My Darling Clementine
It’s sometimes hard to write or discuss what made John Ford one of the greatest cinematic artists. He avoided deeper analysis of his films, refused intellectualizing characters and in interviews, not only dodged questions, but made the interviewer feel like a fool for even trying. He famously stood up at a Director’s Guild of America meeting and only introduced himself as “My name's John Ford. I make Westerns,” underplaying his Oscars and Hollywood status. But decades later, reflecting on his work means seeing the master approach art with the humble nature of a craftsman, creating distinct and immense visions that could be described now as “Fordian.”
And without a single iota of hyperbole or exaggeration, My Darling Clementine isn’t only one of the (many) great films by John Ford, but one of the preeminent masterpieces of art of the post-war era. After the war, Westerns seemed to lose their jingoistic American values and abandon the portraits of brave handsome men and the women they love. Stagecoach, directed by John Ford only seven years earlier, is an ensemble film with clear antagonists, a hero who’s the classic “good bad man” trope and a tremendous amount of fun on top of everything, a film which sees endless enthusiasm and optimism for the growing country. My Darling Clementine is far more complicated, with characters who should be villains proving they have a sense of pride and dignity, and societal problems attached to class and love and complex ideas of civilization. Still, Ford hasn’t reached quite the cynical edge and distrust in the world that The Searchers has, but it certainly has that foreboding sense of darkness after America’s victory overseas.Continue Reading
The Shanghai Gesture
The Shanghai Gesture is an impressively sordid film noir with the gauzy atmospheric haze of an opium induced nightmare. Director Josef von Sternberg went admirably overboard in depicting his idea of an exotic horror show. As in his most famous film and the one that introduced the world to the Teutonic splendor of Marlene Dietrich, The Blue Angel (1930), Sternberg had a thing for dropping weak-willed characters into dens of iniquity, only to let those poor suckers become enslaved by their obsessions and get taken for every nickel. He seems to enjoy the spectacle of their descent from flawed innocents to vice-addled wrecks. Whereas The Blue Angel was about a priggish professor led into ruination by the low rent charms of Dietrich’s Lola Lola cabaret chanteuse, in The Shanghai Gesture it’s a beautiful young woman (Gene Tierney) who starts out as the privileged daughter of a British developer abroad and ends up a raving gambling and who-knows-what-else-addict. Although the play on which The Shanghai Gesture is based is reportedly far racier and more explicit than the film, Sternberg still finds lots of shadows to explore in the material, resulting in a film slightly less disturbing than The Blue Angel but still a lot stranger than most studio fare of its time.
The Shanghai Gesture takes place in Shanghai but is unmistakably shot on a studio set. The artifice of smoke machines and dimly lit indoor streets create a wonderfully nocturnal atmosphere that is perfect for the material. Realism has no place in this story. Gene Tierney plays Poppy (yes, Poppy) a rich girl who shows up at a Shanghai gambling house run by proprietress ‘Mother’ Gin Sling (Ona Munson). ‘Mother’ Gin Sling’s gambling house is the center of the action for most of the film. It’s circular in shape with multiple levels surrounding the main casino floor and blindingly white. It’s a temple of vice where anything can happen. Poppy takes an almost sexual pleasure in the illicit activities of the tuxedo-clad gamblers—wealthy denizens of a lawless town—and the money and alcohol all around her, and tells her date for the evening, “It smells so incredibly evil! I didn’t think a place like this existed except in my imagination.” Dialogue like that makes a film easy to love. As it turns out, Poppy’s father is a developer intent on forcing Mother Gin Sling to shut down her casino and vacate the premises. Gin Sling, with her terrifying Medusa hair and vindictive nature, discovers one of her new regulars is the daughter of the man who wants to shut her down and sets to work on destroying her as a way to get back at her father. Victor Mature, playing a cape clad minion to Gin Sling, is assigned with the task of leading Poppy astray. Poppy proves to be easy prey, getting hooked on gambling and losing her father’s money by the thousands while boozing it up night after night. Gin Sling keeps advancing her money to gamble with until she essentially owns her.Continue Reading