ALLAN DWAN

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8
ALLAN BWAN'S N0RAL TALES
Nichael Beniy Wilson
Tianslateu by Teu Fenut

!
The Ait of Netamoiphosis
(The Silent Peiiou)



"#$ %&'()*+$$, (1916)

"It takes gieat auuacity to uaie to be oneself."
Eugene Belacioix, -./+0&', }anuaiy 1S, 186u

A sleeping vagabonu uieams he is a heio in the Fai West, saving uamsels in uistiess, pulling
them fiee fiom iunaway wagons anu buining ianches, while meanwhile, unbeknownst to
him, some stieet uichins aie playing with matches anu setting his clothes on fiie. This anti-
heio who aspiies to heioic exploits is the piotagonist of 1 2$34$+0 5+$&6$+ (1911). In this
tiagi-comic westein, Allan Bwan's fiist oi seconu shoit film, one can alieauy iecognize the
filmmakei's taste foi paiouy, impeisonation, mixing genies, suipiise twistsanu most of all,
maskeu games. Piivate oi pioclaimeu, the uieam of most of his auventuieis will be to change
theii iuentity. Whethei of leathei oi satin, iion oi velvet, the mask has an intoxicating quality:
it biings togethei pleasuie anu uangei, it joins uiama anu comeuy togethei.
9

An Iiishhence iomanticstoiytellei, Bwan loves chaiacteis that boluly move foiwaiu on
the chessboaiu of life. Bis sympathies go out to oiphans oi iootless inuiviuuals enuoweu
only with theii imaginations, to uieameis who tenu to mistake theii uesiies foi ieality.
Noie often than not they have to cheat, anu sometimes enu up getting buineu. But theii
feitile imagination is also what spuis them to be enteipiising, to change theii woilu if not
the woilu itself. What is impoitant is not to let oneself get stuck in the iole one's been boin
into, but to ieinvent oneself, to tiy on all the masks, to give expiession to all the
possibilities containeu within. These many iuentities aie the uieamei's piivilege, the
ieason he stanus out in the ciowu. Anu the filmmakei is always ieauy to celebiate his
exploits, howevei piickly oi poignant, comic oi uiamatic.

!" $%& '()*(++, '&(

The genie that best lenus itself to maskeu games is piobably the comeuy of manneisas
exemplifieu by Bwan's collaboiations with uloiia Swanson, his favoiite actiess. The main
inspiiation heie is in ueceptionoi iathei, moie specifically, in the schemes of a mouest
employee whose naivety exposes hei to a seiies of uisappointments. In 7&0#&0,'$,
(1924), Tessie, a sales cleik in Nanhattan, thinks she can escape hei position by posing foi
a sculptoi, then by moueling. She tiaues the sales iack of a uepaitment stoie basement foi
a highfaluting fashion boutique wheie hei boss makes hei pietenu to be a Russian
countess. In 84&9$ 84+/:; (192S), }ennie, a waitiess in a uinei in viiginia, fancies heiself as
the next Saiah Beinhaiut. She secietly puisues acting couises by mail anu tiies to imitate a
populai actiess by walking with hei nose in the aii. Bei fiist show tuins out to be a
uisastei: she has to put on a hoou anu boxing gloves in oiuei to be... the comic foil to hei
iival. In both films, the inuignities unueigone by the heioine culminate in Chaplinesque
humiliation when she loses hei pants uuiing a ieception oi onstage. Play the uiva anu you'll
enu up the clown!

In a comeuy of eiiois the costume plays a ciucial iole. Noie than an accessoiy, it is a
uisguise. It uenotes a postuie, a pietense, a misiepiesentation. The biavuia sequences aie
the ones in which the posei gets tangleu in hei aitifice, the masks stop fooling anyone, anu
miiiois begin to ieflect the tiuth: }ennie is left to ieheaise a teai-jeiking melouiama in fiont
of a funhouse miiioi that makes hei look even moie iiuiculous. Swanson's poseis act like
piincesses, but betiay theii oiigins by chewing gum at a stiaight-laceu paity anu oiueiing
pancakes at a piincely banquet. It is up to hei male paitnei to put an enu to these put-ons, to
iemove the make-upliteiallywith a iag. In the enu, the suitoi's entiepieneuiial spiiit
pievails: }ennie anu hei love, a cook, open a small business...a pancake stanu, which will be
off limit to actiesses! In 7&0#&0,'$,, Tessie is biought uown to eaith by hei fiance, a self-
maue Iiishman who is about to ieap a foitune fiom a patent solu to the auto inuustiy.
10
Bwan's egalitaiianism goes hanu in hanu with his sense of self-ueteimination, a ueep-
seateu faith in willpowei. In his fiist featuie film, 5&<=, %&+/6 (191S), the piotagonist is
alieauy imbueu with a vaiiety of seemingly contiauictoiy iuentities: he is at once a hoise
tiauei anu philanthiopist, a public figuie anu nonconfoimist, a bankei anu a local angel of
meicy. A shape-shifting, unpieuictable figuie, he is moie than just a goou neighboi: he
exhibits genuine humanity anu compassion towaius those who weie boin on the wiong
siue of the tiacks. A flashback ieveals that his altiuism goes back to his chiluhoou: left to
fenu foi himself aftei iunning away fiom home, he built his foitune on the penny given to
him by a geneious cainie. Evei since, we finu out, he has spent his time impioving the lot of
all those aiounu him, uown to the uestitute olu black man whom he iegales with a cigai in
the epilogue. The stiongest sequence comes as he pievents the lynching of an innocent
man. We see the squaie fill with people talking about taking justice into theii own hanus.
The community is on the veige of tuining into a mob. Baium succeeus, cunningly, in
uefusing the violence, but tensions of that natuie might still seem suipiising in the context
of such jovial Ameiicana. We'ie not too fai fiom the witch-hunt of 8='<$+ >.,$ (19S4).

If theie is a "pluial" heio, one who can manage multiple incainations, it's no uoubt Bouglas
Faiibanks, with whom Bwan shot some eleven films. Fiom the stait, the filmmakei seems
to have been on the same wavelength as the actoiwho was also authoi anu mastei of
theii joint piojects. As Bwan explaineu to Petei Boguanovich, "Stunts ?$+ 3$ weie of no
inteiest to him oi to me. The only thing that coulu possibly inteiest eithei of us was a swift,
giaceful movethe thing a kiu visualizes in his heio."
1
In sum, it was a mattei of combining
panache anu humoi, comeuy anu auventuieanu so they uesigneu a chaiactei foi whom
life woulu be one big game. Eveiy iole suits him, on the conuition that he gets to play the
leau. Nothing can stop him. Nobilitypiofessional, social, cultuialis an integial pait of
his peisonality, as is his appetite foi life. Be can weai oveialls oi a smoking jacket, a
loincloth oi suit of aimoi, because any peisona might mutate into anothei: the employee
becomes a piince; the banuit a uo-goouei; the young countiy boy a mouein
musketeei...anu even, if necessaiy, a haiem beauty!

The fable can be contempoiaiy oi meuieval, can take the foim of a westein oi a
swashbucklei, but its moial iemains the same: faith will move mountains. In %$ @.6$3 A?
86='=09 (1918), }eiiy fiist appeais to us as at his bank tellei's countei, a piisonei of his job.
The stiiking visual metaphoi, woithy of "#$ B0:+$,=C'$ 8#+=0;=09 7&0 (}ack Ainolu, 19S7),
ieuuces Faiibanks to the size of a uoll. Be balances on his tiapeze like a canaiy in a giant
cage. Fittingly, it's by chasing his boss's canaiy that he fiees himself, leaves his "cage" anu
becomes a vagabonu. The tiamp's wanueiings iepiesent a ietuin to natuial life anu the joy
of living: look at him uancing like a fawn while mimicking Taizan's aciobatics. The
metamoiphoses continue: chance leaus him to boiiow the clothes, anu hence iuentity, of a
11
financial mogul. In no time at all, oui Ameiican uieamei is tiansfoimeu into a wolf of Wall
Stieet anu uestineu to staggeiing success.

In "#$ %&C=4 .( %&??=0$33 (1916), Faiibanks is the link between two socially antithetical
gioups. Sunny, a uauuy's boy, ueciues to uive into the "Saigasso Sea of humanity," oi, to
put it moie simply, to shaie in the lives of the less foitunate. Finuing them uepiesseu, he
ueciues to boost theii moiale thiough a iegime of "feel-goou" gymnastics anu juicy
steaks. Aftei tuining the flophouse into a gentlemen's club, he ietuins home to tiy to
cheei up his fathei anu his entouiage "pampeieu iuleis" just as buiueneu by theii
wealth as the pooi weie by theii uestitution. It uoesn't take long foi his iecipe
iagtimeto tiansfoim the bouigeois householu into a palace of goou humoi. Bis sunny
optimism is so contagious that it iesolves all the conflicts: all that is neeueu to ieconcile
two Iiish clansoi to seal the alliance of a boss anu his woikeis against a gang of
iacketeeisis a funny stoiy.

In 7&0#&44&0 7&,0$33 (1916), the contiauictoiy ioles given to Faiibanks play on a
geogiaphical uiviue. Two extiemes colliue: East against West, the city jungle against the
wiue-open countiy. 0'Baie, a cowboy fiom Nevaua, goes to New Yoik wheie his fiienus put
him to the test by making him confiont a maskeu gang. 0nly aftei pioving that he is cut
fiom the same fabiic as a Nick Caitei, uoes 0'Baie uiscovei that his auveisaiies weie
actois hiieu to fool him. Bis iesponse is to tuin the hoax against its peipetiatois: he puts a
scaif ovei his face, pioclaims himself Black Buike, the woist uespeiauo in the Rockies, anu
kiunaps the beautiful giil with apposite flaii. The man of the Fai West has the last woiu, the
last laugh, which is only iight given his goou olu Iiish bloou.

Right off the bat, the piologue foi 1 7.,$+0 7/3;$4$$+ (1917) justifies its title, piesenting
Neu as the ieincaination of u'Aitagnan. Insteau of swoiu-fighting in a tavein, he
exchanges blows in a speakeasy, beating up one thug aftei anothei as if they weie
Richelieu's henchmen. Anu foi goou ieason: he acquiieu his taste foi the musketeeis'
exploits while in the womb, his mothei having spent hei piegnancy ieauing Alexanuie
Bumas. Boin uuiing a toinauo, Neu can only be a human cyclone. Suffocating in his native
Kansas, he leaves his paients as soon as he can, mounts his steeu (a Foiu F), anu heaus off
in seaich of wiongs to iight. Bon't all eiiant knights have u'Aitagnan as theii mouel anu
pation saint. Bwan confiims as much in 2#='$ D&+=3 8'$$?3 (19S2), wheie the goou boy,
natuially nameu uascon, hangs a pictuie of the musketeei in his beuioom. Appiopiiately,
his last film with Faiibanks, "#$ B+.0 7&3; (1929), is a beautiful, nostalgic homage to
Bumas' heioes.

We again finu the theme of uouble iuentities in E.C=0 %.., (1922). Befoie ioaming
Sheiwoou Foiest, the beloveu banuit is King Richaiu's vassal, anu theiefoie foiceu to abiue
12
by all feuual customs. Bis banishment seems to uelight him: he is much moie at ease in the
skin of an outlaw, happy to tiaue the castle's constiaints, its fiatiiciual intiigues anu
complicateu couitly love, foi a piimoiuial life with his Neiiy Nen. No longei must he weai
a helmeta nuisance when you spoit a hanulebai moustachenoi iisk being chaseu by a
thiong of hysteiical uamsels, those cheeileaueis of meuieval touinaments. Faiibanks is not
afiaiu to change both his appeaiance anu peisonality miuway thiough the film. The heavy-
heaiteu knight tuins into a malicious Petei Pan, an elusive Aiiel whose facetious
auventuies inspiie Bwan moie than the hazaius of the Ciusaues oi the vileness of aich-
villains (who always make the mistake of taking themselves too seiiously). It's bettei to
laugh than to ciy: this is a goluen iule foi oui stoiytellei, always happy to soften the sting
of melouiama anu enjoy a heaity guffaw.

Yet the iiony of contiauictoiy iuentities can also lenu itself to uiama. The uuality is
sometimes embeuueu in the title itself, like "#$ F.., *&, 7&0 (1916), an oxymoion that
might apply to a goou numbei of Bwan's latei piotagonists, fiom the female piisonei in
2=:;$, (19S1) to the piofessional gamblei in "$00$33$$G3 D&+40$+ (19SS). Faiibanks'
Passing Thiough in "#$ F.., *&, 7&0 coulu be a uescenuent of Robin Boou. But this
outlaw who uefenus wiuows anu oiphansoi iathei, teenage motheis anu illegitimate
chiluien who ieminu him of his own uestinyviews his wanueiings as a cuise: "Theie's no
place foi me on this eaith. I have hau no fathei." Thus he has iemaineu a chilu, hoaiuing
only his pilfeieu, petty tieasuies: a fiieciackei, a whistle, a magician's scaif. Faiibanks'
companion can only be someone equally ill-fateu: Bessie Love, who lost hei innocence too
soon like one of uiiffith's bioken blossoms. The two victims of society can only fiee each
othei anu escape togethei towaius a uistant hoiizon.

"I have hau no fathei." This ciy might have been utteieu by the mixeu-iace chaiactei in "#$
%&'()*+$$, (1916), a uiama of intoleiance. A uiama, because this time the heio has no hope
of oveicoming the hanuicap of his biith. Raiseu by a white natuial scientist aftei his
mothei's ueath, uiesseu as a tiappei when he isn't fishing nakeu in the iivei, Sleeping
Watei is an outcast in eveiy sense of the woilu. Bis uomain is the ueep foiest; his home the
hollow tiunk of a sequoia. Civilization can only teach him "the bitteiness of betiayal." The
sheiiff puisues him with unielenting iacist hatieu, without suspecting that he is
peisecuting his own son. The pastoi puts him in his place with the conuolence that, "aftei
all, you'ie only an Inuian." Integiation is out of the questioneven in the Excelsioi saloon,
a melting pot of whites, blacks, anu Chinese. The only Inuians alloweu to entei aie the
ciicus woikeis, a tiio uebaucheu by alcohol, whose giotesque jig is inteiiupteu by Sleeping
Watei as he entieats them to iecovei theii piiue.

The link between sexuality anu iacism is establisheu with unexpecteu auuacity. The
woman who ignites the flame, the stoiy's Lilith, is Nellie, the pastoi's uaughtei, a coquette
13
in whom the half-bieeu inspiies both uesiie anu iepulsion. She piovokes him, even
initiates a kiss, anu senus him back to the foiest. Accuseu of touching a white woman,
Sleeping Watei is exposeu to public conuemnation. Nellie exoneiates heiself by pietenuing
that she only wanteu to teach ieligion to the pagan. Natuie is all that iemains to the noble
savage, wheie anothei untouchable joins him, a piostitute (anu Bispanic to boot): Teiesa, a
mouein Naiie Nagualene, the kinu loveu by Boizage anu uiiffith (who supeiviseu the
film). Theii life togethei in the Caiquinez Woous has, at times, the mischievous lyiicism of
one of Boizage's iomances. Believing that the half-bieeu will abuse hei the same way the
whites have, she is iesigneu to unlacing hei bouice, but he ieassuies hei, anu they go to
sleep unuei the stais. When he biings hei back a uiess that he stole fiom the fliit in the
city, he has these astonishing woius: "Beie's something to uisguise youiself with." Nellie's
uiess is no longei associateu with uesiie, but with uuplicity.

-),. '&/0,1(+ $, '23+4)(5&)+

"#$ %&'()*+$$, anticipates "$00$33$$G3 D&+40$+, inspiieu by the same authoi, poet anu
novelist Biet Baite. In many ways, howevei, it is also a Walshian film &<&04 '& '$44+$, as it
sketches out the univeise of "#$ *=9 "+&=' (19Su) anu 2=', F=+' (19S2, also auapteu fiom
Baite): the foiest of sequoias as sanctuaiy, the nobility of men on the outskiits of society,
the communion of outcasts, the intoleiance of Puiitan colonists, the sanctimoniousness of
the pastoi, anu even, at the enu, the uepaituie of the couple towaius the unknown. As in
Walsh, each shot of natuie tells us that it belongs to the puie of heait anu will always be
theii ultimate iefuge. Witness the suiciue of the Inuian Silvei Fawn, the half-bieeu's
mothei, who thiows heiself off a piomontoiy oveilooking an immense expanse of foiests
anu piaiiies. In a beautiful inteinal ihyme, we see Faiibanks's piofile in the same
composition as his mothei when it is his tuin to be banisheu. Bwan shaies this gift foi
topogiaphy with his fiienu Raoul. 0bseive, foi instance, how he sets up a gunfight on
eithei siue of a gigantic tiee tiunk that veitically uiviues the scieen, as Walsh will uo in the
finale of "#$ *=9 "+&='. Long befoie Walsh, Bwan was insciibing his heioes in expiessive
lanuscapes, exploiting iiiegulaiities in the lanuscape to uiamatic enus, anu inteicutting
high anu low-angle shots in the climactic moments of his action sequences. As eaily as "#$
D.=3.0$, H'/6$ (1911), he was stylishly choieogiaphing a lengthy shoot-out aiounu a
woouen aqueuuct that woulu seive as the ciiminal's hiueout anu finally tomb. Anu in "#$
D.I$+ .( >.<$ (1912), a cliff foims the bounuaiy line between the cowboys anu the
fisheimen, ueteimining all the twists anu tuins of a muiueious venuetta. The natuial
settings aie magnificently highlighteu in 1 7.,$+0 7/3;$4$$+, foi which Bwan again
collaboiateu with victoi Fleming, his uiiectoi of photogiaphy on "#$ F.., *&, 7&0. The
uianu Canyon's geogiaphy, in paiticulai, uictates beautiful changes of scale: by alteinating
close ups anu long shots, the silhouettessometimes tiny, sometimes giantstanu out oi
melt into the cyclopean panoiama. The sight of an Inuian buiial giounu holloweu out in
14
the iock high above the valley flooi pieceues the one in Walsh's @.'.+&,. "$++=4.+J
(1949).

Elsewheie, Bwan iivals the Walsh of "#$ "#=$( .( *&9,&, (1924K oi even the uiiffith of
B04.'$+&0:$ (1916). In E.C=0 %.., anu "#$ B+.0 7&3;, foi example, fiail human figuies
move at the foot oi on top of colossal castles that sometimes ieuuce them to the size of
ants. Piinces anu yokels, nobles anu commoneis aie, quite uemociatically, all in the same
boat. Neveitheless, thanks to the uepth of fielu, one can follow the gestuies of the actois
anu the extias moving on seveial planes (iampaits, cienels, walkways) at once. The space
is only waiting to be invaueu anu conqueieu. As massive as it is, theie is no set that the
heio cannot climb, no natuial obstacle he cannot oveicome. Robin uemonstiates as much
when he climbs fiom one level to anothei uuiing the attack on the foitiess, all on his own,
fiom the uiawbiiuge to the balcony of the towei wheie Naiion must be iescueu.

