A PROPOS DE NICE FILMS. 4 EDITIoN A propos de Nice onfined to Nice on account of the tuberculosis both he and rather than on the continuity of a larger design. They were certain that wife were to die of, Vigo worked for a small company as assistant design must emerge in the charged images themselves, which they cameraman. When his father-in-law presented the young couple with could juxtapose in editing a gift of $250, Jean promptly bought his own Debrie camera. In Paris The power of the images derives from two sources, their clearcut in the summer of 1929 he haunted the cine-club showings at the Vieux iconographic significance as social documents, and the high quality Colombier and at the Studio des Ursulines. There he met Boris they enjoy as photographs, carefully (though not artfully)composed Kaufman, a Russian emigre, brother of Dziga Vertov. Kaufman, Opposition is the ruling logic behind both these sources as they appear already an established cameraman in the kino-eye tradition, was in the finished film, so that pictures of hotels, lounging women, enthusiastic about Vigo's plan to make a film on the city of Nice. wealthy tourists, and fancy roulette tables are cut against images of During the autumn of 1929 Kaufman and his wife labored tenements, decrepit children, garbage, and local forms of back-street a script with the Vigos. From his work Jean began to save ends of film gambling. In the carnival sequence which ends the film, the power with which to load the Debrie and by years end the filming was bursting within the citys belly spills out onto the streets of the wealthy and dramatizes a conflict which geography cant hide Originally planned as a variant of the city symphony, broken into Formally the film opposes a two-dimensional optical schema, its three movements(sea, land, and sky) a propos de Nice was used primarily for the wealthy parts of town, to a tactile, nearly 3-D destined to vibrate with more political energy than did Berlin, Rien approach. Aerial shots and the voyeurism of the"Promenade des que les heures, Manhattan, or any of the other examples of this type. Anglais"define the wealthy as indolent observers of From the first, Vigo insisted that the travelogue approach be avoided. deep in the town itself everyone, including the camera, He wanted to pit the boredom of the upper classes at the shore and in the carnal dance of life, a dance whose eroticism is made exp the casinos against the struggle for life and death in the citys poorer Entranced by Surrealism(at the premiere of this film vigo paid he clarity of the script was bandoned. Unable to shoot homage to Luis Bunuel), the filmmakers used shock cuts, juxtaposing livein the casinos and happy to follow the lead of their rushes, symbolic images like smokestacks and Baroque cemeteries. A Vigo and Kaufman concentrated on the strength of particular images stripped by a stop-action cut and a man becomes a lobster. Swift tilts
A PROPOS DE NICE FILMS, 4th EDITION 6 A propos de Nice Confined to Nice on account of the tuberculosis both he and his wife were to die of, Vigo worked for a small company as assistant cameraman. When his father-in-law presented the young couple with a gift of $250, Jean promptly bought his own Debrie camera. In Paris in the summer of 1929 he haunted the ciné-club showings at the Vieux Colombier and at the Studio des Ursulines. There he met Boris Kaufman, a Russian émigré, brother of Dziga Vertov. Kaufman, already an established cameraman in the kino-eye tradition, was enthusiastic about Vigo’s plan to make a film on the city of Nice. During the autumn of 1929 Kaufman and his wife labored over a script with the Vigos. From his work Jean began to save ends of film with which to load the Debrie and by year’s end the filming was underway. Originally planned as a variant of the city symphony, broken into its three movements (sea, land, and sky) A propos de Nice was destined to vibrate with more political energy than did Berlin, Rien que les heures, Manhattan, or any of the other examples of this type. From the first, Vigo insisted that the travelogue approach be avoided. He wanted to pit the boredom of the upper classes at the shore and in the casinos against the struggle for life and death in the city’s poorer backstreets. The clarity of the script was soon abandoned. Unable to shoot ‘‘live’’ in the casinos and happy to follow the lead of their rushes, Vigo and Kaufman concentrated on the strength of particular images rather than on the continuity of a larger design. They were certain that design must emerge in the charged images themselves, which they could juxtapose in editing. The power of the images derives from two sources, their clearcut iconographic significance as social documents, and the high quality they enjoy as photographs, carefully (though not artfully) composed. Opposition is the ruling logic behind both these sources as they appear in the finished