1950s

Films from the 1950s

The Tarnished Angels

It was my turn to pick the week’s movie, and it was harder than expected.

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The Tarnished Angels

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I had a few in mind — a 45-minute Florida documentary, a three-hour Russian science-fiction film, the first in a series of Japanese samurai pictures — but none seemed right this week.

The Criterion Channel had a relatively new collection of four movies by director Douglas Sirk that looked interesting. The Tarnished Angels, in particular, caught my attention.

The Tarnished Angels was based on one of William Faulkner‘s lesser-known novels, Pylon. Faulkner’s novel was well-reviewed by The New York Times, but not well remembered by most of us.

As expected, the movie takes liberties adapting the 1935 novel to the screen. In the novel, racing pilot Roger Shumann, parachute jumper Jack Holmes, and Schumann’s wife, Laverne, are a love triangle, with the father of Laverne’s son uncertain. Mechanic Jiggs plays a pivotal role but isn’t involved romantically with Laverne. And there’s the unnamed reporter, described by Faulkner as six feet tall and 95 pounds.

The Running Jumping & Standing Still Film

This past week was our short-film week, and I was surprised to see that our film club had never watched Richard Lester‘s and Peter SellersThe Running Jumping & Standing Still Film. That had to be my pick for our interstitial week.

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The Running Jumping & Standing Still Film

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Rather than critique the short, I want to explain why I chose it.

Okay, I’m a sucker for droll British humor. I fell in love with Monty Python’s Flying Circus back in the 1970s, tracked down LPs of The Goon Show in the 1980s, and can rewatch Lester’s A Hard Day’s Night and two Musketeer films — The Three Musketeers and The Four Musketeers — anytime and thoroughly enjoy them.

Unlike many short films we’ve watched, this one wasn’t an early attempt to break into the business. Pretty much everyone involved in Running — Lester, Sellers, Dick Bentley, Spike Milligan, Leo McKern, Mario Fabrizi, and David Lodge — was an industry veteran, mostly in television and radio, but in a few films, too. If they weren’t already familiar — if not famous — names or faces when the short was made, they would become so later on.

Throne of Blood

Everything in Akira Kurosawa‘s Throne of Blood is spot-on, as usual. The leads — Toshiro Mifune and Isuzu Yamada as the ostensible Macbeth and Lady Macbeth — are impeccable as Kurosawa blends the Shakespeare tragedy with Japanese Noh performance, with a dose of John Ford western for good measure.

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"Throne of Blood"

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It’s a tightly crafted, brilliantly acted, pared-down adaptation of Macbeth set in feudal Japan.

What more can be said about the 1957 film (or any of Kurosawa’s other 29 films, for that matter) that hasn’t been said?

So rather than re-analyze Throne of Blood, I want to ask a question I think about often as I’m watching, in particular, foreign films: How much am I missing?

In film club, most of the movies we watch were produced years ago, in other countries, and in languages other than English. We’re viewing them from a 2020s, American perspective. We’re not watching the movies in the context they were produced.