First off, I could sell this movie by describing a singular moment: Paul Newman and a bear get drunk together in a saloon. If that is not enough to convince somebody that this film is anything but extraordinary I would go on to suggest that it is in all likelihood also the most accurate consideration of how modern Texas came into existence...even if it is a comedic oriented version of the western it just goes to such lengths to exist in the inconceivable that it could only have existed in the narrative space of Texas, not to mention that it involves a lot of hangings, making a clear connection to death penalties in the grand and problematic Lone Star State. Now to be fair, John Huston, a well established director at this point made The Life and Times of Judge Roy Bean well before either Bush took office and although Texas was certainly far from the Rick Perry, gun toting madness it has become signified as today. The film being made in the early seventies probably considers more a general state of America leading up to its imminent bicentennial than a historicized devil-may-care vision of Texas, especially since the film does narratively extend itself and pull in characters from other parts of the country, and to some degree, the world. Considering all this, The Life and Times of Judge Roy Bean is nothing short of wonderful, the acting delivered by Paul Newman is perfectly bombastic, yet mellow and incredibly emotive when necessary and the directorial choices made by Huston not only reconsider the western as a genre, but also his entire oeuvre as a filmmaker. Going into this blindly, I fully expected this to be a rather droll and uninspired mid-grade western, especially considering its just under "good" ratings on popular movie sites. However, if my string of excellent viewing experiences continues into the remainder of this western film month, I am a bit worried that my top hundred films will turn western heavy. Either way, what initially started as an uncertain endeavor is quickly proving to be a rewarding navigation through one of my personally overlooked genres as well as one of the genres in desperate need of a return to a consistent Hollywood output.
The Life and Times of Judge Roy Bean, begins with the title character Roy Bean (Paul Newman) entering an off-the-map whorehouse after yet another successful robbery. High on his pride, Roy mocks the people of the whorehouse who are varying degrees of reprobates an act that quickly leads to his being attacked and tied in a noose, only to be drug out of town by a horse and left for dead in the desert. Fearing for his life a young Mexican woman named Maria (Victoria Principal) offers Roy water that proves to be his second wind, so much so that the takes it upon himself to personally exact revenge upon the whorehouse and reclaim the area for his own. This act, leads to his self-appointment as judge of the town and makes himself a courthouse/saloon called the Jersey Lillie in honor of famous actress Lillie Langtry. Having absolutely know regard for textual law, Roy takes it upon himself to enact justice as he sees fit, even hiring a set of gunslingers on as his appointed marshals, although they clearly concern themselves with making sure a steady flow of money comes to the town, by any means necessary. Eventually, Roy's shrewd methodology results in his town prospering considerably and becoming the envy of both tycoons and outlaws alike, whether it be the attempts to buy the land by wealth lawyer Frank Gass (Roddy McDowall) or an unannounced shootout involving the albino gunslinger Bad Bob (Stacy Keach). At one point after a run-in with a distraught Grizzly Adams (John Huston) Roy also comes into custody of a bear who he, as noted earlier, drinks beer with. Eventually, Roy and Maria becoming seriously involved and after much turmoil in the town and the loss of the bear, she informs Roy that she is pregnant. Yet, it is during this time that Roy is afforded a chance to meet Lillie Langtry in San Antonio, an endeavor that ends with dire results, leading to Roy's realization that his own idealized community, while nice is far from the truth. This smack with reality is worsened when he returns to discover that Maria is on her death bed after birth complications. When she dies, Roy flees town, only to return years later once his daughter Rose (Jacqueline Bisset) has grown to help defend the town from the now wealthy Gass and Texas police. During this explosive shootout Roy dies in a fire. The film, however, closes in the future with a visit by the aged Langtry (Ava Gardner) who is told by surviving marshals of the glory of the late Roy Bean.
This film does the exact opposite of pretty much every film I have reviewed up until this point. Where as main characters often are concerned within the western as being righteous and enactors of justice, Roy Bean is a man who finds the very thought of justice to be absurd and assumes that a profit oriented worldview will suit him. Yet as a man with notions about the world, Roy is far from above creating laws, his just happen to orient themselves around embracing decadence and vice, and absolutely do not allow for any ill-will to be directed at the image or name of Lillie Langtry. Roy is a man who is quick to enact a hanging upon a person, but it is often as a result of the individual and their belligerent behavior. For example, he hangs one man not because of his shooting of a poster of Langtry per se, but more so because he was foolish enough to get stumbling drunk and fire off his gun in a bar repeatedly. Furthermore, Roy clearly has no stomach for truly terrible people, particularly a man who is willing to kill an elderly woman for a jar of money, regardless of whether or not her racial identity was deemed less than human, a notion Roy openly rejects. Roy has a distinct worldview and it is one that he certainly forces others to adhere to, although when they do commit to his idea it is often to their benefit, yet his tight control even if in a friendly and non-threatening manner, has its downsides. For example, he rejects any heavy degree of monogamy with Maria and actively avoids embracing the child she is to have, aside from hoping it is a boy, even leaving her bedside to attempt a meeting with Lillie Langtry. His assumptions that helping criminals will result in their being forever indebted to him also blows up in his face when he refers to a group of married women in the town by their former job descriptions. Roy even shoots a man in the back to assure his safety and survival, an act that leads to multiple questions from his marshals about fairness. These actions do take their consequences on Roy particularly considering that he is abandoned and alone by the film's closing and dies as such, even if it is in a literal blaze of glory. Fortunately, what Roy does share with some of the previous films' characters is a degree of mythology and his is easily the most grand yet.