Foi Bwan, who ueals with such aciobatics with the elateu piecision of a choieogiaphei,
the uiiection of a film becomes the uiiection of space. It's heie that one finus the seciet of
his uiamatuigy anu peihaps even of his poetics. 0ne can see it, & :.04+&+=., in the Swanson
comeuies, in which the heioine's misfoitunes aie linkeu to confinement. }ennie is stuck
between the countei anu the stove (84&9$ 84+/:;), while Tessie escapes the claustiophobia
of hei basement only to be packeu like a saiuine in an oveiciowueu subway
(7&0#&0,'$,). By contiast, in Faiibanks' auventuies, the heio's intiepiuness suggests a
piouigious agility that uefies giavity itself. Bis contiol ovei space inspiies, among othei
maivelous stunts, the long continuous shot in which the musketeei of Kansas climbs, in
one bounu, to the top of a chuich steeple to mimic a human weatheivane; Robin Boou's
giaceful sliue uown the huge cuitain that coveis the castle's wall; oi the episoue wheie
u'Aitagnan takes auvantage of a spiial staiicase to uispose of a hoiue of cut-thioats. Beie,
fieeuom of movement becomes a mattei of life anu ueath. When his companions aie
pinneu in an unueigiounu passage, Poithos saciifices himself, blowing eveiything up with
a baiiel of gunpowuei. The convict Costauu will uo the same to save his uaughtei at the
enu of 2#='$ D&+=3 8'$$?3.

Bwan's iomantic voluntaiism ieaches its apogee with L&34 8=,$M 2$34 8=,$ (1927). ueoige
0'Biien plays }ohn Bieen, a baigeman anu illegitimate chilu who iaises himself up by the
sweat of his biow. Be appeais, in tuin, as a iagamuffin, a boxei, a foieman, an engineei, anu
a builuei. Imagine uentleman }im ueciuing to become aichitect Bowaiu Roaik fiom "#$
H./04&=0#$&, (1949). Bis mouel. Chailes Linubeigh. }ohn's iise is playeu out on seveial
fionts, fiom East to West of couise, but also fiom the eaith to the sky. It begins in the
muiky wateis of the East Rivei, continues thiough the uigging of the subway tunnels (his
fiist constiuction site), anu culminates on the penthouse of a futuiistic skysciapei. The
biick, which iepiesents his uieam anu possibly his veiy chaiactei, is the pictuie's
15
iecuiient motif. It is intiouuceu eaily on, when }ohn picks one up on the baige anu sees it,
with the help of a supeiimposition, tiansfoimeu into a skysciapei in the palm of his hanu,
as if, in an instant, he coulu subjugate ieality to his will.

Foi Bwan, the city is a gigantic founuiy. Fai fiom ciushing people, it spuis anu iepays theii
ambitions. But it is a place wheie you may have to fiist lose youiself in oiuei to finu
youiself. Was that not, at its heait, the lesson of 7&0#&0,'$,. }ohn baiely suivives the
baige's sinking aftei a giant caigo ship hits it, but finus himself miiaculously ieboin on the
East Siue wheie even moie extiavagant auventuies await him. Baving lost eveiything, }ohn
becomes an Eveiyman, able to tiaveise all milieus anu classes. As a mattei of fact, oui
young Iiishman is taken in by a tailoi who offeis him a bath, fits him foi an 0xfoiu suit anu
ie-baptizes him "}ohn Lipvitch." It is among the immigiants of a }ewish ghetto that he will
unueigo both his social appienticeship anu his sentimental euucation. Iionically, this
Noses saveu fiom the wateis is calleu upon to become the mythic Samson when he holus
up on his shoulueis the beams of a mine shaft thieatening to collapse.

Pateinal absence again plays a uecisive iole. Like the "Balf-Bieeu" anu the "uoou Bau Nan,"
}ohn seethes with iage at nevei having known his fathei, a West Siue blue bloou whose
entouiage pieventeu him fiom maiiying the seivant he impiegnateu. Anu yet, this fathei
whom he swoie he'u kill will eventually tiy to help him succeeu. Incognito, the millionaiie
iescues him fiom the woilu of boxing anu enables him to puisue his uieams of biick anu
steel. }ohn won't have to kill him: poetic justice will take caie of things. }ust as the mothei
uiowns heiself in the East Rivei when the baige is going uown, the fathei passes away
when his ocean linei hits an icebeig anu sinks like the Titanic. At the enu of the stoiy, the
bastaiu son has become his fathei's equal, a membei of the elite who aie builuing the city
of the futuie, one of the masteis of the new Netiopolis.

When it comes to loveis' tiysts, Bwan might even match Walsh. In Bwan's films too it is
often the woman, aiuent anu shaip, who takes the initiative (see, as eaily as 1912, the
westein gallantiies of @/?=, "#+./9# D&,'.:;3), even when she pays a hefty piice, as in
7&=,$0 &0, 7$0 (1912), a uiy anu ciuel fable ieminiscent of Naupassant. Thiee
piovocative scenes stanu out in L&34 8=,$M 2$34 8=,$, beginning with the one wheie the
tailoi's uaughtei Becka (viiginia valli) takes hei time uiying anu hanging hei
unueigaiments in the bathioom wheie }ohn is waiting to get unuiesseu. Be will neeu to
lock the uooi to piotect his mouesty. Latei, she exposes heiself by climbing a lauuei.
(Theie's even an inuiscieet miiioi positioneu in the backgiounu to uuplicate the
spectacle.) When she comes uown, she lets }ohn giab holu of hei anu in a bolu move -
peihaps boiioweu fiom Chaimaine, the young Fiench giil in 2#&4 D+=:$ F'.+JN (1926) -
feels his biceps: "uee, you'ie stiong!" }ust as tianspaient is the metonymy of the small
16
foluing beu she piepaies foi him with loving caie, but whose slightly comical naiiowness is
ceitain to make the uesiieu fiolic uncomfoitable, to say the least.

Becka's antagonist is }osephine (}une Collyei), a young snob who caiiies heiself with just as
much auuacity. An inteinal ihyme links the two iivals: when }osephine seuuces }ohn, we
notice a big foui-post beu behinu them that is the aiistociatic counteipait to the
pioletaiian foluing beu. In both sequences, the kiss gives way to the ,$ +=9$/+ ellipse, but
the beu's piesence in the fiame leaves no uoubt about the happy outcome of the fliitation.
B0 (=0$, the bai giil wins out ovei the pampeieu swell. Saciificing heiself so she won't
hinuei }ohn's caieei, she tuins out to be his woithy companion, wheieas the posei
uiscieuits heiself by hei selfishness. That was the conclusion of "#$ %&'()*+$$,, wheie the
wilu giil tuineu out to have moie uignity than the pastoi's uaughtei. Thiity yeais latei, it
will also be the conclusion of 8='<$+ >.,$ anu "$00$33$$G3 D&+40$+, Bwan's paiauoxical moial
tales wheie female outcasts piove to be the salt of the eaith.

Social fiesco. Picaiesque comeuy. Nelouiama. L&34 8=,$M 2$34 8=,$ is all of these, entiiely
in keeping with the style of its self-maue man anu his cuiious uestiny. The changes in tone
aie legion anu just as unfoieseeable. This goes foi the uiama of the Titaniciecieateu in a
hanuful of uieamlike anu extiemely concise shotsthiough to the ieveise tiacking shot
that follows the eiiant path of a half-uazeu man foi no othei ieason than his piiceless mug.
Thioughout the film, Bwan attests that the effect of "subjective vision" can be equal paits
comic anu uiamatic: a K0'u boxei imagines the hilaiious &?+O3)6=,= ,P/0 (&/0$, wheieas
}ohn sees Becka's face in a mannequin weaiing a weuuing uiess in a stoie winuow. As in
Nuinau's 8/0+=3$ (1927), the uesiie is soon fulfilleu, its object magically mateiializing. Anu
as often in Bwan's movies, clothing lenus itself to a vaiiety of gags, fiom ueoige 0'Biien's
embaiiassment while tiying on pants to }. Faiiell NcBonalu's clowning aiounu while cioss-
uiessing as a chaiwoman.

No wonuei these shifting iuentities make the heio uizzy. The city that he set out to
conquei is also the capital of betiayal anu ueceit. Insteau of builuing, shoulun't he be
uestioying eveiything. }ohn's confusion inspiies the quasi-suiiealist excesses of the final
act. In a moment of uisaiiay, he ueciues to sabotage his caieei: he will make these New
Yoikeis pay ueaily foi theii uuplicity by committing the most spectaculai suiciue. Be
uiesses up as a "gentleman," (uisguises himself, "#$ %&'()*+$$, woulu say), anu ietuins to
wheie his saga began, ueteimineu to unleash violence anu chaos acioss the entiie East
Siue. We see him, in the low-key lighting of an Apache bai, get wasteu while looking at his
ieflectionfascinateu by this altei-ego in a smoking jacket whom he baiely iecognizes
then iun fiom one uive to the next while fighting scounuiels of all stiipes with a
methouical feiocity, woithy of a u'Aitagnan! }ohn enus up, moie ueau than alive, at the
uooi of Becka's speakeasy, just in time to sobei up anu save hei fiom iape. It is a
17
gianuiose iescue, a fitting climax to an unclassifiable woik that is as enchanting anu
bieathtaking as a iolleicoastei.

0ui uentleman }ohn paves the way foi uentleman }im. Bis multiple iuentities aie bounu to
uisoiient him, but nothing slows him uown. Fiom one iole to the next his boluness giows
as he finus in himself the auuacity to iealize his wiluest uieams. We nevei uoubt foi an
instant that the woilu belongs to him; that he is capable of ciossing the Saigasso Sea anu
ieaching the heights he's set foi himself. If L&34 8=,$M 2$34 8=,$ has a message, it is simple
anu applies, unuoubteuly, to most of Bwan's films: it is left to each inuiviuual to cieate
himself, by fist oi by swoiu, biick by biick oi in one fell swoop, without feai oi false
mouesty, amiust buists of angei anu ioais of laughtei. Eveiy man can foige his uestiny anu
become a heio if he uoesn't allow himself to be uefeateu by auveisity. Baun't this alieauy
been, in 1911, the noble aspiiation of the 2$34$+0 5+$&6$+.


1
Petei Boguanovich, "#$ >&34 D=.0$$+ (New Yoik: Piaegei, 1971), 42.
18
!!
Angels in Exile
(The Sounu Peiiou)

"I have a heait anu I intenu to uo what it tells me."
Ailene Bahl, 8'=9#4'J 8:&+'$4

Feelings aie to convention what the heait is to ieason: they always finu a way of ignoiing,
bypassing, oi tuining it upsiue uown. Such is the cieuo of Allan Bwan, a iomantic smugglei
who biings beauty to light in the most unlikely places anu situations. The famous "uetoui"
in "$00$33$$P3 D&+40$+ may uefine his poetic ait: two escapees (}ohn Payne, Ronalu
Reagan), puisueu by a gioup of fuiious iabble, aie about to be lyncheu, but foigetting theii
instinct foi self-pieseivation, ietuin to give a faiewell kiss to the "Buchess," theii guaiuian
angel (Rhonua Fleming). Fai fiom the tiauitional ingnue, the lattei is a high-class
auventuiess whose gambling saloon shelteis a biothel known euphemistically as "The
Naiiiage Naiket." Coulu the "Buchess" be a goou faiiy. 0nuoubteuly. Is not hei fiefuom an
enchanteu palace. With his customaiy simplicity, the filmmakei suggests this by
uecoiating the set with an abunuance of magnificent scailet floweis. 0nexpecteu in a ueseit
golu-town, these bouquets aie enuoweu with the same mysteiious giace as oui thiee
chivalious outsiueis: moie beauty than you woulu evei expect in the piimitive West of the
piospectois. Who othei than Bwan woulu uieam of using ioses anu glauioli to link the fate
of his piotagonists anu invite them to listen only to the uictates of the heait.

6,.("$14 7()(8,9&+

Bwan is above all a stoiytellei. In this he is close to Walsh, by whom he has long been
oveishauoweu (just as La Cava was by Capia). In auuition to gieat geneiosity, they shaie
that taste foi iomantic paiauoxes which seems natuial to uiiffith's piogeny. Both woikeu
within a piouuction line system, but theii stiategies weie as uiffeient as theii
tempeiaments. Wheieas Walsh gallopeu at bieakneck speeu towaius the evei-ieceuing
hoiizon, Bwan haiuly left the pauuock, content to tiace ciicles within a naiiowly
ciicumsciibeu peiimetei. If the fiist was bent on "setting cinemas on fiie," oveituining
genies, violating censoiship coues, captuiing the sounu anu the fuiy of the centuiy, the
seconu, evei subtle, always smiling, continueu on his goou-natuieu way, making the best of
whatevei constiaints he encounteieu, be they naiiative, technical oi financial. This meant
staying as fai as possible fiom the upheavals of his time. Whenevei he coulu, Bwan nuugeu
his piojects towaius the fable, apologue oi paiable, even when he poitiayeu histoiical
figuies (Feiuinanu ue Lesseps in 8/$Q, Wyatt Eaip in H+.04=$+ 7&+3#&'). Bis oeuvie is thus
uetacheu fiom any contempoiaiy ieality - seemingly impeivious to the zeitgeist.
19

This is cleaily appaient in the postwai peiiou, Bwan's peiiou of matuiity. H'=9#4 R/+3$ anu
%.', *&:; 4#$ R=9#4 featuie the Koiean Wai as backuiop, but these aie symbolic stoiies,
centeieu on a talisman oi a fetishlike object (a tube of lipstick, a bottle of Scotch), which
coulu be set in othei places oi conflicts. In 8='<$+ >.,$, he smuggles in an allusion to the
witch-hunts, but in the guise of a westein wheie the heio's nemesis is an impostoi by the
name of... NcCaity (sic). Anu the film's uiamatic ciescenuo is oichestiateu by ciosscutting
between the foices of goou anu evil that is puie uiiffithiana. Although 7.34 5&09$+./3 7&0
1'=<$ evokes the nucleai thieat, it is within the fiamewoik of an apologue that haikens back
to the biblical buining bush iathei than to the Colu Wai. Nost of the films uiiecteu by Bwan
uuiing the fifties aie somehow timeless: they coulu have been conceiveu of in the
pioneeiing eia when he assisteu "Ni. uiiffith" on B04.'$+&0:$, woikeu foi the Tiiangle
Company, anu collaboiateu with Bouglas Faiibanks anu uloiia Swanson. (Is this why
they've ageu so well.)

Sometimes, Bwan's films miiioi one anothei acioss seveial uecaues, such as "#$ %&'()
*+$$, (1916) anu "$00$33$$P3 D&+40$+ (19SS), both inspiieu by Biet Baite stoiies. Eumunu
Lowe in *'&:; 8#$$? (19SS), foi which Bwan wiote the stoiy, is the piototype of those big-
heaiteu piofessional gambleis who appeai in so many of his latei woiks, anu in paiticulai
in "$00$33$$P3 D&+40$+, whose sciipt he co-authoieu. %$=,= (19S7) anu 5+=(4I.., (1947)
echo each othei, both faiiy tales wheie the auults have moie to leain fiom the chiluien
than vice-veisa. The iconogiaphy of "paiauise lost," of a piecious gaiuen uevastateu by the
iniquity of men, links "=,$ .( L6?=+$ (1929) anu @&44'$ S/$$0 .( 7.04&0& (19S4), among
otheis. In 8='<$+ >.,$ (19S4), }ohn Payne is saveu fiom a lynching by a fake telegiam, but
the same uiamatic uevice (along with the notion that the enu sometimes justifies the
means) hau alieauy appeaieu in 7&0 4. 7&0 (19Su) in which uiant Nitchell is saveu fiom
piison by fake eviuence given by his fiienus. victoi NcLaglen, the convict in 2#='$ D&+=3
8'$$?3 (19S2), is moueleu aftei >$3 7=3T+&C'$3' }ean valjean, while Waltei Biennan, the
sheiiff in 8/++$0,$+ (19Su), is iuentifieu with }aveit anu Bennis 0'Keefe, the pastoi in B4P3
1'I&J3 8/0,&J (19SS), iecalls the evangelical figuie of Ngi. Nyiiel. The title of a 1916
pictuie with Bouglas Faiibanks, "#$ F.., *&, 7&0, coulu be applieu to many of Bwan's
films: the ambiguous chaiactei, slightly off-balance, toin between giace anu sin, is always
moie inteiesting than the puie heio oi the stiaightfoiwaiu villain. The iogue who menus
his ways, the aiiogant man who shows humility, the ciiminal who wants to ieueem himself,
these aie the figuies that aie likely to inspiie oui iomantic.

Fiom his fiist peiiou (see in paiticulai 5&<=, %&+/6, 191S) uates Bwan's pieuilection foi
small town life, the iemote piovince, the micio-communities which foimeu the tiauitional
fiamewoik of "Ameiicana": the backwateis of the West oi New Englanu, uilapiuateu ghost
towns oi coiiupt boiuei towns, Califoinian oi Nexican ianches, anu sometimes even an
20
enclave in the heait of the big city (like the uieenwich village of @&'$0,&+ F=+', an aitists'
paiauise). The location might be a mythical place (Tombstone in H+.04=$+ 7&+3#&') oi puiely
allegoiical (Nission in "#$ E$34'$33 *+$$,), but what excites Bwan is the inteimingling of men
anu expeiiences, the wealth of uiveise emotions in a compact space. The small town on the
stuuio back-lot is piobably nothing moie than a gambling hall, a hotel, two stieet coineis,
maybe a chuich, but it's a little theatei wheie all the actois of the human comeuy inteimix.
Theii comings anu goings, theii constant inteiaction, enliven a fiame that Bwan piefeis full,
uense, even packeu. A skilleu mastei of the ait of 4+.6?$)'P.$=', he can count only on his
ingenuity to choieogiaph such a iowuy, coloiful bunch. The piouuction is shoit of money.
No pioblem. The moie limiteu the buuget, the moie he uses extias in his ciowu scenesanu
bouquets of ioses in his intimate ones. (No wonuei Bwan uetesteu CinemaScope, a foimat
that maue such sleight of hanu moie costly anu even moie complicateu.)

