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Debbie Reynolds Dies

Wednesday, December 28th, 2016

Debbie Reynolds, the irrepressible star of stage and screen, has died at age 84.

As Carmel Dagan writes in Variety, “Debbie Reynolds, the Oscar-nominated singer-actress who was the mother of late actress Carrie Fisher, has died at Cedars-Sinai hospital. She was 84. ‘She wanted to be with Carrie,’ her son Todd Fisher told Variety. She was taken to the hospital from Todd Fisher’s Beverly Hills house Wednesday after a suspected stroke, the day after her daughter Carrie Fisher died.

The vivacious blonde, who had a close but sometimes tempestuous relationship with her daughter, was one of MGM’s principal stars of the 1950s and ’60s in such films as the 1952 classic Singin’ in the Rain and 1964’s The Unsinkable Molly Brown, for which she received an Oscar nomination as best actress.

Reynolds received the SAG lifetime achievement award in January 2015; in August of that year the Academy of Motion Picture Arts & Sciences voted to present the actress with the Jean Hersholt Humanitarian Award at the Nov. 14 Governors Awards . . . Reynolds had a wholesome girl-next-door look which was coupled with a no-nonsense attitude in her roles. They ranged from sweet vehicles like Tammy to more serious fare such as The Rat Race and  How the West Was Won . . .

In 1955 Reynolds was among the young actors who founded the Thalians, a charitable organization aimed at raising awareness and providing treatment and support for those suffering from mental health issues; Reynolds was elected president of the organization in 1957 and served in that role for more than five decades, and she and actress Ruta Lee alternated as chair of the board.

Through Reynolds’ efforts, the Thalians donated millions of dollars to the Mental Health Center at Cedars-Sinai (closed in 2012) and to UCLA’s Operation Mend, which provides medical and psychological services to wounded veterans and their families.”

Read the entire story here. Debbie Reynolds, 1932 – 2016 – rest in peace.

Carrie Fisher – Actor, Writer, Script Doctor – 1956-2016

Tuesday, December 27th, 2016

Carrie Fisher has died December 27th, 2016 at the age of just 60.

As readers of this blog may know, I don’t usually do obituaries here, but the death of Carrie Fisher puts the capper on a truly awful year for the arts, with one death piling up after another to the point where it simply can’t be ignored. Fisher, for example, was much more than just an actor in the Star Wars films. In addition to Fisher’s credits as an actor and author, she was also one of Hollywood’s most sought after script doctors, working on existing screenplays and punching them up to make them just that little bit better – a tough profession, and she was very good at it.

As Wikipedia notes, she worked on the scripts for “Hook (1991), Lethal Weapon 3 and Sister Act (1992), Made in America, Last Action Hero and So I Married an Axe Murderer (1993), My Girl 2, Milk Money, The River Wild and Love Affair (1994), Outbreak (1995), The Mirror Has Two Faces (1996), The Wedding Singer (1998), The Out-of-Towners and Star Wars: Episode I – The Phantom Menace (1999), Coyote Ugly and Scream 3 (2000), Kate & Leopold (2001), Star Wars: Episode II – Attack of the Clones (2002), Intolerable Cruelty (2003), Mr. and Mrs. Smith and Star Wars: Episode III – Revenge of the Sith (2005).” And yet none of these films give her any on-screen credit, and by 2004 she had moved on from script doctoring.

Carrie Fisher thus joins the long, long list of irreplaceable talents who have left us – many, like Fisher, far too soon – in 2016, including (and this is just a partial list) David Bowie, Alan Rickman, Harper Lee, George Kennedy, George Martin, Patty Duke, Lonnie Mack, Prince, Guy Hamilton, John Berry, Alan Young, Billy Paul, Burt Kwouk, Scotty Moore, Kenny Baker, Raoul Coutard, Leonard Cohen, Robert Vaughn, Leon Russell, Florence Henderson, George Michael, Zsa Zsa Gabor, Abe Vigoda, Doris Roberts, Jacques Rivette, Abbas Kiarostami, Lita Baron, Andrzej Wajda, Michael Cimino, Bill Nunn, Gene Wilder, Anton Yelchin – a terrible loss to us all.

