Film Pairing — Cinema Noir, Two More From Orson

As I may have suggested a couple of posts ago, Orson Welles could be the poster boy for American film noir. Personally I would only go so far as to say he is certainly one of the prime contributors. One of his films, Citizen Kane is among those films at the top of everyone’s “best list” and some argue that it is the first American noir. There are those who claim the classic is not noir at all.

For tonight, we’ll leave the sacred Citizen Kane and the noir debate for another day, focusing instead on two other Orson Welles’ films, each with a unanimous noir stamp.

The Third Man — This film is the basis for the novella by Graham Greene in an odd turn around of process. Here, we visit moody post-war Vienna, deep in shadows and shadowy deeds.  Joseph Cotten visits in search of an old friend, Harry Lime (Orson Welles). And the mystery begins. Cotton’s friend is hard to find and the pieces left behind become increasingly suspicious to Cotton. There is evil here; but where does it reside? The authorities or Harry Lime?  The old world backdrop is the the true beauty of the film, and cinematographer Russell Metty takes full advantage of it, including the final scene as Welles, the missing Harry Lime, explains his view of the world to his old friend as they are atop a Ferris wheel observing the people below as ants not particularly worthy of any empathy in their suffering at the hands of Lime, himself.  The film was directed by Carol Reed and released in 1949.  Trevor Howard is also featured, as is Alida Valli as Lime’s love interest.

A Touch of Evil — Charlton Heston, as the force for all that is good, never really challenges the slovenly evil Orson Welles for the center of attention in this late noir (1958) film, also shot by cinematographer Russell Metty. The action takes place in seedy adjacent towns straddling the border of Mexico and the U.S. With exception of those scenes in which Welles — bloated, unshaven, sweating and slobbering — held forth as a corrupt border town sheriff, I had the feeling I was watching a film made for television. But when Welles was on, he filled the screen and, well hell, he scared me. Even the sets he chewed were more impressive during his scenes.  No doubt this is a worthwhile film for noir lovers, but there was more ‘60s than ‘40s in the atmospherics and I prefer the latter. The cast was also a curious lot.  In addition to Janet Leigh and the notable performance of Akim Tamiroff, we have brief appearances by Joseph Cotten, Marlene Dietrich, Zsa Zsa Gabor and Dennis Weaver. Orson Welles directed the film based on author Whit Masterson’s novel, Badge of Evil.

The dirty sheriff in Touch of Evil drank his bourbon straight up perhaps one too many times.  Don’t be a dirty sheriff. Think Vienna.  As I understand it, the Viennese drink lots of coffee and beer.

Film Pairings — The Manchurian Candidate(s) Ripped From The Headlines

We are still puzzled by the assassinations of President John F. Kennedy and his brother, Presidential candidate Robert Kennedy.  Even if you believe that Lee Harvey Oswald killed the President — and many don’t — then who was behind it?  And who was behind the killing of Oswald? 

In the case of The Manchurian Candidate, assassination is a way to co-opt the democratic process.  Obviously, murder is not the only way of doing so. There is certainly a school of thought that an abundance of ill-gotten and secret financial support and the ability to cleverly manipulate the facts to deceive the public are also effective.  Murder, by comparison, would seem to be more effective.  And this is the subject of the evening.

The original film, based on Richard Condon’s book, was released in1962, not long before Kennedy died in a Dallas hospital of bullet wounds.  Among the conspiracy theories about the real-life tragedy were scenarios that put the blame on various villains — Castro, J. Edgar Hoover, LBJ, the Mob or union leaders. Conspiracy theories were all over the place.  The Manchurian Candidate seemed to anticipate this kind of paranoia.  And certainly, in 1962, post Eisenhower, shortly after the hearings held by the House of UnAmerican Activities, we weren’t far from the 1950s right wing hysteria that there was a Communist in every pot. Some things never change.

Frank Sinatra, Laurence Harvey and Angela Lansbury are at their best in this daring film about an elaborate assassination and brainwashing plot to gain the presidency. Shot in black and white, the director, John Frankenheimer, took serious risks by using expressionistic cinematic devices to show the brainwashing techniques.  The action is startling in its violence at times, controversial in its sexual portrayal of mother and son and ahead of its time in its cynical look at American politics, especially at the presidential level. Harvey is particularly convincing in a difficult role — a sympathetic but horrific victim turned villain.  Sinatra was interviewed many years later and was asked why he hadn’t taken that pivotal and demanding role.  “I couldn’t have done it,” Sinatra said.

Janet Leigh plays Sinatra’s girlfriend in this first version.  Angela Lansbury was nominated for an Academy Award and won the Golden Globe for Best Supporting Actress.  The film, now 50 years old, is as fresh today as it was when it was released.

Sometimes we wonder why a film is remade when the first is so good.  And I was tempted merely to pair the original with a rerun of this year’s presidential debates, as suggested by my friend, Baby Dave.  However I’m glad I didn’t listen to myself.  The remake, released in 2004, effectively brings the same story into this century.  And there are certainly enough twists and turns in the more recent film so that, even if you watch the original, you really don’t know what’s coming in this one.

In 2004, the world was more more technological, our enemies  — and therefore our conspiracy theories — are refocused on current boogeymen.  “Socialist” has replaced “communist,” and somehow “Muslims” and “Kenyans” are misappropriated in order to inspire hate and intolerance. And while I’m most impressed with the original, the remake is more believable.  Directed by Jonathan Demme, Denzel Washington plays the Sinatra role, Liev Schreiber plays the Harvey role, and Meryl Streep plays the Lansbury role.  The Lansbury-Streep factor is a real face-off.  Both were deservedly nominated for several awards for their stellar portrayals.  But instead of the Communist threat and Russian and Chinese enemies, we have Middle Easterners and the largely ignored but immense threat posed by the increasingly powerful global corporations. I am fearful of the latter group as well.

John Voight, Vera Farmiga, Miguel Ferrer, Dean Stockwell are also in the cast. And there are cameos made by Gayle King and Al Franken. 

I’m at a complete loss about what to recommend as drinks to accompany brainwashing or an election.  I imagine that I will have a bottle of Cabernet or Zinfandel ready Tuesday night, November 6 as I watch the ultimate suspense drama. Polls suggest it may be a long night.