MAKSQUIBS CINEMATHEQUE: A FAREWELL TO ARMS (1932)

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Like just about everyone with an interest in the movies, I'm watching more films on DVD and going out to movie houses a lot less. Convenience trumps the better experience.
Of course, you lose audience interaction and the poor film now has to compete with all the comforts of home.
It's a bit like seeing Rembrandts & Titians in a book reproduction, or from posters with iffy color values, no texture or weight to the surface and the wrong dimensions . . . all while snacking on chips & soda. (Oops! You get that at your local cinema,too.)
The ease of instant movie gratification risks turning an art form (well, sometimes) into little more than low-grade eye-candy & mindfodder. So, maybe it's worthwhile to write a bit down on what we're all viewing, just to keep fully engaged.

DVDs: the latest opiate of the people meets the internet, where everyone's a critic.
God help us.

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Sunday, May 18, 2008

A FAREWELL TO ARMS (1932)

The IMAGE DVD edition of this much abused title does a nice job upgrading the visual quality and, more importantly, restores 10 minutes of material long thought lost. The film is sexually frank even for a Pre-Code title. Romantic fatalism was Frank Borzage’s favorite subject and though he never was quite as comfortable in Talkies as he had been in his glorious stylized silents, he never lost his special touch in balancing love in bloom & doom. Gary Cooper is close to perfect as Hemingway’s surrogate ambulance driver (Papa would have killed for those shoulders & that widow’s peak) and Adolphe Menjou pulls off the Janus-faced aspects of his Italian comrade with tremendous brio. As the doomed nurse, Helen Hayes is less insufferable than in some of her other early Hollywood pics, but, damn, she sure was hard to photograph. (And Wagner’s Liebestod on the soundtrack surely overstates the case.) Charles Lang did the superb lensing which allows Borzage to appear far more adventurous than he was when Oscar’d working with Chester Lyons on the drab BAD GIRL/’31.

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A last thought before we go.

Well, enough from me. But before we sign off, here's a great quote from Emile Zola's L'OEUVRE (THE MASTERPIECE), which is about painting rather than the yet to be invented medium of film, but which points a fine critical eye toward the whole idea of art criticism. It's a good, if chilly, thought to keep in mind, especially when you surf the net.

"Has it ever struck you that posterity may not be the fair, impartial judge we like to think it is?

"Suppose the artist's paradise turned out to be as nonexistent as the Catholics, and future generations prove just as misguided as the present one and persisted in liking pretty pretty dabbling better than honest to goodness painting. There are some accepted masterpieces for which I myself wouldn't give a twopenny damn.

"Classical training has given us a wrong view of everything and forces us to acclaim as geniuses a lot of fellows who are no more than well-balanced, facile painters, while what we might really prefer is the work of more emancipated but less even artists known only to an initiated few. Immortality at present depends entirely on the average, middle-class mind and is reserved only for the names that have been most forcibly impressed upon us while we were still unable to defend ourselves...

"Perhaps that's the sort of thing that's best left unsaid. It's certainly the sort of thing that gives me the shudders!"- Emile Zola

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Now Over 5500 Reviews and (near) Daily Updates!

Sunday, May 18, 2008

A FAREWELL TO ARMS (1932)

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A last thought before we go.

DROP ME A LINE