FILMS. 4th EDItION THE ADVENTURES OF ROBIN HOOD Thomas, Anthony, " "Errol Flynn, in Films in Review(New York), Callenbach, Ernest, Comparative Anatomy of Folk-Myth Films Robin Hood and Antonio das Mortes, in Film quarterly(Berke ley), winter 1969-70 Nolan, Jack Edmund, "Michael Curtiz, in Films in Review(New York), November 1970. Gow, Gordon, "" Swashbuckling, in Films and Filming (London), January 1972 Carcedo, J, in Image er Son(Paris), September 1978 Chevasu, F, in Image ef Son(Paris), February 1978 Eyquem, O, ""Sherwood, USA(A propos des Aventures de robin des Bois), in Positif(Paris), April 1978 Renaud, T, in Cinema(Paris), February 1978 Morsberger, Robert, in Magill's Survey of Cinema 1, Englewood Cliffs, New Jersey, 1980 Raynes, D, in Soundtrack(Hollywood), March 1984 Sayre, Nora, " Curtiz: A Man for All Genres., in New York Times, 29 November 1992 Holt, Wesley G,"The Adventures of Robin Hood, ' in Filmfax Evanston), April-May 1 Telerama(Paris), 13 Se The Adventures of Robin Hood, a Warner Brothers studio produc The Adventures of Robin Hood tion, reveals many facets and details of the studio system. The film was originally planned as a vehicle for James Cagney following the Publications success of Midsummer Night's Dream, but contract problems with Cagney and the success of Captain Blood prompted the studio to cast Errol Flynn as the rogue outlaw. Once production on the film began, a directorial change occurred after the original director, william Raine, Norman Reilly, and Seton I. Miller, The Adventures of Robin Keighley, led the production over budget and behind schedule. He Hood, edited by Rudy Behlmer, Madison, Wisconsin, 1979 was replaced by Michael Curtiz, though both men share the direc- tors credit Books The film reflects the studio's plan to produce a more prestigious product than the musicals and gangster films of the early 1930s. Even Martin, Pete, Hollywood Without Makeup, New York, 1948 so, the film does show the studio's frequent thematic concern with Flynn, Errol, My Wicked, wicked Ways. New York, 1959 common folk banding together to achieve a goal of correcting an Parish, James Robert, editor, Errol Flynn. New York, 1969 injustice, economic or otherwise. Thomas, Tony, Rudy Behlmer, and Clifford McCarty, The Films of The film,'s cast members have generally been acclaimed for Errol Flynn, New York, 1969 matching the literary image of their characters. Even the supporting Canham, Kingsley, Michael Curtiz, Raoul Walsh, Henry Hathway haracters such as Alan Hales Little john and Eugene pallette,s Friar ondon. 1973 Tuck seem to be perfectly suited for their roles. Under the direction of Thomas, Tony, Cads and Cavaliers: The Film Adventurers, New Curtiz and Keighley, the principal actors play off each other and York. 1973 promptly reveal much of their characters in this straight-forward Rosenzweig, Sidney, Casablanca and Other Major Films of Michael narrative. Claude Rains portrays Prince John as a schemer, a man with Curtiz. Ann arbor, Michigan, 1982 a thirst for power; while Basil Rathbone's Sir Guy, with his good Valenti, Peter, Errol Flynn: A Bio-Bibliography, Westport, Connect Doks and his sinister bearing, makes an equal adversary for Flynns cut,1984. Robin. Olivia de Havilland as Marian seems to be a pure aristocrat Kinnard, Roy, and R J. Vitone, The American Films of Michael whether in the court or in the forest, or when facing death Curtiz, Metuchen, New Jersey, 1986 confessing her love for robin. Behlmer, Rudy, Inside Wamer Brothers: Nineteen Thirty-Five to Errol Flynns Robin is a man of action but also of wit. Following Nineteen Fifty-One, New York, 1987. Douglas Fairbanks's silent film portrayal of Robin, Flynns Robin Robertson, James, The Casablanca Man: The Career of Michael engages in daring deeds but not on such a large scale(in part due to Curtiz. New York. 1993 Warmers tight budget). The film also follows Fairbanks's lead in