Key Scene: Hearing Paul Newman throwing down an absolutely insane Texas accent while saying "drink your beer bear" is easily one of the greatest cinematic gifts I have ever encountered.
The DVD is a bit pricey and understandably so, I imagine this film only has a devoted cult following, so considering I would suggest renting the film before buying it, although I promise you will want to immediately after the credits roll.
Showing posts with label John Huston. Show all posts
Showing posts with label John Huston. Show all posts
15.4.13
Nature, Mr. Allnut, Is What We Are Put Here To Rise Above: The African Queen (1951)
I has been roughly six full years since I have decided film to be my biggest passion in life and since then I have seen a variety of films and sought out both the masterworks of film, as well as obscurities and absurdities in between, always taking very seriously the earnest suggestions of individuals along the way. During the first six months or so of my endeavors I was strongly encouraged to watch The African Queen by a person whose love for classic movies and John Wayne seemed to assure that I would enjoy this work very much. At the time, however, The African Queen was very much out of print and quite hard to come by and it was something I had always hoped to visit but never remembered to go out of my way to obtain a copy for, which to view. In the past year, however, copyrights appear to have changed and not only is this lovely film available in both DVD and Bluray formats, it is now also watch instantly on Netflix, making this long unavailable classic open to a whole new generation of burgeoning cinephiles, and this is a gift of a film, with value extending well beyond its more than a half-century of age. At once a war, romance, travel and religious film, paired with problematic commentaries on gender and colonization, The African Queen is nothing short of cinematic perfection and the commitment to stellar acting on the part of both stars Katherine Hepburn and Humphrey Bogart quickly snatch viewers into the world of the film, never allowing their hold to loosen, even in some of the films most over-the-top and unbelievable moments. I can now understand why the individual who recommended this movie was so adamant that I see it immediately, and while it only took me six years to get around to doing so I am completely grateful for the initial recommendation, it is quite obvious that films like The African Queen in all their earnestness and mass appeal only come along one in awhile its newest reemergence only speaks to its historical place and the necessity of it being revisited many times, both in regards to the growingly masterful of oeuvre of John Huston, whose films are always a pleasant surprise to me, as well as a fine piece of film regardless of time or place.
The African Queen primarily focuses on two characters, the first being Rose Sayer (Katherine Hepburn) a devout woman of the Methodist faith who, along with her brother Samuel (Robert Morley) have taken it upon themselves to bring the name of Jesus Christ to the native peoples of Africa, even going so far as to build a church in their village. The second character is the carefree Charlie Allnut (Humphrey Bogart) who is willing to do anything to make money and assure the livelihood of himself and the functionality of his dear ship The African Queen. Yet when the village is attacked by enraged Nazi's Samuel dies and the only persons left surviving, along with a few villagers who quickly flee are that of Rose and Charlie, who begrudgingly become companions in an attempt to escape the inevitable return of the German soldiers. Using The African Queen as a means of navigation they travel down river, aimlessly until Rose suggest that they use the oxygen tanks on board, as well as other supplies to exact revenge upon the Nazi warship called the Louisa. Charlie at first is dismissive because he associates his livelihood with the boat and sees Rose as a prudish simpleton, hoping only to escape their situation and unload her as quickly as possible, yet as many a story note, confined cohabitation can lead to forced intimacy, whether it be their need to get out of the rain or the necessary task of removing leeches off of a half-naked body, at some point animosity turns into admiration and eventually becomes adoration and Rose and Charlie eventually find themselves in the throws of passion, as best they could be shown circa 1951. With a new drive and the companionship of one another the two take upon their journey to torpedo the Louisa, a task that proves a failure due to rain and unforeseen bouts of tumultuous water. They are at this point captured by Nazi sailors who have them set to hang, only to be saved at the very last moment by the sunken African Queen and its bunches of compressed air, which help to destroy the ship and afford Charlie and Rose an escape to safety. They are shown swimming away in what can only be assumed to be a happy future together.