film, so that pictures of hotels, lounging women, wealthy tourists, and fancy roulette tables are cut against images of tenements, decrepit children, garbage, and local forms of back-street gambling. In the carnival sequence which ends the film, the power bursting within the city’s belly spills out onto the streets of the wealthy and dramatizes a conflict which geography can’t hide. Formally the film opposes a two-dimensional optical schema, used primarily for the wealthy parts of town, to a tactile, nearly 3-D approach. Aerial shots and the voyeurism of the ‘‘Promenade des Anglais’’ define the wealthy as indolent observers of sports, while deep in the town itself everyone, including the camera, participates in the carnal dance of life, a dance whose eroticism is made explicit toward the film’s end. Entranced by Surrealism (at the premiere of this film Vigo paid homage to Luis Buñuel), the filmmakers used shock cuts, juxtaposing symbolic images like smokestacks and Baroque cemeteries. A woman is stripped by a stop-action cut and a man becomes a lobster. Swift tilts
FILMS. 4th EDItION ACCATTONE topple a grand hotel. As he proclaimed in his address, this was to be Books: a film with a documentary point of view. To him that meant hiding the camera to capture the look of things(Kaufman was pushed in Pasolini, Pier Paolo, Pasolini on Pasolini: Interviews with Oswald wheelchair along the Promenade cranking away under his blanket) and then editing what they collected to their own designs. Gervais, Marc, Pier Paolo Pasolini, Paris, 1973. A propos de Nice is a messy film. Full of experimental techniques Siciliano, Enzo, Vita di Pasolini, Milan, 1978; as Pasolini: A Biogra- and frequently clumsy camerawork, it nevertheless exudes the energy phry, New York, 1982. of its creators and blares forth a message about social life. The city is Bertini, Antonio, Teoria e tecnica del film in Pasolini, Rome, 1979 built on indolence and gambling and ultimately on death, as its crazy Groppali, Enrico, L'ossessione e il fantasma: l teatro di Pasolini cemetery announces. But underneath this is an erotic force that comes e Moravia. Venice. 1979 from the lower class the force of seething life that one can smell Snyder, Stephen, Pier Paolo Pasolini, Boston, 1980 bage and that Vigo uses to drive his film. a propos de Nice Bellezza, Dario, Morte di Pasolini, Milan, 1981 dvanced the cinema not because it gave Vigo his start and not Bergala, Alain, and Jean Narboni, editors, Pasolini cineaste, Paris, 1981 because it is a thoughtfully made art film. It remains one of those few Gerard, Fabien S, Pasolini; out, Le Mythe de la barbarie, Brus examples where several powers of the medium(as recorder, organ- sels. 1981. izer, clarifier of issues, and proselytizer) come together with a strength Boarini. vittorio, and others Da accatone a salo 20 scritti sul and ingenuity that are irrepressible. The critics at its premiere in June inema di pier paolo pasolini. bologna. 198 930 were impressed and Vigo's talent was generally recognized. But Pasolini, Pier Paolo, Poems, New York, 1982 the film got little distribution; the age of silent films, even experimen- De Guisti, Luciano, I film di Pier Paolo Pasolini, Rome, 1983 Carotenuto, Aldo, Lautunno della coscienza: Ricerche psicologiche should begin his or her career as vigo did, with commitment. su pier paolo pasolini. Turin. 1985 independence, and a sense of enthusiastic exploration Michalczyk, John J, The Italian Political Film-makers, Cranbury, New Jersey, 1986 Dudley Andrew Pasolini, Pier Paolo, Lettere 1940-1954: Con una cronologia della e delle opere, edited by Nico Naldini, Turin, 1986 Schweitzer, Otto, Pier Paolo Pasolini: Mit Selbstzeugnissen und ACCATTONE 1986 Klimke, Cristoph, Kraft der Vergangenheit: Zu Motiven der Filme von Pier paolo pasolini. frankfurt. 198 Italy, 1961 Van Watson, William, Pier Paolo Pasolini the Theatre of the Word. Lewiston. 1989 Director: pier paolo pasolini Rumble, Patrick, Pier Paolo Pasolini: Contemporary Perspectives, Toronto, 1993 Production: Cine de Duca-Arco Film; 35mm; running time: 120 Baranski, Zymunt G, Pasolini Old d New, Surveys Studie ninutes Released 1961. Filmed 1960-61 in the slums of rome Dublin. 