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Blank Page (1960 ) Stanley Donen

Crisis matrimonial and modernity. 1960 years

key cinematic modernity. The year where there are two movies that dazzle innovation, which will become referents in film history, one American and one European Psycho Alfred Hitchcock and Michelangelo Adventure Antonioni. Not chance the two are linked from the disappearance of a person. Marion Crane / Janet Leigh and Anne / Monica Vitti.

But it is also the year As a mirror of Ingmar Bergman, in which Harriet Anderson was troubled by the possible existence of God, behind the wall of the room. A movie of mysterious doors and empty rooms. blank page might be the American response to mirror As . Donen staged a schedule of doors and rooms, where a marriage of the British nobility, The Great Rhyall played by Cary and Deborah Kerr, held live in an old castle that receives daily visits from tourists, as a system to meet the costs of maintaining them. One such tourist, American millionaire, to name European painter, Charles Delacre, Robert Mitchum, miss chance in this mysterious maze of rooms to finish traspansando the forbidden door, where he will meet with a woman Deborah Kerr nobility, whose marriage is in a state of fossilization and routine. An encounter with the unknown that will become a deeper experience of love.

page will encompass blank in the sitcom marriage, gender to which they belong such masterpieces as The Awful Truth (1939) Leo Maccarey, New Moon (1941) Howard Hawks, or The Lady Eve ( 1941) Preston Sturges. "He described the genre of the sitcom marriage as an endeavor to demonstrate how the miracle of change can occur and consequently become common life marriage of a couple on the verge of divorce" [1] This miracle referred to Stanley Cavell is referred to her husband Nora helmet at the end of A Doll's House by Henrik Ibsen

Nora: Oh Torvald, would produce the greatest of miracles

Helmer: "The greatest miracle?

Nora: Do both have to change as ... Torvald oh I do not believe in miracles.

Helmer: But I want to believe in them. Tell me. "Change as ....?

Nora: That our life together becomes a marriage. Goodbye

The marital comedy, will then representation and modeling of this miracle exists and can be posible.Por therefore the mission of Cary Grant, how could it be otherwise, is to regain the love of his wife and her away from her lover, believing it in miracles. The viewer knows that if someone is capable of it, this is Cary Grant, because we've seen it before reviving a marriage that everyone took for dead, Philadelphia Story (1940) in New Moon ( 1941) or even You and I ( 1951), where cast also shared with Deborah Kerr. What will drive the plot in Blank Page , like all sitcoms, is that the two main characters meet again, so any criticism of the predictable end, reveals an ignorance about the rules of this kind, that if something is surprising is that combines similar events as diverse effect.

Stanley Donen is a director known for his knack for musical Singing in the Rain (1952) or Royal Wedding (1951), and although Blank Page does not belong to this genre, if it preserves a certain rhythm and musicality in movement and speech of the actors. The scene where couples split screen Cary Grant / Deborah Kerr and Jean Simmons / Robert Mitchum talk on the phone is a good example of air that hovers over the movie musical.

But there is something very modern in this film by Stanley Donen, beyond his years, and has highlighted Carlos Losilla "[...] Blank Page and are Indiscreta , his latest film, more attentive to the movements of the actors and the vacuum left by the disappearance, feelings and its eclipse, the couple and the threats they close on it, the adventure that must be overcome to be together "[2]. The eclipse and disappearance two figures" antonionianas "modernity Codes appear in this ; classic American film.

I think there is an extraordinary relationship in blank page and From overnight (1997) by Jean Marie Straub and Danielle Huillet, which shows the cross can become the resonances and echoes in the film. From overnight is an adaptation of one-act opera by Arnold Schoenberg in which one partner after returning from the theater, arrives at his apartment, where a crisis erupts marriage that will last all night. In the work of Staub and Huillet's musicality is evident as it is an opera, but as I noted above Donen film retains certain features of the musical, two movies in the shadow of doubt and crisis will be extended by partners, in both his characters come to the same conclusion Freud: the discovery of an object is in fact his resdescubrimiento and finally at the end of the two films make their appearance the children, how children formulate Rhyall family as well as asking the child to the marriage of From overnight? "What are modern men?".

[1] Cavell, Stanley, The pursuit of happiness, the marriage sitcom in Hollywood ed: Paidós. pp: 32;

[2]. Losi, Carlos, The invention of modernity: History and melancholy in the film story . Director: Núria Bou i Sala. Pompeu Fabra University, Department of Communication 2010.

