History of Violence is a really impressive movie, but becomes even better if you have witnessed the progression of David Cronenberg’s films. The guy who made Shivers, The Fly, and Dead Ringers seems like such an odd choice to make History of Violence, but at the same time it fits together like a perfect puzzle. All of these carry themes of identity and sexuality. You may scratch your head a bit but trust me, I’m much smarter than you. Yes there are major differences, but that’s the point of evolution. The ability to grow and work the craft, to become a better filmmaker, and explore themes through different constructs.
Which brings me to Anthony Mann. I just finished watching The Furies on DVD. This is another one of those Criterion releases that made me wonder why they would release it. Then I witnessed its grandeur, its scope of story and human psychology. Just glancing at his resume, it looks like Mann’s breakout from Noir into the Western genre and he said, “Fuck you, the western can be as good as Shakespeare!”(My quote, not his.) He set out to prove it and did.
The Furies was his Tempest with a little bit of King Lear thrown in for good measure. An exquisite piece that demands the viewer to invest in characters that wallow in the emotional grays of life. By the end, these don’t seem like people on a screen, but Greek gods clashing over who rules the heavens. If you decide to sit down and give this a watch, you'll think I’m crazy at first. But don’t fight it, let the film take over. Roll with it and by the time all of the betrayal, revenge, and scheming is set up, you’ll be glued to the screen. Walter Huston is mesmerizing and Barbara Stanwyk has one of her best roles and one of the best lines of dialog that she’d ever get outside of Double Indemnity. To witness these two spar on screen is like standing in the eye of a tornado. You are perfectly safe and secure as the world around you is torn up from the roots.Mann would never have achieved this if he didn’t have the time to grow and practice his craft. By working among the poverty row film companies, pumping out quickie noirs, Mann honed his storytelling style and personal voice. He came into his own with films like T-Men, Raw Deal, He Walked by Night, forming a visual style that feels like images carved in rock. Hard edges, high contrast, meaning within the composed frame itself. He’d transfer all he learned into the western and drive the genre in his own direction.
I wasn’t just waxing Mann’s car when I said his work was comparable to Shakespeare. Winchester '73 and The Naked Spur strike chords of Hamlet and Macbeth. The Man From Laramie drips the King plays from every pore. I hate to say that I have no idea what to compare The Tin Star to, but by that point, I feel Mann had stepped into his own. Exploring the myth of these characters and letting them ride off into the sunset where we’d never hear from their chorus again.
Here is what I find ironic. When Mann moves into the period epic, all of the emotions I carry from his other films disappear. All of those things that seem classic and epic in his noir and westerns, which are smaller and more intimate, go away when he gives us Fall of the Roman Empire or El Cid. It’s like the epic scale of the visual, displaced the epic quality of the characters. His visuals in these epics are amazing and just as solid as anything seen in Ben Hur or Cleopatra, they just lack in soul when compared to his other films.
If you have never taken the time to follow the evolution of a filmmaker, give Mann a shot. From small no budget noirs where he honed his skills, to the physical and psychological vistas of the old west, to the biggest budget mega-epics of the 50’s. Mann put up on screen a mosaic of humanity that very few have or will. There is reason why it is important to allow filmmakers to grow through their art and Mann is a legendary example.
Posts