So, this day, we take a moment to think about, and thank, all the artists who have contributed so much to the cinema and related arts – many of them crossover artists, such as Prince and David Bowie, and the great directors, like Rivette, Kiarostami and Hamilton – who are now no longer with us. But it is now for us, the living, to continue their work as best we can, and to remember and honor their work, which they gave their lives and talents to, and which will live on through the cinema and its allied disciplines, to continue to inspire, enlighten, and entertain us.

You can see the 2016 “TCM Remembers” video – an excellent tribute – by clicking here.

The Four Just Men – Classic British Television

Wednesday, December 21st, 2016

Long before the current era of superheroes, The Four Just Men were way ahead of the curve.

The Marvel and DC Universe films may be ruling the box office right now, but more than half a century ago, The Four Just Men ruled British television, constantly criss-crossing the globe to right wrongs, and mete out justice to those who deserved it, without the benefit of superpowers or enormous wealth – just using their wits, and their skills, in the service of humanity.

As Wikipedia accurately notes, “The Four Just Men was a 1959 Sapphire Films production for ITC Entertainment. It ran for one season of 39 half-hour monochrome episodes. The series, loosely based on a series of novels by Edgar Wallace, presents the adventures of four men who first meet while fighting in Italy during the Second World War. The men later reassemble, and decide to fight for justice and against tyranny, using money set aside for the purpose by their late commanding officer.

They operate from different countries: Jeff Ryder (Richard Conte) is a professor of law at Columbia University in New York, Tim Collier (Dan Dailey) is an American reporter based in Paris, Ben Manfred (Jack Hawkins) is a crusading independent MP who works from London and Ricco Poccari (Vittorio De Sica) is an Italian hotelier based in Rome.

The series is unusual in having the four lead actors appear in turn other than in the first episode; one or occasionally two makes a brief appearance in each other’s episode, usually on the phone. Guest stars included Judi Dench, Alan Bates, Leonard Sachs, Patrick Troughton, Donald Pleasence, Richard Johnson, Ronald Howard, Basil Dignam, Roger Delgado, Charles Gray, and Frank Thornton.

At the time Four Just Men was the most ambitious film series yet made for British TV. It was produced by Sapphire Films at Walton Studios, and on location in Britain, France and Italy. None of its four stars had been cast as regulars in a TV series before. Filming on the 39 episodes, each 25 minutes long, began in January 1959, and lasted for five months, using up to seven units in the studio or on location, and producing two or three episodes simultaneously. [Future director] John Schlesinger was credited as exterior unit or second unit director on a number of episodes.”

This, of course, was back when a season of a television series amounted to something – 39 episodes, in fact. All the actors involved were certifiable stars at the time in their respective countries, particularly Jack Hawkins in England and the esteemed director/actor Vittorio De Sica in Italy, thus giving the series an international commercial appeal. But most central to the series’ success – and its recent release on Region 2 DVD – is the sense that someone was out there, watching out for the everyday person, who had no authority or influence.

Thus, in a way, not only do The Four Just Men prefigure the current craze for superheroes, offering hope in an uncertain world, but they also work their will through the actual channels of government and the law, without taking matters into their own hands, or using extra-terrestrial powers. This makes the series all the more relatable. From the opening title sequence – seen above – to the end of each episode, The Four Just Men act on the side of right against the forces of corruption and evil, winning on a human scale, rather than one of exaggerated influence.

As the series’ announcer intones at the start of each episode, “throughout time, there have been men to whom justice is more important than life itself. From these ranks come four men, prepared to fight valiantly on the side of justice wherever the need may be. Joined together in this cause, they are The Four Just Men.” It’s a nice dream- if only they were with us now.