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Influences "hopperianas"

A woman in the sun (1961)

Tatarak (2009) Andrej Wajda

Hotel Window (1955)

Far from Heaven (2002) Todd Haynes

windows at night (1931)

Rear Window (1955) Aldred Hichcok

The house next to the railroad (1925)

Days of Heaven (1978) Terrence Malick

PLC (1927)

Lights in the Darkness (2006) Aki Kaurismaki

Hawks at night (1942)

Pennies from Heaven (1981) Herbert Ross

Room New York (1932)

Mad Men (2007) Matthew Weiner

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Lightning Over Water (1980) Wim Wenders Nicholas Ray &

Death

Wim Wenders does not search Lightning Over Water a spectacle of death and a trivialization of the pain, make this blend of fiction and documentary about the legendary figure, sick and dying filmmaker American Nicholas Ray. The moral and respectful of Wenders to the decadent state and Ray terminal him away full of immorality and lack of scruples of the producer who played Harry Dean Stanton in live Death (1980) by Bertrand Tavernier, and it is decided to launch a new reality that was to show the progressive physical and moral degradation Montherhoe Katherine (Romy Schneider) an alleged cancer patient with a single purpose: to raise the ratings. These two films made in the same year show two opposing positions in the representation of illness and death. One based on the illness, the espectaculariación trivialization and the suffering of others, one on respect, trust, honor, grief and support. L to death, the death that always starts again and whose ubiquity is more powerful because it is presented as a scandal in a society Overmedicalized and no longer has a sense to confront and accept the final disappearance ( Lipovestsky), will undoubtedly recording Lightning Over Water and Wenders company which gives the possibility of being Ray himself and cope with their imminent demise, talk face to face with death and death.

Affiliations

In this kind of oxymoron that is the title of one of the most popular films of Wim Wenders. Paris Texas is summarized in a metaphorical sense of the topics of R elámpago in water, confrontation and encounter between European and American cinema, modern and classical. Should recall the famous words of Francois Trouffaut: Nicholas Ray is cinema . So, if cinema is Nicholas Ray Lightning Over Water will be more than the fight against disease and acceptance of the death of an artist, as revealed in his beautiful Naomi Kawase Documentary Letter from a Yellow Cherry Blossom (2003). What is German filmmaker wants to show the death of cinema, in a way to understand it and do it, it will become extinct with the demise of director night lovers (1949) and Rebel Without a Cause (1955).

The voiceover Wim Wenders who score the entire film, says it has blanketed the feeling of being a father. This kind of Oedipus complex reveals the German filmmaker, is a latent feeling in much of the film modern. Ray's death means the death of classicism, tradition, a certain idea of \u200b\u200bcinema from the 60's in America began to disappear, ceased to be hollow. Godard showed us one in Contempt (1963) , with the mythical figure of Fritz Lang displaced by the new times, become a being anachronistic. The same thing would happen to Nicholas Ray after the producer Samuel Boston takes away from filming 55 days in Beijing (1962) , Ray will not shoot anything in the Hollywood industry. If we consider that three years before Lightning on water , Nicholas Ray played in The American Friend (1977) by Wim Wenders, the role of an artist that the world was dead, we can deduce the feeling that the American director should have during his last years.

The modern children while their parents are away, show their links and ties with them either good for subertirlos or to honor them, because the currency if it loses its link with the moda.Wenders stays last did much of his work, not only with Nicholas Ray Lightning Over Water (1980), also Samuel Fuller The American Friend Yasujiro Ozu T oo Okyo-Ga (1985)

pollution and opposition between Paris Texas, Europe, America, Modern Classicism was so palpable since 1960, while the classic filmmakers like Richard Brooks, Alfred Hitchcock, Douglas Sirk, Vincente Minnelli or the same Nicholas Ray began to show the seams and folds of classicism, while this is cracked, they killed the father of modern Hollywood, but kept ties with tradition Godard What would not Nicholas Ray, Jacques Rivette without Fritz Lang, Claude Chabrol without Eric Alfred Hitchcock or Howard Hawks Rhome not? German Wim Wenders The student knows that the legacy left to modern classics and there are links between them, so they paid tribute and mourning the American master Nicholas Ray while he finds himself at death's door.



Fiction Documentary film articulates with a constant opposition between document and fiction, between video and film, between the spontaneous and prepared. . The idea came immediately after a conversation directly, only three days before I arrived in New York Wenders, so the film will be a kind of Work in Progress will be subject to the evolution of the disease and its progressive deterioro.La Ray voiceover Wenders states that do not know where they are going to shoot his only matters is the reality of everyday life. But faced with the cleanliness of the images in 35 opposes the instantaneous and rough video footage showing the intricacies of recording, the preparation of certain shots, dialogues and conversations that reveal record off constant opposition between documentary and and fiction.

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1. Orfeo(1950) Jean Cocteau
2. The bridge (1984) Victor Burgin
3. Orfeo(1950)Jean Cocteau
4. Vertigo(1958) Alfred Hitchock
5.Orfeo negro(1959) Marcel Camus
6.Vertigo(1958) Alfred Hitchock
7 The ordet (1955) Carl Theodor Dreyer

  

What's A Wart Looks Like When It's Dying

Chinise The killing of a bookie (1976-78) John Cassavetes.

