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Boeing Boeing



Boeing Boeing, John Rich , 1965, USA, Jerry Lewis, Tony Curtis , Thelma Ritter .

The famous play eponymous Marc Camoletti that even today it remains important in theaters has given rise to four versions cinematográficas.La before us, adapted by Edward Anhalt , is a comedy that excels in Jerry controversial filmography Lewis who is away from their usual excesses that can be considered a more "serious." In this film

Lewis evenly with his friend Tony Curtis , but not so friendly to put aside your ego known by both claimed that his name appeared first in the credits, a situation resolved an ingenious solution "falls short and the years of her duet with Dean Martin having reached maturity and creativity for which it has passed into history despite its many detractors ( The Nutty Professor, for example), here Lewis performs a role not just slapstick and that, indeed, is correct, the less gives a perfect replica Curtis whose character is a runner for much of the footage without rhyme or son.Y is that neither the script of that Anhalt or the direction of John Rich TV (at times the film seems a real sitcom also becoming too obvious theatrical origins of the story) are able to trace the non-respect of tempos, from the beginning, this comedy of errors that could give more if it arises forcefully hit a rhythm. Some

dialogue, usually Jerry Lewis, has something of grace but not the character of a housekeeper Thelma Ritter who does what he can "is used, yet she is perhaps the best film along with an issue raised and surprise to find the controversial comic in a vis more" adult. "Of course not John Rich the film gives the necessary impulse for the work to exploit the comic potential that posee.A Notwithstanding the above the product can be isolated at times but these do not make us overlook its flaws because it is an uneven comedy confusion / clutter in which the stereotyped characters are constructed through cultural clichés that serve and of course fun element.

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Smith Goes



Mr.Smith Goes to Washington, Frank Capra , 1939, USA, James Stewart, Jean Arthur , Claude Rains.

The controversy surrounding the figure of Frank Capra is without prejudice to deny its importance: the huge commercial success of his films throughout the decade of 30, lined with countless awards obtaining blends with the favorable critical view of the época.Probablemente Capra is the director of the depression era or at least he knew better connect with the American public that período.Aún today has proven enormously popular with the controversy mentioned above, its supposed sentimentality and idealism and naive to some other place exarcerbado patriotism for his work but for many entredicho.Sin Capra is the director of the good feelings and of illusion.

This time the filmmaker continues his triptych (which started three years earlier The Secret of Life, a work that Mr. Smith Goes saved obvious parallels, and culminating with John Doe ) which displays the corpus of his philosophy heroes populated by simple, honest, idealistic people who are faced with powerful elements as may be corrupt politicians and opportunistic tycoons so that the value of the common people is enhanced and the freedom of the individual as such is introduced in the basis for the development of society.

Smith Goes is inserted into the play "Capriana" with all the consequences, the film pursues the controversy since its inception and from different posicionamientos.Cuando was a project sought by other studies, the office headed by Joseph Breen , regulating the implementation of the guidelines set by the Hays Code alerted them about the suitability of portraying Senators U.S. as corrupt politicians what would be seen as an attack on the country's institutions, and finally the Columbia of Harry Cohn opted to carry out the film under the command of Capra and the script written by Sidney Buchman (who later became victim Witch Hunt) and the censors were satisfechos.No members of the American political class and some members of the press who after the pre-release feared that the film is in full pre-war situation, could offer a negative image the USA. However, the work was well received by critics and the public flocked to theaters becoming the film in a great commercial success shipping the dread that the work will generate anti-American sentiments because of corruption displayed on screen via rápida.Lejos to create the feeling the film was banned in European countries controlled by regimes totalitarios.Y no doubt that certain values \u200b\u200bso characteristic of the American people as the defense of individual freedom and patriotism are celebrated at the filme.Y it is possible by the ability to access Capra in the mythology of the ideology of the average American, the sequence assembly in which the protagonist visits the monuments of the capital USA is noteworthy for its advocacy of the country and democracy.



Directed with brisk pace and skill (the camera set in the famous final speech serves as an example) the film denounces the corruption policy, but exudes an exaggerated patriotism for American and who is not nearly as entire filmography "Capriana" which never delves into the problem, we present it as a contingent individual behavior, ie, accident and not as the essence of the social model, rooted in the cinema of the current director escapista.Eso yes, documentation work of the film is notable as the recreation study Senate and their rooms is accurate and educational sense to explanations that make the process followed for approval laws is commendable.

Without the emotional capacity of that The Secret Life and with fewer doses of comedy, Mr. Smith Goes introduces a cast of notable side ( Thomas Mitchell, Guy Kibe, Eugene Pallette or same Claude Rains) and a charismatic pair of protagonists: Jean Arthur and left profile and James Stewart to be praised in his role as good guy, honest and simple (and naive and like Longfellow Deeds not hesitate to undertake a clean smack in certain situations), patriot idealist who is appointed senador.Sus incidents are resolved in the only way possible, taking into account the development of the story: the ending is abrupt to be consistent even given the non-inclusion in the final assembly of the epilogue shot.

