Superfluities Redux

by George Hunka
Artistic director, theatre minima

A Theatre Surrounds a City:
Vienna's Burgtheater


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Wednesday, 24 February 2010

The last reel: Rules of the Game

A complete failure when first released in 1939, Jean Renoir's Rules of the Game has triumphantly emerged as one of the classics of cinema. Set sometime between two European wars, it chronicles the decline of a class system that Renoir defines as a game of masquerade and mistaken identity — but a game with fatal consequences.

The plot is not easy to summarize, and I won't try here. It is enough to know that the farce and romantic comedy of the first reels is brought to a disturbing halt in the last. In these final few minutes, Octave (Renoir himself) and Christine (Nora Gregor), childhood friends, are making plans to run away together, Christine from her husband Robert de la Cheyniest (Marcel Dalio, who 30 years later would appear as the Old Man in Catch-22; see him in the clip at the bottom of this post). At the last moment, Octave bows out to allow the passionate transatlantic aviator André Jurieu (Roland Toutain) to take his place, leading to a murder hard to describe as either accidental or deliberate. In the aftermath, Octave, a self-described "parasite" on the upper class, and Marceau (Julien Carette), a poacher, disappear into the night, while Cheyniest tries to hold the pieces together, inviting the audience and his guests into the warmth of his country estate.

This is the final entry in this series. I'd been hoping to include the conclusion of L'Avventura, but the clips available are of such low quality that it would be a crime (especially for a film as visually stunning as Antonioni's) to include them here.

And somewhat ironic that this is the case. Certainly YouTube and the Internet have permitted the mass distribution of these clips to thousands of people who might otherwise never see them. But it comes at a cost. Each of the films I've discussed in this series was designed and photographed for the big screen; since their premieres, the screens have gotten smaller, until one is left with the standardized 425x344 pixels of the embedded YouTube player. What's more, despite the restoration efforts that have led to these films being released on DVD (all of them are available from Criterion in excellent editions), the quality of the films on the Internet is bleak: sound drops out, grays are poorly rendered. Perhaps this is what happens to our cultural inheritance in the Internet age.

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Tuesday, 23 February 2010

The last reel: M

Fritz Lang's 1931 M is one of the great films of the early sound era. It tells the story of a hunt for a child-murderer, originally by the police but eventually by the criminal underworld itself. When they finally do capture Hans Beckert (played by Peter Lorre), they manage to wring a confession out of him — a confession which comprises the last reel of the film — though not perhaps the confession they expected:

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Monday, 22 February 2010

The last reel: Faces

John Cassavetes' grueling 1968 masterpiece Faces takes place over about 18 hours in the life of an upper-middle-class marriage in California. There is a tremendous amount of laughter in the film, almost all of it empty and hollow like the characters who populate Faces; ideas of intimacy and communication, masculinity and femininity, success and failure are stretched to the breaking point, then painfully exploded. Unlike its obvious predecessor Who's Afraid of Virginia Woolf?, the work denies an easy escape into symbolism and metaphor and places a considerable part of the blame for the situation on the consumer culture which defines and cripples the characters (the husband is a Hollywood film producer, if the prologue to the film is given that weight). Perhaps its most recent descendant is Woody Allen's Husbands and Wives, a 1992 film clearly indebted to Faces in style, technique and theme.

The final reel takes place during a morning after a night in which both husband and wife have pursued adulterous affairs and the wife, in the immediate aftermath of hers, has taken an overdose of sleeping pills, only to be revived by the male prostitute who serviced her the night before. The film ends in the silence of recognition. In this last reel, Seymour Cassel is Chet, the gigolo; Lynn Carlin plays Maria Forst; and John Marley (who a few years later would play the film producer Jack Woltz in The Godfather) is Richard Forst:

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