By Richard C. Keenan
From his early days as a movie editor at RKO studios, the place he helped Orson Welles form Citizen Kane, to his luck as a director and manufacturer of musical blockbusters of the Sixties, Robert clever had an extended and illustrious movie occupation. in contrast to contemporaries similar to Alfred Hitchcock, John Ford or Howard Hawks, besides the fact that, Wise's movies lack any sincerely discernible features to suggest his paintings. There are few notable digicam angles or visible thrives that would distract from the first legal responsibility to provide the tale. and prefer Hawks, clever by no means really good in a single or genres, yet introduced his directing abilities to all demeanour of flicks. His paintings as a director resists auteur categorization, and that's a prime it's because a few critics were unduly unfavourable of their attention of his work.In the movies of Robert clever, Richard Keenan examines the approximately 40 gains that signify the director's career—from Curse of the Cat humans in 1944 to A hurricane in summer season (2001), the one tv creation clever ever directed. Keenan bargains a reappraisal of Wise's motion pictures in order that the real caliber of his paintings will be greater liked. Keenan argues that if there has been a flaw in Robert clever as a director, it was once that he lacked the ego and temperament of the artist, which was once no longer inevitably a flaw in any respect. certainly, clever was once a conscientious craftsman who observed his paintings no longer essentially as a motor vehicle for his personal principles and visible sort, yet as a chance to provide narrative that—quite simply—engages, informs, and entertains. It used to be this angle that helped produce a few memorable motion pictures through the years, together with the gritty noir Born to Kill, the one-two punch of The Set-Up and a person Up There Likes Me, the sci-fi prophecy The Day the Earth Stood nonetheless, and the gripping indictment of capital punishment, i need to Live!—classics all. clever additionally gained a couple of Oscars for 2 of the main memorable—not to say successful—musicals of all time: West aspect tale
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Additional resources for The Films of Robert Wise
16 It was one of those rare occasions when Lewton found himself, at least to a limited degree, in agreement with Gross. “There are certain selling points,” Lewton wrote to Koerner, “which I think can be made important by property exploitation. . This is the first de Maupassant story to reach the screen and . . ”17 Neither the scandal value of Simone Simon nor the literary value of de Maupassant, however, was successful in producing box-office receipts. Mademoiselle Fifi was much more favorably received by the critics, particularly James Agee, who was then writing film columns for Time and the Nation.
Arnett comes through it all unscathed, undoubtedly surprising audiences who must have been certain that his double-dealing would merit some terrible fate at the hands of Sam Wilde. qxd 34 7/19/07 8:12 AM Page 34 Chapter 3 Born to Kill doesn’t have much of a plot. For the most part it simply charts Sam Wilde’s juggernaut course to destruction. Along the way, however, there are strong performances by Tierney and Trevor, and excellent supporting work by Slezak and Cook. Tierney, a limited and rather stiff performer at best, generally reprises his role in Dillinger (1945), a performance invested with an amoral viciousness that made him an overnight star.
De Maupassant’s Elizabeth was a chubby prostitute, known affectionately by her clientele as “butterball” (boule de suif). The last to arrive before the coach departs for Cleresville, she is clearly not welcomed aboard by her fellow travelers. The nobility and the pretentious bourgeoisie are one in their feeling that it is beneath their station to ride with someone quite so common, and their attitude is cruelly obvious. The collective snub is not lost on Elizabeth, but she is by nature such a generous spirit that she simply accepts the line that has been drawn and confines her attention to the priest and Cornudet.
The Films of Robert Wise by Richard C. Keenan