See the intro to the series, as well as some episodes, by clicking here, or on the image above.

Restoring Sir Laurence Olivier’s “Richard III” (1955)

Wednesday, December 21st, 2016

Film restoration is one of the essential tasks for the cinema in the 21st century.

In this brief video, Martin Scorsese takes the viewer through the restoration of Oliver’s classic film Richard III in 2013 for release as a Blu-ray disc from Criterion, one of the masterpieces of cinema, shot in gorgeous Technicolor in the VistaVision process in 1955.

As Scorsese demonstrates in the video, the process to bring the film back to its original splendor was long and painstaking, and not helped by the fact that the film was extensively cut during various re-releases from its original running time. This was all the more problematic since in the film, Olivier used a “long take” strategy that meant that any one shot excised from the film also cut significant sections of Shakespeare’s play.

Then, too, the film was shot on various color stocks, and processed at different labs during its initial production, making the task of restoration all the more difficult, and in the places were segments were cut, whole frames of the original negative were destroyed, and had to be recreated digitally during the scanning process.

One thinks – or at least some people think – that film has a sort of permanence, but nothing could be further from the truth. Without assiduous care and attention, films – even relatively recent films such as this – soon fade and eventually cease to exist.

The task was made easier by the fact that the British Film Institute was involved; as someone who has been to the BFI Film Archive, and had the privilege of seeing some of the classic films of there 20th century in their original 35mm format there, including some shot on nitrate film, I can only applaud both the BFI’s efforts to keep restoring “film forever” – that’s now their official motto – and Martin Scorsese, for having such a significant hand in the process.

You can see the video by clicking here, or on the image above; fascinating viewing.

Vittorio de Sica’s “Two Women” Finally Gets A Real DVD Release

Monday, December 19th, 2016

Vittorio de Sica’s masterpiece Two Women finally gets a worthy DVD release.

As Svet Atanasov writes on the site Blu-ray.com, “winner of Best Actress Award at the Cannes Films Festival, Vittorio De Sica’s Two Women (1960) arrives on Blu-ray courtesy of British distributors Cult Films.

In Rome, Cesira (Sophia Loren) decides to close her shop and relocate to the countryside together with her daughter Rosetta (Eleonora Brown). It is a difficult move for her, but she is convinced that two will be safer there until the war ends. They pack their most precious belongings and then head to the train station.

When the train breaks down long before it reaches Cesira’s home village, the two women vow to finish their journey on foot. They are nearly killed after a German bomber fires at them while they cross an open field not too far away from their final destination.

For a while everything goes according to Cesira’s plan. She and Rosetta settle down and even though occasionally foreign soldiers pass through the area they feel safe. They also befriend the handsome teacher Michele (Jean-Paul Belmondo), who sees the world a lot differently than the rest of villagers. The two women also find themselves attracted to him, but for different reasons.

Eventually, the Allies liberate the southern parts of the country and begin pushing the Germans further north. It is then that Cesira and Rosetta decide to return to Rome and reopen the family store. But on the way back the women are forced to hide from their liberators, who turn out to be just as vile as the enemies they have been trying to evade.

Vittorio De Sica’s La Ciociara a.k.a. Two Women was the film that transformed Loren into an international star. Prior to it Loren had appeared in other films that were received well outside of Italy, but Two Women was the first foreign film to earn Oscar Award for Best Actress and its success had a profound impact on her career.

The raging war is easily felt throughout the entire film, but the focus of attention is very much on the manner in which Cesira and Rosetta do their best to continue living as if their lives were never shattered. Cesira in particular fully understands that her role as a loving mother should not be comprised, which is why she often emerges as a strong and unusually optimistic person. Rosetta unconditionally trusts her but also realizes that there are times when it is necessary that she follows her instincts.