1999 Producer: Alfredo Bini; screenplay: Pier Paolo Pasolini with dia Articles. logue collaboration by Sergio Citti, from the novel Una vita violenta by Pasolini; photography: Tonino Delli Colli; editor: Nino Baragli; Murray, William, "Letter from Rome, "in New Yorker, 21 April 1962 sound: Luigi Puri and Manlio Magara; art director: Flavio Mogherini Cameron, lan, in Movie(London), September 1962 music director: Carlo Rustichelli; assistant directors: Bernardo Bean, Robin, in Films and Filming(London), 12 September 1962. Bertolucci and Leopoldo savona. Nowell-Smith, Geoffrey, in Sight and Sound (London), Autumn 1962. Bragin, John, *Interview with Pasolini, in Film Culture(New Cast: Franco Citti (Accatone/Vittorio): Franca Pasut (Stella): Silvan York). Fall 1966. Corsini(Maddalena): Paola Guidi(Ascenza); Adriana Asti(Amore): Conrad, Randall, in Film Quarterly(Berkeley), Winter 1966-67 Renato Capogna(Renato): Mario Cipriani(Balilla): Roberto Scaringella Kauffmann, Stanley, ""Poet and the Pimp, "in New Republic(New York), 6 April 1968 tan): Elsa Morante (Prisoner): Adele Cambria(Nannina ); Polidor Sarris, Andrew, in Village Voice(New York), 6June 1968. (Beechino); Danilo Alleva(laio): Luciano Conti( Moicano ): Luciano MacDonald, Susan, ""Pasolini: Rebellion, Art, and a New Society Gonino (Piede dOro): Gabriele Baldini (Intellectual); Adrianna in Screen(London), May-June 1969. Mazelli and Mario Castiglione (Amore's clients): Dino Frondi and Bragin, John, ""Pier Paolo Pasolini: Poetry as a Compensation,"in Tommaso Nuevo( Cartagine's friends); Romolo Orazi (Accattone's Film Society Review(New York), nos 5-7, 1969 father-in-law): Silvio Citti(Sabino); Adriana Moneta (Margheritona). Purdon, Noel, ""Pasolini: The Film of Alienation, ' in Cinema(Lon- don ). August 1970 Armes, Roy, " "Pasolini, in Films and Filming(London), June 1971 Sequences(Montreal), July 1973 Pasolini Issues" of Etudes Cinematographiques(Paris), nos 109-111 Pasolini Issue of Cinema (zurich). no. 2. 1976. Pasolini. Pier Paolo. Accattone. Rome. 1961 Gervais, M, in Wide Angle(athens, Ohio), no 4, 1977
FILMS, 4 ACCATTONE th EDITION 7 topple a grand hotel. As he proclaimed in his address, this was to be a film with a documentary point of view. To him that meant hiding the camera to capture the look of things (Kaufman was pushed in a wheelchair along the Promenade cranking away under his blanket), and then editing what they collected to their own designs. A propos de Nice is a messy film. Full of experimental techniques and frequently clumsy camerawork, it nevertheless exudes the energy of its creators and blares forth a message about social life. The city is built on indolence and gambling and ultimately on death, as its crazy cemetery announces. But underneath this is an erotic force that comes from the lower class, the force of seething life that one can smell in garbage and that Vigo uses to drive his film. A propos de Nice advanced the cinema not because it gave Vigo his start and not because it is a thoughtfully made art film. It remains one of those few examples where several powers of the medium (as recorder, organizer, clarifier of issues, and proselytizer) come together with a strength and ingenuity that are irrespressible. The critics at its premiere in June 1930 were impressed and Vigo’s talent was generally recognized. But the film got little distribution; the age of silent films, even experimental ones like this, was coming to an end. This is too bad. Every director should begin his or her career as Vigo did, with commitment, independence, and a sense of enthusiastic exploration. —Dudley Andrew ACCATTONE Italy, 1961 Director: Pier Paolo Pasolini Production: Cine de Duca-Arco Film; 35mm; running time: 120 minutes. Released 1961. Filmed 1960–61 in the slums of Rome. Producer: Alfredo Bini; screenplay: Pier Paolo Pasolini with dialogue collaboration by Sergio Citti, from the novel Una vita violenta by Pasolini; photography: Tonino Delli Colli; editor: Nino Baragli; sound: Luigi Puri and Manlio Magara; art director: Flavio Mogherini; music director: Carlo Rustichelli; assistant directors: Bernardo Bertolucci and Leopoldo Savona. Cast: Franco Citti (Accatone/Vittorio); Franca Pasut (Stella); Silvana Corsini (Maddalena); Paola Guidi (Ascenza); Adriana Asti (Amore); Renato Capogna (Renato); Mario Cipriani (Balilla); Roberto Scaringella (Cartagine); Piero Morgia (Pio); Umberto Bevilacqua (The Neapolitan); Elsa Morante (Prisoner); Adele Cambria (Nannina); Polidor (Beechino); Danilo Alleva (Iaio); Luciano Conti (Il Moicano); Luciano Gonino (Piede d’Oro); Gabriele Baldini (Intellectual); Adrianno Mazelli and Mario Castiglione (Amore’s clients); Dino Frondi and Tommaso Nuevo (Cartagine’s friends); Romolo Orazi (Accattone’s father-in-law); Silvio Citti (Sabino); Adriana Moneta (Margheritona). Publications Script: Pasolini, Pier Paolo, Accattone, Rome, 1961. Books: Pasolini, Pier Paolo, Pasolini on Pasolini: Interviews with Oswald Stack, Bloomington, Indiana, 1969. Gervais, Marc, Pier Paolo Pasolini, Paris, 1973. Siciliano, Enzo, Vita di Pasolini, Milan, 1978; as Pasolini: A Biography, New York, 1982. Bertini, Antonio, Teoria e tecnica del film in Pasolini, Rome, 1979. Groppali, Enrico, L’ossessione e il fantasma: Il teatro di Pasolini e Moravia, Venice, 1979. Snyder, Stephen, Pier Paolo Pasolini, Boston, 1980. Bellezza, Dario, Morte di Pasolini, Milan, 1981. Bergala, Alain, and Jean Narboni, editors, Pasolini cinéaste, Paris, 1981. Gerard, Fabien S., Pasolini; ou, Le Mythe de la barbarie, Brussels, 1981. Boarini, Vittorio, and others, Da Accatone a Salò: 120 scritti sul cinema di Pier