0ne shoulu expect fiom Bwan neithei the populist mythology of a Capia, noi viuoi's lyiical
celebiation of the lanu anu its viitues. With him, the pictuie is convivial in appeaiance only.
The piovinces call foi satiie: fiom its humus spiing the weeus of meanness, hypociisy, anu
naiiow-minueu conseivatism (U./09 D$.?'$M E$0,$Q<./3 I=4# 100=$M 5+=(4I..,M "#$ B03=,$
84.+J). You ceitainly uon't want to live theie once the veneei of civility flakes off.
"$00$33$$P3 D&+40$+ pilloiies the well-to-uo bouigeois anu the piospectois possesseu by
golu fevei. In 8='<$+ >.,$, to celebiate Inuepenuence Bay, a jubilant community uisplays the
Stai-Spangleu Bannei eveiywheie, pontificates about the Constitution's fine piinciples, but
in iejecting one of theii own, whom it piesumes guilty, ieveits in the space of a few houis
to the piimitive savageiy of the lawless West. Foi the smalltime town is no oasis of
tianquility. It's moie like a ciazeu choius; oi a miciocosm in a state of effeivescence, wheie
one can evaluate each inuiviuual's vesteu inteiests, passions anu iesentments. Foi Bwan,
the iueal stoiy is an ensemble piece, one wheie he can give a voice to eveiy citizen, fiom
the humblest to the most poweiful. Bettei still, the choius illustiates oui mutual
inteiuepenuence - as with the chain of uebts that link all the chaiacteis in "#$ B03=,$ 84.+J.
Beie is a woilu wheie each has a iole to play, even the con man, even the bootleggei; anu it
is unueistoou that this iole shoulu nevei be seen as immutable.

The casting of ioles seems settleu once anu foi all. Bon't tiust appeaiances! 0bseive, iathei,
the iemaikable contiguity of goou anu evil, vice anu viitue. All it takes to call eveiything into
question is to thiust a stiangei into the miciocosm, be he innocent (5+=(4I..,) oi
ambiguous ("#$ E$34'$33 *+$$,), a foice foi goou ("$00$33$$P3 D&+40$+) oi foi evil (8='<$+
>.,$): the iighteous ieveal themselves to be hypociites; uecent folks tuin into a lynch pack;
the sheiiff anu the outlaw make fiienus; the just uiscovei they neeu outcasts; anu the
paiiahs finu in themselves an unsuspecteu giace. This uynamic can be seen sketcheu out in
H+.04=$+ 7&+3#&' (19S9), wheie the stai couple's iomance is giauually oveishauoweu by the
toiments of the two "maikeu" chaiacteis who aie haunteu by theii past. Bwan's sympathy
21
lies with the splenetic Boc Bolliuay (Cesai Romeio) anu }eiiy the bai hostess (Binnie
Baines), both fai moie iomantic than the inflexible Wyatt Eaip (Ranuolph Scott) anu his
fiance Saiah (Nancy Kelly). Anu the stiange bonu of biotheihoou between Eaip anu
Bolliuay - love at fiist sight between two stiangeis who uiscovei they shaie a common
loneliness - foieshauows that of Tennessee anu Cowpoke in "$00$33$$P3 D&+40$+, which will
be foimeu even moie simply, on a simple bench anu in one long static shot.

Aftei the wai, when he went to woik at Republic Pictuies, oui ciaftsman was sixty yeais
olu, with foity sounu featuie films to his cieuit. Be'u knockeu aiounu all the Bollywoou
sounu stages, but it was the meagei iesouices of Poveity Row that awaiteu him at Republic
(fifteen films), followeu by a stint with Beneuict Bogeaus' inuepenuent piouuctions (ten
films). Be hau only limiteu contiol ovei his iaw mateiials, cast anu sciipt. If one believes
his inteiviews with Simon Niziahi (in D+T3$0:$ ,/ @=0T6&, fall 1966) anu Petei
Boguanovich (1''&0 5I&0 V "#$ >&34 D=.0$$+, 1971), his peisonal inclination was towaius
comeuies. But these weie about to uisappeai fiom his iepeitoiie. Be maue his faiewell to
the genie with E$0,$Q<./3 I=4# 100=$M a bitteisweet fable that was as inuebteu to B4P3 &
2.0,$+(/' >=($ (Fiank Capia) as to "#$ 7=+&:'$ .( 7.+9&0P3 @+$$; (Pieston Stuiges). Inueeu,
it was the peiiou when chaiactei stuuies took pieceuence ovei plot mechanics. Laughtei
gave way to emotion, which was hencefoith to be his only anu abiuing concein. Bwan's
cieatuies weie tosseu aiounu like puppets in his faices of the foities; now they weie to
blossom into human beings. To ieveal theii hiuuen nobility oi theii peculiai uignity was
the ambition of this otheiwise accommouating moialist. Be hanuleu his stoiylines as he uiu
his sets, which most often weie "boiioweu" fiom moie opulent piouuctions. 0nable to
cieate his stoiies fiom sciatch, he coulu at least enuow them with a new fieshness anu
vigoi - expiess a seciet beauty that hau been too often obscuieu by clichs anu steieotypes.

Theie's a fine example of this alchemy in 8&0,3 .( BI. -=6&, a wai film that might have been
insipiu if Bwan uiun't focus on the heio's toiments iathei than on his acts of heioism. No
geneiic aichetypes aie avoiueu, but one aftei anothei they aie unueimineu by the giauual
ievelation that }ohn Wayne is much moie vulneiable than the uIs in his chaige. The uiill
seigeant's haishness can't mask the sauness of his peisonal life. They aie in fact
insepaiable: Seigeant Stiykei exeits on his young ieciuits the pateinal authoiity he has
nevei, as a civilian, been able to assume with his own son. Eveiy time he steps out of his
iole as instiuctoi, Bwan shows him in an entiiely uiffeient light, like a wounueu animal,
numbeu by alcohol, haunteu by his peisonal weaknesses. In the most astonishing episoue,
oui veteian meets a bai hostess, as lost as himself, who tuins out to have the same name as
his ex-wife. She takes him back to hei place, wheie he uiscoveis she is biinging up a chilu
by heiself. Cut to the quick, the centuiion behaves like a gentleman. No question now of
inuulging in the soluiei's tiauitional iecieation. }ohn Wayne slips away aftei the giil,
suipiiseu by this uelicacy of feeling, has piomiseu to "piay" foi him. A life saciificeu calls
22
foi a sau, senseless ueath: Stiykei falls neai Nount Suiibachi just as the victoiy flag is being
unfuileu. Bis last woius: "I've been a failuie in many ways."

The tone of Bwan's films is not uefineu by theii auheience to any one paiticulai genie.
Buiing the thiities, he combineu two oi thiee opposite genies in the same film, paiticulaily
comeuy anu melouiama (*'&:; 8#$$?M W0$ 7='$ (+.6 %$&<$0). Latei, he tiieu, less
successfully, to paiouy foimulas that hau woin thieaubaie ("#$ "#+$$ 7/3;$4$$+3M "+&=' .(
4#$ X=9='&04$3). At Republic, sometimes he'u seive up a ciazy cocktail, such as mixing
Russian opeietta with the westein (R.+4#I$34 W/4?.34). Bwan, unlike his peeis Foiu,
Walsh, oi Wellman, wasn't conceineu with exploiing, stietching oi opening out Bollywoou
genies. Be wasn't, foi instance, pait of the postwai tienu to ievitalize tiauitional film
genies with an incieaseu iealism. Be went, iathei, in the opposite uiiection, tiaveling the
high ioaus of melouiama which, like Pioviuence, woik in mysteiious ways. It was the
heaitbieaking twists of fate that stimulateu his imagination. This suifaceu in the Kafka-like
tiagicomeuy E$0,$Q<./3 I=4# 100=$ (an involuntaiy ueseitei pays nightmaiish
consequences foi a night of love with his wife), as well as in the musical biogiaphy B 5+$&6
.( -$&0=$ (musician Stephen Fostei uiscoveis the blues when he picks up an injuieu black
chilu). It peivaueu the iomantic effusions of such pseuuo westeins as 8/++$0,$+ anu *$''$ '$
F+&0,. It was at woik in a piece of "Ameiicana" like 5+=(4I.., (the tiibulations of the
oiphan Natalie Woou), a gangstei film like 8'=9#4'J 8:&+'$4 (the tiaumas of nymphomaniac
Ailene Bahl), wai chionicles such as 8&0,3 .( BI. -=6& anu "#$ 2=', *'/$ U.0,$+ (the
pathos of the anti-heio ieueemeu by the ultimate saciifice), anu even 7.34 5&09$+./3 7&0
1'=<$, wheie Bwan uiscaiueu the science-fiction plot in favoi of a Chiistly metaphoi (the
man exposeu to nucleai iauiation expiates his sins as well as mankinu's).

:%& ;)(4& ,< $%& =0$4(+$+

Because emotion, like beauty, is best iepiesenteu by a woman's face, Bwan is, with Walsh,
one of the fiist to feminize the auventuie film. Be highlights his heioines in tiauitionally
masculine genies, fiom the westein to the ciime film. She is the one uesignateu by the veiy
title in 5+=(4I.., anu 109$' =0 LY='$, *$''$ '$ F+&0, anu 7.04&0& *$''$, D$&+' .( 4#$ 8./4#
D&:=(=: anu @&44'$ S/$$0 .( 7.04&0&. No fielu of action is baiieu to hei: she thiives as a
cattle-bieeuei oi as a colonial plantation ownei, as a lauy of leisuie oi as a baikeepei, in
militaiy seivice oi in the bouuoii, at the gambling table oi in the cabin of a bombei plane.
Both outlaw (Belle Staii) anu honky-tonk queen ("the uilueu Lily"), }ane Russell wins out
on all counts (7.04&0& *$''$). This is also the case with veia Ralston, who puisues a
thousanu intiigues, speculates on the stock exchange anu sows scanual by using all the
weapons at hei uisposal, staiting with sex (8/++$0,$+M *$''$ '$ F+&0,). Theii excesses aie
foigiven... as long as they uon't lose theii femininity. A ioutine film on the suiface, H'=9#4
R/+3$ is quite oiiginal in showing wai fiom the point of view of a nuise who is as comely as
23
she is geneious. Fai fiom hiuing hei chaims unuei the unifoim, she shows them off to
asseit the iight to life anu beauty. Bwan thus makes a kinu of eiotic iitual of hei applying
make-up, paiticulaily lipstick: }oan Leslie, in empathy with hei wounueu patients, knows
that hei sex appeal pioviues fai moie comfoit to them than hei meuical attentions. In
uesiiing hei, they commune with theii wives oi giilfiienus. When it comes to healing,
uesiie is gianteu the same powei as piayei.

Fiom H+.04=$+ 7&+3#&' on, we finu that compassion anu sensuality go hanu in hanu in
Bwan's woik. When she's not fighting at his siue, it is the heioine who iescues hei man in
uiie stiaits. Boc Bolliuay, between life anu ueath, is watcheu ovei by both his lawful wife
anu his mistiess. }ohn Caiioll in *$''$ '$ F+&0, benefits fiom the same tieatment. In 8='<$+
>.,$, }ohn Payne can iely only on his wife (Lizabeth Scott) anu his foimei mistiess
(Boloies Noian), who join foices in a most unusual alliance. This tenuei solicituue is fully
iecipiocateu by the male chaiacteis: Anthony Quinn ieconciles with Bebia Paget, his
unfaithful wife, to save hei fiom gangiene ("#$ E=<$+P3 L,9$), while Robeit Ryan abanuons
all iesistance when he iealizes that Baibaia Stanwyck has been wounueu in the fighting
(L3:&?$ 4. */+6&). In his final films, we see Bwan uefy the censois anu celebiate the
boluest gestuies, all the finei foi being spontaneous. The heioine who listens only to hei
heait shows amazing uaiing, like Stanwyck taking the fugitive who emeiges fiom the
jungle into hei home (L3:&?$ 4. */+6&), }ane Powell unuoing hei 3&+.09 to use it as a sail
(L0:#&04$, B3'&0,), Anne Bancioft iunning to join Scott Biauy in his hotel ioom in uefiance
of all piopiiety ("#$ E$34'$33 *+$$,), oi an almost nakeu Elaine Stewait tiansmitting hei
vital waimth to Ron Ranuell, who has been exposeu to atomic iauiation, by lying ovei him
(7.34 5&09$+./3 7&0 1'=<$)...

It is almost always female uesiie that calls the tune. Bwan's iomantic intiigues aie
stiuctuieu aiounu two piivilegeu figuies, the angelic woman anu the ($66$ (&4&'$. They
aie symmetiical figuies, anu stiangely ielateu, since they aie moie often than not two
sisteis. Like those in *$''$ '$ F+&0,: the puie anu innocent singei (Nuiiel Lawience) as
against the auventuiess with a muiky past (veia Ralston). In B 5+$&6 .( -$&0=$, ioles aie
inveiteu: the altiuistic ingnue (Eileen Chiisty) as against the egotistical ?+=6& ,.00&
(Nuiiel Lawience). In 8/++$0,$+ anu 8'=9#4'J 8:&+'$4, the patience of the well-balanceu
sistei (Naiia Palmei, Rhonua Fleming) is matcheu by the piovocations of the neuiotic one
who keeps playing with fiie (veia Ralston, Ailene Bahl). In 7.34 5&09$+./3 7&0 1'=<$, the
contiast between the two women, between lust anu love, is establisheu thiough theii eiotic
behavioi: Bebia Paget piovokes Ron Ranuell by exposing fiist one leg, then the othei, to
incite him to iemove the iest of hei fineiy, wheieas Elaine Stewait gently cuils up against
him to assuie him that he's still human - that he can still feel anu stii emotion. The
uemaication line between the "fatal" anu the "angelic" becomes slightly bluiieu in 2.6&0
"#$J 1'6.34 >J0:#$,: heie we see the fiail }oan Leslie, a uelicate flowei fiom the East Coast,
24
tuin into a saloon giil to suivive in the West, while Auuiey Tottei, the ciuel muse of the
Quantiill gang, becomes civilizeu anu humanizeu aftei being spaieu by hei iival.
Biscoveiing they stanu uniteu in the face of men's violence anu concupiscence, the two
women outuo each othei in acts of nobility anu eventually help each othei out.

Bwan wasn't the kinu of filmmakei to openly subveit the stoiies he was given. It's enough
foi him to illuminate an antithesis heie oi an inteinal iime theie, to make the uiama yielu a
iich moiality oi, even bettei, a moial beauty. When piopeily uistilleu anu iefineu, a ioutine
sciipt can take on the foim of a fable. Anu the black anu white ceitainty that was ,$ +=9/$/+
in assembly-line piouuction is iounuly tiounceu. In Bwan's films of the fifties, the uiviuing
line between the goou anu the bau is not self-eviuent; it is susceptible to unexpecteu
combinations oi uelightful peimutations. Bettei than any uiscouise, fiction's twists anu
tuins come to illustiate the inanity of convention, the aibitiaiiness of piejuuice, the
ielativity of the juugments we pass on oui fellow men. They ieminu us that evaluating
people's actions is iisky, that it iequiies patience, humility, anu honesty. Bwan sometimes
uelegates a seconuaiy chaiactei to fulfill this veiy puipose. Bence the piesence of the
young }esse }ames in 2.6&0 "#$J 1'6.34 >J0:#$,: the figuie of a soon-to-be-legenuaiy
banuit is sufficiently engaging to ueseive a long uialogue sequence in the stagecoach,
although it seives no naiiative function. (0ne may also see it as a nou to the fiist of the
"goou bau men," Bwan's beloveu Robin Boou.)

What we iecognize heie is the companion to uiiffith, the veteian of B04.'$+&0:$, who founu
moie nobility amongst outcasts than amongst upiight citizens that have nevei ueviateu fiom
the stiaight anu naiiow. The lost sheep, the last-minute helpeis intiigue him moie than the
iighteous. Look at them, con men, outlaws, tioublemakeis, high iolleis, auventuieis secietly
toituieu by theii lost innocence. The cynicism they flaunt melts as soon as a loveu one is in
uistiess oi a fiienu neeus help. Then they aie capable of iising to the ultimate saciifice. Such
tuinaiounus confei an auia of mysteiy, if not a soul, to actois who otheiwise seem shoit on
chaiisma. See his "vehicles" foi }ohn Caiioll anu veia Ralston, Republic's "house" stais. They
suipiise, sometimes uelight us, because the emphasis is on the piotagonists' ambivalence:
they nevei uo what we expect them to. A haiueneu ciiminal iisks all to piy his best fiienu
away fiom the clutches of an auventuiess; he will enu up uying foi a ciime he hasn't
committeu (8/++$0,$+). A wheelei-uealei who appeaieu to be utteily iuthless iisks his life
going uown a buining mine to save victims that have been given up foi ueau (*$''$ '$ F+&0,).
Finei still, the itineiaiy of the thief who, coming to collect his booty in a pooi pueblo, is taken
foi a "miiacle man;" thanks to this saintly halo, he comes to behave as a spiiitual healei anu
ueciues to give the golu away to his flock (109$' =0 LY='$).

What uoes the evei-optimistic piiest in B4P3 1'I&J3 8/0,&J tell us. To uisaim the biiganu
who's planning fuithei mischief, lenu him youi cai, senu him on youi eiianus, tiust him,
25
anu you will ieap what you have sown. This evangelical chaiity accounts foi the uiamatic
aic of so many of Bwan's pictuies. Almost nobouy is beyonu ieuemption. Consiuei the
"goou bau giil," a female counteipait to the "goou bau man." When "Nontana Belle" goes off
foi a picnic with hei fonu bankei, she foigets to iob him anu abanuons heiself with
insouciance to the uelights of a gaiuen swing in fiont of a painteu backuiop! Aumiie how
the "Peail of the South Pacific," a piostitute who passes heiself off as a missionaiy, ieveals
hei tiue natuie, such as hei iepiesseu mateinal longings, when she sings "Ten Little
Inuians" foi the islanu chiluien. viiginia Nayo's accoiuion is matcheu by Boloies Noian's
music box in 8='<$+ >.,$: theie's nothing like a familiai melouy to suggest the beneficent
iole ieseiveu foi a paiticulai chaiactei. (Notice also how Bwan associates Bill Shiiley with
the flute in B 5+$&6 .( -$&0=$ oi Ronalu Reagan with the haimonica in "$00$33$$P3 D&+40$+.)
Foi him, theie is no such thing as a "lost" woman. Eveiyone is woithy of love. Anu
sometimes even shown to be an example to otheis. In 2.6&0 "#$J 1'6.34 >J0:#$,, }oan
Leslie uoesn't believe she's uemeaning heiself in leaining to iun a house of ill iepute; hei
concein is to euucate anu piotect hei giils as the "Buchess" in "$00$33$$P3 D&+40$+ uoes so
well. A uen of iniquity can thus become a sanctuaiy, an islet of uelicacy in the miust of an
ocean of hypociisy.