The special bond that exists between the two women is abruptly broken in such brutal fashion that after that it seems impossible that Cesira could do anything as a mother to mend it. And yet, somehow the film finds a way to show that life, as unfair and ugly as it can be at times, is still worth living.

De Sica manages the incredible emotional ups and downs in the only way that actually makes sense – without any safe guards or filters. While this can make the film quite difficult to watch at times, it is certainly the reason why it also remains so profoundly moving.

The film was adapted by De Sica and the great writer Cesare Zavattini from the brilliant novel by Alberto Moravia which chronicles a true event. Moravia’s incredible body of work also inspired such iconic films as The Conformist, Le Mépris, and Time of Indifference.”

This is all true, but most importantly, for some unfathomable reason, Two Women fell into the Public Domain shortly after its release, and has been available only in terrible “pan and scan” prints that cropped the original 1.85:1 ratio into flat screen size, thus wrecking the gorgeous compositions De Sica creates throughout the film.

There’s also a feature length documentary on the life and work of de Sica on the disc, as well as an appreciation of Loren’s career, but the main event here is that finally – finally – we get a good transfer of this superb film in its original aspect ratio. I’ve been waiting for this for years, available both in DVD and Blu-ray, and best of all, it’s region free.

It’s very rare that PD films get rescued; this is a real part of cinema history restored.

New Article: Don Sharp’s Pyschomania Restored by the BFI

Wednesday, December 14th, 2016

Director Don Sharp’s Psychomania has just been restored by the British Film Institute.

As I write in Senses of Cinema 81 (December, 2016), “BFI’s Flipside series continues with another excellent release, a completely restored version of Don Sharp’s ‘zombie biker’ film Psychomania (1973), starring George Sanders in his last role, with capable assists from Beryl Reid and Nicky Henson.

Psychomania concerns Tom Latham (Henson), the leader of a teenage motorcycle gang, The Living Dead, who with the aid of his devil-worshipping mother (Reid) and her obedient butler Shadwell (Sanders) makes a deal with the Devil for his gang’s literal immortality.

Soon the gang members are deliberately killing themselves in a variety of grotesque and spectacular fashions, secure in the knowledge that they will soon be immortal. However, as with all such arrangements, things don’t go precisely as planned. Suffice it to say that business transactions with Satan are a decidedly risky business, for as we all know, the Devil is in the details.

Tom is an impetuous fellow, and he’s suspicious (with good reason) about his parentage and his home life in general. ‘Why did my father die in that locked room?’ he asks Shadwell petulantly. ‘Why do you never get any older? And what is the secret of the living dead?’

Soon enough, Tom’s mother – a curiously distant maternal figure if ever there was one – inducts Tom into the cult. With that accomplished, the rest of the film is a series of violent action set pieces, involving the ritualistic suicide of the gang members and their almost immediate resurrection, in which supermarkets are ransacked, innocent pedestrians are mowed down, and general mayhem ensues.

But that’s just for openers. Like so many motion picture motorcycle gangs before them, Tom has bigger plans, and wants to embark upon a campaign of wholesale violence, murdering policemen, judges, teachers, any authority figure that might hamper the gang’s activities. At this juncture, Tom’s mother and Shadwell intervene to put a halt to Tom’s grandiose scheme, in a manner that’s both bizarre and apparently quite effective.”

You can read the entire article by clicking here, or on the image above; a real cult classic.

The Third Nitrate Picture Show at Eastman House

Tuesday, December 13th, 2016

As Liz Logan writes in the excellent web journal Hyperallergic, nitrate film refuses to die.

As she notes, “many of the most iconic films in cinematic history — Casablanca, Gone With the Wind, Citizen Kane — were recorded on nitrate, the earliest form of motion picture film, yet the material has a terrible reputation. Used from the late 1800s through the 1940s, nitrate film was incredibly flammable and caused some major fires in movies theaters.

These tragic chapters in cinematic history have been revisited in films such as Cinema Paradiso, Inglourious Basterds, and The Artist. Later, once nitrate film was phased out, many archives were intentionally burned, simply to destroy the hazardous material.