FILMS, 4 THE ADVENTURES OF ROBIN HOOD th EDITION 11 The Adventures of Robin Hood Publications Script: Raine, Norman Reilly, and Seton I. Miller, The Adventures of Robin Hood, edited by Rudy Behlmer, Madison, Wisconsin, 1979. Books: Martin, Pete, Hollywood Without Makeup, New York, 1948. Flynn, Errol, My Wicked, Wicked Ways, New York, 1959. Parish, James Robert, editor, Errol Flynn, New York, 1969. Thomas, Tony, Rudy Behlmer, and Clifford McCarty, The Films of Errol Flynn, New York, 1969. Canham, Kingsley, Michael Curtiz, Raoul Walsh, Henry Hathway, London, 1973. Thomas, Tony, Cads and Cavaliers: The Film Adventurers, New York, 1973. Rosenzweig, Sidney, Casablanca and Other Major Films of Michael Curtiz, Ann Arbor, Michigan, 1982. Valenti, Peter, Errol Flynn: A Bio-Bibliography, Westport, Connecticut, 1984. Kinnard, Roy, and R. J. Vitone, The American Films of Michael Curtiz, Metuchen, New Jersey, 1986. Behlmer, Rudy, Inside Warner Brothers; Nineteen Thirty-Five to Nineteen Fifty-One, New York, 1987. Robertson, James, The Casablanca Man; The Career of Michael Curtiz, New York, 1993. Articles: Thomas, Anthony, ‘‘Errol Flynn,’’ in Films in Review (New York), January 1960. Callenbach, Ernest, ‘‘Comparative Anatomy of Folk-Myth Films: Robin Hood and Antônio das Mortes,’’ in Film Quarterly (Berkeley), Winter 1969–70. Nolan, Jack Edmund, ‘‘Michael Curtiz,’’ in Films in Review (New York), November 1970. Gow, Gordon, ‘‘Swashbuckling,’’ in Films and Filming (London), January 1972. Carcedo, J., in Image et Son (Paris), September 1978. Chevasu, F., in Image et Son (Paris), February 1978. Eyquem, O., ‘‘Sherwood, USA (A propos des Aventures de Robin des Bois),’’ in Positif (Paris), April 1978. Renaud, T., in Cinéma (Paris), February 1978. Morsberger, Robert, in Magill’s Survey of Cinema 1, Englewood Cliffs, New Jersey, 1980. Raynes, D., in Soundtrack (Hollywood), March 1984. Sayre, Nora, ‘‘Curtiz: A Man for All Genres. . . ,’’ in New York Times, 29 November 1992. Holt, Wesley G., ‘‘The Adventures of Robin Hood,’’ in Filmfax (Evanston), April-May 1993. Télérama (Paris), 13 September 1995. *** The Adventures of Robin Hood, a Warner Brothers studio production, reveals many facets and details of the studio system. The film was originally planned as a vehicle for James Cagney following the success of Midsummer Night’s Dream, but contract problems with Cagney and the success of Captain Blood prompted the studio to cast Errol Flynn as the rogue outlaw. Once production on the film began, a directorial change occurred after the original director, William Keighley, led the production over budget and behind schedule. He was replaced by Michael Curtiz, though both men share the director’s credit. The film reflects the studio’s plan to produce a more prestigious product than the musicals and gangster films of the early 1930s. Even so, the film does show the studio’s frequent thematic concern with common folk banding together to achieve a goal of correcting an injustice, economic or otherwise. The film’s cast members have generally been acclaimed for matching the literary image of their characters. Even the supporting characters such as Alan Hale’s Little John and Eugene Pallette’s Friar Tuck seem to be perfectly suited for their roles. Under the direction of Curtiz and Keighley, the principal actors play off each other and promptly reveal much of their characters in this straight-forward narrative. Claude Rains portrays Prince John as a schemer, a man with a thirst for power; while Basil Rathbone’s Sir Guy, with his good looks and his sinister bearing, makes an equal adversary for Flynn’s Robin. Olivia de Havilland as Marian seems to be a pure aristocrat whether in the court or in the forest, or when facing death or confessing her love for Robin. Errol Flynn’s Robin is a man of action but also of wit. Following Douglas Fairbanks’s silent film portrayal of Robin, Flynn’s Robin engages in daring deeds but not on such a large scale (in part due to Warner’s tight budget). The film also follows Fairbanks’s lead in
THE AFRICAN QUEEN FILMS. 4 EDITIoN Robin a sense of humor as robin throws verbal arrows at any Books in sight. Even in the love scenes. Robin can tease marian Davay, Paul, John Huston, Paris, 1957 The Adventures of Robin Hood, a very successful film when first Allais, Jean-Claude, John Huston, Paris. 1960 released, has become something more than an accomplished film Nolan, William F, John Huston: King Rebel, Los Angeles, 1965 from the 1930s. For many, the influence of this film is immense. Gehman, Richard, Bogart, Greenwich, Connecticut, 1965 There is, for example, a great deal of similarity between the action of Michael, Paul, Humphrey Bogart: The Man and His Films, Indian Robins men in the forest capturing a gold shipment and the attack of the Ewoks against the Stormtroopers in Return of the Jedi. Not only McCarty, Clifford, Bogey: The FiIms of Humphrey Bogart, New does it remain one of the quintessential films of the swashbuckling York, 1965 genre but it is also the definitive