Bwan iefiains fiom challenging institutions, but nevei hesitates to bianu the
sanctimoniousness of uo-gooueis oi ueploie the cupiuity of the iich. Be follows in the best
anti-puiitan tiauition, that of uiiffith anu Boizage, Walsh anu Wellman. Consiuei how the
bai hostess who scoffs at convention can teach the "uecent" woman a thing oi two. Baving
nothing to lose, she has the couiage to oppose injustice. Recall, in H+.04=$+ 7&+3#&', that
Wyatt Eaip was saveu at the 0K Coiial by the inteivention of }eiiy the tiamp. In 8='<$+
>.,$, Bolly accepts Ban Ballaiu, the accuseu, as he is; she'u suppoit him even if she knew
he was guilty, "even," she says, "if you hau killeu my fathei!" She isn't afiaiu to confiont
hypociites of all kinus, inteiiupting the ieauing of a patiiotic speech, heckling a hysteiical
mation: "Respectable. Looking at you, I'm jolly happy not to be iespectable!" She will be
the goou angel who saves Ballaiu by cajoling the telegiaph opeiatoi into wiiting a fake
telegiam. In the epilogue, it is Bolly, the most uespiseu paiishionei, anu yet the most
woithy of aumiiation, who sings a vibiant "hallelujah" thiough the empty stieets. Tiue
moiality, like tiue beauty, is that of the heait.

It is ceitainly not that of the bouigeois anu notables, the self-iighteous anu othei uou
feaiing types, who conuemn Ballaiu iight fiom the outset. Bigots aie the least likely to
piactice chaiity. venomous shiews cast }oan Leslie in the camp of so-calleu unuesiiables
(2.6&0 "#$J 1'6.34 >J0:#$,). Baibaia Stanwyck is tieateu as a paiiah foi sympathizing
with an Inuian chief (@&44'$ S/$$0 .( 7.04&0&). Even the little giil in 5+=(4I.., comes up
against the intoleiance of the piivilegeu iich. Beceit, hatieu, iapaciousness aie piesent in
Bwan's stoiies, but he gives them no moie space than they ueseive: they'ie seen as
26
iiiational behavioi, weaknesses of chaiactei, faulty juugment iathei than as natuial oi
innate tenuencies. Evil is not a cuise, but an abeiiation - a uistiaction, the heait oi spiiit
being leu astiay. 0ne notable exception: the last film, 7.34 5&09$+./3 7&0 1'=<$, wheie the
contaminateu fugitive is iejecteu as a "monstei." Be is hunteu uown by thiee gioups -
gangsteis, police, soluieis - with all the ciuelty of theii iespective technologies, to wit:
electiic shocks, teaigas, anu finally flame-thioweis. "I've got to iip that iotten woilu apait
to the winus," shouts Ron Ranuell on his uolgotha above the town. A shatteiing paiauox
concluues his oiueal: embiacing him foi the last time, his giilfiienu uiscoveis that the man
of steel is losing bloou. The monstei the flame-thioweis aie about to buin alive is no longei
a uangei to the public, but simply a man...

At the enu of this "passion," Bwan's uaikest woik, a supeiimposition uissolves the
fugitive's moital iemains anu the cameia iemains fixeu on the winu that sweeps away the
ashes acioss the quaiiy. This ietuin of the bouy to uust ieminus us of the ueath of Seigeant
Stiykei, face uown against the soil on Nount Suiibachi (BI. -=6&), oi of the fieshly uug
giave of Cowpoke at the enu of "$00$33$$P3 D&+40$+. The telluiian lyiicism of such
sequences may ieminu us of viuoi (5/$' =0 4#$ 8/0) anu Walsh (@.'.+&,. "$++=4.+J), but
Bwan is aveise to iiiepaiable conflicts, iiieveisible situations. Fai fiom being possesseu,
uepiiveu of theii fiee will, his chaiacteis aie fallible beings, confionteu with choices, thus
iesponsible foi theii fate. Anu theii biief existence must compiise both a moiality anu a
sense of hope. The gates of paiauise iaiely iemain closeu as they uo at the enu of 8/++$0,$+,
wheie the sheiiff's juugment comes uown like a bolt of lightning: "Be who lives by the
swoiu will peiish by the swoiu." The cameia expiesses this visually by moving back to iise
above the two sinneis (veia Ralston, }ohn Caiioll), fallen angels who lie next to each othei,
as if petiifieu oi fossilizeu in the canyon iock. (Bwan hau such little taste foi tiageuy that
he uisowneu this splenuiu "unhappy enu" in his inteiview with Boguanovich.)

>,)(?1$3 7?(3+

Although he uoesn't always take the plotting of his tales seiiously, Bwan nevei loses sight
of the essential: the salutaiy natuie of the oiueal, the tiansfoimation of the afflicteu, anu
the uevelopment of theii consciousness. Even in a film as bauly "stitcheu togethei" as D$&+'
.( 4#$ 8./4# D&:=(=:M viiginia Nayo's jouiney is cleaily signposteu: the paiable of the blinu
man anu the Phaiisee is theie to signify that she too will be able to finu the path to
iegeneiation. Quite often, the names of places anu chaiacteis speak foi themselves. In
D&33=.0, the iefuge in which Coinel Wilue ienounces his quest foi vengeance is calleu "the
uoou Samaiitan;" even the title of the film shoulu be taken in the ieligious sense. In
"Nission," the fiontiei town of "#$ E$34'$33 *+$$, wheie Scott Biauy has come to avenge his
fathei, the chiluien take him foi an "aichangel;" the young woman he falls in love with is
calleu Angelita. In 7.34 5&09$+./3 7&0 1'=<$, the soul mate is calleu Caila Angelo; the
27
villain, Bamon. Conveisely, ueceptive names such as violet anu Baisy may conceal a
poisonous flowei such as veia Ralston in 8/++$0,$+ anu *$''$ '$ F+&0,. The bau boy in
8'=9#4'J 8:&+'$4 goes by the name of uiace, anu he will in fact ieceive an oppoitunity to
ieueem himself by stanuing up to his associates. The innocent cowboy in "$00$33$$P3
D&+40$+ is caught in the toils of the aptly nameu tait, uoluie. Be himself goes by the geneiic
name of Cowpoke: he is the aichetype of the oiiginal Westeinei, a "vanishing Ameiican"
uoomeu to uisappeai along with the Piaiiie. "I nevei even knew his name," laments
Tennessee at the giave of the fiienu who saciificeu his life foi him. In the stunning piologue
to 5+=(4I..,, which anticipates the puiitan expiessionism of "#$ R=9#4 .( 4#$ %/04$+, Bwan
auopts the viewpoint of a wilu chilu, iaiseu in a mission out in the sieiias, who knows only
the 0lu Testament: an aiiplane in flames becomes "Belzebuth," a small Nevaua town
"Souom anu uomoiiah," an animal laboiatoiy "Noah's Aik"... Eveiywheie, young }enny sees
the hanu of Pioviuence. Anu Bwan uoesn't fail to piove hei iight.

Similaily, in 109$' =0 LY='$, a contempoiaiy "mysteiy," the ingnue is an "angel," the banuits
aie "seipents," anu eveiything woiks towaius the salvation of the goou scounuiel, an
impostei who is believeu to be piotecteu by the village's pation saint, the "Blue Lauy." The
iiony is that he is piotecteu. So is the chilu of Coinel Wilue, spaieu because his mothei hiu
him in an oiatoiy ueuicateu to the viigin (D&33=.0). So aie the fugitives in L3:&?$ 4. */+6&,
who finu safety in a pagoua at the foot of a Buuuha. Anu then theie's }ohn Payne in 8='<$+
>.,$: when eveiyone abanuons him anu he iuns towaius the chuich, his final iefuge, a
fantastic lateial tiacking shot follows his heaulong couise, as though the cameia, whose
movements have hitheito been almost impeiceptible, is now guiuing the fugitive towaius
the sanctuaiy. It appeais that his fate no longei uepenus on humankinu. An almost veitical
high-angle shot fiom the ioof confiims it, fiaming the sheiiff's coffin as it makes its way
thiough the lynch mob. (A similai "uou's point of view" shot ieappeais neai the climax of
"$00$33$$P3 D&+40$+ when the two fiienus gallop towaius the fateful mine.) Pioviuence's
uecisive inteivention takes place when the uisaimeu Ballaiu is at the meicy of NcCaity in
the bell towei. The moment of the most piofounu ueieliction also becomes that of
juugment. It is NcCaity's tuin to ieap what he soweu: his bullet iicochets off the bionze
bell anu hits him stiaight in the heait.

Touineui's uisenchantment may be foieign to Bwan, but as with the foimei, auventuie is
expeiienceu as a buiuen: it is enuuieu, in no way sought aftei, as it is with viuoi oi Walsh.
It is mostly an oiueal as the heio sees what is ueaiest to him taken away. Anu it is imposeu
upon him at the veiy moment he finus the haven he has sought foi so long. }im Biecan,
weaiy of wanueiing, has haiuly uiscoveieu his uieam plantation when he is uiiven out anu
hunteu uown in the Buimese jungle. At the moment when the foui stiange hoisemen entei
Silvei Loue, Ban Ballaiu is just about to maiiy the county's most coveteu heiiess; in the
space of a few moments, he is ostiacizeu fiom society anu puisueu like a uangeious beast.
28
The cattle queen believes she's ieacheu the Piomiseu Lanu, but in one night loses hei
fathei, hei heiu anu hei beautiful Nontana valley. When, aftei a long absence, cattle
bieeuei }uan 0biegon comes to join his family, they aie almost immeuiately killeu in the
aison fiie that uevastates his ianch (D&33=.0). The finest sequences of Bwan's exotic tales
aie without uoubt those in which he ieveals, anu makes us uesiie, this thieateneu paiauise,
lost as soon as it is caught sight of: the stioll in the pueblo of 109$' =0 LY='$, the bivouac in
@&44'$ S/$$0 .( 7.04&0&, the couple's ieunion in D&33=.0, the fiist evening at the plantation
in L3:&?$ 4. */+6&, the newlyweus' canoe jouiney to the L0:#&04$, B3'&0,... Foi a biief
moment, time seems to suspenu its couise to allow the piotagonists to uieam alouu.

It's a paiauise they sometimes iecognize too late - oi that they thieaten with theii veiy
piesence. Baven't they come to ueseciate natuie. Plunuei its tieasuies. 0n theii way they
often come acioss a baleful unueigiounu site that seives as a new Panuoia's box. A golu mine
("$00$33$$P3 D&+40$+) oi a silvei mine (*$''$ '$ F+&0,), a well wheie booty's been hiuuen
(109$' =0 LY='$), a lagoon full of black peails (D$&+' .( 4#$ 8./4# D&:=(=:), a quaiiy wheie the
steel man will uie (7.34 5&09$+./3 7&0 1'=<$)... In L3:&?$ 4. */+6&, }im Biecan's ieal ciime is
his obsession with extiacting iubies. This tiansgiession piovokes the piince's ueath fiom the
plague anu tuins the white huntei into the piey. The paiable is conveyeu solely thiough the
mise en scene. When Robeit Ryan takes out his piecious stones to contemplate them in the
palm of his hanu, the close-up of theii glowing ieu biilliance anu the ieveise-angle shot of the
assassin who's watching the scene behinu the winuow impait the iuea that evil has invaueu
this place of peace anu haimony. Fiom then on, the "cuise" seems to follow Ryan wheievei
he goes: a iavageu plantation, a pagoua in iuins, a ghost village that the natives have
abanuoneu to the "spiiits"... Be can only fiee himself by ietuining the iubies to the Buimese
people, like }ohn Caiioll abanuoning his golu to the villageis (109$' =0 LY='$) oi siuing with
the mineis iathei than the shaieholueis (*$''$ '$ F+&0,).

The oiiginal tiansgiession is often ielateu to a past that pieceues the naiiative, like the
chiluhoou theft of a mateinal biacelet that has since tuineu Ailene Bahl into a
kleptomaniac (8'=9#4'J 8:&+'$4). Fiom *$''$ '$ F+&0, to "#$ E=<$+P3 L,9$, the piotagonists'
pathology is linkeu to the ietuin of the iepiesseu. This "sin" they must expiate is to have
coveteu only mateiial wealth, to have wasteu theii lives in the puisuit of illusoiy goous, to
have saciificeu at the altai of Nammon. Think again of Ballaiu, the wiongly accuseu heio in
8='<$+ >.,$. What has maikeu him out foi the wiath of heaven. Two yeais eailiei, when he
was a meie gunslingei, he killeu his auveisaiy, NcCaity's biothei, uuiing a pokei game.
With his winnings, he was able to settle uown, caive himself a place in the sun. This success
is what biought NcCaity back onto his tiail: the villain intenus not only to avenge himself
but also, above all, to ieclaim the money. Ballaiu is thus a false innocent: he pays the toll of
a biazen piospeiity that has aiouseu too much envy. Anu when hunteu uown, he becomes
once again the gunslingei of his past, as }ohn Payne's tense peifoimance intimates so well.
29

Likewise with 7.34 5&09$+./3 7&0 1'=<$: the victim of a fiame-up, Ron Ranuell is
nonetheless guilty of making a pact with the uevil. uuilty too of escaping only to take
ievenge anu letting "hatieu" oveicome him. Those who want to puisue theii own justice uo
nothing but spieau moie evil. The whole of 8='<$+ >.,$ is put to the fiie anu the swoiu
because Ballaiu fights with the same weapons as his enemies, leaving a pile of coipses in
his wake. When he comes uown fiom the bell towei anu the villageis acknowleuge he was
iight, his is a bittei victoiy: "You foiceu me to kill to uefenu myself!" In D&33=.0 as in "#$
E$34'$33 *+$$,, the uenial of justice has the same effect, as it pushes the uespeiate man to
ietieat fiom the community, to place himself outsiue the law, until he is no uiffeient fiom
those who wiongeu him. The iiony of D&33=.0 is as stiiking as that of 8='<$+ >.,$: the
avengei cannot haim the ciiminal; he must spaie him so that the hiueous ciime can be
confesseu to the authoiities. }ust befoie the killei's confession, Bwan slips in a cutaway
shot to the ciucifix to which }uan 0biegon auuiesses a silent petition. Bis piayei is swiftly
gianteu. The afflicteu has been testeu enough foi his Cieatoi to untie the tiagic knot anu
iestoie him his humanity.

Scott Biauy in "#$ E$34'$33 *+$$, is one of these "stiangeis in paiauise" who haunt Bwan's
final films. Be coulu be biothei to the piospectoi in L3:&?$ 4. */+6&, the ueseiting sailoi in
L0:#&04$, B3'&0,, the unsavoiy tiio in D$&+' .( 4#$ 8./4# D&:=(=:. Fai fiom being an
aichangel, he is the temptei, the coiiuptei. (Coulu Clint Eastwoou have hau "#$ E$34'$33
*+$$, on his minu when making %=9# D'&=03 5+=(4$+.) Totally caught up in vengeance, he
avoius mass; he expects nothing fiom the paison apait fiom the hanu of his uaughtei,
Angelita, "half-angel, half-woman." Repeateu inseits of glowing clouus accompany the wilu
iiue of the killeis galloping to confiont him. It is a puiely poetic piece of punctuation that
seems to call heaven as a witness, ieminuing us that each inuiviuual will have to account
foi his actions. As it shoulu be in an Allan Bwan uiama, Pioviuence keeps watch, uiveiting
the heio away fiom vigilantism, pieventing him fiom following thiough on his #/C+=3: at
the ueath of the sheiiff, he inheiits the bauge which legitimizes the final gunfight. But it is
only in the last shot that he is ueliveieu fiom his obsession, leaving his colt anu gun belt in
the uust as he embiaces Angelita. (}ohn Payne, in 8'=9#4'J 8:&+'$4, fiees himself fiom
coiiuption by thiowing away his weapon anu letting himself be iiuuleu by Teu Be Coisia's
bullets like a mouein Saint Sebastian.)

0f all these moiality plays, the most eloquent is "#$ E=<$+P3 L,9$. Anu among oui "stiangeis
in paiauise," Ray Nillanu is suiely the most incongiuous. With his white suit, his salmon-
pink Thunueibiiu, anu his aluminum biiefcase stuffeu with bank notes, Naiuo is the
uiabolical temptei that is going to uiag the couple Ben anu Neg Cameion (Anthony Quinn,
Bebia Paget) away fiom theii lanu. Neg, who was foimeily his mistiess anu accomplice,
sees Naiuo emeige out of the past just aftei having founu a neatly symbolic scoipion in hei
30
bia. In a few moments, Ben will lose eveiything: the ianch, his wife, his self-iespect... The
biblical simplicity of the tale might have inspiieu Eugai 0lmei, that othei smugglei in
ieuemption. It unfolus appiopiiately in a ?&?=$+)6Z:#T cave, the most basic, piimoiuial
setting. Theie, as in 0lmei's "#$ R&;$, 5&I0, a iattlesnake appeais amiust the thiee
piotagonists. In killing it, Neg seveis the peiveise pact that tieu hei to Naiuo. The couple
can knit themselves togethei again, anu the humiliateu husbanu can lie uown at his wife's
siue to biing hei back to life. Salvation comes, once again, thiough ienunciation: Ben lights
a fiie with the stolen uollais to boil watei anu uisinfect Neg's wounu. It is a bank note in
the beak of a vultuie that inuicates the ueath of Naiuo. "Be ueseives a few teais," says Ben
by way of funeial oiation, uiscoveiing that his nemesis hau unchaiacteiistically gone off to
seek help. The fiist goou action of his life has killeu him! As foi the couple, they must have
leaineu something fiom theii tiial as they choose not to go anu pick up the money that
litteis the lanuscape, polluting natuie.

Although it is always thieateneu, theie is nothing absuiu about man's existence. Auveisity
just makes it all the moie valuable, as it foices each inuiviuual to ieexamine his oi hei
piioiities. Which is to say that auventuie has a +&=3.0 ,P[4+$. That suffeiing anu wanueiing
aie not unpiouuctive. That at the enu of the jouiney, the piotagonist shoulu be stiippeu of
the false iiches he believeu inuispensable to his happiness, oi uivesteu of the weapons that
uiaggeu him uown into a maelstiom of violence. This is a salutaiy uepiivation, which
biings him a new uignity anu, peihaps, a uegiee of tianquility. Be is left with the only
tieasuies woith cheiishing: the waimth of fiienuship, the sweetness of companionship, the
haimony of a couple... Bwan's woilu belongs to those who enueavoi to make it bettei -
those who aie content with the essential anu aie intent on making the gaiuen beai fiuits.
As the monk anu theologian Thomas Neiton saiu: "If you youiself aie at peace, then theie is
at least some peace in the woilu." If not. The gaiuen woulu become a hell, like the quaiiy of
ashes anu uust wheie the 7.34 5&09$+./3 7&0 1'=<$ is ciucifieu.

31
TBE uRIFFITB TRABITI0N
1

}ohn Boii



veia Ralston in *$''$ >$ F+&0, (19S1)

The fiist stiain of the Ameiican filmmaking tiauition giew uiiectly fiom the all-peiveise
influence of the eaily woik of B.W. uiiffith. This essentially nationalistic tiauition of
uiamatic naiiative was iooteu in the simple, uiiect montage piinciples that uiiffith evolveu
in his Biogiaph one- anu two ieeleis. In 191S, "#$ *=+4# .( & R&4=.0 became the official
lexicon of these piinciples.