Paolo Pasolini, Bologna, 1982. Pasolini, Pier Paolo, Poems, New York, 1982. De Guisti, Luciano, I film di Pier Paolo Pasolini, Rome, 1983. Carotenuto, Aldo, L’autunno della coscienza: Ricerche psicologiche su Pier Paolo Pasolini, Turin, 1985. Michalczyk, John J., The Italian Political Film-makers, Cranbury, New Jersey, 1986. Pasolini, Pier Paolo, Lettere 1940–1954: Con una cronologia della vita e delle opere, edited by Nico Naldini, Turin, 1986. Schweitzer, Otto, Pier Paolo Pasolini: Mit Selbstzeugnissen und Bilddokumenten, Hamburg, 1986. Klimke, Cristoph, Kraft der Vergangenheit: Zu Motiven der Filme von Pier Paolo Pasolini, Frankfurt, 1988. Van Watson, William, Pier Paolo Pasolini & the Theatre of the Word, Lewiston, 1989. Rumble, Patrick, Pier Paolo Pasolini; Contemporary Perspectives, Toronto, 1993. Baranski, Zymunt G., Pasolini Old & New; Surveys & Studies, Dublin, 1999. Articles: Murray, William, ‘‘Letter from Rome,’’ in New Yorker, 21 April 1962. Cameron, Ian, in Movie (London), September 1962. Bean, Robin, in Films and Filming (London), 12 September 1962. Nowell-Smith, Geoffrey, in Sight and Sound (London), Autumn 1962. Bragin, John, ‘‘Interview with Pasolini,’’ in Film Culture (New York), Fall 1966. Conrad, Randall, in Film Quarterly (Berkeley), Winter 1966–67. Kauffmann, Stanley, ‘‘Poet and the Pimp,’’ in New Republic (New York), 6 April 1968. Sarris, Andrew, in Village Voice (New York), 6 June 1968. MacDonald, Susan, ‘‘Pasolini: Rebellion, Art, and a New Society,’’ in Screen (London), May-June 1969. Bragin, John, ‘‘Pier Paolo Pasolini: Poetry as a Compensation,’’ in Film Society Review (New York), nos. 5–7, 1969. Purdon, Noel, ‘‘Pasolini: The Film of Alienation,’’ in Cinema (London), August 1970. Armes, Roy, ‘‘Pasolini,’’ in Films and Filming (London), June 1971. Séquences (Montreal), July 1973. ‘‘Pasolini Issues’’ of Etudes Cinématographiques (Paris), nos. 109–111, 1976, and nos. 112–114, 1976. ‘‘Pasolini Issue’’ of Cinéma (Zurich), no. 2, 1976. Gervais, M., in Wide Angle (Athens, Ohio), no. 4, 1977
ACCATTONE FILMS. 4 EDITIoN Accattone Tellez, T L, in Contracampo(Madrid), December 1980 Plan. In 1955 Pasolini published his first novel, Ragazzi di vita La greca, A, in Cinema Nuovo(Bari), January-February 1986 a picture of life in the shantytowns and among the pimping, petty- Pezzotta, A, ""lo sono una forza del passato, in Filmcritica(Rome), thieving boys he now knew well. Una vita violenta, four years later, October-November 1988 explored the same ground through the brief, violent life of Tommaso, Thirard, P. L,""Se suicider, c'est I'idee la plus simple, in Positif smart enough to sense fitfully the ruin of his future. Una vita violenta (Paris), September 1989 became the basis of Pasolini's first film, and Tommaso the model for Beylot, Pierre, ""Pasolini, du realisme au mythe, in CinemAction Vittorio, the delinquent his pals call Accattone Courbevoie), January 1994 Fellini was to have backed the film but pulled out after Pasolini Castoro Cinema, July/August 1994. ubmitted some test footage in which he had overreached himself in Orr, Christopher, Pasolini's Accattone, or Naturalism and Its trying to shoot in the style of Dreyers Trial of Joan of Arc. With Discontents, in Film Criticism(Meadville), Spring 1995 Italian film heading away from neorealism towards a high style and Campani, EM,"Death and Narrative: an Itinerar the new wea Graz), no 34, Summer 1996 Fellini was also dubious about Pasolini's chosen location a run-down Kino(Warsaw), July-August 1998 street in the heart of the roman slums. Nor had he any reason to believe that Franco Citti could carry the leading role; inexperienced, uncommunicative, Citti was the younger brother of the man who had been Pasolini's adviser on Roman dialect for the script editing work Himself an alien in Rome, isolated by his he did on films by Fellini and Mauro Bolognini. It was Bolognini who, seeing stills from the test footage on Pasolini had felt an instant affinity with the young asolini's desk, understood what he was trying to do and interested crowded, war-ruined city when he arrived there in the winter of 1949. producer Alfredo Bini in the project. The result was a film more He quickly developed his taste for sexual rough trade among the characteristic of Pasolini's temperament than of Italian cinema. To ragazzi of the city, the sarcastic kids dispossessed and wised-up by the music of Bachs St. Matthew Passion, Citti moves around a rome post-war greed and the opportunism encouraged by the Marshall of decadent religious imagery, crumbling buildings, a city pervaded
