Film Forno

I just watched this on Hulu Plus, it’s not out on BluRay yet so I will wait to buy a copy, but hurry up Criterion! What a beautiful film, two amazing actors in their young, glorious prime. I’m speaking of the incomparable Monica Vitti and the super cool super handsome Alain Delon.

But don’t read this or watch the clip of Scorsese below until after you have seen the film. See it in your innocent state unaware of the treasures it holds, then come back and read this if you like, I don’t want to compromise the experience of seeing this film for the first time for anyone.

A visionary director at the peak of his creative powers and my new favorite cameraman of all time, Gianni DeVenanzo,(what a genius!) There’s something about a director in love with his leading lady that can be stupendous. I am reminded of Godard and Anna Karina, they made such beautiful, honest, moving films together.

Maestro and Muse
Here Antonioni does it with his Muse Monica Vitti, the love scenes that play out in this film are so real so immediate, I dare you not to be transported back to your own first stirrings of intense passionate love. it is all photographed so beautifully and allowed to breathe and live on the screen, to me when a film is really working, it’s like it comes to life on the screen before your eyes, like the characters can step off the screen and dance around the theater or the top of your Steenbeck. The film going through the gate seems to pulse with life, to breathe. This is true Cinema, the magical machine that captures the essence of humanity and preserves it like a fly in amber for all time. I don’t even care what this film is about, Italian stock market crash, white African neighbor, breakup of one relationship beginning of another, it’s the informed point of view of the filmmakers that really elevates it to the stratosphere, a point brought home by the amazing montage at the end of the film, it goes on for 10 minutes, it features none of the actors even though Antonioni plays a trick on the viewer by having a blond woman enter the frame during this sequence, is it Vitti? No it’s just some woman walking through the same spot where some of our story took place.

This montage shows the culture alive at that moment recorded by an artist, it can’t help but convey his world view, his philosophy in a series of seemingly random images, but this is another basis of Cinema in the capable hands of an artist like Antonioni. Jess Franco had the ability to say so much with just an establishing shot of a European city, you somehow got more than some shots of buildings at dusk, a clock tower, whatever, it’s not just postcards when filtered through the mind of a genius.  It’s like a Jazz musician playing a riff on Civilization, improvising with images and ideas. And by the by these sequences are usually accompanied by music. Images and Music, does it get any better than that?

And here for your viewing pleasure and cinematic edification is  Martin Scorsese discussing Antonioni.

 

Hey I’m on a Norman Foster kick. I just heard about this film. The czar of noir Eddie Mueller showed it recently to an enthusiastic crowd, it has great San Francisco locations and a wonderful final scene at an amusement pier complete with laughing fat lady dummy and roller coaster. An amazing roller coaste sequence that has some almost abstract photography shot from the moving coaster. Very effective, I watched it on YouTube and the quality is not good. Hopefully someone will put a dvd out soon, I’ll buy it!

Plunk your Magic Twanger Froggy and watch Woman on The Run

I’ve been watching the Mr. Moto film series that was made at 20th Century Fox. They have all been digitally restored and released in a 2 volume dvd boxed set. Great Job by all involved, I really enjoy the special features, a short film about a person involved with the series.  The films are very well made, low budget productions shot on the left over sets from the high budget films. Because less money was at stake, and owing to the genre, the filmmakers were able to let their imaginations run wild and pull off some amazing content.

First of all you have Peter Lorre, arguably one of the greatest Cinema actors of all time, just watch Friz Lang’s M or Hitchcock’s  The Man Who Knew Too Much. Lorre had to flee Nazi Germany, he wound up in Hollywood. It’s tough to re-establish yourself in a new culture, many emigre’s didn’t make the switch but Lorre did. Mr. Moto is an interesting character, he’s kind of like Batman, rich, super intelligent, tough as nails, Moto is a Jiu Jitsu expert, and ruthless. He routinely kills his adversaries ( usually ones deserving such a fate) He is also a combination of Good and Evil. During Think Fast Mr. Moto you are not sure what side he’s on for a lot of the picture. This adds a lot of dimension to the character and with an actor like Lorre you are assured of a great ride at the Cinema.

Harvey Parry
The stunts and fights are top notch, there is an interview with veteran stunt man Harvey Parry on one of the discs that is wonderful. Parry was a diving champion and national boxing champion who doubled for Lorre or as he called him Pete. A superb athelete he flings himself on his adversaries with such abandon it exhilarates the heck out of you. There is an amusing anecdote told by Louise Brooks about William Wellman’s Wild Boys Of The Road that I think involves Parry, (I’ll have to find it again and make sure I’m right before I include it.)

Norman Foster
Finally we come to the amazing Norman Foster, an unsung hero of Hollywood. The Moto films that he co-wrote as well as directed (6 of the 8 ) are models of atmosphere, action, intrigue and efficiency. Usually starting with documentary footage from far off lands then plunging into action with Moto in one of his many disguises, they take off and don’t let up, the only dull spots are usually the romance angle between the two white leads. Moto doesn’t get to have a romance although their are some Asian women that work as his accomplices.

Foster directed Journey Into Fear for Orson Welles during Welles tenure at RKO, Welles loved what Foster did with the Moto films.

Sloan, Cotten, Welles, Mercurey Players

He also directed the My Friend Bonito, segment of Welles aborted It’s All True project. Later Foster wrote and directed the TV series Zorro for Walt Disney, The opening of Zorro is a tour de force of filmmaking. I heard Foster even wrote the Zorro theme song, which is memorable and features a great section with the word Zorro echoing at you from all angles, as if to say you never know where Zorro will strike next.

Foster, Disney, Zorro
He directed Davy Crockett for Disney as well and that series created a phenomenal cultural effect, selling coonskin caps to all the kids. Foster also directed episodes of the Batman series, another work of cultural iconographic significance. And another story of an underdog, a loner fighting for Justice, a theme Foster excelled at. Interestingly enough Orson Welles spoke of his interest in making a Batman film back in the 40’s when the character first appeared. Strange that Foster would work on it .

There should be a book written about this great artist. I get the feeling he was not a big self promoter, that he put all his efforts into creating excellent films that blasted their way into our consciousness through sheer power of image making and storytelling. A critical study of this man is long overdue, let’s hope it happens soon.