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Shaft in Africa



Shaft in Africa, John Guillermin, 1973, USA, Richard Roundtree, Frank Finlay , Vonetta McGee.

The third installment in the saga of African American detective created by Ernest Tidyman , writer and screenwriter, among others, of The French Connection and the first two adventures of the character on screen is a good sample of the 70 films in relation to the display of a constructed type violencia.Nos find the shadow of Bullitt being a kind of Harry Callahan and James Bond one (although the trail of bodies left in its wake almost Rambo is worthy heir own) that represents another individual capable of taking the law into their own hands and fix things to so, in short all Carter, Callahan and anticipate Shaft degeneration involving vigilantes vigilantes who populated the film posterior.En film of the decade the presence of explicit violence is crucial, and this black version of Dirty Harry excepción.Y is not whether violence is openly treated no less so is the sex, nudity, sexual content dialogues open up delirious female character whose main feature is the nymphomania.



course the film is harvesting his time but most of all is a classic blaxploitation that probably takes the pull of the genre's most popular character and most commercially successful obtuvo.En this time private investigator Incarnate by Richard Roundtree is recruited to dismantle a trafficking organization humanos.Si While the subject is hard and today treatment that gives its writer, Stirling Silliphant , analyze factors explaining away or spend the minimum necessary force, is developed from working as a pretext frivolously to represent action or romantic situations in which it is involved the important subject personaje.La still in full force today and the team travels to Ethiopia to shoot the film could have given more of themselves and not just for show African country locations.

And if there is a characteristic feature in these films is none other than the music, work in this case Johnny Pate, arranger Major Lance, among others. Pate makes an effort to try to integrate the music into the story, a goal that meets at times, and has the legendary group The Four Tops to interpret the main theme soundtrack to signing a correct but that is far from major " soundtracks "of gender (Isaac Hayes own for the first delivery of the character, the impressive Marvin Gaye Trouble Man to or the lush of Superfly Curtis Mayfield ).

director John Guillermin signature style with its peculiar, distinguishable inter alia by the use of handheld camera that gives the image of a movement that many times is present in the film and the contemporary series, while more polished, a film that meets certain minimum standards quality and that has its roots in the temporal context in which it was filmed so remarkable for the representation of certain aspects such as the use of film elements (some camera movements and compositions, color). The care in the action scenes is above the average of the products of the genre but his script is disjointed causing an irregular rhythm despite the succession of incidents, many of which run without too much success and some occur haphazardly (the sexual encounter with Germany seems an imposition rather than a circumstance that occurs naturally) triggering this narrative development sometimes too crude, facts that weigh down the film and to be added the lack of seriousness with which address such issues as human trafficking and genital mutilation femenina.En the other side of the balance lie intelligent self-referrals (inventions and James Bond), the approach to any situation and almost continuous action in addition to putting on the table named items as well as the message of denunciation of racism acting out the character leading to a devastating phrase the commissioner francés.No forget that despite the "crossover" enjoyed by John Shaft blaxploitation the target audience had majority black community in the U.S. . While he's away from urban environments which generally operate the accounts of these movies, Shaft in Africa can be a good choice to view gender.

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Jubal



Jubal, Delmer Daves, 1956, USA, Glenn Ford, Ernest Borgnine , Rod Steiger.

example of the flexibility of Western , Jubal is representative sample of work Delmer Daves, one of those directors who are hiding behind the big names Seventh Art but which deserves be discovered or revised from time to cuando.Con classic style and understated the director, who also participates in the script-build a story inspired by the tragedy "Hamlet-like" of Othello which is the construction of the characters and their relationships on the action so that the film is particularly interested in his shed in vain psicológica.No characters are trapped by human emotions, desire, ambition, loyalty, jealousy, and his reactions to them are the axis on which the narrative revolves.

psychological tension distilled with simplicity by Daves reached levels high points at times but the outcome is long and weak compared to the rest of the film and still have some interesting symbolic levels (hook and rope) and others of remarkable visual power (the legs of horses around the Yago this version), before the movie and gave us a good aroma film and we had caught the profile displayed by the characters and the ties that go uniéndolos.La story begins tinged "noir" (a guy with a mysterious past appears on a ranch where he lives a "femme fatale" married to the benefactor of that) then unfolds as a kind of tragic melodrama in which the appearance of Western appearance is only because the story could be developed in any other ámbito.Si it is true that the landscape provides a framework for the narration is stunning, and is beautifully filmed in CinemaScope -how to benefit this kind of widescreen! - , no more than a context in which human drives they unfold gaining prominence all.