Robin Hood legend for scores of Benayoun, Robert, John Huston, Paris, 1966; revised edition, 1985 Oz, Robin Hood's audience has grown through repeated and success- Barbour, Alan, Humphrey Bogart, New York, 197 ew York. 1971 film-goers and television viewers. Much like that of The Wizard of Dickens, Homer, The Films of Katharine Hepburn, New York, 1971 ful television screenings. TV Guide once listed it as one of the top five Marill, Alvin H, Katharine Hepburn, New York, 1973 films on television as selected by station programmers. Benchley, Nathaniel, Humphrey Bogart, Boston, 1975 Kaminsky, Stuart M, John Huston, Maker of Magic, Boston, 1978 -Ray Narducy Madsen, Axel, John Huston, New York, 1978. Huston, John, An Open Book, New York, 1980. Giannetti, Louis, Masters of the American Cinema, Englewood THE AFRICAN QUEEN Pettigrew, Terence, Bogart: A Definitive Study of His Film Career, London 1981 USA,1951 Carey, Gary, Katharine Hepburn: A Biography, London, 1983 Britton, Andrew, Katharine Hepburn: The Thirties and After, New Director: John huston castle-upon-Tyne, 1984 Freedland, Michael, Katharine Hepburn, London, 1984 Production: Horizon Romulus Productions: Technicolor. 35mm Morley, Sheridan, Katharine Hepbum: A Celebration, London, 1984 running time: 103 minutes. Released 1951. Filmed at various film Hammen, Scott, John Huston, Boston, 1985 studios in London; exteriors shot along the ruiki river in the belgia winkler, Willi, Humphrey Bogart und Hollywoods Schwar Congo and what was then the British protectorate of Uganda Munich. 1985 Edwards, Anne, Katharine Hepburn: A Biography, London, 1986 McCarty, John, The Films of John Huston, Secaucus, New Je Producer: Sam Spiegel; screenplay: James Agee and John Huston with Peter Viertel, from the novel by C. S. Forester; photography Jack Cardiff; editor: Ralph Kemplen; sound engineer: John Mit Hepburn, Katharine, The Making of The African Queen", or, I Went to Africa with Bogart, Bacall, and Huston and Almost chell: art director: John Hoesli; music: Allan Gray, executed by the My life, New York and London, 198 Royal Philharmonic Orchestra under the direction of Norman del Brill, Lesley, John Huston's Filmmaking, New York, 1997 lar: special effects: Cliff Richardson; costume designer: Doris Cunningham, Ernest w, Ultimate Bogie, Los Angeles, 1999 Langley Moore. Articles. Cast: Katharine Hepburn(Rose Sayer): Humphrey Bogart(Charlie AlInut): Robert Morley(Rev. Samuel Sayer); Peter Bull( Captain of he Luisa); Theodore Bikel (lst Officer of the Luisa): Walter Cotell Life Goes on Location in Africa, in Life(New York), 7 Septem- (2nd Officer of the Luisa): Gerald Ohn(Officer of the Luisa); Peter ber 1951 Swanwick(lst Officer of the Shona): Richard Marner(2nd Officerof Reisz, Karel, Interview with Huston, in Sight and Sound(Lon Huston Issue"of Positif(Paris), January 1952. Hart, Henry, in Films in Review(New York), February 1952. Awards: Oscar, Best Actor (Bogart), 1951, American Film Insti- tute's.100 Years. 100 Movies. 1998 Sadoul, Georges, in Lettres Francaises(Paris), 10 April 1952. Demeure, Jacques, and Michel Subiela, " The African Queen, John Huston, and Humphrey Bo Publications Huston Issue"of Positif(Paris), January 1%>aris), august 1952 Special Issue"of Bianco e Nero(Rome), April 1957 So Archer, Eugene, " 'A Monograph on John Huston, in Films and Filming(London), September and October 1959 Agee, James, Agee on Film 2: Five Film Scripts, foreword by John Jones, DuPre, ""Beating the Devil: 30 Years of John Hr Huston. New York. 1960 Films and Filming (London), January 1973 12
THE AFRICAN QUEEN FILMS, 4th EDITION 12 giving Robin a sense of humor as Robin throws verbal arrows at any villains in sight. Even in the love scenes, Robin can joke with and tease Marian. The Adventures of Robin Hood, a very successful film when first released, has become something more than an accomplished film from the 1930s. For many, the influence of this film is immense. There is, for example, a great deal of similarity between the action of Robin’s men in the forest capturing a gold shipment and the attack of the Ewoks against the Stormtroopers in Return of the Jedi. Not only does it remain one of the quintessential films of the swashbuckling genre but it is also the definitive Robin Hood legend for scores of film-goers and television viewers. Much like that of The Wizard of Oz, Robin Hood’s audience has grown through repeated and successful television screenings. TV Guide once listed it