 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
One thing I'd like to know is whether the Prelude, Overture, and Exit Music for this film are original pieces or mish-mashes of cues heard in the film (like with Gone with the Wind). On another note, from the excerpts I've heard from this Tiomkin score, it sounds really good and am looking forward to Tadlow's upcoming re-recording.
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
DUEL IN THE SUN was meant to be an epic from the beginning, and, on many levels, achieves that status, chiefly because of the music and the rich color cinematography.
There are several moments when the screen is awash is deep red, like the beginning, with that single frail flower against the surrounding carmine tones. Or the scene when Lionel Barrymore reminisces with his sheriff friend, the hills around them awash in the lowering, reddened sun.
Then there is the massive gathering of the cowboys from the four quarters of the ranch, their horses thundering down from the hills, and that incredible matte shot of the gathering storm above them.
There are also plaintive moments, such as the shot of the ring rolling out of Charles Bickford's hand, glinting in the light.
On many levels, the film is a noir, with only a few virtuous characters, standing up to their more corrupt, self-indulgent peers. And there is a lot of usage of shadows, and silhouettes throughout.
But then, Selznick seemed to want to throw everything into it, so that the whole thing becomes a melange of various themes and styles, all mixed together into some, albeit occasionally spectacular, cinematic goulash.
At the time, it was derided as "LUST IN THE DUST." Among the cut scenes were longer bits between Peck and Jones, when they're cavorting at "the sump," where they're more or less having sex. You can notice a few jump cuts there, though what was cut would seem to contemporary eyes quite tame, I'm sure. There was even a Prologue, spoken by Walter Huston, intoning about the sins all the characters would suffer for, but not immediately, it seems. Apparently, the film was also a roadshow at some point; at least it had a souvenir program, which I was finally able to obtain. I wonder if there was an intermission. Maybe after that barbed wire gets cut. That would be an appropriate place. Wonder if there was ever an entr'acte.
For me, the whole thing stands on the color and the music, and it excels at both. And I'm also looking forward to Mr. Fitzpatrick's re-recording. I'm sure it will be sumptuous. He is able to do justice to Tiomkin.
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
 |
Posted: |
Jan 19, 2015 - 12:03 PM
|
|
|
|
By: |
Grecchus
(Member)
|
The subject of sexual innuendo as a gentler alternative to nasty reality, as used in the movies, can be quite amusing.
The African Queen was recently aired on TV. There's the scene following the dash past a german outpost overlooking the river - in which Bogart and Hepburn are extremely on edge, especially as they're being shot at. The hose from the burner/boiler to the piston assembly driving the boat's propellor disengages, and there's tension surrounding the situation until Bogart fixes it with a tied up rag jury-rig.
When they're finally through the danger (after the armed outpost, there are the rapids) there's a scene in which Hepburn is turning the bilge pump with a to and fro hand action. She's going much too fast, so Bogie puts his arms around her and lays his hand on the pump handle which is also held by Hepburn. He slows down the frenetic pace Hepburn started with and they seem to be in so much bliss at the more sedate pace Bogie imposes. Then Bogart darts off to another task leaving Hepburn to ponder on the joys of pumping out the boat!
My personal favorite comes from Written On The Wind. The scene is the one in which Robert Stack is informed by his doctor of his "weakness" whilst in the coffee shop. Stack gets that far away look on his face and the music builds up. The doctor then says there is real hope the "weakness" can be corrected in time. Still with that far way look in his eyes, Stack rises from the table and leaves the shop. Just outside the doorway is a young lad riding a motorized rocking horse. Stack pauses briefly going past the lad, who is wearing a gleeful look in the simulated action of riding a horse at speed. Stack walks out of frame, leaving the kid to his vigorous task.
Whenever these scenes appear I simply have to laugh. The suggestion is loud and clear. I suppose there was nothing the sensors could do in such cases. The depicted situations very cleverly told the story from a sort of deflected mirror image.
|
|
|
|
|
|
|
|
|
|
|
|
 |
Posted: |
Jan 19, 2015 - 3:21 PM
|
|
|
|
By: |
PFK
(Member)
|
We've talked before about whether or not the director made several composers submit themes before he picked a final composer. That wasn't ever really clarified. In Tiomkin's biography, he does say that he had to play some themes for the director, and the director said the that the music wasn't "orgiastic" enough. Then Tiomkin said, "You make love your way, and I make it my way."
Regie, I'm like you in that I didn't care for Jennifer Jones in the movie. In fact, she's never resonated with me, and I'm not really sure why. I know other members love her acting.[/endquote
Well Regie and Joan, I just love Jennifer Jones. I thought she was a beautiful woman and always liked her acting. I've been a fan of hers for over 50 years. Buy hey, I'm a guy! 
I have a friend Don, who first saw her in 1943 in Song of Bernadette, he was 11 at the time. Well, 72 years later Don is still a huge fan. He meet Miss Jones once in the 1960s and said she as very nice and still very beautiful.
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
| |
|
|
|
|
|
|
|
|
|
