Wednesday, 2 January 2019

True Grit (1969)

 Director: Henry Hathaway

If you are going to make a Western called "True Grit" it seems impossible you would cast anyone other than John Wayne in the lead role. Perseverance, or stubbornness, is a trait shared by many of the characters he played: Ethan Edwards in The Searchers immediately springs to mind. Here he plays "Rooster" Cogburn, hired by Mattie Ross to avenge the murder of her father by one of his workers. As with many of Wayne's roles, his steeliness of resolve is contrasted with the tender feelings he develops towards Mattie, becoming a father-figure for the fatherless teenager.

The film as a whole is entertaining and really well acted. Wayne is clearly enjoying the material, and he reportedly loved the script for the film. It is certainly a meaty role for him. Kim Darby is energetic in her portrayal of Mattie; one could argue she has the most "grit" of any of the characters. The scene where she haggles of the buying and selling of horses is good fun. The cinematography is lovely, along with the Colorado geography, despite it being set in Arkansas and Oklahoma (though being Australian I didn't notice the difference).

The only glaring flaw in the film is its pacing. It takes a long time for Cogburn, Mattie and La Boeuf to set out on their journey, with much discussion about who will and will not go. This doesn't really build tension, as you know who the three people going will be, and it just delays the inevitable. I imagine the remake is more economical in its first act.

While there is nothing ground-breaking in True Grit, it is a solid, well-made Western that has a rather sweet ending. It is hard not to enjoy a film where all the elements - writing, acting, directing, cinematography - are so good. It will be interesting to compare to the Coen Brothers' version.

Tuesday, 1 January 2019

Salute (2008)

Director: Matt Norman

Salute tells the story behind one of the most famous images in the world: the Black Power salute performed at the 1968 Olympic Games. In the photo John Carlos and Tommie Smith stood each with one hand in the air,, wearing a black glove, providing a powerful statement in support of the civil rights movement. Standing with them is Peter Norman, a white Australian runner, who is wearing an "Olympic Project for Human Rights" badge along with Smith and Carlos, evidence of his support for their cause. The film, made by Norman's nephew, tells the untold story of one of Australia's most successful runners who is still sadly rather unknown in Australia (I did not know about him until I watched the film).

Salute explores the context of civil rights in both America and Australia in the 60s, drawing parallels between the two to explain Norman's sympathies with the American situation. It also outlines Norman's life, particularly his Christian faith, which for him meant that all people were created equal, which lead him to abhor the racism in Australian society at the time (we had something called the White Australia Policy, and it was despicable). Carlos and Smith speak with great love and gratitude for Norman, with both delivering heartfelt eulogies at Norman's funeral.

This is one of those films that works to show us how far we have come in regards to human rights, and also how much more still needs to be done. The response in America to black footballers taking the knee (a peaceful and rather respectful protest which was met with a furious blacklash from some) shows that people still bristle at sport and politics mixing. Salute is a reminder of the need to stand up for what it right, even thought the cost may be terrible; all three runners suffered set-backs in their careers after the event. It also encourages us to reach out to one another over things that supposedly divide us - gender, colour, sexuality, even nationality - and recognise the inherent humanity that binds us all. It is an inspirational film about three inspirational men.

The Last Picture Show (1971)

 Director: Peter Bogdanovich

In The Last Picture Show, Bogdanovich deliberately filmed the story in black-and-white, really emphasising the down-and-out texture of the world of Anarene, a small town in Texas. The lack of colour takes us back in time to 1951, and a externalises the lack of excitement and joy that exists in the characters' lives.

The film follows the lives of several of the towns inhabitants, focusing particularly on Timothy Bottoms' Sonny, and his friends Duane Jackson (Jeff Bridges) and Jacy Farrow (Cybil Shepherd). They try to inject joy, excitement or even just emotion into their lives, often in destructive ways; Jacy works at losing her virginity (and finding a potential husband), while Sonny begins an affair with the older wife of the school's coach.

There is a great deal of pain and bitterness in this film, with occasional moments of humour (the naked pool party scene is uncomfortably awkward). The contrast between the lives of the characters and the worlds of the films they watch at the cinema cut through the cinematic fantasy of the 1950s, while at the same time making us wonder about the need for such fantasies. Two films that characters watch during Bogdanovich's film are Father of the Bride and Red River, one an aspirational comedy about an extravagant wedding, the other a Western about the clash between the old ways and the new, with Montgomery Clift's character Matt trying to strike out a different path from John Wayne's Dunson. Sonny and Duane desire something more than the world offered them in Anarene, something like that offered in the films they watch (it is no coincidence that Sonny breaks up with his girlfriend not long after watching Elizabeth Taylor in Father of the Bride). Yet they find themselves stuck where they are, surrounded by bitter or defeated adults.

In the end Duane has to leave by joining the army, risking his life in the process (he will end up fighting in Korea). Sonny, who has spent the film searching for a genuine human connection, loses the one that had meant most to him, and goes back to Ruth, the coach's wife, who he had thrown off for Jacy. The film's ending is ambiguous. It feels both hopeful and yet hopeless at the same time. Ruth clearly loves Sonny, and yet she is stuck in a marriage she likely can't escape; how will they give each the love and companionship they need? The film doesn't give us an answer.

Bogdanovich clearly loved Golden Age Hollywood films, but he wasn't above pulling apart their rose-coloured view of reality. There is a wryness in his films, and here a pain that comes from watching people make decisions that draw them further away from being happy. The script is wonderful, the acting is superb (with a cast like this you wouldn't expect it to be anything else), and its cinematography emphasises its melancholia. It is a great film.