as one of the top five films on television as selected by station programmers. —Ray Narducy THE AFRICAN QUEEN USA, 1951 Director: John Huston Production: Horizon Romulus Productions; Technicolor, 35mm; running time: 103 minutes. Released 1951. Filmed at various film studios in London; exteriors shot along the Ruiki River in the Belgian Congo and what was then the British protectorate of Uganda. Producer: Sam Spiegel; screenplay: James Agee and John Huston with Peter Viertel, from the novel by C. S. Forester; photography: Jack Cardiff; editor: Ralph Kemplen; sound engineer: John Mitchell; art director: John Hoesli; music: Allan Gray, executed by the Royal Philharmonic Orchestra under the direction of Norman del Mar; special effects: Cliff Richardson; costume designer: Doris Langley Moore. Cast: Katharine Hepburn (Rose Sayer); Humphrey Bogart (Charlie Allnut); Robert Morley (Rev. Samuel Sayer); Peter Bull (Captain of the Luisa); Theodore Bikel (1st Officer of the Luisa); Walter Cotell (2nd Officer of the Luisa); Gerald Ohn (Officer of the Luisa); Peter Swanwick (1st Officer of the Shoona); Richard Marner (2nd Officer of the Shoond). Awards: Oscar, Best Actor (Bogart), 1951; American Film Institute’s ‘‘100 Years, 100 Movies,’’ 1998. Publications Scripts: Agee, James, Agee on Film 2: Five Film Scripts, foreword by John Huston, New York, 1960. Books: Davay, Paul, John Huston, Paris, 1957. Allais, Jean-Claude, John Huston, Paris, 1960. Nolan, William F., John Huston: King Rebel, Los Angeles, 1965. Gehman, Richard, Bogart, Greenwich, Connecticut, 1965. Michael, Paul, Humphrey Bogart: The Man and His Films, Indianapolis, 1965. McCarty, Clifford, Bogey: The Films of Humphrey Bogart, New York, 1965. Benayoun, Robert, John Huston, Paris, 1966; revised edition, 1985. Dickens, Homer, The Films of Katharine Hepburn, New York, 1971. Barbour, Alan, Humphrey Bogart, New York, 1973. Marill, Alvin H., Katharine Hepburn, New York, 1973. Benchley, Nathaniel, Humphrey Bogart, Boston, 1975. Kaminsky, Stuart M., John Huston, Maker of Magic, Boston, 1978. Madsen, Axel, John Huston, New York, 1978. Huston, John, An Open Book, New York, 1980. Giannetti, Louis, Masters of the American Cinema, Englewood Cliffs, New Jersey, 1981. Pettigrew, Terence, Bogart: A Definitive Study of His Film Career, London, 1981. 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. Hammen, Scott, John Huston, Boston, 1985. Winkler, Willi, Humphrey Bogart und Hollywoods Schwarze Serie, Munich, 1985. Edwards, Anne, Katharine Hepburn: A Biography, London, 1986. McCarty, John, The Films of John Huston, Secaucus, New Jersey, 1987. Hepburn, Katharine, The Making of ‘‘The African Queen’’; or, How I Went to Africa with Bogart, Bacall, and Huston and Almost Lost My Life, New York and London, 1987. Brill, Lesley, John Huston’s Filmmaking, New York, 1997. Cunningham, Ernest W., Ultimate Bogie, Los Angeles, 1999. Articles: ‘‘Life Goes on Location in Africa,’’ in Life (New York), 7 September 1951. Reisz, Karel, ‘‘Interview with Huston,’’ in Sight and Sound (London), January-March 1952. ‘‘Huston Issue’’ of Positif (Paris), January 1952. Hart, Henry, in Films in Review (New York), February 1952. Bowen, Clarissa, in Sight and Sound (London), April-June 1952. Sadoul, Georges, in Lettres Françaises (Paris), 10 April 1952. Demeure, Jacques, and Michel Subiela, ‘‘The African Queen, John Huston, and Humphrey Bogart,’’ in Positif (Paris), August 1952. ‘‘Huston Issue’’ of Positif (Paris), January 1957. ‘‘Special Issue’’ of Bianco e Nero (Rome), April 1957. Archer, Eugene, ‘‘A Monograph on John Huston,’’ in Films and Filming (London), September and October 1959. Jones, DuPre, ‘‘Beating the Devil: 30 Years of John Huston,’’ in Films and Filming (London), January 1973
FILMS. 4th EDItION THE AFRICAN QUEEN The African Queen de Selva, L, in image et Son(Paris), 331 bis, 1978 essentially a filmed dialogue must have seemed fanatical. And Snyder, Ellen J, in Magill's Survey of Cinema 1, Englewood Cliffs, subsequent encounters with blood flukes, crocodiles, soldier ants New Jersey, 1980 wild boars, stampeding elephants, malaria, and dysentery were hardly Fultz, J.R,"A Classic Case of Collaboration... The African reassuring Queen, in Literature/Film Quarterly(Salisbury, Maryland), vol Yet The African Queen is more than a simple encounter between 19,no.1,1982. a man and a woman. It is a story of two very different people growing itretien avec Peter Viertel, scenarist, in Positif to love and