A good film will raise questions that nobody has raised before, things you never thought [...]. Or, if you ever stopped to think, at least you never have thought of this. A film is an investigation about life, about who we are, about what are our responsibilities in life, if we have any. John Cassavetes

[1]

The greatness of the work of Cassavetes is having dissolved

history, intrigue or action, but also space,

to achieve the attitudes and categories that put

time in the body, much as the thought in Deleuze Guillez

life [2].

drift towards

Cassavetes's films stems of the faces of his characters, the modulation of their voices, the gestures of the body to the brink of collapse. The camera always attentive to the blossoming of feelings, to reveal the unexpected from the research for the thrill. The shaky camera lens, dubidativo, trembling, to meet the contradictory nature of the soul human. And is that Cassavetes' films seem made of all the energy released from the bodies of their characters, their collisions and crashes, their separations, as in Faces (1968) , how it happens of hysteria to calm, from irritation to the peace, Gena Rowland interprentando Mabel Longhethi in A Woman Under the Influence (1975) or Myrtle in Openning Gordon Night (1978) "Body ontological escapes any formal determination, living sculpture, carnal, passionate. not glorious or sporting or religious This body is the limit of visibility across all representations but everything inside occur which [...] [3].. "An interior is revealed through the postures and twists that end up showing cuepos weakness and fragility of personalidadas. Some bodies are just getting so abstract apprehend them, that seem to dissolve, like the paintings of Bacon and de Kooning. Figures bizarre, strange, fleeting moments and contradicorios, depression and euphoria, with Cassavetes never know at what point can skip the crisis.

His films always seem to arrive late, as if the American director is not interested in showing the beginning of anything, just one path but with no fixed destination. That sense of work in progress that runs all their work, as if they were their own pesonajes which are tracing the history, the plot emanates and flows from them. The Killing of a Chinese Bookie (1976-78 ) is a clear example of that sense of randomness, of becoming Therry allegedly Jousse, but his film is more calm, perhaps because they within a firm generic molds as Black Film. Sentimental arrhythmias that arise from the characters in his other films are more submerged here, not so easily emerge, because Cosmo Vitelli (Ben Gazzara) is not neurotic and explosive personality of the characters of Gena Rowlands, Gloria, Gordon and Myrtle Mabel Longhethi.

The feeling that the film weaves slowly, so palpable is evident when Cosmo decides to assassinate the Chinese Bookie. Vitelli will face many unpredictable and fortuitous inconveniences, as if I had to get out of default by the mafia script and improvise, something to what was used Cassavetes himself.

Ray Carney noted in Cassavetes on Cassavetes, some similarities between the character of Cosmo and Cassavetes himself, the two liked the gambling, both have to cope with external pressures to maintain freedom "creative" Cosmo pressured by the mob with which he has made a significant debt, Cassavetes down by industry, and they both liked to tell the public, Cosmo increasingly entering the Cassavetes club while attending to their projections. A reading key personnel significantly enhances film. Cosmo as the alter ego of Cassavetes.Sin dopperlganger But there is another within the fiction, Mr Sofhistication (Meade Roberts) strange character, master of ceremonies for the Crazy Horses, the alter ego of Cosmo on stage, the confidence man , when the function begins. According to Carney, Cassavetes, I think the character thinking of Professor Rath (Emil Jennings) Blue Angel (1930) figure of the educated man who has been dragged down by mediocrity. Mr Sofhisticacion borders on travesty, pantomime and excessive. Streptase shows that runs with pompous names, border on kitsch.

The killing of a Chinesse Book was a dismal failure ie both public and critical though Cassavetes came to reap great success with his previous film A Woman Under the Influence . However, the film has had a notable influence on subsequent films. It works as emanating Go Go Tales (2007) Abel Ferrara or Exotica (1994) Atom Egoyam, both around the world the club. Heard in the long agony of Cosmo Vitelli with the bullet is his stomach, return with Tim Roth in Reservoir Dogs (1992) or Cristhoper Walken the wonderful King of New York (1990).


John Cassavetes has always been a director of the hypothesis of the question. All of his films ask questions What is love? About us What unites us to people? but never says never responds. The killing of a Bookie Chinesse not respond to anything, but it will make us wonder. Although this may seem Cassavetes give us a clue, after the bloody figure of Cosmo Vitelli, dissolve the plane, into an uncertain future, Mr Sofhistication sings "I 'Can not Give You Anything But Love ".

Study of the human body (1949) Francis Bacon

[1] Carney, Ray (ed), Cassavetes on Cassavetes , Anagram Ed Chronicles, 471 pp
[2] Deleuze, Gilles, Image Time, Ed: Paidos Communication, 255 pp
[3] Jousse, Thierry, John Cassavetes, Ed: Catedra, pp