay and the stage play on which it was based were both written by English playwright Frederick Knott, whose work often focused on women who innocently become the potential victims of sinister plots. The play premiered in 1952 on BBC television, before being performed on the stage in the same year in London's West End in June, and then New York's Broadway in October.
The single setting in the stage play is the living-room of the Wendices' flat in London (61A Charrington Gardens, Maida Vale). Hitchcock's film adds a second setting in a gentleman's club, the well of a staircase, a few views of the street outside, and a stylized courtroom montage. Having seen the play on Broadway, Cary Grant was keen to play the role of Tony Wendice, but studio chiefs did not feel the public would accept him as a man who arranges to have his wife murdered.
In June 2008, the American Film Institute revealed its "Ten Top Ten" list—the best ten films in ten "classic" American film genre—after polling over 1,500 people from the creative community. Dial M for Murder was ranked the ninth best film in the mystery genre.
The 1954 film was shot with M.L. Gunzberg's Natural Vision 3-D camera rig. This rig was notable for being the same rig that started the 3-D craze of 1953 with Bwana Devil and House of Wax. Intended originally to be shown in dual strip polarized 3-D, the film played in most theaters in normal 2-D due to the loss of interest in the 3-D process by the time of its release.
The film earned an estimated $2.7 million in rentals at the North American box office in 1954.
In February 1980, the dual-strip system was used for the revival of the film in 3-D at the York Theater in San Francisco. This revival did so well that Warner Bros. re-released the film using Chris Condon's single-strip StereoVision 3-D system in February 1982.
12 ANGRY MEN - February 2019
In form, "12 Angry Men" is a courtroom drama. In purpose, it's a crash course in those passages of the Constitution that promise defendants a fair trial and the presumption of innocence. It has a kind of stark simplicity: Apart from a brief setup and a briefer epilogue, the entire film takes place within a small New York City jury room, on "the hottest day of the year," as 12 men debate the fate of a young defendant charged with murdering his father.
The film shows us nothing of the trial itself except for the judge's perfunctory, almost bored, charge to the jury. His tone of voice indicates the verdict is a foregone conclusion. We hear neither prosecutor nor defense attorney, and learn of the evidence only second-hand, as the jurors debate it. Most courtroom movies feel it necessary to end with a clear-cut verdict. But "12 Angry Men" never states whether the defendant is innocent or guilty. It is about whether the jury has a reasonable doubt about his guilt.
The principle of reasonable doubt, the belief that a defendant is innocent until proven guilty, is one of the most enlightened elements of our Constitution, although many Americans have had difficulty in accepting it. "It's an open and shut case," snaps Juror No. 3 (Lee J. Cobb) as the jury first gathers in their claustrophobic little room. When the first ballot is taken, 10 of his fellow jurors agree, and there is only one holdout--Juror No. 8 (Henry Fonda).
This is a film where tension comes from personality conflict, dialogue and body language, not action; where the defendant has been glimpsed only in a single brief shot; where logic, emotion and prejudice struggle to control the field. It is a masterpiece of stylized realism--the style coming in the way the photography and editing comment on the bare bones of the content. Released in 1957, when Technicolor and lush production values were common, "12 Angry Men" was lean and mean. It got ecstatic reviews and a spread in Life magazine, but was a disappointment at the box office. Over the years it has found a constituency, however, and in a 2002 Internet Movie Database poll it was listed 23rd among the best films of all time.
The story is based on a television play by Reginald Rose, later made into a movie by Sidney Lumet, with Rose and Henry Fonda acting as co-producers and putting up their own money to finance it. It was Lumet's first feature, although he was much experienced in TV drama, and the cinematography was by the veteran Boris Kaufman, whose credits ("On the Waterfront," "Long Day's Journey into Night") show a skill for tightening the tension in dialogue exchanges.
The cast included only one bankable star, Fonda, but the other 11 actors were among the best then working in New York, including Martin Balsam, Lee J. Cobb, E. G. Marshall, Jack Klugman, Jack Warden, Ed Begley and Robert Webber. They smoke, they sweat, they swear, they sprawl, they stalk, they get angry.
In a length of only 95 minutes (it sometimes feels as if the movie is shot in real time), the jurors are all defined in terms of their personalities, backgrounds, occupations, prejudices and emotional tilts. Evidence is debated so completely that we feel we know as much as the jury does, especially about the old man who says he heard the murder and saw the defendant fleeing, and the lady across the street who says she saw it happen through the windows of a moving L train.