respect one another after sharing and surviving severe (Paris), May 1990 hardships. Huston maintained that on-location shooting was the only Rasmussen, S,"Tykhuder, in Levende Billeder(Copenhagen), ay to make that suffering and subsequent romance believable and June 1990 athentic. At Huston's insistence even the scenes shot Brill, Lesley, The African Queen and John Hustons Filmmaking were filmed under realistic conditions. For example, although Hum- in Cinema Journal(Austin), Winter 1995 phrey Bogart actually emerged from London rather than Ugandan waters(after pulling the African Queen), the leeches that covered him particular scene are convincing arguments for Hustons point-of-view From the beginning, director John Huston insisted that The Indeed, The African Queen strength is the acting of the t African Queen be shot on location. To find a river identical to the one principal players-Humphrey Bogart as the seedy Canadian boat in C.S. Forester's novel, he logged 25,000 flying miles criss-crossing captain, Charlie Allnut, and Katharine Hepburn as the"Psalm- Africa until he settled on the Ruiki in the then belgian Congo. At singing skinny old maid, British missionary Rose Sayer. According a time(1951) when on-location shooting was nowhere near to Huston, although Bogart initially resisted and didn,'t like his common as today, traveling 1, 100 miles up the Congo to make what is character, after mimicking the directors gestures and expressions
FILMS, 4 THE AFRICAN QUEEN th EDITION 13 The African Queen de Selva, L., in Image et Son (Paris), 331 bis, 1978. Snyder, Ellen J., in Magill’s Survey of Cinema 1, Englewood Cliffs, New Jersey, 1980. Fultz, J. R., ‘‘A Classic Case of Collaboration . . . The African Queen,’’ in Literature/Film Quarterly (Salisbury, Maryland), vol. 19, no. 1, 1982. Eyquem, O., ‘‘Entretien avec Peter Viertel, scenariste,’’ in Positif (Paris), May 1990. Rasmussen, S., ‘‘Tykhuder,’’ in Levende Billeder (Copenhagen), June 1990. Brill, Lesley, ‘‘The African Queen and John Huston’s Filmmaking,’’ in Cinema Journal (Austin), Winter 1995. *** From the beginning, director John Huston insisted that The African Queen be shot on location. To find a river identical to the one in C. S. Forester’s novel, he logged 25,000 flying miles criss-crossing Africa until he settled on the Ruiki in the then Belgian Congo. At a time (1951) when on-location shooting was nowhere near as common as today, traveling 1,100 miles up the Congo to make what is essentially a filmed dialogue must have seemed fanatical. And subsequent encounters with blood flukes, crocodiles, soldier ants, wild boars, stampeding elephants, malaria, and dysentery were hardly reassuring. Yet The African Queen is more than a simple encounter between a man and a woman. It is a story of two very different people growing to love and respect one another after sharing and surviving severe hardships. Huston maintained that on-location shooting was the only way to make that suffering and subsequent romance believable and authentic. At Huston’s insistence even the scenes shot off location were filmed under realistic conditions. For example, although Humphrey Bogart actually emerged from London rather than Ugandan waters (after pulling the African Queen), the leeches that covered him were the genuine article. Bogart’s revulsion and shivering during that particular scene are convincing arguments for Huston’s point-of-view. Indeed, The African Queen’s main strength is the acting of the two principal players—Humphrey Bogart as the seedy Canadian boat captain, Charlie Allnut, and Katharine Hepburn as the ‘‘Psalmsinging skinny old maid,’’ British missionary Rose Sayer. According to Huston, although Bogart initially resisted and didn’t like his character, after mimicking the director’s gestures and expressions
