The Girl Can’t Help It
The Girl Can’t Help It is a pop art explosion of retina melting Deluxe Color insanity built around several incredible performances from some of rock 'n' roll’s earliest and best groups. It could have been just another teensploitation picture meant to capitalize on American teenage culture of the mid-1950s and the “fad” of rock 'n' roll music, but in the hands of director Frank Tashlin it becomes a delirious candy colored satire of the music industry and the commoditization of sex to sell records.
Frank Tashlin started his career as an animator for Looney Tunes, and it is said that his cartoons were more like films and his films were more like cartoons. There is a gleeful anarchic streak that runs through his movies, and the clever satire of American life that was his directorial hallmark can be as essential to understanding the America of the 1950s as the work of Douglas Sirk (Written on the Wind, All That Heaven Allows). Tashlin worked with a lot of musical comedy performers that we consider pretty hokey now (Bob Hope, Martin & Lewis, Doris Day) but it’s surprising how smart and genuinely funny the films in which he directed them are. He was a proto pop artist using the shiny gaudy images he created as a send up of celebrity, advertising, and pop culture and their detrimental effect on the American public. Although he had no great love for rock 'n’ roll, with The Girl Can’t Help It Tashlin inadvertently made one of the best rock 'n’ roll movies of all time.Continue Reading
Written on the Wind
My description of Written on the Wind that I stuck onto a copy of the DVD in the “Employee Picks” section at Amoeba is that it is a candy colored fever dream of violence and ecstasy. Dave Kehr, writing for the Chicago Reader, wrote that Written on the Wind was a “screaming Brechtian essay on the shared impotence of the American family and business life.” I like both descriptions and I especially like the word “screaming” as it applies to what these desperate characters are really doing.
The first thing you might notice about the film is the colors. They overwhelm. Even if the action of the film centers on the downfall of one of those big oil family dynasties from Texas and the renegade pair of lovers caught in the middle, you might ignore the untamed passions exploding before you and instead fall into a hallucinatory stupor from all the cherry reds and periwinkle blues that flood the action of each meticulously constructed scene. The film is supremely pleasurable to look at. That quality of a luxurious surface of beauty is central to all of director Douglas Sirk’s best known works. The surface appearances—which are always gorgeous—are reflected back on themselves via mirrors used throughout his films and create a grotesquely ironic commentary on the desperate entrapment that materialism and expectations of conformity conspire to create in the lives of his characters. If we want to understand the 1950s in America and what they mean to us now we would do well to watch his films. They reveal a lot.Continue Reading