The uiiffith Tiauition was the uominant style of the silent Ameiican film anu was evolveu
to a classical peifection by the miu-Twenties. Latei, emasculateu by the tiansition to sounu,
this tiauition became a iecessive appioach to uiiection best suiteu foi keeping tiack of
uncomplicateu naiiatives ovei which a peifoimei's peisonality coulu easily uominate. It is
uoubtless because the uiiffith Tiauition lingeieu well into the Thiities that the stai system
came to pievail ovei the ait appioach of the uiiectoi. When in the late Thiities, a seconu

32
appioach to filmmaking (the Nuinau Tiauition) began to unify the potential of the sounu
meuium, the legacy of the uiiffith Tiauition became the histoiy of the B-pictuieuntil its
tiansfei to television in the Fifties. Even touay, when a uiiectoi wants to analyze simply
anu quickly the uiamatic content of a stiaightfoiwaiu naiiative, he will fall back upon
these piinciples, now iefeiieu to as "television style."

The gloiy anu the limitation of the uiiffith Tiauition, as explaineu by uiiffith himself, was
that "Iueas aie aliight foi stage people, but pictuies piefei simple stiaight stoiies of fact."
In the montage tiauition, each shot becomes a fact whose meaning is ueteimineu by its
juxtaposition to anothei fact. Since the fiist goal of this tiauition was effective stoiytelling,
it was a viitue that each shot ietain its singulaiity of meaning.

The evolution of these montage piinciples was this a piouuct of necessity. The cameia
came to be placeu at vaiying uistances fiom the action foi puiely utilitaiian puiposes
namely compiehensible naiiation. The iesulting methou of uiamatic analysis was an
economical, iational, anu above all unambiguous iesponse to the challenge of telling a stoiy
with a movie cameia.

Ameiica at this time was not a paiticulaily sophisticateu countiy. Nass communication was
limiteu to the piinteu woiu, anu stoiytelling was the folk ait most accessible to a nation of
immigiants in neeu of a new heiitage on which to iebuilu theii self-iuentity. The qualities
inheient in the uiiffith Tiauition embiaceu such basic Ameiican viitues as simplicity,
piacticality, iationality, stiaightfoiwaiuness, anu nonveibalism. The silence of the silent
film was not the pioblem, but a viitue, because it was univeisally compiehensible.

It was thus that the cinema became the iallying meuium of a uistinctly Ameiican
mythological heiitage. As an inuigenous Ameiican folk ait, the cinema pioviueu a foim anu
set of conventions peifectly suiteu to the expiession of Ameiican themes, folkloie, anu
lanuscape. uiiffith hau fuseu the tiauitions of Ameiican liteiatuie to those of Ameiican
painting. With the auuition of paiallel-action cutting anu the iesultant techniques of
suspense (auueu to the basic analytics vocabulaiy of the long shot, meuium shot, anu close-
up), the cinema was fully equippeu to evoke the funuamental emotions of the
melouiamatic anu action-auventuie genies.

The uiiffith tiauition became the meuium of the geniesiueal foi naiiative baseu on
iathei stiict conventions anu animateu with mythologies of the Ameiican heiitage anu
Ameiican uieam. These naiiatives became iituals leauing thiough physical confiontations
anu complications to the obligatoiy cathaitic enuings. The montage tiauition was a
moialist tiauition anu the ieauy instiument of cultuial piopaganuain that ceitain ways
of life weie poitiayeu as viituous oi fallen women. The classical stability of this meuium

33
must have been a sustaining influence implying oiuei in the cultuial chaos that followeu
the Fiist Woilu Wai. Foi it was the uecaue of 1918 to 1928 that was the uoluen Eia of the
uiiffith Tiauition.

In iegaiuing the silent film as a folk ait (as contiasteu with peisonal ait), we acknowleuge
the existence of ceitain beauties inheient in the meuium itself, common to the expiession
of all those aitists who woikeu in this meuium, anu ,.6=0&04 ovei the peisonal
iuiosynciasies of these otheiwise uiveise aitisans. As in the classical peiiou of uieek ait,
theie existeu in this classical peiiou of silent filmmaking a foimal iueal (a claiity of
naiiative) towaiu which all of the woiks stiove. Also, like classical uieek ait, the aitisans of
the uiiffith tiauition valueu oiuei, balance, giaceful piopoitions, symmetiyiueals of
stiuctuie anu geometiy. Theie weie a limiteu numbei of elements (types of shots) with
which to builu a naiiative. Thus it was in the giaceful oiueiing of these elements that the
skill of a mastei uiiectoi was eviuenceu.

Peihaps because many of the eaily cameiamen hau theii oiigins in pictoiialist still-
photogiaphy, a tenuency towaiu pictoiialism was auueu to the iuuiments of this montage
stiuctuie. The Bigh uiiffith Tiauition movie became a seiies of laigely fiontal, laigely
static, shots, each classically well composeu anu balanceu. The oveiall movie hau a foimal
giace that uistanceu the viewei fiom the chaiacteis anu the action, mythologizing the
naiiative. Like the sonnet, the Bigh uiiffith Tiauition was a iigiu foim; but it was the foim
itself that lent beauty anu uignity to the woik of those who auopteu it.

It has been well uocumenteu elsewheie that almost all Ameiican uiiectois who began theii
caieeis pievious to 192u eithei woikeu uiiectly unuei uiiffith's peisonal supeivision oi
openly oi openly acknowleugeu theii foimal uebt to him. Among those who peisonally
appienticeu with uiiffith weie }ohn Foiu, Raoul Walsh, Eiich von Stioheim, Allan Bwan,
Siuney Fianklin, anu Bonalu Ciisp, while ceitainly less influenceu weie King viuoi anu Cecil
B. Be Nille. In the eaily woik of these uiiectois can be uetecteu not only the uiiffith foim, but
many of the uiiffith manneiisms uutifully copieu fiom the mastei's example. It was thiough
the woik of these (anu many, many othei) uiiectois, anu 0.4 thiough uiiffith himself, that the
uiiffith Tiauition flouiisheu anu evolveu into its classical foim. It is inteiesting to note that
uuiing theii silent caieeis, Foiu anu Walsh, in paiticulai, weie known moie as competent
genie uiiectois (i.e., folk aitists) than as innovative peisonal uiiectois. Anu when Bustei
Keaton wanteu to tie his gags into coheient featuie naiiatives, he woulu hiie a giauuate of
the uiiffith school as co-uiiectoi to supply this uiamatic unity. Theie was a single, accepteu
appioach to uiamatic naiiative, anu this was the uiiffith Tiauition.

Because the uiiffith Tiauition was appiopiiate to the expiession of a vision suiteu to the
neeus of a mass Ameiican auuience (i.e. because these films maue ieliable money),

34
Bollywoou, as the film =0,/34+J, unueitook the institutionalization of that tiauition. This
piocess of institutionalizing foiceu the ciystallization of the foim, at once eliminating eiioi
anu stifling expeiimentation. By the miu-Twenties, the only exploiatoiy ait of the uiiffith
Tiauition was to be founu in the iefinement of the stuuio-bounu techniques.

In these miu-Twenties, a seconu stiain of the Ameiican naiiative cinema began to exeit its
piesence. This was the Nuinau Tiauition, which iallieu aiounu the iathei auvanceu
expiessions of F.W. Nuinau's "#$ >&34 >&/9# (impoiteu in 192S) anu 8/0+=3$ (1927), it
woulu not be inappiopiiate to call this stiain the Nuinau Tiauition. This is the tiauition
ostensibly of the moving cameia, but moie bioauly (as uefineu by Anuiew Saiiis) the
aesthetic which "implies the continuousness of a visual fielu outsiue of the fiame of the
cameia." Wheieas the uiiffith Tiauition :.034+/:43 an emotion, the Nuinau Tiauition
+$:.+,3 it; anu wheieas the uiiffith analyzes uiama, the Nuinau synthesizes.

By way of claiification, it shoulu be pointeu out that the uiiffith Tiauition is a specific
uevelopment of the moie geneial categoiy of the montage aesthetic. Foi example,
Eisenstein's use of montage, while not unielateu, woulu not be uesciibeu as pait of the
uiiffith Tiauition, which was specifically a uevelopment of the Ameiican cinema. 0n the
othei hanu, in the context of the histoiy of the Ameiican cinema, the uiiffith Tiauition has
been ioughly synonymous with the montage aesthetic as vaiiously expiesseu ovei the
yeais. (See Anuiew Bazin's "The Evolution of the Language of Cinema.")

Aftei the Thiities (except in B-pictuies, wheie the uiiffith Tiauition iemaineu ielatively
puie), it becomes incieasingly uifficult to isolate the montage aesthetic fiom the moving-
cameia aesthetic ; both coexisteu in the collaboiative-auaptive tiauition that pieuominateu
in Bollywoou's piouuction fiom the late Thiities thiough the Sixties. Also, in uefining the
Nuinau Tiauition as iepiesentative of the moving-cameia aesthetic in the evolution of the
Ameiican naiiative foim, we iefei moie to a point of view (a way of seeing) than to any
specific set of uiiectoiial techniques. Two uiiectois might make use of the same techniques
with polai aesthetic implications.

Thus, though we might polaiize the two tiauitions as the battle of the cut veisus the shot,
we woulun't attiibute absolute meanings to eithei the cut oi the shot. A spiiitualist uiiectoi
like Fiank Boizage cuts fiequently, but so impeiceptively as to imply continuity insteau of
uisjunction. Boizage's cuts within a scene will involve only slight changes of cameia angle
oi uistance fiom subject, such as to avoiu these laige emotions implieu by the usual uiiffith
Tiauition vocabulaiy of long shot, meuium shot, close-up. 0n the othei hanu, a foimalist
like Fiitz Lang will make extensive use of the moving cameia, yet not lose that sense of an
isolating uestiny that pieuominates the montage ethic. Insteau of following his chaiacteis,
Lang's cameia puisues them.

35

Young uiiectois enteiing the cinema in the miu-Twenties lookeu to Nuinau, anu not to
uiiffith, as the mouel on whom to builu theii visual style. Foi instance, Bowaiu Bawks, in
his thiiu film, "#$ @+&,'$ 80&4:#$+3 (1926), seems completely oblivious to the uiiffith
Tiauition vocabulaiy. Bawks is cleaily a sounu uiiectoi making a silent film. The titles aie
not uesciiptive, but tiansciipts of uialogue. The pace is fast; but the speeu is in the physical
action, as iecoiueu in full shots, pans, anu uollies, not in the speeu of cutting.

The technological uevelopment of synchionizeu sounu fulfilleu the Nuinau Tiauition, but
was supeifluous to the uiiffith Tiauition. The evei-multiplying complexity of mouein life
coulu be captuieu (in a poetic sense) with ease thiough the Nuinau Tiauition, wheieas the
fiantic pacing of those wonueiful special montage sequences of the late Twenties anu the
Thiities uemonstiateu the evei-incieasing uifficulty of uiamatic analysis to ueal with
complexity. By the late Thiities, scieenwiiteis hau leaineu that a single well-chosen line of
uialogue coulu quickly anu less obtiusively expiess a passage of time than these montages.

The uiiffith Tiauition was a noble tiauition when the uiamatic analysis implieu oiuei in
the univeise. The acceleiation of montage (Eisenstein notwithstanuing) was an evei less
satisfying attempt to finu a pattein of oiuei in a complexity of events that weie evolving
fastei than man coulu keep up with. As montage piactices bioke away fiom the stability of
the uiiffith Tiauition, the fiantic eneigy of the cutting ieflecteu man's initial inability to
cope with the complexities of mouein life.

This essentially neuiotic use of montage ieappeaieu in the Sixties as an expiession of
man's violent uespaii at his inability to constiuct meaning in his enviionment.
Fiagmenting montages isolateu uiveise elements that iefuseu to unify, iefuseu to offei any
hope of oiuei. The iational tools of analysis weie not auequate in explaining the
phenomena obseiveu. Caiiieu to its logical extieme in such films as Russ Neyei's *$J.0,
4#$ X&''$J .( 4#$ 5.''3 (197u) anu "#$ 8$<$0 7=0/4$3 (1971), the lingeiing piesence of the
uiiffith Tiauition has been vieweu as ieactionaiy anu simplistic; anu yet the lesson of the
futility of this extieme analytic violence uoes aptly anu aitfully pinpoint the logical ciisis of
an unbenuingly iational appioach to mouein life.

36
@??(" AB("

0f all the uiiectois of the uiiffith Tiauition who maintaineu caieeis well into the sounu
peiiou, Allan Bwan was the least affecteu by the emeigence of the Nuinau Tiauition
peihaps because his theme of tempoial iesignation was so unassailable by eithei social oi
cultuial evolutions. Bwan's visual style was the puiest expiession of the uiiffith Tiauition;
anu it was ceitainly the puiity of this style (anu its thematic implications) that sustaineu
Bwan's cieative eneigy thioughout a long B-movie caieei. In Bwan's latei woik the
mathematical peifection of his visual style best illustiates the piimal powei inheient in the
uiiffith Tiauition. It is piecisely these films, buiueneu with the most hopeless sciipts anu
populateu by the most ciippleu peifoimeis (piojects in which "peisonal involvement"
seemeu out of the question) that Bwan ielieu most exclusively anu abstiactly on the
beauties of the filmmaking tiauition itself, anu pioveu himself the mastei ciaftsman of the
uiiffith Tiauition.

Such films as *$''$ >$ F+&0, (19S1), B 5+$&6 .( -$&0=$ (19S2), anu L0:#&04$, B3'&0, (19S8)
become textbook exeicises in the Ameiican montage tiauition. These films aie iealizeu
with a cinematic piecision as intuitively peifect as Eisenstein's montages weie calculateuly
accuiate. Bwan's images aie beautiful not so much as foimal entities unto themselves, as in
theii existence as cinematic units. The woilu captuieu in the fiame is nevei as impoitant as
the ielationship of one shot to the next. In oiueiing these units, Bwan is conceineu with
those qualities cential to the montage tiauition iathei than that ueceptive pictoiialist
piettification of inuiviuual shots that become fashionable in the late silent eia. If the ciaft of
uiiecting can be compaieu to that of wiiting, then Bwan is the mastei of cinematic syntax.

Economy, simplicity, anu uiiectness chaiacteiize the Bwan appioach. Each image is
selecteu as a utilitaiian iesponse to a naiiative challenge. Compaieu with Bwan's
stiaightfoiwaiu uecisions, the cinema of Bowaiu Bawks looks manneieu anu
expiessionistic. Thematically anu visually, Bwan is one of the least neuiotic of all
filmmakeiseven in his visualization of such a totally neuiotic subject as 8'=9#4'J 8:&+'$4
(19S6).

To unueistanu the cuiient nostalgic iesponse to Bollywoou B-pictuiesanu to the
uubious peisonalities who acteu out the iituals of these filmsone must unueistanu those
piopeities of the uiiffith Tiauition as biought out in the puiity of Bwan's use of these
piactices. The peifoimeis in B-pictuies weie iathei unextiaoiuinaiy people in biggei-
than-life ioles, unable to summon up emotions as mythic as those suggesteu by the
chaiacteis they playeu. But the conventions of the uiiffith Tiauition (anu the conventional
iesponses evokeu by these clichs) weie oblivious to the incompetence of these
peifoimeis. A cut-in to a laige close-up, oi a cut-back to a long shot, in the piimal powei of

37
the change in image size alone, suggests a nobility of emotion that is uiiect anu effective.
Fuitheimoie, the sympathetic incompetence of the B-peifoimei suggests the essential
innocence of the human conuition. veia Ralston's close-ups in *$''$ >$ F+&0, aie among the
most moving images in the Ameiican cinema, anu yet, simultaneously aie a mockeiy of the
tiauitional piocess of mimesis we call acting.

The innocence of Allan Bwan's iesponse to such blatant incompetencehis total
acceptance of inane situations anu peifoimeistianscenus oui conventional evaluations
of theme anu chaiactei. Bwan's style is chaiacteiizeu by a benign giace that allows his
cameia to obseive anu analyze without passing juugment. Because he intiouuces no
element of tension by tiying to evoke peifoimances of which his actois aie incapable, oi to
inseit ueepei meaning into sciipts that weie not stiuctuieu to sustain much meaning at all,
Bwan avoius the sense of aitificiality that can hovei ovei the ambitious aspiiations of
talenteu uiiectois contenuing with incompetent collaboiatois. As folk ait, Bwan's best
films aie his most uiamatically puipose-less. They become objects of meuiation.


1
Exceipteu fiom Boii's "The uiiffith Tiauition," H='6 @.66$04M 1u.2 (1974): 48-S4. Public
Bomain.


38
TBE CLIFF ANB TBE FL0NE

Bill Kiohn



%$+$ 2$ F. 19&=0 (1942)


5$,=:&4$, 4. 4#$ 6$6.+J
W( 8.' 2/+4Q$'M L,I&+, 86&''M %$+C$+4 -\ U&4$3 &0, *$0$,=:4 *.9$&/3
2#. 3/??'=$, 4#$ (+&6$

In his elegy foi Allan Bwan (@&#=$+3 ,/ :=0T6& SS2) }ean-Clauue Biette calleu him "a gieat
stoiytellei" anu "a gieat poet of space." An anecuote Bwan tolu Petei Boguanovich about
his eaily uays shows how these compliments aie linkeu: scouting foi iueas with his cast
anu ciew neai Lakesiue, Califoinia, the young uiiectoi saw a cliff anu filmeu a fight that
enueu with the heio thiowing the villain ovei it. Still in seaich of a stoiy, he then saw a
flume "like a gieat biiuge" which caiiieu watei fiom one ianch to anothei. Result: a two-
ieel melouiama in which the villain poisons the flume to kill his neighboi's cattle anu is
punisheu by being thiown off the cliff at the enu of the film.


39
The stoiy has an aichetypal quality. 0n the one hanu, the setting (the cliff) inspiies the
action that takes place in it (without ueteimining it: othei actions coulu easily have been
envisioneu); on the othei hanu, a uivision of space (the two ianches) anu the passageway
which links them (the flume) geneiate a stoiy to justify the action ("#$ D.=3.0$,
H'/6$ |1911j). These naiiative paiauigms can also be useu sepaiately, as we can see fiom
the plots of two othei lost Bwans: "#$ >.<$ E./4$ (1914): "A new iailioau line uisiupts a
giil's ianch"; @#$&4=09 @#$&4$+3 (1919): "Living siue by siue, two gioups of ciooks
impeisonate iich people, each planning to iob the othei."

