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Rezensionen (4)
14. Nov 2014
Douglas Sirk. Soap opera in a high style and in glorious Technicolor
3 von 3 finden das hilfreich Douglas Sirk. Soap opera in a high style and in glorious Technicolor … perhaps delirious is the word. On the surface and depending on your sensibilities, it is either a drama of overwhelming passion or a now hilarious 1950s tear-jerker. Below the surface, rather different things are stirring. I think Roger Ebert is right that a Douglas Sirk movie requires greater viewer sophistication than an Ingmar Bergman movie where the themes are stated openly.
A respected doctor dies when the resuscitator that might have saved him is being used on a young man Robert Merrick (Rock Hudson) in a foolish accident of his own making. The man later inadvertently causes the wife, Helen, (Jane Wyman) of the late doctor to become blind. The man then redeems himself adopting the doctor’s quasi Christian philosophy and becoming a brilliant surgeon … and so it goes.
I am not sure how much this is a “Douglas Sirk” movie. Certainly the “look” is Sirk, but the opportunities for him to undermine the story may have been more limited. He seems to have had a problem with the Lloyd C Douglas’s novel finding it “confused”. His influence on the script was limited given that it was largely defined by the original novel, the previous John Stahl movie and Jane Wyman for whom this was to be a vehicle. He could not make a “Written on the Wind” out of it. Nevertheless, picking at the threads reveals some interesting things.
The lighting in the doctor’s office from which Helen is running the hospital is very dim, expressing Helen’s inability to see the doctor’s philosophy, her blindness to the true goodness within Robert and presaging the actual blindness that she will later suffer.
In a shared reading of the newspaper funnies, the now blind Helen has only the word “Ugh” (mock Indian speak) to say, while her two sighted friends have dialogue to recite. Helen is not only blind but inarticulate.
A mock witch burning to bring a good harvest suggests the mediaeval superstition of a European culture that has failed to restore Helen’s eyesight. It is the American Robert applying scientific Christian charity who is her saviour.
All these scenes are different from their counterparts in the 1935 John Stahl directed version (also on this Criterion edition), so I assume here at least we are seeing the Douglas Sirk influence.
All of which is meant to say that this movie delighted me.
13. Nov 2014
Best as a Silent. More Sentimental Than Funny.
Not, I think, the funniest Chaplin movie but it has its moments. The prospector eating his shoe, the cabin perched on a cliff and the cabin fever sketches are the best.
The tone of the time and place is more cruel and the tramp never really seems to be on top of things in his usual by hook or by crook manner. He seems to lack some of his mischievousness, the extreme physical and unexpected humour that makes one sit up in some of his other movies. In its place is a storyline that is more sentimental and tender, nearer to the melodrama of Victorian vaudeville.
Personal preference. The 1925 silent version works for me better than the official 1942 version with Chaplin narrating. (This Criterion edition has both.) I first saw 'The Gold Rush' as the second part of a double bill with 'The Circus'. It was the narrated version and the laughter that has filled the theatre during 'The Circus' died as the jokes were "explained" in 'The Gold Rush'.
Perhaps it is a matter of mindset. It may turn out funnier if you approach it as a warm sentimental story ... set amidst unrelenting snow.
12. Nov 2014
Prison escape as a Test of Faith
Only Robert Bresson could make a World War II POW escape movie into a religious experience. This movies pares down the escape to the details - it goes methodically through not just nuts and bolts of the escape but also the doubts, fears, mistrusts and ultimately the determination of the protagonist. This movie has an extraordinary power.