But film archivists see nitrate in a different, less fiery, light. Aside from being an important ancestor of all the forms of film that came after it, nitrate is lauded for its luminous, high-contrast images, resulting from an emulsion that was rich in silver and the film’s excellent transparency.

And if it’s handled properly, the film is perfectly safe. For all these reasons, the George Eastman Museum in Rochester, New York is gearing up for the third Nitrate Picture Show, which will take place from May 5–7, 2017. Passes for the weekend go on sale at midnight on Monday, December 12.

‘It’s kind of a mystery how nitrate film has endured, because people are so afraid of it,’ said Deborah Stoiber, technical director of the festival and collections manager in the museum’s Moving Image department, which houses more than 100,000 cans of nitrate in its vaults.

Those cans comprise more than 6,000 titles, many on extended loan from Warner Brothers. The museum’s Dryden Theatre is one of only three theaters in the US with the legal safety measures in place to screen nitrate films, and the only such theater outside of California.

The Nitrate Picture Show is intended not only to give audiences an authentic cinema experience from the past, but also ‘to dispel the myth that all nitrate is scratched, jerky, falling apart or otherwise not worth keeping,’ Stoiber said. The films that are shown at the festival are in pristine condition, and visitors can see and touch such nitrate prints up-close. People are often astounded by the quality, according to Stoiber.”

It’s true – nitrate film is difficult to handle, but the quality is superb – director Jean Cocteau noticed the difference when new, safety film prints were struck of his masterpiece Beauty and The Beast in the early 1950s, and lacked the shimmer and brilliance of the original imagery.

There’s no question that nitrate cinema is, and will remain, a niche technology, something like stone lithography, but for sheer pictorial impact and depth, nitrate remains unmatched as a visual technology. Those who have the chance to see this festival will be able to see the difference for themselves; the result is really stunning.

This festival is a labor of love, and the results should be simply gorgeous.

Kirk Douglas Turns 100

Saturday, December 10th, 2016

Tim Gray has written a fabulous appreciation of the life of actor Kirk Douglas in Variety.

As Gray notes, “Kirk Douglas, who turn[ed] 100 on Dec. 9, claims he’s tired of talking about himself. Despite that, he recently spoke to Variety about his many impressive careers, as an actor (‘I never wanted to be in movies’), a producer (including tales of ‘my peculiar friend Stanley Kubrick’), author (he’s working on his 12th book), and philanthropist (he’s given away more than $120 million).

As an actor, his classic films include Champion, The Bad and the Beautiful, Lust for Life, 20,000 Leagues Under the SeaGunfight at the OK Corral and Seven Days in May. He also starred in several he produced, such as Paths of Glory, Spartacus, and the 1962 western Lonely Are the Brave.

Douglas has said his proudest accomplishment in Hollywood was to help break the blacklist by giving onscreen credit to writer Dalton Trumbo on the 1960 Spartacus.

Douglas had formed Bryna Prods. in 1955, named after his mother. For the company’s second film,Paths of Glory, he hired Kubrick as director. The relationship began with a fight after Kubrick made major script rewrites without telling Douglas, who forced him to film the original version. Despite their frequent clashes, Douglas three years later wanted Kubrick to direct the Bryna-Universal film Spartacus.

‘Difficult? He invented the word. But he was talented. So, we had lots of fights, but I always appreciated his talent,’ Douglas says.”

You can read the rest of this richly illustrated story by clicking here, or on the link above.

Sterling K. Brown and Issa Rae to Host Spirit Awards

Monday, December 5th, 2016

The 2017 Spirit Awards are much more interesting than the annual Oscar race.

As Matt Warren reports on the Film Independent website, “if it wasn’t already obvious from its beachfront locale (bring your swimsuit!) or avant garde approach to red carpet fashion (that psychedelic cowboy-hat-and-poncho combo is just fine by us), you should know by now that the Film Independent Spirit Awards are not your typical awards show.