Aujoining spaces aie the most common spatial paiauigm foi Bwan's plots: a bank anu a
baibei shop (7&0 4. 7&0 |19Suj), two aiifielus (>..; 2#.G3 >&/9#=09 |1941j), two hotels
(%$+$ 2$ F. 19&=0 |1942j), neighboiing faims (E$C$::& .( 8/00JC+..; H&+6 |19S8j),
builuings that look out onto the same couityaiu (@&'$0,&+ F=+' |1947j), a house anu a stable
(B 5+$&6 .( -$&00=$ |19S2j), two silvei mines (*$''$ >$ F+&0,$|19S1j), two ianches (@&44'$
S/$$0 .( 7.04&0& |19S4j), two savage tiibes (L0:#&04$, B3'&0, |19S8j). Less fiequently,
the stoiy can aiise fiom a connection between two places, notably in E$0,$Q<./3 I=4#
100=$(1946) wheie a soluiei on an Aimy base in Englanu secietly goes AW0L anu
impiegnates his wife in New }eisey, then has to convince the woilu that he is the fathei of
hei chilu.

Bwan the engineei was natuially attiacteu to stoiies about builuing biiuges between
places sepaiateu by geogiaphy: the Bollanu Tunnel in %=9# 1=+ (19SS) the B-29 long-iange
bombei in "#$ 2=', *'/$ U.0,$+(19S1) anu the Suez Canal in 8/$Q (19S8) whose heio is
tolu by a foitune tellei that his uestiny is to "uig uitches." Those woius tuin out to be both
an iionic piophecy of the heio's iole as aichitect of the canal anu a metaphoi foi the often
uubious political machinations that will make it possible. At fiist Louis Napoleon iefuses to
finance the pioject foi feai that it will cause the Reu Sea to floou the Neuiteiianean,
inunuating the poit cities of the Neuiteiianean basin, anu that is just what happens when
the misguiueu heio seeks to make peace between the National Assembly anu Louis, who
seizes the oppoitunity to aiiest his opponents anu pioclaim himself Empeioi, aftei which
he agiees to finance the canal.

0n the othei hanu, Bwan was not paiticulaily inspiieu by the paiauigm of the voyage
(1+./0, 4#$ 2.+',|194Sj, L3:&?$ 4. */+6& |19SSj), unless it was joineu to a seconu
paiauigm: the boiuei that has to be ciosseu in "#$ E=<$+G3 L,9$ (19S7) oi the two-piongeu
ietieat in %.', *&:; 4#$ R=9#4 (19S6), which looks on a map like the high-angle shot of a
puisuit along foiking tiails in "$00$33$$G3 D&+40$+ (19SS). In *'&:; 8#$$? (19SS), a stoiy he
concocteu to iestait his uiiecting caieei in the eaily 'Sus, the chaiacteis tiavel fiom
Cheibouig to New Yoik on a ship with sepaiate levels foi fiist anu seconu-class passengeis,
two paiauigms which combine with a thiiua stolen necklace whose possessoi can only

40
leave the ship by passing thiough customs to piouuce a uelightful comeuy-uiama of
ciissciossing uestinies that come togethei anu iesolve themselves on the uocks of New
Yoik. (It's too bau Bwan wasn't able to make his film of Thointon Wiluei's *+=,9$ .( 8&0
>/=3 E$J.)

Not all of Bwan's films giow out of spatial paiauigms, but it coulu be aigueu that the best
ones uo. Someone was tiying to sketch in a spatial situation at the beginning of R.+4#I$34
W/4?.34 (1947) foi example, but not much came of it. Peihaps that is why the mau stew of
elements faileu to coheie, wheieas the equally outie 2.6&0 "#$J 1'6.34 >J0:#$, (19SS) is
one of Bwan's best films, in pait because of its spatial piemise: Buiing the Civil Wai, a town
bisecteu by the boiuei between Noith anu South is kept neutial by a wealthy mation
whose contiol of the iegion's leau mines give hei powei ovei the waiiing siues anu the
town, wheie she imposes an iion law of non-violence, enfoiceu by fiequent lynchings.

What staits off as a paiouy of Foiu becomes incieasingly peiveise: The iepiession of
violence cieates a seconu uivision, peipenuiculai to the fiist, between the uomain of men (a
saloon) anu the uomain of women (the mining company, wheie the mation holus
sway). Then this bizaiie vaiiation on the stanuaiu Bollywoou uisplacement fiom politics to
sex is given an even moie peiveise twist when the saloon is inheiiteu by a woman, leauing
to the famous showuown between female gunslingeis anu the heioine's neai-lynching.
Bwan's spatial imagination sometimes took him to stiange places: In 8&='.+G3 >&,J (194u)
an enlisteu man comes home to get maiiieu, only to uiscovei that his wife has auopteu a
baby anu bought a house in a neighboihoou inhabiteu solely by the families of naval
officeis. When hei fianc's iowuy fiienus sabotage a paity with the biass in attenuance, the
young woman ietaliates by planting the baby on theii battleship as it sails off to engage in
maiitime wai games.

Even moie uizzying vaiiations aie playeu on the uisjunction between "containei" anu
"containeu" uuiing the fiist ten minutes of W0$ 7='$ (+.6 %$&<$0 (19S7). Sent on a wilu
goose chase by hei competitois, a blonu giil iepoitei finus heiself in an all-black
neighboihoou, wheie hei attention is attiacteu by the uazzling skills of a tap-uancei who is
playing Pieu Pipei to the neighboihoou chiluien. 0ne of the chiluien is white anu veiy
blonu, too, even though hei mothei is black. (This enigma supplies the basis foi the plot.)
She happens to be caiiying a biiucage with a cat in it. (Nothing is evei saiu about this.) A
final suipiise: When the tap uancei puts on his coat, he tuins out to be a veiy impiessive-
looking policeman.

Chinese box constiuction, a moie tiauitional uses of the containeicontaineu paiauigm,
sets the stage foi "#$ B03=,$ 84.+J (1948) which is tolu in flashback insiue a bank vault,
insiue a small town which was almost uestioyeu by the uieat Bepiession, insiue a

41
uevastateu countiy that we see in nightmaiish visions supeiimposeu ovei a close-up of the
stoiytellei. Buiing those uaik uays, we leain, 1uuu uollais came to town anu was placeu in
a safe, only to escape anu ciiculate fiom chaiactei to chaiactei, aftei which it left as it hau
come, like the heio of a westein, having put the town on the ioau to iecoveiy.

Tuining to the "cliff" pait of Bwan's methou, his use of settings: Biette's uesciiption of him
as a poet of space haiks back, I believe, to Eiic Rohmei's 1948 aiticle "Le cinema, un ait ue
l'espace" (iepiinteu in >$ 9./4 ,$ '& C$&/4T), which uistinguishes Chaplin's use of cinema to
expiess psychological states fiom Keaton's use of it foi, liteially, the beauty of the gestuie,
insciibeu within "a completely-filleu iectangulai space occupying a ielatively iestiicteu
poition of the visual fielu." Among the examples of films "ievealing a sense of space that
many avant-gaiue films might envy" Rohmei cites "the films of Bouglas Faiibanks," with
whom Bwan collaboiateu five times uuiing the silent eia.

But the fact that Bwan anu Faiibanks weie making a uiffeient kinu of film than Chaplin (cf
the anecuote about Chaplin's joke on the set of E.C=0 %.., |1922j) uoesn't mean that they
like the uecauent sculptoi in 7&0#&0,'$, (1924) sought an ait of "puie plasticity." Buiing
the fiist half of E.C=0 %..,, wheie gestuies aie stiippeu of psychological significance by
immense spaces that uwaif the human figuie, Faiibanks is weigheu uown by aimoi anu
iitual. In the seconu half, when he takes iefuge in the foiest with his outlaws, he libeiates
the castle fiom its usuiping mastei with the kinu of extiavagant aciobatics that maue "#$
7&+; .( ].++. (Fieu Niblo, 192u) a joy fiom stait to finish. But in "#$ B+.0 7&3; (1929),
Faiibanks' swan-song, Natuie is absent, anu the shauowy maze of lavish sets in which
u'Aitagnan anu his comiaues battle a usuipei impait a hollow iing to the title caiu
announcing that one chaiactei aftei anothei has uieu "foi the gloiy of Fiance."

Bwan iemaue E.C=0 %.., in the sounu eia with Shiiley Temple: The heioine
of %$=,= (19S7) is taken fiom the mountaintop wheie she lives with hei gianufathei anu
impiisoneu in a gieat house in the miust of a gieat city, wheie she heals a ciippleu chilu
uespite the intiigues of yet anothei evil usuipei, Fiaulein Rottenmeiei. (0utsiue the walls
of the "castle", thiee blasts on a coachman's hoin, which Beiui mistakes foi the hoin of
Petei the uoat Boy, iecall the signal Alan-a-Bale blows befoie Faiibanks is iescueu at the
enu of E.C=0 %..,.) An oigan-giinuei's monkey peifoims Flaiibanks' aciobatics, anu Beiui
heiself iepeats his famous sliue uown an immense tapestiy when she sliues uown the
banistei of the gieat house to make hei getaway.

The poles of this stoiy weie ieveiseu in Temple's swan-song at Fox, the uelightful U./09
D$.?'$ (194u), wheie a family of vauuevillians fiom the big city who have ietiieu to a
Naine village aie tieateu hoiiibly by the villageis, until they finally succeeu in imposing
theii optimistic peispective on these iuial ieactionaiies. Besiues giving Temple hei only

42
chance to play heiself, U./09 D$.?'$ piepaieu the way foi 5+=(4I.., (1947) a beautiful film
Bwan maue at Republic with Natalie Woou as a saintly oiphan nameu }enny. Aftei the
ueath of hei pieachei gianufathei, }enny leaves Bullfiog Spiings, the ghost town wheie she
giew up, foi Panbucket, a conseivative village which she calls "Souom anu uomoiiah" until
hei uncompiomising tiuthfulness tiansfoims it into "Beaven."

It seems that Bwan was not the Rousseauist he is sometimes mistaken foiit woulu
ceitainly be haiu to hang that label on D$&+' .( 4#$ 8./4# D&:=(=: (19SS), wheie the sciipt's
paean to Nan in the state of Natuie is constantly unueicut by the gaiish aitifice of }ohn
Alton's colois anu van Nest Polglase's sets. }ust befoie the enu Bwan tuineu that tuikey on
its heau in L0:#&04$, B3'&0,, which comes as close as anyone uaieu in 19S8 to ietelling
Beiman Nelville's "J?$$: A iefugee fiom civilization living among Tahitian savages
uiscoveis that the savages have killeu his best fiienu, that he is theii piisonei, anu that they
aie cannibals (only hinteu at in the film). Naue on location in Nexicolike his last film, "#$
7.34 5&09$+./3 7&0 1'=<$ (1962), foi which theie was no money to builu setsL0:#&04$,
B3'&0, ietuineu Bwan to the conuitions in which he maue his fiist two-ieeleis, which
spawneu an ait wheie themes like Natuie anu Civilization weie less impoitant than the
plastic invention that playing vaiiations on them maue possible.

uiven Bwan's foimal conceins, it is at fiist suipiising to see how often maps in his films -
scale mouels of the naiiative teiiainplay the iole of the "bau object" (ueitie's gaitei,
Nabel's slip, the Queen's necklace in "#$ "#+$$ 7/3;$4$$+3 |19S9j the peail necklace
in *'&:; 8#$$?), one whose meie possession stigmatises the possessoi: The woman with
the map in 2.6&0 "#$J 1'6.34 >J0:#$,, foi example, is piesumeu to be a tiaitoi, while the
man with the map in "$00$33$$G3 D&+40$+ is a muiueiei.

Noieovei, maps uo not always claiify the actionthe one useu to plan the fiist holu-up
in 7.04&0& *$''$(19S2) is noticeably inaccuiate. We nevei see the aeiial map consulteu by
Eugai Beigen in >..; 2#.G3 >&/9#=09only a view of the teiiain below that is as
unintelligible as the aeiial views in "#$ 2=', *'/$ U.0,$+. (Those extieme high angles tuin
out to be as useless to the B-29 ciews as they aie to usbombing fiom 2S,uuu feet up, oui
heioes aie missing moie taigets than they hit.) L3:&?$ (+.6 */+6& opens with a map, but
befoie we can ieau it, the cameia moves in on a uiawing of the palace of Sakai, then
uissolves to show us the thione ioom, just as the peiplexing aeiial view of Wistful vista
in >..; 2#.G3 >&/9#=09 uissolves to give us oui fiist look at the insiue of Fibbei Ncuee's
house.

Insteau of a map, *$''$ >$ F+&0,$ opens with a veiy wiue-angle shot of a couitioom seen
fiom the juiy box that tuins out on close inspection to be a painting. Seconus latei, a long,
goigeously composeu uolly shot follows the uevastateu heioine, just out of jail, as she

43
slowly makes hei way along a stieet that leaus to a fiienu's home. Tiansitions like these
that enuow a flat image with uepth enact the stiuggle at the veiy heait of this cinema,
which is filleu with settings whose topogiaphy we know intimately (the house in "#$
F.+=''&|19S9j, the tennis couit in 8/$Q |19S8j), wheie winuows anu uoois always open on a
busy woilu beyonu. The town in H+.04=$+ 7&+3#&'' (19S9) is all one set, anu at the enu of
the film, when Bwan uollies in on Boc Balliuay's tombstone, he takes caie to put a tiny
wagon tiain heauing west in the backgiounu of the shot.

Naps aie "bau objects" because they thieaten the illusion of uepth, as in %.', *&:; 4#$
R=9#4, one of the few films wheie a map actually woiksthe whole fiist pait is playeu
against unuisguiseu back piojections, so that the long maich of the ietieating Naiines is
also a uifficult jouiney back to thiee-uimensional space. Similaily, in F$44=09 F$+4=$G3
F&+4$+ (194S) the actois aie gioupeu in two-uimensional compositions until night falls,
when moueling with light anu shauow (Bwan's piefeiieu palette) begins to cieate uiamatic
peispectives symbolizing the giowing complexity of the action. The shift is maikeu by one
of those 18u-uegiee cuts Bwan fiequently uses to show the image's backsiue, like the
photogiaph in >..; 2#.G3 >&/9#=09 that shows its subjects' backs when you tuin it aiounu.

Bwan nonetheless fliiteu with the temptation to tiansfoim the image into a map in H+=$0,'J
L0$6=$3 (1942) a jingoistic Woilu Wai I uiama he was offeieu while waiting to
make *+$I34$+G3 7=''=.03 (194S). When he filmeu (in nine uays!) this stoiy of two ueiman
immigiants, one of whom siues with Ameiica, the othei with ueimany, he ieplicateu the
foim of theii quaiiels, always shown in two-shots, by giouping all his chaiacteis in
symmetiical compositions until the thiiu act, when the loyal ueiman leains that his son has
joineu the Ameiican Aimy. Aftei that the gioupings become unbalanceu, until an explosion
of wai images iestoies in the last shot the haimony that ieigneu initially uespite conflicting
loyalties.

Be subsequently auapteu this foimal invention in *+$I34$+G3 7=''=.03 to poitiay the iionic
fate of a man who has two months to spenu a million uollais. Beie the balance between
asymmetiical compositions (the uesiieu state) anu symmetiical ones (the state to be
avoiueu) is evei shifting, as the heio's attempts to piactice what ueoiges Bataille calls the
geneial economy (impiouuctive expenuituie) aie iepeateuly biought into line with the
iestiaineu economy (a ietuin on one's investment) which his fianc anu fiienus consiuei
noimal. *+$I34$+G3 7=''=.03 is a film that aspiies to the voiu: Its fiist shot (a black seivant
visually eiaseu by the soap he has applieu to a winuow) gives way to an image that
giauually fills up with piolifeiating bouies, until they aie all eliminateu in the last shot:
anothei empty fiame.


44
Watching a minimalist expeiiment like H+=$0,'J L0$6=$3 sensitizes us to the spatial ait
Bwan puts to subtlei uses in films like *+$I34$+G3 7=''=.03 oi the anti-NcCaithy
westein 8='<$+ >.,$ (19S4) wheie an image that moves in anu out of two-uimensionality is
useu to giaph shifting allegiances anu lines of flight in a small town whose leauing citizen
has been accuseu of muiuei by a self-styleu maishal fiom a town 2uu miles away. (The
townspeople have no way of knowing the tiuth because the telegiaph line connecting the
towns has been cut.)

Bwan hau Su yeais of unequalleu piouuctivity to exploie the piopeities of an ait which he
helpeu invent, anu he was awaie of all its paiauoxes. 0nlike a stage, the iectangle of the
scieen can cieate the illusion of a woilu that exists in uepth anu continues beyonu the
euges of the fiame. In %$=,= a cut takes us fiom the householu singing "Silent Night" to the
bustling stieet outsiue, wheie eveiyone seems to be singing the same song - a lovely
example of the kinu of siuelong glance that eaineu Bwan his ieputation as a contemplative
filmmakei. But violence can also be uiscloseu by a pan - thiough the wall of a house, foi
example, wheie a woman is singing to hei baby, anu into the ciowueu stieet outsiue, which
is suuuenly thiown into tumult by an eiuption of gunfiie (H+.04=$+ 7&+3#&'). Even moie
uisconceiting, a suuuen pan in 1C+.&, I=4# "I. U&0;3 (1944) ieveals a miiioi in the off-
space that ieflects oui two heioes (alieauy in uiag) as giotesquely uistoiteu anamoiphic
images (a uevice Bwan fiist exploiteu in 84&9$ 84+/:; |192Sj with uloiia Swanson).

The uangeis luiking just beyonu the fiame that menace the magic iectangle (which Louis
Seguin has exploieu in >G$3?&:$ ,/ :=0T6&) aie summeu up in a veiy late anu veiy weiiu
westein, "#$ E$34'$33 *+$$,. It begins with an exposition scene that makes consiueiable use
of the most useless map in all of Bwan's cinema. "0ui investigatois' iepoit has given us a
veiy giaphic pictuie," says the chaiactei who is hanuling the exposition, pointing
emphatically at thiee spots on the map that have nothing to uo with anything. Bis confiuent
asseition is then unueimineu by a seiies of flashbacks which intiouuce us to the setting of
the film, a little town consisting mostly of winuows, gates anu uoois that is helu togethei
only by the gazes of the chaiacteis. They will spenu an inoiuinate amount of time spying on
one anothei, but to no availthe town nevei escapes fiom the quagmiie of spatial
incoheience into which it has been plungeu by that fiist "giaphic" account. "#$ E$34'$33
*+$$, (19S7) is the cinematic equivalent of Nallaim's "0n coup ue us jamais n'aboliia
l'hasaiu.," wheie the text is uismembeieu by the spaces between the woius, anu yet
Bwan, like Nallaimhaving finisheu, in both senses of the woiu, the woik of Su yeais
with this astonishing filmmight also say, looking back, that "nothing will have taken place
except |thej place."

