The Films of Robert Wise by Richard C. Keenan

By Richard C. Keenan

From his early days as a movie editor at RKO studios, the place he helped Orson Welles form Citizen Kane, to his good fortune as a director and manufacturer of musical blockbusters of the Sixties, Robert clever had an extended and illustrious movie profession. in contrast to contemporaries similar to Alfred Hitchcock, John Ford or Howard Hawks, even though, Wise's movies lack any in actual fact discernible features to suggest his paintings. There are few amazing digicam angles or visible prospers that may distract from the first legal responsibility to provide the tale. and prefer Hawks, clever by no means really expert in a single or genres, yet introduced his directing talents to all demeanour of movies. His paintings as a director resists auteur categorization, and that's a primary the reason is, a few critics were unduly damaging of their attention of his work.In the flicks of Robert clever, Richard Keenan examines the approximately 40 good points that signify the director's career—from Curse of the Cat humans in 1944 to A hurricane in summer time (2001), the single tv creation clever ever directed. Keenan bargains a reappraisal of Wise's motion pictures in order that the genuine caliber of his paintings may be greater liked. Keenan argues that if there has been a flaw in Robert clever as a director, it used to be that he lacked the ego and temperament of the artist, which used to be no longer unavoidably a flaw in any respect. certainly, clever used to be a conscientious craftsman who observed his paintings now not essentially as a motor vehicle for his personal principles and visible variety, yet as a chance to give narrative that—quite simply—engages, informs, and entertains. It was once this angle that helped produce a couple of memorable movies through the years, together with the gritty noir Born to Kill, the one-two punch of The Set-Up and anyone Up There Likes Me, the sci-fi prophecy The Day the Earth Stood nonetheless, and the gripping indictment of capital punishment, i would like to Live!—classics all. clever additionally received a couple of Oscars for 2 of the main memorable—not to say successful—musicals of all time: West facet tale

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He waits in the kitchen one evening as Laurie returns home from a date with Danny (Tony Barrett), another boyfriend. In a carefully lighted scene in which Wise visually suggests the shadow and darkness that the protagonist brings with him everywhere, Sam Wilde strangles Laurie and methodically beats Danny to death. It is Helen Brent who discovers the bodies, and she decides to head home to San Francisco immediately. Sam takes similar advice from his friend Mart and also heads for the city, where, according to plan, Mart will join him later.

District Attorney Gordon once again goes down to defeat as the reporters—in that inevitable movie cliché—rush to the phones to announce to the city desk that Barnes has done it again. It’s clearly the best scene in the picture, and the major credit for it must go to Wise’s supervision of the split-second precision editing. The complication in the plot involves Barnes’s girlfriend, Georgia Gale (Martha O’Driscoll), who, much to Barnes’s displeasure, is the featured singer in the nightclub of mobster Vic Wright (Robert Armstrong).

Their release from detention, they explain, is in her hands, and she is made to feel selfish and inconsiderate. Even Cornudet, whom she trusted to share her anti-Prussian sympathies, gives in and agrees that she should, for the good of all, accept the invitation. Elizabeth, trusting her gently beseeching “friends” and denying her own principles and better judgment, finally accepts. Shortly after she ascends the stairs to the room where von Eyrick awaits, the travelers in the dining room below indulge in a drunken celebration of their impending release, with only the saddened and reflective Cornudet abstaining from the laughter and the sniggering innuendoes about what might be happening above stairs at that very moment.

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