ACCATTONE FILMS, 4th EDITION 8 Accattone Téllez, T. L., in Contracampo (Madrid), December 1980. La Greca, A., in Cinema Nuovo (Bari), January-February 1986. Pezzotta, A., ‘‘Io sono una forza del passato,’’ in Filmcritica (Rome), October-November 1988. Thirard, P. L., ‘‘Se suicider, c’est l’idee la plus simple,’’ in Positif (Paris), September 1989. Beylot, Pierre, ‘‘Pasolini, du réalisme au mythe,’’ in CinémAction (Courbevoie), January 1994. Castoro Cinema, July/August 1994. Orr, Christopher, ‘‘Pasolini’s Accattone, or Naturalism and Its Discontents,’’ in Film Criticism (Meadville), Spring 1995. Campani, E.M., ‘‘Death and Narrative: an Itinerary,’’ in Blimp (Graz), no. 34, Summer 1996. Kino (Warsaw), July-August 1998. *** Himself an alien in Rome, isolated by his regional Friulian upbringing, his homosexuality, and his poverty, the young Pier Paolo Pasolini had felt an instant affinity with the young street kids of the crowded, war-ruined city when he arrived there in the winter of 1949. He quickly developed his taste for sexual rough trade among the ragazzi of the city, the sarcastic kids dispossessed and wised-up by post-war greed and the opportunism encouraged by the Marshall Plan. In 1955 Pasolini published his first novel, Ragazzi di vita, a picture of life in the shantytowns and among the pimping, pettythieving boys he now knew well. Una vita violenta, four years later, explored the same ground through the brief, violent life of Tommaso, smart enough to sense fitfully the ruin of his future. Una vita violenta became the basis of Pasolini’s first film, and Tommaso the model for Vittorio, the delinquent his pals call Accattone. Fellini was to have backed the film but pulled out after Pasolini submitted some test footage in which he had overreached himself in trying to shoot in the style of Dreyer’s Trial of Joan of Arc. With Italian film heading away from neorealism towards a high style and elaborate production values mirroring the new wealth of the cities, Fellini was also dubious about Pasolini’s chosen location, a run-down street in the heart of the Roman slums. Nor had he any reason to believe that Franco Citti could carry the leading role; inexperienced, uncommunicative, Citti was the younger brother of the man who had been Pasolini’s adviser on Roman dialect for the script editing work he did on films by Fellini and Mauro Bolognini. It was Bolognini who, seeing stills from the test footage on Pasolini’s desk, understood what he was trying to do and interested producer Alfredo Bini in the project. The result was a film more characteristic of Pasolini’s temperament than of Italian cinema. To the music of Bach’s St. Matthew Passion, Citti moves around a Rome of decadent religious imagery, crumbling buildings, a city pervaded
FILMS. 4th EDItION ADAM'S RIB by a sun-dazed, numbed sense of mortality. Dreams show the ragazzi buried half-naked in rubble. an evocative image of the ruin pasolini saw reflected in both the morality and the architecture of his adopted city. Aiming for"an absolute simplicity of expression, Pasolini in fact achieved a studied stylization that was to become typical of his films. Citti became a star and Accattone established Pasolini as a star himself in yet another field, matching his eminence in poetry, fiction, and criticism. Today, with Pasolini dead at the hands of just such a boy as vittorio, it is difficult to see the film as anything but an ironic signpost to the fate of this mercurial poly ADAMS RIB USA,1949 Director: George Cukor Production: Metro-Goldwyn-Mayer Pictures Corp. black and white, 35mm; running time: 101 minutes. Released 1949. Filmed at MGm Producer: Lawrence Weingarten; screenplay: Ruth Gordon and Garson Kanin; photography: George J. Folsey: editor: George Adam's rib Boemler: art directors: Cedric Gibbons and William Ferrari: music: Miklos rozsa Tozzi, Romano, Spencer Tracy, New York, 1973 Cast: Spencer Tracy(Adam Bonner): Katharine Hepburn(Amanda Marill, Alvin H, Katharine Hepburn, New York, 1973. Bonner): Judy Holliday (Doris Attinger); Tom Ewell(Warren Attinger); Cavell, Stanley, Pursuits of Happiness: The Hollywood Comedy of David Wayne(Kip Lurie); Jean Hagen(Beryl Caighn): Hope Emer Remarriage, Cambridge, Massachusetts, 1981 Phillips, Gene D, George Cukor, Boston, 1982. son(Olympia La Pere): Eve March( Grace): Clarence Kolb(Judge Carey, Gary, Katharine Hepburn: A Biography, London, 1983 Reiser); Emerson Treacy (ules Frikke); Polly Moran(Mrs. McGrath): Britton. Andrew, Katharine Hepburn: The Thirties and After, New will Wright (Judge Marcasson): Elizabeth Flournoy(Dr Margaret brodeigh) Freedland, Michael, Katharine Hepburn, London, 1984 Morley, Sheridan, Katharine Hepburn: A Celebration, London, 1984. Bernadoni, James, George Cukor: A Critical Study and Filmography, Publications Jefferson. North Carolina. 1985 Edwards, Anne, Katharine Hepburn: A Biography, London, 1986 Davidson, Bill, Spencer Tracy: Tragic Idol, London, 1987 Levy, Emanuel, George Cukor, Master of Elegance: Hollywood's Gordon, Ruth, and Garson Kanin, Adams Rib, New York, 1971 Legendary Director and His Stars, New York, 1994 McGilligan, George Cukor: The Book, New York, 1997. Books. Articles. Langlois, Henri, and others, Hommage a George Cukor, Paris, 1963. Crowther, Bosley, in New York Times, 24 December1949 Domarchi, Jean, George Cukor, Paris, 1965 Houston, Penelope, Cukor and the Kanins, in Sight and Sound Deschner, Donald, The Films of Spencer Tracy, New York, 1968 (London), Spring 1955 Carey, Gary, Cukor and Company: The Films of George Cukor and Tozzi, Romano, Katharine Hepburn, ' in Films in Review(New His collaborators. New York. 1971 York), December 1957. Kanin, Garson, Tracy and Hepburn, New York, 1971 Cukor Issue"of Cahiers du Cinema(Paris), February Dickens, Homer, The Films of Katharine Hepburn, New York, 197 Tozzi, Romano, "Spencer Tracy, in Films in Review(New York), Lambert, Gavin, On Cukor, New York, 1972. December 196