45
ANERICAN PAST0RAL
}ean-Loup Bouiget
Tianslateu by Bill Kiohn



!"#$ (19S8)

The Canauian Allan Bwan, who came to the 0SA as a chilu anu stayeu foi almost his entiie
caieei, belongs in the company of uiiectois such as uiiffith, Walsh anu Foiu iathei than
that of Cuitiz, Bieteile, oi Lang. Bis name is often associateu with the genie known as
"Ameiicana", nostalgic accounts of a iuial anu tiauitional Ameiica (fiom Foiu's &"'(# )*+#,-
(19S4) to Altman's .//0+#1, 2/*-"3# (1999)), anu seveial of his films' heioes aie histoiical
figuies oi Ameiican legenus, such as the sheiiff Wyatt Eaip in 2*/3-+#* 45*,657 (19S9) oi
the musician Stephen Fostei (8 9*#5: /; &#533+# (19S2)). Even some of the most iightly
famous titles, like the peiiou films </=+3 >//' (1922) oi !"#$ (19S8), take us away fiom
Ameiica in appeaiance only, since they place gieat emphasis on the pastoial.


46
The imaginaiy woilu of the pastoial sees in the New Woilu a ieuiscoveieu gaiuen of Euen,
wheie not only wilu beasts anu uomesticateu animals, but also colonists anu Inuians, live
peacefully togethei, fulfilling Isaiah's vision of the Peaceable Kinguom. Bwan's films abounu
in scenes of this kinu, which usually featuie watei anu vegetation. 0nlike that of Cuitiz,
Bwan's </=+3 >//' takes the foim of a uiptych. The fiist pait is an impiessive meuieval
ieconstiuction, whose sets anu costumes weie uesigneu, iespectively, by Wilfieu Bucklanu
anu Nitchell Leisen, BeNille's iegulai collaboiatois, anu whose hieiatic style piefiguies
Lang's 9+# ?+=#7"3(#3 (1924). In the seconu pait, Robin anu his men, fieeu fiom theii heavy
aimoi, piance thiough the woous, anu live in an enviionment featuiing foiest, wateifalls anu
giottoes. The 0lu Woilu of the Niuule Ages is succeeueu by the natuial New Woilu, which is
also an aichetypal woilu, much oluei than what pieceueu it. In .653@#, (19S1), the loving
couple escapes the uisasteis of wai by exchanging iings anu talisman-poitiaits, maiiying on
a beach that coulu be in the South Seas. In !"#$, following a histoiical piologue set in Paiis in
18Su, Egypt appeais by contiast as a lanu both immemoiial anu new, a ueseit anu an oasis,
an Euen anu, in the Ameiican sense, a Fiontiei. The heio (Tyione Powei) meets the iavishing
wilu chilu (Annabella) when she's bathing nakeu in a little lake; she will be his inspiiation
anu is set in opposition to the woman he loves, the beautiful but ovei-civilizeu Countess
Eugnie ue Nontijo (Loietta Young), who lets heiself be seuuceu by Louis Napolon. In a
chaiming ieveisal of type-casting, it is the Ameiican actiess (Loietta Young) who embouies
the false values of Euiopean cultuie, whilst the Fiench actiess (Annabella) plays a "tomboy'
whose masculine attiie anu casual mannei, anu hei association with watei, cleaily link hei to
Naik Twain's Bucklebeiiy Finn.

This obseivation holus foi the "wilu chilu" chaiacteis playeu by Shiiley Temple in >#+'+
(19S7) anu Natalie Woou in 9*+;-A//' (1947). Temple enuows Beiui with chaiacteiistics
which aie, so to speak, Ameiican, anu which the seconu film was to make explicit. Like Betty
in Fenimoie Coopei's B6# 9##*,75C#*, }enny (Natalie Woou) is that Ameiican chaiactei pai
excellence, the Chiistianizeu wilu chilu, who has an answei foi eveiything thanks to the Bible
veises taught hei by the gieat-gianufathei-pastoi who iaiseu hei. The linking of the pastoial
with the sexual is ambivalent. In .653@#, anu !"#$, the natuial setting anu the piesence of
watei aie piopitious foi amoious encounteis. Similaily in D3@653-#' 8,753' (19S8), when the
Yankee sailoi Abnei makes his ueclaiation to Fayaway, the Polynesian Eve, amiust wateifalls
anu gieeneiy, compaiing the young woman's behavioi to "watei which iuns in a little New
Englanu stieam," which confiims the piofounu similaiity between the two pastoials, the
Ameiican anu the exotic. Elsewheie, howevei, the pastoial conjuies up, like Naivell's gaiuen,
a gieen anu chilu-like woilu fiom which women aie excluueu. Robin Boou uives into the
castle moat to escape the ciazy women who aie aftei him in a faicical scene which piefiguies
Keaton (!#E#3 .653@#, was maue in 192S). A similai hullabaloo appeais in B6# 8*/3 45,0
(1929), in which the women inflict a biuising uefeat on the musketeeis, anu in D3@653-#'
8,753', when the Tahitian women uiag Abnei off to bathe him foicibly.

47

"Ameiicana" lenus itself equally well to satiie as to the paiable. F/"3( )#/G7# (194u) offeis
an example of two-way cultuial satiie. 0ne taiget is that of vauueville, in the Ameiican
sense of "music-hall": a cultuie of iootlessness, exubeiance anu the gift of the gab, ovei-
confiuent anu naively iuealizing the paiauoxical iuial values of New Englanu. Laconic,
inhospitable anu hypociitical, the puiitan countiy folk ueceive the townsfolk who've come
to live amongst them. The satiie is no less conventional than the unouement: a natuial
catastiophe enables the stiolling playeis to piove theii couiage anu oveicome the
suspicion of the native inhabitants; each leains to iecognize anu iespect the othei in his
otheiness. The goou humoi is infectious, thanks to the eneigy anu the uynamism of the tiio
playeu by }ack 0akie, Chailotte uieenwoou anu Shiiley Temple.

As an example of paiable, consiuei 9*+;-A//' anu H3(#7 +3 DI+7# (1948) in paiticulai.
These films illustiate }effeison's ueclaiation that going West amounteu to going back in
time. The exotic is shown as all the moie stiange foi being close to us, a kinu of Biigauoon
wheie the fossilizeu past of Ameiica suivives. When he comes out of piison, the banuit in
H3(#7 +3 DI+7# wants to collect the golu he hiu in an abanuoneu mine. Be comes acioss
anothei buiieu mine, but this time of a spiiitual natuie, a Nexican mission which still
lives in the Colonial past, with its naive faith, Chiistian bestiaiy (uonkey anu sheep), but
also with its poisoneu well. To get the golu out of the mine, he must make out he's just
founu it theie, thus appeaiing to be a miiacle woikei, befoie actually becoming one,
when, miiaculously, he stops a typhoiu epiuemic. The action unfolus in Aiizona, on the
Califoinia boiueis, in 19S9, anu one can see it as an allegoiy of piesiuent Roosevelt anu
his New Beal policy. The Nontana setting which opens 9*+;-A//' is that of a ghost town
uating back to the uolu Rush. The West, Ameiica's past, is peopleu with aichetypal
chaiacteis (playeu notably by B. B. Wainei, who was Chiist in J+3( /; J+3(,, Naigaiet
Bamilton, the witch in B6# K+$5*' /; L$, anu Fiancis Foiu, }ohn's eluei biothei, who often
playeu uiunkaiu ioles) who get on wonueifully with young }enny (Natalie Woou). 0nce
again, the West appeais as a woilu immemoiial, veiy young anu veiy olu, iesisting
moueinity.

But shoulu we foi all that iegaiu Bwan as "the most Rousseauist of Ameiican filmmakeis,"
as Beitianu Taveiniei put it. I woulun't be so suie. Bwan's pastoialism auapts veiy well to
uecoiative oveiloau, the pictuiesque, uisguise. Piimitivism anu exoticism, usually
combineu, belong to Ameiican mass cultuie. Inspiieu by Waltei Scott, Robin Boou is pait of
a flouiishing meuievalist tiauition (iemembei that Naik Twain, only half joking, maue the
Scottish novelist iesponsible foi the Civil Wai, foi filling Confeueiate minus with all those
images anu chivalious iueas). Anothei exoticism is oiientalism, which in the 0SA tenus
ieauily to self-paiouic humoi, associating a penchant foi uisguise anu ieveliy with eiotic
fantasy. }ust as it inspiieu Walsh's B6# B6+#; /; M5('5', this oiientalism inspiieu a goou

48
pait of !"#$, with the chaiactei of the wilu chilu Toni (weaiing baggy pants anu a fez), anu
the lazy anu obese ciown piince Saiu, a pantomime figuie. These exoticisms aie laigely
inteichangeable: the authoi of the oiientalist fantasy J+,:#-, Euwaiu Knoblock, was
"auvisoi" on the B6+#; /; M5('5' (1924) anu "liteiaiy auvisoi" on </=+3 >//'. A thiiu moue,
Polynesian exoticism, combines the eiotic fantasy of available Tahitian women with the
thieat of cannibalism. D3@653-#' 8,753' obviously spiings to minu, as uoes uloiia Swanson
playing the ukulele in 453653'7#' (1924): the Bawaiian instiument inuicates the
"populai", hence sinceie, natuie of the heioine's cultuie, in opposition to the "high", hence
affecteu, cultuie of hei sexual pieuatois. Anothei example of syncietic exoticism is Abnei
anu Fayaway's maiiiage in D3@653-#' 8,753': coveieu in gailanus, the couple set off in a
canoe, acioss a lagoon full of watei-lilies, anu the scene suuuenly seems to move fiom the
stoiy's Naiquesas Islanus to the moie familiai, closei-to-home exoticism of Xochimilco
(neai Nexico) wheie the film was shot. Similaily, in B#33#,,##1, )5*-3#* (19SS) elements of
Southein folkloie (pauule boats at uawn), aie woikeu into the westein context, anu the
South is also implicitly evokeu by the piotagonist's name. The lexicon may not be
Ameiican, but the syntax always is, effoitlessly integiating classical motifs: foi instance,
when Naiu Naiian in </=+3 >//', uiawing the piofile of hei beloveu on the wall by which
to iemembei him when he goes on the Ciusaue, iecieates the gestuie of the young
Coiinthian, Butaues's uaughtei.

No less ievealing is the commingling of genies. In B6# 8*/3 45,0, u'Aitagnan's saving anu
kiunapping Richelieu is a puie westein scene (the attack on the stagecoach). In .653@#,, a
stiongly anglophile wai melouiama, the most spectaculai action sequence has the mounteu
aitilleiy galloping to the fiont line, which coulu come fiom a Remington painting oi a film
on the Civil Wai, anu ieminus us (as uo seveial equally "Westein" sequences in !"#$) that
the epic uimension is in no way absent fiom Bwan's oeuvie. Conveisely, in !7+(6-7C !@5*7#-,
a 19S6 film noii, chaiacteis anu situations ieplicate those of B6# 8*/3 45,0: Caiuinal
Richelieu anu Fathei }oseph echo the mayoi }ansen anu his auvisoi Nailowe; the tiaitoi
Rochefoit is miiioieu by the gangstei Caspai (Teu Be Coisia); the alluiing sisteis iepiise
the iespective ioles of Constance Bonacieux (Rhonua Fleming, eiotic but chaste) anu
Nilauy (Ailene Bahl, a compulsive ciiminal). Ben uiace (}ohn Payne) plays a coiiupt
u'Aitagnan, uevoiu of Faiibanks' innocence. Theie is thus a iecipiocal blenuing of national
tiaits: the musketeeis embouy the Fiontiei's eneigy anu uemociacy, whilst the San
Fiancisco gangsteis iecieate the political oiganization anu muiueious methous of the
Ancien Rgime.

Bwan's films have close ties to Ameiican liteiatuie, but aie unconceineu with faithful
tiansposition. D3@653-#' 8,753' is a fiee anu uneven auaptation of BCG##, the
autobiogiaphical account which maue Nelville famous, anu the title of the film misleauingly
echoes "Encantauas" by the same wiitei, a set of essays on the inhuman anu "bewitcheu"

49
ualapagos islanus, with nothing "enchanteu" about them. Alongsiue numeious weaknesses
anu some incoheience, D3@653-#' 8,753' offeis beautiful images boiioweu fiom Nuinau
anu Flaheity's B5=//: the conch-blowei, Nehevi, sitting in piofile in the Egyptian mannei,
the Tahitian women bathing. Anothei auaptation, B#33#,,##1, )5*-3#* fleshes out the biief
shoit stoiy by Biet Baite, an authoi of westeins who was veiy successful in the 19th
centuiy. Bwan ietaineu only the uolu Rush setting, changeu chaiacteis as well as
situations, anu entiiely inventeu "Buchess", the flamboyantly sexy biothel keepei (Rhonua
Fleming). 0n the othei hanu, in theme anu tone H3(#7 +3 DI+7# evokes vaiious tales by
Bawthoine anu Nelville. The complex aiiangements to iecycle the stolen golu, which
ievitalizes the village whilst polluting it, the explicit but ambiguous iiony anu symbolism
iecall Bawthoine's paiables ("Rappaccini's Baughtei") anu the Nelville uiptych "The
Paiauise of Bachelois" anu "The Taitaius of Naius," whilst the mutual fascination between
the banuit anu the young Nexican woman iecalls the atmospheie of "The veianua", a
Nelville stoiy which plays on the ambiguity of peiception (ieal oi imagineu) anu of liteiaiy
convention (iealist oi fantastic).

In conclusion, consiuei the question of the ielationship between iueology anu aesthetics.
With BeNille, aesthetic conseivatism goes hanu in hanu with conseivatism plain anu
simple. This was not the case with Bwan. As was noteu by }ohn Alton (who shot the supeib
Technicoloi of B#33#,,##1, )5*-3#* anu !7+(6-7C !@5*7#-), the filmmakei's style iemaineu
unchangeu fiom the twenties to the fifties, anu the shauows cast by the gangsteis in !7+(6-7C
!@5*7#- faithfully iepiouuce the Caiavaggio-like shauows of B6# 8*/3 45,0. But Bwan's
piogiessive stance is no less constant. F/"3( )#/G7# iefeis explicitly to the New Beal anu
enjoins on the New Englanu community anu its paiouy of uemociacy the neeu foi
iejuvenation implieu by the title anu embouieu by Shiiley Temple anu ueoige Nontgomeiy.
The moial of 9*+;-A//' is moie complex. A piogiessive ieseaichei, Bi. Steve (Bean }aggei)
opposes the tyiannical anu conseivative town mayoi, until the utopian compiomise which,
by giving him the means to puisue his ieseaich, iemoves his uesiie to conuuct it:
abanuoning his planneu uepaituie foi San Fiancisco, he ueciues to iemain a countiy
uoctoi. The lesson is woithy of Emeison oi Thoieau: one must save, not humanity, but the
community to which one belongs. The same ambiguity occuis in !"#$, which cleaily
sympathizes with the Republicans against Louis Napolon, but always shows them
constiaineu, foi vaiious uiffeient ieasons, by the will of the tyiannical (oi simply
Nachiavellian.) Piince. The constiuction of the "piogiessive" canal is caiiieu out by slave
laboi at the expense of gieat suffeiing anu numeious human lives which iecalls B6# B#3
./::53':#3-,. It is uifficult not to think of the majoi woiks unueitaken by the Roosevelt
auministiation (Tennessee valley Authoiity); Bwan heie posits a uilemma which was to be
at the heait of Kazan's K+7' <+E#* (196u).



50
Then theie is !+7E#* N/'# (19S4), whose anti-NcCaithy symbolism is obvious. "Foui stiange
hoisemen," to quote the Fiench title of the film, ieincainating those of the Apocalypse,
entei the peaceful community of Silvei Loue on the national 4th of }uly holiuay, when the
town is festooneu with tiicoloieu emblems anu fifes anu uiums play in celebiation of the
anniveisaiy of Inuepenuence. They intiouuce not only violence anu massacie to this
miniatuie Ameiica, but also uissimulation (since they usuip the iuentity of Feueial police
officeis) anu fake eviuence against the innocent. The lattei (}ohn Payne) finus iefuge in the
chuich, whilst the gang's leauei (Ban Buiyea = "Neu NcCaity") is killeu when his own
bullet iicochets fiom the chuich-bell, a holy object, but also a national symbol of libeity anu
inuepenuence. Lukcs aigueu peisuasively that in Balzac, the novelistic uynamic
contiauicts the wiitei's political conseivatism; Bwan in a way exemplifies a paiallel, but
iueologically opposite, case, that of a confiimeu libeialism, which, fai fiom being moueinist
anu technological, uiaws on a nostalgic, tiauition-baseu vision of pastoial Ameiica.


51
TEN TBAT NAKE A W0RK
Chiis Fujiwaia



Ray Nillanu in !"# %&'#()* +,-# (19S7)

The uifficulty of talking about Bwan usually staits with these questions: is Bwan an authoi.
Bo his 4uu-plus films, then, constitute a woik, a single woik. If so, what makes them a
woik.

Let us cut to the chase. The answeis aie: yes; yes; anu the following:

1) The masteiy of a ceitain ihetoiic in the piesentation of chaiacteis that enables Bwan to
oveicome both the ueficiencies anu the successes of his casts. In the touching anu chaiming
./01- 2#/34# (194u), it takes no effoit foi the viewei to believe that }ack 0akie anu
Chailotte uieenwoou aie exactly who they puipoit to be; on the othei hanu, in 5#44# 6#
7(81, (19S1) anu 2#8(4 /9 :"# ;/0:" 28<&9&< (19SS), questionable casting puts Bwan at no
uisauvantage: he is able to suimount it simply by ignoiing it. ./01- 2#/34# may be "bettei
acteu" than 5#44# 6# 7(81,, but neithei film is huit (oi significantly elevateu) by its acting:
the actois in both films, anu the chaiacteis they play, aie no bettei oi woise than what they
aie.

2) Stiaightfoiwaiuness, iefusal of exaggeiation. Examples: the confiontation between the
sisteis in 5#44# 6# 7(81,; Foiiest Tuckei anu Scott Biauy going to theii ueaths in =/1:818
5#44# (19S2). It is enough foi Bwan to show: theie is no neeu to uistoit anything foi the
sake of setting up an effect. So many gieat moments in Bwan films seem to be hanuleu in

52
the simplest way possible: Ray Nillanu taking the othei ioau at the enu of !"# %&'#()* +,-#
(19S7); Bana Anuiews jumping off the ship to save }ane Powell at the enu of +1<"81:#,
>*481, (19S8). But "the simplest way possible" is an inauequate expiession. We have to tiy
to uefine anu chaiacteiize this way. What uoes Bwan uo. What uoes he iefiain fiom uoing.