The purpose of the Spirit Awards isn’t to anoint individual filmmakers or performers and elevate them into some sort of untouchable, aristocratic fraternity of Hollywood bigwigs—it’s to celebrate independent moviemaking as a whole.

It’s beyond cliché at this point to observe that film is a collaborative exercise, one that brings an entire micro-community of likeminded artists together to create something new and unique. So really, “community” is the key watchword here—and what better way for likeminded communities to celebrate each other’s work than to break bread together. Or, in this case, breakfast burritos.

The actual 2017 Spirit Awards ceremony won’t drop until February 25, but on Saturday, January 9 this year’s honorees will once again gather for Film Independent’s annual Nominee Brunch in West Hollywood in order to toast the past 12 months in independent film (and perhaps sip one too many mimosas) and watch as Brunch co-hosts Sterling K. Brown and Issa Rae take the stage to award a trio of filmmaker grants: the Piaget Producers Award, the Truer Than Fiction Award and the Kiehl’s Someone to Watch Award.

And if that wasn’t enough, the Sprit Awards have announced that the great David Oyelowo as the honorary chair of the 2017 awards, as announced by Film Independent President Josh Welsh. Need a quick refresher about who the 2017 Film Independent Spirit Award nominees actually are? Check out our Nominee page here, or watch last week’s press conference announcement, featuring Jenny Slate (Obvious Child) and Edgar Ramirez (Carlos).

As for this year’s Brunch co-hosts, Welsh said, ‘Sterling K. Brown and Issa Rae are two of the most captivating and talented actors working today…we’re so happy to have them host our Spirit Awards brunch.’

Sterling K. Brown rose to fame in 2016 with his jaw-dropping portrayal of Christopher Darden in the FX phenomenon The People vs. O.J. Simpson. He currently stars on the hit NBC drama This is Us. Rae—who joined us at the LA Film Festival “Diversity Speaks” panel in June (click here for a full recap)—is the creator and star of HBO’s critically acclaimed dramedy Insecure, which recently wrapped its first season. The show is an adaptation of Rae’s popular web series, The Misadventures of Awkward Black Girl, which you can find here.

Two actors of enormous depth who have both been involved in projects exploring, with nuance and sophistication, the complexities of African American life in the 2oth and 21st centuries, Rae and Brown are in good company with Oyelowo, widely acclaimed for his performances in films including Middle of Nowhere (for which he was nominated for Best Supporting Male Spirit Award in 2013) and Selma (nominated for Best Male Lead, 2015). Past Spirit Award Honorary Chairs have included Jessica Chastain, Kerry Washington, Benicio del Toro and Jodie Foster, among others.”

Not to be missed. Click here, or on the image above for a video.

Robert Day’s She (1965)

Sunday, December 4th, 2016

Ursala Andress and John Richardson in the climactic scene of Robert Day’s version of She (1965).

As Susan Doll writes on TCM.com, “She, H. Rider Haggard’s novel of a lost world in the jungles of Africa, was destined for cinema almost from the beginning. Haggard published his novel in 1887, and by 1908, a one-reeler of the story had been directed by Edwin S. Porter for Thomas Edison’s company.

In 1917, a longer interpretation was released by Fox Film starring forgotten actress Valeska Suratt, promoted in publicity materials as the Vampire Woman. Eight years later, an English version surfaced with Betty Blythe as the title character. Prior to Hammer’s production, the most well-known interpretation of She was produced by Merian C. Cooper for RKO in 1935. Cooper changed the setting to the frozen north and cast Helen Gahagan as She in her only film role. The material was ripe for an update when Hammer took on the project in 1963.