L'AGE DOR FILMS. 4 EDITIoN all at once he got under the skin of that wretched, sleazy, absurd, Charles Laughton and Elsa Lanchester, and later Bette Davis and rave little man. Hepburn, too, had trouble at the beginning: her David Niven, had found the perfect couple for its improbable romance portrayal was brittle, cold, and humorless. However, once Huston suggested that she play her part as if she were that Grand Lady Eleanor Roosevelt, she became both funny and refined, and a humor -Catherine Henry inherent in neither the novel nor the screenplay emerged between the two characters The humor is essential to the success of the film not because it AFTER LIFE equality and individuality of two eccentric and strong-willed adver See WaNdaFUru raifu saries. They may end up falling in love, but not without an often hysterical struggle. Bogarts character begins as a self-indulgent hand, frowns upon his drinking and cowardice, disagreeing with his L'AGE D'OR lax views on human nature: ""Nature is what we were put on earth ise above. But in courageously facing and solving problem (The Golden Age) together, the two head towards a middle ground. Allnut stops drinking (Rose has thrown his gin overboard)and shaves, while Rose changes france. 1930 her mind about human nature. After encountering her first rapids, for example, she ecstatically exclaims, I never dreamed any mere physical experience could be so stimulating!.. I don' t wonder you Director: Luis bunuel love boating, Mr. Allnut. Finally, after escaping both the Germans and the allegedly uncrossable rapids, the two impulsively embrace Production: Black and white, 35mm; running time: 60 minutes and fall in love. The humor does not stop here, however. After their ( some French sources list 80 minutes). Released 28 November 1930, first tender night together, Rose shyly asks Allnut, "Dear, what is Paris. Filmed in Studios Billancourt-Epinay, France your first name? " Their mutual delight in his response is completel Producer: Charles Vicomte de Noailles; screenplay: Luis Bunuel Our captivation with the two characters allows us to accept many and Salvador Dali; photography: Albert Duverger; editor: Luis of the films more improbable moments Bunuel; production designer: Pierre Schilzneck; original music Brother Samuel Sayer, the sun shining in the eyes of a German Van Parys, montage of extracts from Mozart, Beethoven, Mendels- sharpshooter as naively predicted by Rose, heavy rains freeing the sohn, Debussy, and Wagner mired African Queen after Rose prays to God, and the deus ex machina ending. In fact, the ending had been changed several times Cast: Lya Lys(The Woman): Gaston Modot(The Man): Max Ernst Writer James Agee hadnt written it yet when he suffered a heart attack, so Huston tried to write one with Peter Viertel: before (Bandit Chief); Pierre Prevert (Peman, a Bandin): Caridad de fourth and final ending was conceived, three others were apparently Labaerdesque; Madame Noizet; Liorens Artigas: Duchange Ibanez; considered:(1)a British warship rescues Rose and Charlie after Lionel Salem: Pancho Cossio: Valentine Hugo: Marie Berthe Ernst: a heroic battle with the Louisa, (2)Rose proposes marriage before the Jacques B. Brunius: Simone Cottance:Paul Eluard;Manuel Angeles left behind in England and hadnt thought of for 20 years. The first Pruna: n Esplandio; Pedro Flores: Juan Castane; Joaquin Roa; and second endings combined were similar to what occurred in the iginal novel(that is, Foresters second ending-even he had prob- lems resolving the plot) Publications Hustons fourth and happy ending-which miraculously saves Rosie and Charlie from their postnuptial death by hanging-is Scripts atypical, as are other elements in the script. Many of Hustons previous films had a bleaker view of humanity and ended unhappily (e.g. The Maltese Falcon, The Treasure of the Sierra Madre). Both Bunuel, Luis, and Salvador Dali, L 'Age dor, and Un Chien andalou, Charlie and rose exhibit an honesty and integrity at odds with such Bunuel. Luis. and Salvador Dali, L'Age d'or, in Avant-Scene du Hustonian liars and tricksters as Sam Spade, Brigid O'Shaughnessy Cinema(Paris). November 1983 Rick leland and Dobbs. The two survive because of an internal nobility that Hustons seedier characters outwardly lack. Huston's new optimism/idealism struck the right note with the Books public. The African Queen became one of 1952's top moneymakers, having been nominated for Best Actor(Bogart won ), Best Actress, Brunius, Jacques B En marge du cinema francais, Paris, 1947 Best Direction, and Best Screenplay. British readers of Picturegoer a. Paris. 1953: revised edi- voted Bogart the years best actor, and Hepburn experienced the tion. 1963 greatest box office hit of her career. A film that began as a vehicle for Moullet, Luc, Luis Buiiuel, Brussels, 1957. 14