This film exudes sexuality, but that is not to to say that it is graphic or visually erotic, in fact, it exists entirely within the realm of metaphor and manages to use the sexualized image to a degree that would cause one to think of early surrealist work by Luis Buñuel. Take for example the scene where Rose must clean herself in the river, it is not a scene of nudity, but certainly is a modest one by the standards of the era. Viewers, however, share the same ability to see Rose as Charlie does, often only seeing her foot or hand peak above the boat or out of the side of the water. It is a point of curiosity that has a certain degree of sexual curiosity about it, affirmed by Charlie looking way from Rose as she boards the boat, but as he does so his gaze become almost nearly direct with the viewer, allow those watching to see his eyebrows raise and eyes move about, clearly imagining what is occurring behind him, as do the viewers, because he blocks their line of sight. Gaze is problematized because viewers are forced to ignore the next layer, while relating to the confrontation of Charlie's gaze which is reflecting the request for modesty on the part of Rose. Nonetheless, the entire scene is frothing with sexual tension, only to be heightened by moments of removing leaches from Charlie's body, or the "release" of all the gin, which proves to be the upswing in regards to Charlie who takes a new liking to Rose despite being initially frustrated at her actions. Other minor moments of Charlie repairing the boat, or Rose salting Charlie's leech bites have degrees of sexual tension, all leading up to the moment where they drown themselves in passion, working in unison to repair the boat motor, a choreographed moment of such intimacy that it is impossible to ignore, and should anyone be unsure about this, the monsoon scene that affords the two the final lift out of the river, undoubtedly, affirms their passion for one another, even if on an incredibly metaphorical level. I mean, one could even see their swimming way from the exploded Louisa as a post-intercourse moment of ecstasy. This of course is one reading, but a grounded one that I cannot help but support.
Key Scene: The hanging scene is surprisingly jarring visually and reminded me of the very real crime that was going on during the particular period in which the film was set.
This well worth owning, but can easily be watched via Netflix. For those who, like myself, will instantly fall in the movie, the bluray can be obtained for relatively cheap.
The African Queen primarily focuses on two characters, the first being Rose Sayer (Katherine Hepburn) a devout woman of the Methodist faith who, along with her brother Samuel (Robert Morley) have taken it upon themselves to bring the name of Jesus Christ to the native peoples of Africa, even going so far as to build a church in their village. The second character is the carefree Charlie Allnut (Humphrey Bogart) who is willing to do anything to make money and assure the livelihood of himself and the functionality of his dear ship The African Queen. Yet when the village is attacked by enraged Nazi's Samuel dies and the only persons left surviving, along with a few villagers who quickly flee are that of Rose and Charlie, who begrudgingly become companions in an attempt to escape the inevitable return of the German soldiers. Using The African Queen as a means of navigation they travel down river, aimlessly until Rose suggest that they use the oxygen tanks on board, as well as other supplies to exact revenge upon the Nazi warship called the Louisa. Charlie at first is dismissive because he associates his livelihood with the boat and sees Rose as a prudish simpleton, hoping only to escape their situation and unload her as quickly as possible, yet as many a story note, confined cohabitation can lead to forced intimacy, whether it be their need to get out of the rain or the necessary task of removing leeches off of a half-naked body, at some point animosity turns into admiration and eventually becomes adoration and Rose and Charlie eventually find themselves in the throws of passion, as best they could be shown circa 1951. With a new drive and the companionship of one another the two take upon their journey to torpedo the Louisa, a task that proves a failure due to rain and unforeseen bouts of tumultuous water. They are at this point captured by Nazi sailors who have them set to hang, only to be saved at the very last moment by the sunken African Queen and its bunches of compressed air, which help to destroy the ship and afford Charlie and Rose an escape to safety. They are shown swimming away in what can only be assumed to be a happy future together.
This film exudes sexuality, but that is not to to say that it is graphic or visually erotic, in fact, it exists entirely within the realm of metaphor and manages to use the sexualized image to a degree that would cause one to think of early surrealist work by Luis Buñuel. Take for example the scene where Rose must clean herself in the river, it is not a scene of nudity, but certainly is a modest one by the standards of the era. Viewers, however, share the same ability to see Rose as Charlie does, often only seeing her foot or hand peak above the boat or out of the side of the water. It is a point of curiosity that has a certain degree of sexual curiosity about it, affirmed by Charlie looking way from Rose as she boards the boat, but as he does so his gaze become almost nearly direct with the viewer, allow those watching to see his eyebrows raise and eyes move about, clearly imagining what is occurring behind him, as do the viewers, because he blocks their line of sight. Gaze is problematized because viewers are forced to ignore the next layer, while relating to the confrontation of Charlie's gaze which is reflecting the request for modesty on the part of Rose. Nonetheless, the entire scene is frothing with sexual tension, only to be heightened by moments of removing leaches from Charlie's body, or the "release" of all the gin, which proves to be the upswing in regards to Charlie who takes a new liking to Rose despite being initially frustrated at her actions. Other minor moments of Charlie repairing the boat, or Rose salting Charlie's leech bites have degrees of sexual tension, all leading up to the moment where they drown themselves in passion, working in unison to repair the boat motor, a choreographed moment of such intimacy that it is impossible to ignore, and should anyone be unsure about this, the monsoon scene that affords the two the final lift out of the river, undoubtedly, affirms their passion for one another, even if on an incredibly metaphorical level. I mean, one could even see their swimming way from the exploded Louisa as a post-intercourse moment of ecstasy. This of course is one reading, but a grounded one that I cannot help but support.Key Scene: The hanging scene is surprisingly jarring visually and reminded me of the very real crime that was going on during the particular period in which the film was set.
This well worth owning, but can easily be watched via Netflix. For those who, like myself, will instantly fall in the movie, the bluray can be obtained for relatively cheap.
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