[Day's] film opens in Palestine just after World War I. Three adventure-loving war buddies, Leo Vincey, Holly, and Holly’s valet, Job, are enjoying themselves in a bar when a sultry local named Ustane [Rosenda Monteros] approaches them. Hammer stalwart Peter Cushing plays Holly with his typical charisma and charm, while Bernard Cribbins complements him as his right-hand man Job–a fitting name for a character who is defined by his devotion to his employer.

John Richardson costars as leading man Leo Vincey, though he lacks the magnetism of Cushing. Unknown to the men, Ustane secretly serves She, called Ayesha, and the young maiden recognizes Vincey as the reincarnation of her queen’s long-dead lover, Kallikrates. Ayesha had murdered Kallikrates 2,000 years earlier for being unfaithful to her, but she pines for him regardless.

Based on Ustane’s story, the trio is lured by the idea of a quest for a lost civilization and set out on a journey across the desert. They soon discover they are lost, though they are not without the creature comforts of the upper-crust adventurer. Job the valet, who never forgets his place, serves Holly and Leo their whiskey despite the dire circumstances. The trio reunites with Ustane in her desert village, where her father rules a lost tribe who guard the entrance to Kuma, Ayesha’s kingdom.

The three adventurers enter Kuma, which had been the scheming queen’s long-term plan all along. Ustane has fallen in love with Leo, but Leo has become entranced by Ayesha, known variously as She Who Waits and She Who Must Be Obeyed. Ayesha wants Leo to step into her eternal flame so the two can be united for all eternity, but her priest, Billali, played by Hammer legend Christopher Lee, is jealous of the newcomer. A beautiful but selfish despot, Ayesha does not care about her subjects, including Ustane. She foolishly executes several of her subjects, causing an uprising and complicating the situation for the adventurers.

She was the first film from Hammer to be built around a female star. Tall and statuesque, Ursula Andress was a perfect choice to play Ayesha, though in retrospect she claims to have disliked the role. Andress has been criticized by reviewers for her icy demeanor and aloof detachment, but these characteristics proved beneficial for playing the steely-eyed Ayesha. Costumed in a selection of warm-colored, Grecian-styled gowns and gold jewelry, she glows onscreen, partly due to the flattering, high-key lighting of cinematographer Harry Waxman.

Born in Switzerland to German parents, the exotic-looking beauty spoke with an accent, which Hammer’s producers found too distracting. Andress’s entire role was then re-voiced and dubbed over by an actress named Monica Van Der Syl, who mimicked a slight Swiss accent so audiences did not suspect the truth. John Richardson’s lines were also dubbed in post-production by the actor himself, perhaps to give his line readings an added emphasis, since he tended to be overshadowed by Cushing and Lee.”

All of which is true, but one should also consider James Bernard’s stunningly beautiful score, as well as Harry Waxman’s superb cinematography. As is usual, Cushing and Lee deliver entirely convincing and authoritative performances, and though the film is a colonialist relic of the highest order, its vision of the risks and allure of potential immortality are sinuously effective. Though She has been remade several times since, the 1965 version remains the definitive rendition of Haggard’s novel.

If you haven’t seen it, seek it out – compelling, brutal, and fascinating.

About the Author

Headshot of Wheeler Winston Dixon Wheeler Winston Dixon, Ryan Professor of Film Studies at the University of Nebraska-Lincoln, is an internationally recognized scholar and writer of film history, theory and criticism. He is the author of thirty books and more than 100 articles on film, and appears regularly in national media outlets discussing film and culture trends. Frame by Frame is a collection of his thoughts on a number of those topics. All comments by Dixon on this blog are his own opinions.

In The National News

Wheeler Winston Dixon has been quoted by Fast Company, The New Yorker, The New York Times, the BBC, CNN, The Christian Science Monitor, US News and World Report, The Boston Globe, Entertainment Weekly, The Los Angeles Times, NPR, The PBS Newshour, USA Today and other national media outlets on digital cinema, film and related topics - see the UNL newsroom at http://news.unl.edu/news-releases/1/ for more details.

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