FILMS, 4 ADAM’S RIB th EDITION 9 by a sun-dazed, numbed sense of mortality. Dreams show the ragazzi buried half-naked in rubble, an evocative image of the ruin Pasolini saw reflected in both the morality and the architecture of his adopted city. Aiming for ‘‘an absolute simplicity of expression,’’ Pasolini in fact achieved a studied stylization that was to become typical of his films. Citti became a star, and Accattone established Pasolini as a star himself in yet another field, matching his eminence in poetry, fiction, and criticism. Today, with Pasolini dead at the hands of just such a boy as Vittorio, it is difficult to see the film as anything but an ironic signpost to the fate of this mercurial polymath. —John Baxter ADAM’S RIB USA, 1949 Director: George Cukor Production: Metro-Goldwyn-Mayer Pictures Corp.; black and white, 35mm; running time: 101 minutes. Released 1949. Filmed at MGM studios. Producer: Lawrence Weingarten; screenplay: Ruth Gordon and Garson Kanin; photography: George J. Folsey; editor: George Boemler; art directors: Cedric Gibbons and William Ferrari; music: Miklos Rozsa. Cast: Spencer Tracy (Adam Bonner); Katharine Hepburn (Amanda Bonner); Judy Holliday (Doris Attinger); Tom Ewell (Warren Attinger); David Wayne (Kip Lurie); Jean Hagen (Beryl Caighn); Hope Emerson (Olympia La Pere); Eve March (Grace); Clarence Kolb (Judge Reiser); Emerson Treacy (Jules Frikke); Polly Moran (Mrs. McGrath); Will Wright (Judge Marcasson); Elizabeth Flournoy (Dr. Margaret Brodeigh). Publications Script: Gordon, Ruth, and Garson Kanin, Adam’s Rib, New York, 1971. Books: Langlois, Henri, and others, Hommage à George Cukor, Paris, 1963. Domarchi, Jean, George Cukor, Paris, 1965. Deschner, Donald, The Films of Spencer Tracy, New York, 1968. Carey, Gary, Cukor and Company: The Films of George Cukor and His Collaborators, New York, 1971. Kanin, Garson, Tracy and Hepburn, New York, 1971. Dickens, Homer, The Films of Katharine Hepburn, New York, 1971. Lambert, Gavin, On Cukor, New York, 1972. Adam’s Rib Tozzi, Romano, Spencer Tracy, New York, 1973. Marill, Alvin H., Katharine Hepburn, New York, 1973. Cavell, Stanley, Pursuits of Happiness: The Hollywood Comedy of Remarriage, Cambridge, Massachusetts, 1981. Phillips, Gene D., George Cukor, Boston, 1982. Carey, Gary, Katharine Hepburn: A Biography, London, 1983. Britton, Andrew, Katharine Hepburn: The Thirties and After, Newcastle-upon-Tyne, 1984. Freedland, Michael, Katharine Hepburn, London, 1984. Morley, Sheridan, Katharine Hepburn: A Celebration, London, 1984. Bernadoni, James, George Cukor: A Critical Study and Filmography, Jefferson, North Carolina, 1985. Edwards, Anne, Katharine Hepburn: A Biography, London, 1986. Davidson, Bill, Spencer Tracy: Tragic Idol, London, 1987. Levy, Emanuel, George Cukor, Master of Elegance; Hollywood’s Legendary Director and His Stars, New York, 1994. McGilligan, George Cukor: The Book, New York, 1997. Articles: Crowther, Bosley, in New York Times, 24 December 1949. Houston, Penelope, ‘‘Cukor and the Kanins,’’ in Sight and Sound (London), Spring 1955. Tozzi, Romano, ‘‘Katharine Hepburn,’’ in Films in Review (New York), December 1957. ‘‘Cukor Issue’’ of Cahiers du Cinéma (Paris), February 1964. Tozzi, Romano, ‘‘Spencer Tracy,’’ in Films in Review (New York), December 1966
THE ADVENTURES OF ROBIN HOOD FILMS. 4 EDITIoN Gilliatt, Penelope, " The Most Amicable Combatants, in New Yorker mutual respect and liberation from sexual stereotypes, requires a se- 23 September 1972 ries of further role reversals to be put back together again. Adam wi Lynch, Anne Louise, in Magill's Survey of Cinema 1, Englewood his wife's sympathies by crying: Amanda apologizes by sending her Cliffs, New Jersey, 1980 husband a new hat Tobin, Yann, in Positif(Paris), May 1985 Amanda ultimately wins her case and husband without giving up Aarts, A, in Skrien(Amsterdam), September-October 1985 her principles. Adam learns about humility without losing his mascu- Detassis, P, "La costola di Adamo di George Cukor, 'in Cineform linty. But when the reconciled Bonners finally fall into bed together (Bergamo, Italy ) October 1989. ne on-screen veil and their final unresolved argu Shumway, D. R,""Screwball Comedies: Constructing Romance