L’AGE D’OR FILMS, 4th EDITION 14 ‘‘all at once he got under the skin of that wretched, sleazy, absurd, brave little man.’’ Hepburn, too, had trouble at the beginning; her portrayal was brittle, cold, and humorless. However, once Huston suggested that she play her part as if she were that Grand Lady Eleanor Roosevelt, she became both funny and refined, and a humor inherent in neither the novel nor the screenplay emerged between the two characters. The humor is essential to the success of the film not because it makes the film more entertaining, but because it arises out of the equality and individuality of two eccentric and strong-willed adversaries. They may end up falling in love, but not without an often hysterical struggle. Bogart’s character begins as a self-indulgent drunk who mimics the missionary’s prim ways; she, on the other hand, frowns upon his drinking and cowardice, disagreeing with his lax views on human nature: ‘‘Nature is what we were put on earth to rise above.’’ But in courageously facing and solving problems together, the two head towards a middle ground. Allnut stops drinking (Rose has thrown his gin overboard) and shaves, while Rose changes her mind about human nature. After encountering her first rapids, for example, she ecstatically exclaims, ‘‘I never dreamed any mere physical experience could be so stimulating! . . . I don’t wonder you love boating, Mr. Allnut.’’ Finally, after escaping both the Germans and the allegedly uncrossable rapids, the two impulsively embrace and fall in love. The humor does not stop here, however. After their first tender night together, Rose shyly asks Allnut, ‘‘Dear, what is your first name?’’ Their mutual delight in his response is completely captivating. Our captivation with the two characters allows us to accept many of the film’s more improbable moments—the quick dispatch of Brother Samuel Sayer, the sun shining in the eyes of a German sharpshooter as naively predicted by Rose, heavy rains freeing the mired African Queen after Rose prays to God, and the deus ex machina ending. In fact, the ending had been changed several times. Writer James Agee hadn’t written it yet when he suffered a heart attack, so Huston tried to write one with Peter Viertel; before the fourth and final ending was conceived, three others were apparently considered: (1) a British warship rescues Rose and Charlie after a heroic battle with the Louisa, (2) Rose proposes marriage before the first available British consul, (3) Charlie remembers the wife he had left behind in England and hadn’t thought of for 20 years. The first and second endings combined were similar to what occurred in the original novel (that is, Forester’s second ending—even he had problems resolving the plot). Huston’s fourth and happy ending—which miraculously saves Rosie and Charlie from their postnuptial death by hanging—is atypical, as are other elements in the script. Many of Huston’s previous films had a bleaker view of humanity and ended unhappily (e.g. The Maltese Falcon, The Treasure of the Sierra Madre). Both Charlie and Rose exhibit an honesty and integrity at odds with such Hustonian liars and tricksters as Sam Spade, Brigid O’Shaughnessy, Rick Leland, and Dobbs. The two survive because of an internal nobility that Huston’s seedier characters outwardly lack. Huston’s new optimism/idealism struck the right note with the public. The African Queen became one of 1952’s top moneymakers, having been nominated for Best Actor (Bogart won), Best Actress, Best Direction, and Best Screenplay. British readers of Picturegoer voted Bogart the year’s best actor, and Hepburn experienced the greatest box office hit of her career. A film that began as a vehicle for Charles Laughton and Elsa Lanchester, and later Bette Davis and David Niven, had found the perfect couple for its improbable romance. —Catherine Henry AFTER LIFE See WANDAFURU RAIFU L’AGE D’OR (The Golden Age) France, 1930 Director: Luis Buñuel Production: Black and white, 35mm; running time: 60 minutes (some French sources list 80 minutes). Released 28 November 1930, Paris. Filmed in Studios Billancourt-Epinay, France. Producer: Charles Vicomte de Noailles; screenplay: Luis Buñuel and Salvador Dalí; photography: Albert Duverger; editor: Luis Buñuel; production designer: Pierre Schilzneck; original music: Van Parys, montage of extracts from Mozart, Beethoven, Mendelssohn, Debussy, and Wagner. Cast: Lya Lys (The Woman); Gaston Modot (The Man); Max Ernst (Bandit Chief); Pierre Prévert (Péman, a Bandit); Caridad de Labaerdesque; Madame Noizet; Liorens Artigas; Duchange Ibanez; Lionel Salem; Pancho Cossio; Valentine Hugo; Marie Berthe Ernst; Jacques B. Brunius; Simone Cottance; Paul Eluard; Manuel Angeles Ortiz; Juan Esplandio; Pedro Flores; Juan Castañe; Joaquin Roa; Pruna; Xaume de Maravilles. Publications Scripts: Buñuel, Luis, and Salvador Dali, L’Age d’or, and Un Chien andalou, New York, 1968. Buñuel, Luis, and Salvador Dali, L’Age d’or, in Avant-Scène du Cinéma (Paris), November 1983. Books: Brunius, Jacques B., En marge du cinéma français, Paris, 1947. Kyrou, Ado, Le Surréalisme au cinéma, Paris, 1953; revised edition, 1963. Moullet, Luc, Luis Buñuel, Brussels, 1957
