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Robert stack haircut10/30/2023 I have rarely felt fear and loneliness so much as in this film” (R.W. “Sirk looks at these corpses with such tenderness and radiance that we start to think that something must be at fault if these people are so screwed up and, nevertheless, so nice. The great German director Rainer Werner Fassbinder famously said that “Sirk has made the tenderest films I know they are the films of someone who loves people and doesn’t despise them as we do.” In The Tarnished Angels – which features the same leads as Sirk’s celebrated Written on the Wind (1956) and is adapted from William Faulkner’s Pylon – the tormented souls the director loves are a WWI pilot now performing daredevil tricks in air-shows (Stack), his parachute jumper wife (Malone), their devoted mechanic (Carson) and the alcoholic journalist drawn into their unhappy lives (Hudson). With Rock Hudson, Robert Stack, Dorothy Malone, Jack Carson. Monday, February 20 at 7pm THE TARNISHED ANGELSĭouglas Sirk (U.S. Wherever he points the camera, there is another confrontation between the lower-class, black inhabitants of the projects and the middle-class, mostly black professionals who are there to serve them, help them get on their feet, and, incidentally, police them… Again and again one is made to feel the distance between problems and solutions.” – Philip Lopate, Film Comment “In Public Housing, has a superabundance of articulate, dramatic, stressed-out subjects. Also given screen time is the essential, bureaucratic and troubled work of the city, state and federal governments maintaining and changing the institution of public housing. Wells public housing development in Chicago, Wiseman’s intimate portrait records the experiences of people living in conditions of extreme poverty: street life, teenage mothers and dysfunctional families elderly residents and nursery school drug education, afterschool and job training programs and the efforts of the tenants council. It is no wonder that many in the black community were upset with Micheaux’s films.”ĭocumenting daily life at the Ida B. In addition to the lying, the viewer is regaled with exploitative pandering, prostitution, habitual sexual promiscuity, illegitimate paternity, coerced marriage through faked pregnancy, superficial religiosity, male dependency on women in the forms of matriarchal bullying and financial payoff, chronic and acute domestic violence, murder, lack of discipline, lack of trust, inability to defer gratification, alcoholism, superstition, conspiracy, grand larceny, and the framing of an innocent person. It is also, as the title suggests, in scholar Ron Green’s words, “a negative-image movie, a litany of weaknesses. One of the last films by the major force of independent black cinema in the first half of the twentieth century, Micheaux’s Lying Lips is a crime melodrama featuring Robert Earl Jones (father of James Earl Jones) as a police detective and Micheaux regular Edna Mae Harris as a nightclub singer sent to prison for the murder of her aunt. With Edna Mae Harris, Carman Newsome, Robert Earl Jones. (Adapted from Harvard Film Archive Program Notes) Ray Milland’s nervous and enigmatic protagonist proves especially susceptible to random twists of fate in this anti-Nazi thriller, a fitting overture to the increasingly pervasive threat permeating the Lang’s post-war films. While Greene scorned the adaption, and Lang himself was soured by the unyielding control over the script wielded by producer-writer Seton Miller, from its very first image of a closely-watched clock, Ministry of Fear winds through an unmistakably Langean maze of seances, phony suicides and blind men who can see. With Ray Milland, Marjorie Reynolds, Carl Esmond.Ĭritic Dave Kehr called Ministry of Fear “the epochal meeting of two masters of Catholic guilt and paranoia,” the masters being director Fritz Lang and Graham Greene, whose dizzying story of feints and false leads he was adapting.
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