ment about sex roles, competition, and sex differences cinematically Mystifying Marriage, in Cinema Journal (Austin, Texas) deny their absolute integration as a unified couple. Like many no.4.1991 screwball comedies that preceded it, Adam s Rib ends with a marital cache, Jacqueline, ""Madame porte la culotte: maris et femmes, reconciliation that establishes the couple's unity without resolving the in Mensuel du Cinema. October 1993 individuals'ongoing differences The writing, acting, and directing team that made Adams rib a success reunited in 1952 for a screwball comedy about a manager and his professional female athlete in Pat and Mike. The successful Adams Rib represents a climax in the evolution of the classic tory formula from Adams Rib further inspired a 1973 television Hollywood screwball comedy. In the 1930s, screwball comedies series with the same name united antagonistic couples whose clashes revolved around egos, class conflicts, and attitudes about money and values. In the 1940s, -Lauren rabinovitz screwball comedies replaced these conflicts with ones that revolve around egos and career-marriage decisions. In such films as his girl Friday, Woman of the Year, Take a Letter, Darling, and They All Kissed the Bride. the comic crises hinged on the heroines' decisions THE ADVENTURE regarding their professional careers and domestic roles. In 1949, See L'AVVENTURA George Cukor's adam 's rib took the familiar marriage-career crisis formula of the screwball comedy to its logical conclusion-a comic study of sex role stereotyping and the invalidity of narrowly defined sex roles THE ADVENTURES OF ROBIN The film reunited Katharine Hepburn and Spencer Tracy, who had HOOD previously teamed on Woman of the Year, Keeper of the flame Without Love, and state of the Union, and whose successful on-screen USA,1938 omances seemed to radiate some of the genuine love and affection of heir off-screen relationship. The film also features a brilliant screen- play by the husband-wife team Garson Kanin and Ruth Gordon. All Directors: Michael Curtiz and william Keighley the principals-director, stars, and writers--had proven track rec- ords, and in a financially bad year for Hollywood, their combined Production: Warner Bros. Pictures Inc. Technicolor. 35mm: run- box-office appeal led to the three-way teaming on a film project that ning time: 102 minutes. Released 1938. Filmed at Warner Bros otherwise might not have been possible he movie is about Adam and Amanda Bonner husband and wife Producer: Hal Wallis; screenplay: Norman Reilly raine and Seton The legal case in question concerns a woman (Judy Holliday)who has 1. Miller from the Robin Hood legends: photography: Tony Gaudio, shot her adulterous husband (Tom Ewell). Defense attorney Amanda ol Polito, and w. Howard Green; editor: Ralph Dawson; art Bonner views her case as a womans rights issue, and she bases her director: Carl Weyl; music: Eric Wolfgang Korngold, with orches- defense on the premise that the husband would have been exempt [rations by Hugo Friedhofer and Milan Roder; costume designer: from prosecution if the roles were reversed. In front of her district Milo Anderson attorney husband, she turns the courtroom and the trial into a hilarious forum for a public debate on the"double standard'and the narrow- Cast: Errol Flynn(Robin Hood, or Sir Robin of Locksley); Olivia de ness of sexual stereotypes. In the meantime, the courtroom competi Havilland (Lady Marian Fitzwalter): Basil Rathbone(Sir Gury of tion begins to threaten the bonner's marriage Gisbourne ) Claude Rains (Prince John); Alan Hale(Little John) Much of the film's humor arises from the many sex-role reversals. Eugene Pallette(Friar Tuck): lan Hunter(King Richard the Lion Through such reversals, the movie simultaneously comments on how Hearted ) Melville Cooper traditional social roles are defined by stereotypes of masculinity and Knowles(Will Scarlett); Herbert Mundin(Much the Miller's son); ninity. The film literally takes this notion to its extreme when it Una O Connor(Bess ): Montagu Love(Bishop of Black Canon) depicts what the unwitting husband, wife, and lover(Jean Hagen), who are the subjects of the trial, would be like if their Awards: Oscars for Interior Decoration, Best Original Score, and reversed. Meanwhile, the Bonner's crumbling marriage, one based on Best Editing, 1938