A division led by the cash right Glenn Ford and between Charles Bronson appears recently changed its name and consolidating his career, the music of David Raksin and know-how of the filmmaker, a man with extensive experience as a writer when decided to go behind the scenes in the 40's, along with the stunning landscape of Wyoming are sufficient elements to approach this charming Western .

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Stagecoach



Stagecoach, John Ford , 1939, USA, Claire Trevor, John Wayne , Thomas Mitchell . Movie

important for Western , important film for the director, major film for the actor, big movie in the history of cinema in the end. Diligence The film is a mythical but very high quality technical and narrative and visual beauty sometimes overwhelming conferred by the style of one of the great filmmakers as majority consensus (when Orson Welles asked about his three Favorite directors said: "John Ford , John Ford and John Ford ).

the filmmaker's return to the genre that would define and which define ("My name is John Ford and I Westerns") after 13 years during which he directed such diverse films was a Rubicon to the same genre as the decade of the 30 were moribund after its silent splendor, success with the advent of the talkies and the difficulty of integrating the necessary dialogue now with the action property of this type of film, began to decline to the point of being considered as a product of Series B . No doubt Stagecoach marked the evolution of the genus laying the groundwork for its classicism of the 40 and 50 and further revisionism ( Peckinpah) and the emergence of sub-genres of all kinds ( Spaghetti ). Stagecoach Western revitalized so that it could pass through the new paths opened by her, reaching for the gender status cine.La character building rich, deep and complex (if we exclude the occurrence and treatment of Indians who basically acts as a mechanism to support the suspense of the plot), not forgetting the action inherent in this kind of films and caring atmosphere in which the story takes place in addition to the use of landscape as an element endowed meaning in the same-but here is an outline of what would of whether the inclusion of Nature as a character in the genre and more specifically the role of Monument Valley in the films "Fordist" is introduced for the first time allowed to scan the horizon género.Queda the maturity of the landscape as axle set narrative and set of concerns inherent character of this category of movies.



In an intense visual beauty that emphasize the lyrical composition of deep inner planes and lighting (designed by Bert Glennon ) and superb technical management sites and innovative camera movements interesting (above diligence, for example), the film overcomes the spatial limitation and agility through the deployment of certain characteristics "Fordist" exuberant aesthetic sensibility, the location on the famous-now-desert, the splendid use film technique (not just camera movement but also the functionality mentioned narrative elements of the environment-see food scene or dialogue-), political concerns (the right to vote, a reference to of War Civil ) and social (relationships between characters of different classes) and exposure of the relationship between the adult and young, not to mention the military parade that so often reproduced the realizador.El poetic visual style emphasizes purity Ford the script of a millimeter divided into three acts (in this regard we should remember the repeated viewing, the legend than 40 times, by Welles of the work in preparation for his great Citizen Kane) that displays a profusion themes (social prejudice, alcoholism) headed by the redemption story of the characters "less morally acceptable," but that in extreme situations act as higher values, noble and humane than the concomitant resto.Idea Butterball, story Short Guy de Maupassant that inspired the story of Ernest Haycox jeans in relied Dudley Nichols to write the script of the film.



before Western Movie , the work complements its visual aesthetic diversity of topics focusing on the relationships established between the characters but incorporating in the final third of the most celebrated stunt and recalled that were shot in the decade of the 30 (and for many one of the best of all time) with the assault on the vehicle's title and its defense film The Stunt Yakima Canutt was involved in the design and implementation of the final duel misma.Asimismo the traditional culmination of the sub-plot of vengeance that sinks its inception in expressionism is solved with a strange beauty Ford and serves to round off the decent relato.Precisamente the actor who stars in this sub-plot of revenge between the proper cast excels, though Carradine is remarkable, "his long entry has become one of the most celebrated in film history with this abrupt shift camera crowned in a magnificent foreground, the rest is history: John Wayne is one of the icons of the Seventh Art ; actor's presence (please check it out original version to see diction) was already a classic of the genre (of course if we consider the status of the foregoing, it is not saying much) and with his Ringo Kid achieved the recognition they had been denied until that time and shaped as a great film star in the sky. Stagecoach was a great opportunity for the actor after his previous role in a film by Raoul Walsh decade earlier became a complete failure, this time things were very different to reap great success of the work audiences and critics (endorsed with the achievement of two awards in and a few Oscar nominations) Wayne catapulting toward a professional career as exalted as one of the most emblematic figures of the genre and cinema.



Stagecoach takes significance as a cornerstone in the evolution of Western and stands as a mark founding of the classic patterns as well as being the trigger of one of the most legendary races and interpretation involve the return of Ford gender so dear to him, the review and adjustment of the genre that made it out for the director to undertake or continue a path with multiple paths traced by other engineers ( Hawks, Mann ) and today still has not reached the end of the line, establishing the Western as one of the major genres of film, hence the significance of The care for it.