• Taxing Time: A Screengrab Salute To Beat The Clock Cinema (Part One)

    When I was a younger man, summer vacations seemed to last 100 years and every day was at least 24 hours long.

    Now, as an old geezer, I can’t help but notice how time keeps on slipping, slipping, slipping into the future at an alarming rate.  Summers, at best, tend to flash by in a matter of days -- and my days, like everything else, have apparently been downsized...

    ...or at least that’s how it feels here beneath the mountain of overdue assignments, unfinished projects and blown deadlines I find myself tunneling through of late, with less than a week remaining to file that damn “married filing jointly” 1040 form I haven’t even started yet...

    ...tick...tick...tick...

    ...but even as the clock ticks down to the April 15th tax deadline (not to mention the end of the Mayan calendar -- AND THE WORLD!!!!! -- in 2012), we here at the Screengrab figured we could spare a few seconds to salute THE BEST RACE AGAINST TIME FLICKS OF ALL...uh...TIME!

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  • "Rio Bravo" Turns Fifty



    "Most cult films are too hip to be popular," Allen Barra writes in The Wall Street Journal, "and most big hits are too popular to be hip. But Rio Bravo is that rarest of films -- both popular and hip." This month marks the fiftieth anniversary of the release of Howard Hawks's Western, which Barra argues "may be the most popular cult film ever made...[which] was shot in glorious Technicolor and starred perhaps the most popular star in movie history", John Wayne, and kudos to him for keeping in an eye on the calendar so as to be sure and catch this. One critic, Robin Wood, has written that "If I were asked to choose a film that would justify the existence of Hollywood, I think it would be Rio Bravo." Another, David Thomson, recently asked, "Is there a film from the fifties so free from strain, or one in which the drift of song is there all the time?" Quentin Tarantino, who once listed it as one of his three favorite movies of all time, introduced a screening of it at the 2007 Cannes Film Festival and informed the room that whenever he starts seeing a woman for the first time, he always wants to show her Rio Bravo. If the woman doesn't like it, it is not his opinion of the movie that he proceeds to re-evaluate.

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  • Jean Martin, 1922 - 2009

    The French actor Jean Martin, who died on February 2 at the age of 86, had a distinguished career in the theater, where he appeared in the original productions of two of Samuel Beckett's plays, Waiting for Godot (as Lucky) and Endgame (as Clov). He also served with the French Resistance during World War II. In movies, though, he was one of those people who achieved immortality largely through his performance in a single role, that of Colonel Mathieu in Gillo Pontecorvo's great political film The Battle of Algiers (1966). Martin was the only professional actor in that movie's cast. Compared to the actors playing Algerian revolutionaries, his role was stylized and trickily conceived: he represented the face of the oppressive French colonial government, yet he was also the director's mouthpiece, explaining the film's view of guerrilla insurrection to the audience in speeches that made it clear that, however the action of the film migh turn out, he knew that he was playing a losing game. Eventually "the people" would emerge victorious; all he could do was postpone the inevitable. Martin delivered a remarkable performance, supplying a theatrical, instructional element to the movie without violating its documentary-style texture. (He might have been hired as much for his politics as for his talent; the actor was a commmitted leftist who, despite his heroic military background with the Resistance as an paratrooper in Indochina, was blackballed as punishment for having signed a petition protesting the French presence in Algeria.)

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  • Democracy in the Western: Charles Taylor on "Rio Bravo"

    "To the left, Wayne has always been close to a comic-book version of American power in all its swaggering crudeness. That his screen persona was neither swaggering nor crude hardly mattered." So writes Charles Taylor in the latest issue of the pinko-liberal publication Dissent. While the above statement can be taken as definitive proof that Taylor has never seen McQ, it'll stand for the performances that Taylor cites as among Wayne's best, such as those in Stagecoach, Red River, The Searchers, and the one he's here to preach about tonight: Howard Hawks's Rio Bravo. As Taylor writes, "The inspiration for Rio Bravo came from perhaps the most praised of Westerns, Fred Zinnemann’s 1952 High Noon. High-Minded Noon it might have been called. Existing for no other reason than to impart a lesson in good citizenship, High Noon was a transparent metaphor for the failure of Americans to stand up to Joe McCarthy. Hawks hated it. Narratively, Hawks felt it made no sense for Gary Cooper’s sheriff to spend the movie soliciting the townspeople’s help to fend off the killers coming for him only to prove, in the end, that he didn’t need help. Hawks was offended by the idea that a sheriff would endanger the lives of the people he was meant to protect by trying to recruit them to save his skin. So Hawks made a movie in which Wayne’s sheriff turns down the help offered him, and needs it at every turn... Part of the beauty of Wayne’s performance here is the way, even when Chance is refusing help, he never undervalues others.

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  • Paul Scofield, 1922 - 2008

    Paul Scofield has died, at the age of 86. He had been suffering from leukemia. Widely regarded as one of the greatest Shakespearean actors of his generation, Scofield had a richer career in the theater than in the movies, where his recessive, slightly chilly presence as much as his devotion to the stage may have prevented him from ever becoming a major star. Yet he won an Academy Award for Best Actor for his fourth film and second Hollywood-funded production, playing Sir Thomas More in A Man for All Seasons (1966), director Fred Zinnemann Oscar-garlanded film version of Robert Bolt's play. (Scofield had earlier played the Nazi villain in John Frankenheimer's The Train, starring Burt Lancaster. Maybe he and Lancaster got on well, because one of his few other adventures in Hollywood hackwork came in the 1973 Lancaster vehicle Scorpio.) Scofield already had a Tony for the Broadway production of the play, in which he had made his American debut.

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  • Deborah Kerr, 1921 - 2007

    Deborah Kerr has died, after a long bout with Parkinson's, at eighty-six. The Scottish-born Kerr first made her mark in English movies with big, challenging roles in the Powell and Pressburger films The Life and Death of Major Blimp and Black Narcissus. In 1946, she made her first Hollywood film, co-starring with Clark Gable in The Hucksters, but probably her best-remembered screen pairing was with Burt Lancaster in the 1953 From Here to Eternity, where their iconic kissing scene lying on a beach set an enduring standard for thirtysomething romance. (Sixteen years later, director John Frankenheimer reunited the two of them for The Gypsy Moths, a yawner perhaps most notable for featuring the then forty-eight-year-old actress's only nude scene.)

    Although she could be a charming ingenue, from the start of her career there was always something about Kerr that suggested a maturity beyond her years. If that put off some executives who liked their actresses simpering, it made for a strong presence and the ability to bring suggestions of depth and emotional complication to the right role. She triumphed in such parts as the adulterous military wife in From Here to Eternity and the loving but discontented wife of an Australian rover (Robert Mitchum) in The Sundowners, directed — like Eternity — by Fred Zinnemann. She won Oscar nominations for both those films, as she did for The King and I and Separate Tables. (She was nominated a total of six times without winning, though she was given a special honorary career Oscar in 1993.) She basically retired from movies after 1969, though she came back once to star in the small 1985 English picture The Assam Garden and sometimes turned up on TV until 1986; she also starred in the original Broadway production of Edward Albee's Seascape in 1975. Her survivors include her husband of forty-seven years, Peter Viertel, the author of the novel White Hunter, Black Heart. Phil Nugent


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