FILMS. 4th EDItION L'AGE DOR L'age dor Kyrou, Ado, Luis Buniuel, Paris, 1962. Edwards, Gwynne, The Discreet Art of Luis Bunuel: A Reading of Hi Grange. Frederic and Charles Rebolledo. Luis Bunuel. Paris. 196 Films. London. 1982 Aranda, Francisco, Luis Buriuel: Biografia critica, Madrid, 1969. Bunuel, Luis. My Last breath, London and New York, 1983 Durgnat, Raymond, Luis Buiuel, Berkeley, 1968; revised edition, 1977. Rees, Margaret A, editor, Luis Buriuel: A Symposium, Leeds, 1983 Breton, Andre, Manifestoes of Surrealism, Ann Arbor, Michigan, 1969. Lefevre, Raymond, Luis Buiiuel, Paris, 1984 Buache, Freddy, Luis Buriuel, Lyons, 1970; as The Cinema of Luis Vidal, Agustin Sanchez, Luis Buniuel: Obra Cinematografica, Buiiuel. New York and London. 1973 Matthews, J. H. Surrealism and the Film. Ann Arbor. Michi Aub, Max, Conversaciones con Buiiuel: Seguidas de 45 entrevistas 1971 on familiares, amigos y colaboradores del cineasta aragone Harcourt, Peter, Luis Bunuel: Spaniard and Surrealist, ' in Six Madrid. 1985 European Directors, London, 1974 Bertelli. Pino. Buniuel: L'arma dello scandalo: L'anarchia nel cin- Aranda, Jose Francisco, Luis Buiuel: A Critical Biography, London ema di Luis Bunuel. Turin. 1985 and New York, 1975 Oms, Marcel, Don Luis Bunnel, Paris, 1985 Cesarman, Fernando, El ojo de Buruel, Barcelona, 1976. De la Colina, Jose and Tomas Perez Turrent, Luis Buriuel: Prohibido hammond. Paul. editor. The Shadow and Its Shadow. Surrealist somarse al interior. Mexico 1986 Writings on Cinema, London, 1978. Sandro, Paul, Diversions of Pleasure: Luis Buiiuel and the Crises of Mellen, Joan, editor, The World of Luis Buriuel: Essays in Criticism, Desire. Columbus Ohio. 1987 New York. 1978 williams, Linda, Figures of Desire: A Theory and Analysis of Higginbotham, Virginia, Luis Buriuel, Boston, 1979 Surrealist Film, Berkeley, 1992. Bazin, Andre, The Cinema of Cruelty: From Buiiuel to Hitchcock, De La Colina, Jose, Objects of Desire: Conversations with Luis Yo Buniel. New York. 1993
FILMS, 4 L’AGE D’OR th EDITION 15 L’age d’or Kyrou, Ado, Luis Buñuel, Paris, 1962. Grange, Frédéric, and Charles Rebolledo, Luis Buñuel, Paris, 1964. Aranda, Francisco, Luis Buñuel: Biografia critica, Madrid, 1969. Durgnat, Raymond, Luis Buñuel, Berkeley, 1968; revised edition, 1977. Breton, André, Manifestoes of Surrealism, Ann Arbor, Michigan, 1969. Buache, Freddy, Luis Buñuel, Lyons, 1970; as The Cinema of Luis Buñuel, New York and London, 1973. Matthews, J. H., Surrealism and the Film, Ann Arbor, Michigan, 1971. Harcourt, Peter, ‘‘Luis Buñuel: Spaniard and Surrealist,’’ in Six European Directors, London, 1974. Aranda, José Francisco, Luis Buñuel: A Critical Biography, London and New York, 1975. Cesarman, Fernando, El ojo de Buñuel, Barcelona, 1976. Hammond, Paul, editor, The Shadow and Its Shadow: Surrealist Writings on Cinema, London, 1978. Mellen, Joan, editor, The World of Luis Buñuel: Essays in Criticism, New York, 1978. Higginbotham, Virginia, Luis Buñuel, Boston, 1979. Bazin, André, The Cinema of Cruelty: From Buñuel to Hitchcock, New York, 1982. Edwards, Gwynne, The Discreet Art of Luis Buñuel: A Reading of His Films, London, 1982. Buñuel, Luis, My Last Breath, London and New York, 1983. Rees, Margaret A., editor, Luis Buñuel: A Symposium, Leeds, 1983. Lefèvre, Raymond, Luis Buñuel, Paris, 1984. Vidal, Agustin Sanchez, Luis Buñuel: Obra Cinematografica, Madrid, 1984. Aub, Max, Conversaciones con Buñuel: Seguidas de 45 entrevistas con familiares, amigos y colaboradores del cineasta aragones, Madrid, 1985. Bertelli, Pino, Buñuel: L’arma dello scandalo: L’anarchia nel cinema di Luis Buñuel, Turin, 1985. Oms, Marcel, Don Luis Buñuel, Paris, 1985. De la Colina, Jose, and Tomás Pérez Turrent, Luis Buñuel: Prohibido asomarse al interior, Mexico, 1986. Sandro, Paul, Diversions of Pleasure: Luis Buñuel and the Crises of Desire, Columbus, Ohio, 1987. Williams, Linda, Figures of Desire; A Theory and Analysis of Surrealist Film, Berkeley, 1992. De La Colina, Jose, Objects of Desire; Conversations with Luis Buñel, New York, 1993