We see the murder weapon, a switch-blade knife, and hear the jurors debate the angle of the knife wound. We watch as Fonda imitates the shuffling step of the old man, a stroke victim, to see if he could have gotten to the door in time to see the murderer fleeing. In its ingenuity, in the way it balances one piece of evidence against another that seems contradictory, "12 Angry Men" is as meticulous as the summation of an Agatha Christie thriller.
But it is not about solving the crime. It is about sending a young man to die. The movie is timely in view of recent revelations that many Death Row convictions are based on contaminated evidence. "We're talking about somebody's life here," the Fonda character says. "We can't decide in five minutes. Supposing we're wrong?"
The defendant, when we glimpse him, looks "ethnic" but of no specific group. He could be Italian, Turkish, Indian, Jewish, Arabic, Mexican. His eyes are ringed with dark circles, and he looks exhausted and frightened. In the jury room, some jurors make veiled references to "these people." Finally Juror No. 10 (Ed Begley) begins a racist rant ("You know how these people lie. It's born in them. They don't know what the truth is. And let me tell you, they don't need any real big reason to kill someone, either...") As he continues, one juror after another stands up from the jury table and walks away, turning his back. Even those who think the defendant is guilty can't sit and listen to Begley's prejudice. The scene is one of the most powerful in the movie.
The vote, which begins as 11-to-1, shifts gradually. Although the movie is clearly in favor of the Fonda position, not all of those voting "guilty" are portrayed negatively. One of the key characters is Juror No. 4 (E. G. Marshall), a stockbroker wearing rimless glasses, who depends on pure logic and tries to avoid emotion altogether. Another Juror No. 7 (Jack Warden), who has tickets to a baseball game, grows impatient and changes his vote just to hurry things along. Juror No. 11 (George Voskovec), an immigrant who speaks with an accent, criticizes him: "Who tells you that you have the right to play like this with a man's life?" Earlier, No. 11 was attacked as a foreigner: "They come over and in no time at all they're telling us how to run the show."
The visual strategy of the movie is discussed by Lumet in Making Movies, one of the most intelligent and informative books ever written about the cinema. In planning the movie, he says, a "lens plot" occurred to him: To make the room seem smaller as the story continued, he gradually changed to lenses of longer focal lengths, so that the backgrounds seemed to close in on the characters.
"In addition," he writes, "I shot the first third of the movie above eye level, shot the second third at eye level and the last third from below eye level. In that way, toward the end the ceiling began to appear. Not only were the walls closing in, the ceiling was as well. The sense of increasing claustrophobia did a lot to raise the tension of the last part of the movie." In the film's last shot, he observes, he used a wide-angle lens "to let us finally breathe."
The movie plays like a textbook for directors interested in how lens choices affect mood. By gradually lowering his camera, Lumet illustrates another principle of composition: A higher camera tends to dominate, a lower camera tends to be dominated. As the film begins we look down on the characters, and the angle suggests they can be comprehended and mastered. By the end, they loom over us, and we feel overwhelmed by the force of their passion. Lumet uses closeups rarely, but effectively: One man in particular--Juror No. 9 (Joseph Sweeney, the oldest man on the jury)--is often seen in full-frame, because he has a way of cutting to the crucial point and stating the obvious after it has eluded the others.
For Sidney Lumet, born in 1924, "12 Angry Men" was the beginning of a film career that has often sought controversial issues. Consider these titles from among his 43 films: "The Pawnbroker" (the Holocaust), "Fail-Safe" (accidental nuclear war), "Serpico" (police corruption), "Dog Day Afternoon" (homosexuality), "Network" (the decay of TV news), "The Verdict" (alcoholism and malpractice), "Daniel" (a son punished for the sins of his parents), "Running on Empty" (radical fugitives), and "Critical Care" (health care). There are also comedies and a musical ("The Wiz"). If Lumet is not among the most famous of American directors, that is only because he ranges so widely he cannot be categorized. Few filmmakers have been so consistently respectful of the audience's intelligence.
THE BICYCLE THIEVES January 2019
Neorealism never got more real than in Vittorio de Sica's 1948 classic Ladri di Biciclette, or Bicycle Thieves - occasionally mistranslated as "The Bicycle Thief", though the plural is surely crucial. It turns out that there are two thieves: one at the movie's beginning, another at its end. This study of poverty in postwar Rome is now revived in cinemas as a somewhat astringent Yuletide treat. For me, it is as unbearable as any horror film.
Antonio (Lamberto Maggiorani) is a poor man who is thrilled when he is at last offered a job: delivering and putting up movie posters. But he needs a bicycle, and must supply his own, so his wife Maria (Lianella Carelli) pawns the family's entire stock of bed linen to redeem the bicycle he had already hocked. On his first day at work, the unlocked machine is stolen and Antonio drops everything to go on a desperate odyssey through the streets of Rome with his little boy Bruno (Enzo Staiola) to get his bike back, pleading and accusing and uncovering scenes of poverty similar to theirs wherever they go. They create uproar in classic crowd moments: in the streets, in a market, in a church mass. Faces always gather avidly around the pair, all commenting, complaining and generally magnifying the father and son's distress and mortification.