THE ADVENTURES OF ROBIN HOOD FILMS, 4th EDITION 10 Gilliatt, Penelope, ‘‘The Most Amicable Combatants,’’ in New Yorker, 23 September 1972. Lynch, Anne Louise, in Magill’s Survey of Cinema 1, Englewood Cliffs, New Jersey, 1980. Tobin, Yann, in Positif (Paris), May 1985. Aarts, A., in Skrien (Amsterdam), September-October 1985. Detassis, P., ‘‘La costola di Adamo di George Cukor,’’ in Cineforum (Bergamo, Italy), October 1989. Shumway, D. R., ‘‘Screwball Comedies: Constructing Romance Mystifying Marriage,’’ in Cinema Journal (Austin, Texas), no. 4, 1991. Nacache, Jacqueline, ‘‘‘Madame porte la culotte’: maris et femmes,’’ in Mensuel du Cinéma, October 1993. *** Adam’s Rib represents a climax in the evolution of the classic Hollywood screwball comedy. In the 1930s, screwball comedies united antagonistic couples whose clashes revolved around egos, class conflicts, and attitudes about money and values. In the 1940s, screwball comedies replaced these conflicts with ones that revolved around egos and career-marriage decisions. In such films as His Girl Friday, Woman of the Year, Take a Letter, Darling, and They All Kissed the Bride, the comic crises hinged on the heroines’ decisions regarding their professional careers and domestic roles. In 1949, George Cukor’s Adam’s Rib took the familiar marriage-career crisis formula of the screwball comedy to its logical conclusion—a comic study of sex role stereotyping and the invalidity of narrowly defined sex roles. The film reunited Katharine Hepburn and Spencer Tracy, who had previously teamed on Woman of the Year, Keeper of the Flame, Without Love, and State of the Union, and whose successful on-screen romances seemed to radiate some of the genuine love and affection of their off-screen relationship. The film also features a brilliant screenplay by the husband-wife team Garson Kanin and Ruth Gordon. All the principals—director, stars, and writers—had proven track records, and in a financially bad year for Hollywood, their combined box-office appeal led to the three-way teaming on a film project that otherwise might not have been possible. The movie is about Adam and Amanda Bonner, husband and wife lawyers who find themselves on opposite sides of a courtroom case. The legal case in question concerns a woman (Judy Holliday) who has shot her adulterous husband (Tom Ewell). Defense attorney Amanda Bonner views her case as a woman’s rights issue, and she bases her defense on the premise that the husband would have been exempt from prosecution if the roles were reversed. In front of her district attorney husband, she turns the courtroom and the trial into a hilarious forum for a public debate on the ‘‘double standard’’ and the narrowness of sexual stereotypes. In the meantime, the courtroom competition begins to threaten the Bonner’s marriage. Much of the film’s humor arises from the many sex-role reversals. Through such reversals, the movie simultaneously comments on how traditional social roles are defined by stereotypes of masculinity and femininity. The film literally takes this notion to its extreme when it depicts what the unwitting husband, wife, and lover (Jean Hagen), who are the subjects of the trial, would be like if their sexes were reversed. Meanwhile, the Bonner’s crumbling marriage, one based on mutual respect and liberation from sexual stereotypes, requires a series of further role reversals to be put back together again. Adam wins his wife’s sympathies by crying; Amanda apologizes by sending her husband a new hat. Amanda ultimately wins her case and husband without giving up her principles. Adam learns about humility without losing his masculinity. But when the reconciled Bonners finally fall into bed together behind a curtain, the on-screen veil and their final unresolved argument about sex roles, competition, and sex differences cinematically deny their absolute integration as a unified couple. Like many screwball comedies that preceded it, Adam’s Rib ends with a marital reconciliation that establishes the couple’s unity without resolving the individuals’ ongoing differences. The writing, acting, and directing team that made Adam’s Rib a success reunited in 1952 for a screwball comedy about a manager and his professional female athlete in Pat and Mike. The successful story formula from Adam’s Rib further inspired a 1973 television series with the same name. —Lauren Rabinovitz THE ADVENTURE See L’AVVENTURA THE ADVENTURES OF ROBIN HOOD USA, 1938 Directors: Michael Curtiz and William Keighley Production: Warner Bros. Pictures Inc.; Technicolor, 35mm; running time: 102 minutes. Released 1938. Filmed at Warner Bros. studios. Producer: Hal Wallis; screenplay: Norman Reilly Raine and Seton I. Miller from the Robin Hood legends; photography: Tony Gaudio, Sol Polito, and W. Howard Green; editor: Ralph Dawson; art director: Carl Weyl; music: Eric Wolfgang Korngold, with orchestrations by Hugo Friedhofer and Milan Roder; costume designer: Milo Anderson. Cast: Errol Flynn (Robin Hood, or Sir Robin of Locksley); Olivia de Havilland (Lady Marian Fitzwalter); Basil Rathbone (Sir Guy of Gisbourne); Claude Rains (Prince John); Alan Hale (Little John); Eugene Pallette (Friar Tuck); Ian Hunter (King Richard the LionHearted); Melville Cooper (High Sheriff of Nottingham); Patric Knowles (Will Scarlett); Herbert Mundin (Much the Miller’s son); Una O’Connor (Bess); Montagu Love (Bishop of Black Canon). Awards: Oscars for Interior Decoration, Best Original Score, and Best Editing, 1938