This is a story that magnificently withholds the comic or dramatic palliatives another sort of film might have introduced. Antonio and Bruno are a world away from Chaplin and his Kid. The son is the intimate witness of the father's humiliation, his inadequacy as a provider. The scenes at the beginning of the film, when Antonio casually leaves his bicycle unlocked but it remains for the moment miraculously unstolen, have to be watched through your fingers.
Antonio seems unable or unwilling to embrace the obvious redemptive moral - that his son is the important possession, not the wretched bicycle - and De Sica is unwilling to embrace it either, perhaps precisely because it is too obvious, or because this moral is a luxury that only well-off people can afford. The father is obsessed with finding a stolen needle in the urban haystack, obsessed with getting his job back. Again and again, he ignores his little boy while scanning the horizon for his bicycle. At one stage, he hears an uproar from the riverbank about a "drowned boy". With a guilty start, he looks around. Do they mean Bruno? No: there he is, safe and sound.
But the lesson is not learned. He doesn't even hold Bruno's hand! And, in a later scene, we see the poor boy almost run over by a car because his father isn't looking out for him. Bruno's simple physical survival is the movie's secret miracle, and he is finally to be his father's saviour, but in such a way as to render Antonio's humiliation complete. This is poverty's authentic sting: banal and horrible loss of dignity. Bicycle Thieves is a brilliant, tactlessly real work of art.
The Bicycle Thieves (Ladri di Biciclette) is an Italian Neorealist film directed by Vittorio De Sica, with the screen play by Cesare Zavattini and shot in 1948. Neorealism, as a term, means many things, but it often refers to films of working class life, set in the culture of poverty, and with the implicit message that in a better society wealth would be more evenly distributed. Set in poverty stricken post-war Rome, the stories of the poor were close to De Sicca’s heart, he himself was born into poverty and only managed to escape through a career as a theatre and then film actor. De Sica’s first films as a director were light comedies like the ones he often worked in. However, maybe due to the harsh realities of World War II, his 1942 film "The Children are Watching," had mush more depth and sensitivity than his earlier work.
When De Sica was looking for a producer to finance his film, he finally found one, but on condition that the workman was played by Cary Grant. The mere statement of the problem in these terms shows the absurdity of it. Actually, Cary Grant could play that kind of part extremely well, but it is obvious that the question here is not one of playing of a part but of getting away from the very notion of doing any such thing, The worker had to be at once as perfect and as anonymous and as objective as his bicycle.
Creation from limitation
De Sica famously used non-actors, in location. Not one scene shot in a studio. Everything was filmed in the streets. As for the actors, none had the slightest experience in theater or film. The workman came from the Breda factory, the child was found hanging around in the street, the wife was a journalist.
In his journals, Cesare Zavattini writes about how he and De Sica visited a brothel to do research for the film, and later the rooms of the Wise Woman, a psychic, who inspires one of the film's characters. De Sica hunted for his cast for a long time and selected them for specific characteristics. Natural nobility, that purity of countenance and bearing that the common people have… He hesitated for months between this person and that, took a hundred tests only to decide finally, in a flash and by intuition on the basis of a silhouette suddenly come upon at the bend of a road.
With the disappearance of the concept of the actor into a transparency seemingly as natural as life itself, comes the disappearance of the set. Now De Sica's film took a long time to prepare, and everything was as minutely planned as for a studio superproduction, which, as a matter of fact, allows for last minute improvisations. Nevertheless, the numbering and titling of shots do not noticeable distinguish Ladri di Biciclette from any ordinary film. But their selection has been made with a view to raising the lucidity of the event to a maximum, while keeping the index of refraction from the style to a minimum.
The long, drawn-out takes add to the feeling of desperation and fear that Antonio faces in his pursuit of finding his bike. Bicycle Thieves can feel like a documentary in it’s subject matter, and though the cinematography is unpretentious it is incredibly beautiful. Bazin (who is regarded as one of the most important or influential writer on cinema and was a co-founder of the French film review "Cahiers du cinéma") stated that the film was "pure cinema"; that it tells a simple story composed of "real" events involving "real" people in "real" places. The truth of its extraordinary emotional impact is another element of the story's purity.
"The Bicycle Thief" had such an impact on its first release that when the British film magazine Sight & Sound held its first international poll of filmmakers and critics in 1952, it was voted the greatest film of all time.