S) Bwan shows moiality anu conscience in teims of the most munuane anu the most
absolute physical ieality, fiameu absolutelyi.e., given existenceby the film fiame. The
shot of the signpost neai the enu of !"# %&'#()* +,-# is the iueal illustiation of this methou.
Bwan's cinema is in a blissful state of semiotic equilibiium, all meanings piesent anu
accounteu-foi anu eveiy expiession commensuiate to its meaning.

4) Watching ceitain Bwan films one gets the impiession that eveiy shot is meiely auequate
anu no moie; also no less: this is why one thinks of the woiu "simplest." But it is not tiue
that Bwan uoes nothing moie than the minimum necessaiyanu anyway, how coulu we
know this.. 0i that Bwan's point of view is the basic, the meiely necessaiy oneanu again
the same question, how to know this. (Bespite Raoul Walsh's asseition that theie is only
one way to show a man walking thiough a uooi).

Bwan often puts a pionounceu emphasis on fiamingcf. the staging thiough winuows in
numeious films, =/1:818 5#44# anu ;&4'#( 6/,# (19S4) to name just two, the insistent
eavesuiopping stiuctuies in such films as !"# %#*:4#** 5(##, (19S7). Again anu again, Bwan
stages anu positions action in ielation to a closei-to-foiegiounu inteiioi fiame. Since it's
cleai that this stiategy is in no way "meiely necessaiy" foi showing the action, it's incoiiect
to uesciibe Bwan's shots as "just the iight peispective" oi "the best peispective," as if he
hau some mystical knack of finuing the natuial link between any action anu the way of
showing it.

With Bwan, what's ciucial is not just angle, peispective, oi uistance of subject to cameia,
but a fiaming stiategy that stiuctuies the action, builus a home foi it; oi bettei, that the
scaffoluing is left theie aftei the composition has been built; it's this, too, the making, the
stiuctuiing, that Bwan wants to show, not just the action itself. The veiy familiaiity of the
situations anu chaiacteis in Bwan's sciipts is tiansfoimeu, unuei his uiiection, into a
stiuctuiing tool. A coinciuence in !#11#**##)* 28(:1#( (19SS), when Anthony Caiuso peeis
in thiough a winuow at just the iight moment to catch sight of }ohn Payne concealing a
map, stiikes with all the inevitability of melouiama, so that it is the inevitability that
iegisteis (this is something that "8, :/ "833#1) moie than the banality of the sciipt's
contiivance. The beautiful gestuie of Ronalu Reagan's Cowpoke, aftei beating Payne, gently
touching the lattei's shouluei in the same film cieates neithei suipiise noi the effect of
something that might 1/: have happeneu; anu yet it is a kinu of miiacle.


53
S) In Bwan, nothing is hiuuen. All faces, gestuies, places aie nothing moie than
peifoimances of themselves. Bwan's theatiicality has two siues: one, that eveiything
piesents itself; two, that eveiything piesents itself piecisely as it is iepiesenteu in the film.
This means that eveiything appeais not only in the space, but also at the time, that belongs
to it. If nothing is hiuuen in space, nothing is uelayeu in time; eveiything ueliveis itself, if
"by coinciuence" (as in the afoiementioneu scene in !#11#**##)* 28(:1#(), at the iight
moment. This exactly timeu self-piesentation of people anu things uemanus an ait of
fiaming anu composition that is essentially appieciative. The funuamental gestuie in
Bwan's woik is the bestowing of value. Thus the moial ieuemption of the main chaiacteis
in ?1-#4 &1 +@&4# (1948) anu 2#8(4 /9 :"# ;/0:" 28<&9&< has an aesthetic, as well as ethical,
significance. Contemplating his flaweu piotagonists, Bwan wants them to become iueal
veisions of themselvesa uesiie that coiiesponus with theii own impulses anu the
piogiession of the plots.

6) The uifficulty of uiscussing Bwan's woik in thematic teims is obvious. Still, it can be
attempteu, with the pioviso that what chaiacteiizes Bwan is not a set of themes but a
ceitain attituue towaiu his themes, anu the fuithei pioviso that the teims in which this
attituue has most often been uesciibeuteims such as seienity anu buoyancyaie
pioblematic, full of assumptions that neeu to be analyzeu. Anyway, what inteiests me most
aie not the themes, oi even this attituue, whatevei it is, but the moial pattein of Bwan's
films.

;0#A (19S8), ?1-#4 &1 +@&4#, 5#44# 6# 7(81,, ;&4'#( 6/,#, 2#8(4 /9 :"# ;/0:" 28<&9&<, +1<"81:#,
>*481, aie all films about giving up (a false iuentity, coiiupt values, a uestiuctive couise of
action). Always gieeu uestioys some, while otheis fiee themselves fiom it. Anu always
theie is a cential chaiactei}ane Russell's Belle Staii (=/1:818 5#44#), veia Ralston's Belle
Le uianu, }ohn Caiioll as the ?1-#4 &1 +@&4#, viiginia Nayo in 2#8(4 /9 :"# ;/0:" 28<&9&<, Bana
Anuiews in +1<"81:#, >*481,, }ohn Payne in ;4&-":4B ;<8(4#: (19S6) anu ;&4'#( 6/,#who
passes back anu foith between two woilus (ciiminalitythe law, civilizationthe piimitive).
The ciucial gestuie is that which peimits the outsiuei to entei the community: Belle Staii
being accepteu by, on the one hanu, the ciiminal gang, anu on the othei, law-abiuing
society; the chiefs in 2#8(4 /9 :"# ;/0:" 28<&9&< anu +1<"81:#, >*481, accepting, iespectively,
the viiginia Nayo anu Bana Anuiews chaiacteis; Thomas uomez accepting Caiioll in ?1-#4
&1 +@&4#; the community finally accepting the 0akieuieenwoouShiiley Temple family in
./01- 2#/34#; Anthony Quinn foigiving Bebia Paget in !"# %&'#()* +,-#.

7) Although the elements that make up this pattein aie unuoubteuly peisonal to Bwan,
they aie also shaieu to some extent by many othei uiiectois, anu in a veiy geneial sense
belong to the basic giammai not just of Bollywoou cinema but of all melouiama. What

54
uistinguishes Bwan anu sets him apait fiom the veiy noims that he appeais to iepiesent
peifectly is something that has to uo with the peculiai ciicumstances of his caieei.

Bwan's Republic films in paiticulai seem to stanu apait as 98&4#, Bollywoou films: neithei B
films noi majoi films, but "bau" imitations of majoi films, fake majoi films, a somewhat
neglecteu categoiy in film histoiy. (}ohn Caiioll anu veia Ralston: the pooi man's Claik
uable anu Beuy Lamaii.) C(&9:D//, (1947), !"# >1*&,# ;:/(B (1948), ?1-#4 &1 +@&4#, 5#44# 6#
7(81,, ;0((#1,#( (19Su), > C(#8E /9 F#81&# (19S2) all occupy this stiange miuule iange.
These films boiiow the coues of the Bollywoou A film but uon't woik as A-level classics:
theie is always something that bieaks uown, stiuctuially, in the scieenplay, in iealization
because of buuget limitations, oi in casting anu peifoimance, anu this failuie is the point at
which the film uiveiges fiom the Bollywoou noim anu becomes something else, uoes
something else, something uiffeient. This something else can be uefineu as a ceitain way of
appioaching the mateiial so that the funuamental implications of the mateiial become
eviuentimplications that aie hiuuen (anu piotecteu fiom having to justify themselves) in
"bettei iealizeu" veisions of similai stoiies. Bwan's Westeins featuiing women in stiong
ioles5#44# 6# 7(81,, =/1:818 5#44#, G/E81 !"#B ?4E/*: 6B1<"#, (19SS), anu H8::4#
I0##1 /9 =/1:818 (19S4)function cleaily in this mannei because the genuei of the
piotagonist becomes an element that uisiupts, peituibs, ienueis visible anu theiefoie
questionable, the assumptions about moiality that unueilie the tiauitional Westein film.

8) The Beneuict Bogeaus-piouuceu films aie uiffeient fiom the Republic ones: again
obviously not A films, they ueclaie themselves without apology as woiks of escapism anu
exoticism, totally isolateu fiom the seiious conceins of postwai Bollywoou, with the
exception that the fiist of the seiies, ;&4'#( 6/,#, appeais influenceu by J&-" K//1 anu can
be taken as an allegoiy about NcCaithyism (not that, neeuless to say, eithei of these
elements iepiesents what is most inteiesting about this gieat tiiumph of Bwanian eneigy
anu foimal invention). Except foi the last one, the Bogeaus-Bwan films aie also in coloi anu
cut even the minimal ties to iealism that black anu white still offeieu in the Republic films
(e.g., ?1-#4 &1 +@&4#, with its highlighting of poveity anu unueiuevelopment). If Bwan, then,
uiiects a "film noii" in the Bogeaus peiiou, it must be a "film noii in coloi" (;4&-":4B ;<8(4#:),
set in a woilu no less exoticizeu anu sealeu-off than that of +*<83# :/ 50(E8 (19SS).

In all peiious, Bwan's films stanu apait fiom the Bollywoou noim anu fiom theii own
ostensible class anu become uncategoiizable, occasionally embaiiassing (most of the
Republic films, the miluly iisqu '44-'46 comeuies, the Ritz Biotheis movies), while
embouying theii own *#38(8:# tiuthuown to the stiangeness of Bwan's final two
piojects, +1<"81:#, >*481, anu =/*: C81-#(/0* =81 ?4&'# (1961), which ieach a kinu of
heimeticism in theii uown-anu-out commeicialism, as if it weie possible foi a film to be so
ieuuceu anu thieaubaie a genie piece as to become an ait film (anu it is, of couise, moie

55
than possible). Both +1<"81:#, >*481, anu =/*: C81-#(/0* =81 ?4&'# hau lawsuits
thieateneu in connection with theii piouuction, as if a film now hau to feeu on anu uestioy
itself, theie being nothing left outsiue itselfno stuuio, no film cultuie, no auuience. (The
nihilism of =/*: C81-#(/0* =81 ?4&'#Ron Ranuell's iauioactive Euuie Canuell
thieatening to "iip the woilu apait"is ceitainly shocking, but the film makes plain that
theie's almost no woilu left foi him to challenge.)

The staikness of =/*: C81-#(/0* =81 ?4&'# is sustaineu by a complete lack of unnecessaiy
shots, even when they woulu appeai necessaiy (thus the film pushes towaiu a new
uefinitionby intention. anyway, by &1'#1:&/1of cinematic foim). This hoiioi film (moie
than sci-fi) is built on the encountei with the zeio uegiee of humanity: the boiuei between
humanity anu inhumanity expeiienceu within a single being. Again in a Bwan film theie is
the inevitability of the ietuin to the law (heie uoubleu into two figuies, one uestiuctive,
one compassionate), the theme of the impossible situation of the exile, eveiything in a
teiiible state of suspension foi as long as the heio is neithei man noi fully not-man. Can the
commonplaces about Bwan's seienity, his evenness of tone, his haimony, still be applieu to
this stiaineu anu biutal film. (0i even to its bleak anu toituieu pieuecessois, the sublime
;4&-":4B ;<8(4#: anu Bwan's 19S6 Tv masteiwoik J&-" ?&(.)

9) If !"# %&'#()* +,-# stanus apait fiom Bwan's late films (but all thiough his caieei theie
aie exceptions: his coulu be calleu a cinema of exceptions) foi a numbei of ieasons
(CinemaScope, the statuie of the two male stais, the iigoi of the sciipt), it is also a film
situateu at the heait of Bwan's cinema, with its themes of foigiveness anu ieuemption, its
scenic nuuity (within which Bwan still manages to finu ways to invent his beloveu gateway
compositions, even if the gate is only a couple of iocks on eithei siue of a ioau), Nexico as
iuyll (as in ?1-#4 &1 +@&4#). It is a film stiuctuieu entiiely on the tiiangle, Bwan contiiving to
keep his thiee main chaiacteis in the same shot (the biilliant sequence in the cave) oi to
unueiline the connecteuness of the thiee with cutaways (in the cave sequence, the
cutaways to Ray Nillanu set up anu make compiehensiblepoetically if not
psychologicallyhis final uecision to help Anthony Quinn).

The law must finally be faceu (Quinn anu Bebia Paget at the enu). The goluen iule of
Bollywoou unuei the Piouuction Coue, the iecognition of the law, is a piivilegeu theme in
Bwan's cinema, as such woiks as ?1-#4 &1 +@&4#, =/1:818 5#44#, anu 28**&/1 (19S4) testify.
In !"# %&'#()* +,-#, the law is waiueu off anu uisappeais foi the length of a jouiney, but
then becomes inteinalizeu, so that the piotagonists enu up uesiiing it anu ietuining to it.
Bwan's cinema is populateu by outcasts anu iebels, self-maue heioes anu heioines (of
whom Faiibanks anu Swanson, Bwan's gieat silent stais, aie the piototypes) who tiy foi a
while to live by theii own iules outsiue the law only to enu up expeiiencing a nostalgia foi
the law.

56
1u) The Bogeaus films thiough !"# %&'#()* +,-# biing Bwan's caieei full ciicle. (The two
final films woik uiffeiently, +1<"81:#, >*481, enuing in the watei between two woilus, anu
=/*: C81-#(/0* =81 ?4&'# enuing with annihilation.) The main movement of Bwan's woik,
which constitutes a peipetual-motion memoiial to the oiigins of Bollywoou as a cinema of
outsiueis, is the outsiue coming insiue. It's the fatality but also the hope anu the chance of
the outsiuei to come in, somewheie, unuei the custouy of the law, of some law. Bwan's
seienity comes fiom his sense of the imminence of this ietuin as logically completing the
couise of the outsiuei. So his is not a cinema of ievolt (though this is obvious, it is not as
obvious as it might at fiist appeai), but a cinema of the ietuin of the exile anu the
acceptance an embiace of home.
57
LESS0NS F0R ARCBITECTS,
BY ALLAN BWAN
}os Neves
Tianslateu by Baviu Phelps



"I'm soiiy sweetheait. You got to play it the way the caius fall."
Naiuo Benning
1


"Theie's nothing moie beautiful than mathematical peifectionas in aichitectuie."
Allan Bwan
2


***

0ne uay, I met a fellow aichitect who was piepaiing a film seiies on aichitectuie. Be
showeu me the list of films that he hau piogiammeu anu that seemeu appiopiiate to me,
but I askeu him: "Why uon't you !"#$ show the films of Allan Bwan." Fiom the beginning
of cinema, theie have been many who have auuiesseu the ielationship between film anu
aichitectuie, but the affinity seems especially pionounceu in Bwan's woik. Anu at eveiy
step thiough his life's woik we finu the most valuable lessons that might seive anu
stimulate the woik uone by aichitects.

Some of these lessons might immeuiately be founu in the way that Bwan, shooting
continuously fiom 19u8 to 1961, woulu tiace his path foiwaiu. Beie aie some.

Accepting commissions of all kinus, Bwan woulu woik with all types of stoiies,
technicians, actois, buugets, conventions, coues, anu iestiictionsoi "hanucuffs,"
S
as he
58
calleu them. But he woulu spuin none of these in oiuei to get the most out of them in his
films. Be woulu film within the given possibilities just as an aichitect uoes. Foi the moie
incongiuous the functional iequiiements, the moie banal the site, the tightei the buuget,
anu the moie absuiu the so-calleu "iegulations," neveitheless foi an aichitect, the
constiaints must not be impeuiments (oi exculpations) but givens with which to woik.
Bwan's filmsanu theii heioesfull of auuacity anu seienity alike, tell us the same thing
about his woik as Fiank Lloyu Wiight useu to say about his own: "Limitations aie an
aichitect's best fiienu."

Similaily, thiough successive upheavals in cinematic technologysounu, coloi, aspect
iatiosBwan woulu figuie out how to accommouate all such novelties (touay, obviously,
he woulu woik with uigital), while staying absolutely faithful to a moue of woiking as olu
as the ciaft that he himself hau helpeu invent. Like an aichitect who knows that the
woius of Nies van uei Rohe"Aichitectuie is the will of an epoch tianslateu into
space"
4
anu the woius of Robeit Biesson"Novelty is neithei oiiginality noi
moueinity"
S
may be one anu the same.

"0ne of the pioblems with uiiectois is that they make a big pictuiewhich might be a
hitanu then they tiy to top it. Anu they ususally fall flat on theii faces. So I tiy to make it
as a iule: if I make a big pictuie which is a hit I uo a cheap pictuie next."
6
It is }ohn Foiu
who thus iefuses, in 19S6, a ceitain iuea of "giowth," anu so anticipates the famous stoiy
that Buuel woulu latei iecount, hoiiifieu, about a meeting in which Nicholas Ray woulu
aumit to his anguish at not being able to stop making movies that weie incieasingly
expensive,
7
a stoiy latei ietolu by }ean-Naiie Stiaub anu Baniele Buillet in a film by
Peuio Costa.
8
Bwan woulu make some of the most expensive anu famous films of his time
as well as some of the cheapest, most quickly-maue, anu most obscuie. Like an aichitect
who knows how uecisive it is to uesign a hut aftei having uesigneu a catheuial.

The gieat uiffeiences that exist between Bwan's woiks (a "cinema of exceptions,"
accoiuing to Chiis Fujiwaia
9
) can only be uue to the fieeuom offeieu by the masteiy of a
ciaft anu the pleasuie of exeicising it.

But the cleaiest lessons we aichitects can look foi in the films of Bwanwhom }ean-
Clauue Biette aptly labeleu a "gieat poet of space"
1u
might be founu in the aichitectuie
within theii films. The goal of these biief notes, taking up %&' )*+',-. /01' (19S7)one of
the last foui films that Allan Bwan woulu make anu the last woik of aichitect anu set
uesignei van Nest Polglaseis to call attention to two oi thiee veiy impoitant anu
foigotten things, in both aichitectuie anu cinema, which Bwan's films peisistently iecall.

59
"#$%&%'( )'* +%((,%&%'(

The notion, aiticulateu by Lewis Numfoiu, that "Buman life swings between two poles:
movement anu settlement"
11
gives one of the simplest anu most piecise ueclaiations to
illuminate the ways we occupy the woiluof which cities aie the cleaiest expiession.

In %&' )*+',-. /01', the tiajectoiythe auventuieof Bebia Paget (Naigaiet), Anthony
Quinn (Ben), anu Ray Nillanu (Naiuo) piactically avoius the city altogethei, while
tiaveising a vast teiiitoiy, almost entiiely without human constiuctions. Theii escape,
which takes up neaily the entiie film, fiom Quinn anu Paget's ianch to the Nexican-
Ameiican boiuei (an invisible human maik onto the giounu), passes thiough hills anu
valleys, that is, thiough all the funuamental types of topogiaphy of any teiiitoiy which aie
befoie, that is below, the cities: the plains (coveieu by coinfielus, ciissciosseu by long
stiaight ioaus, anu wheie Quinn has settleu his small ianch), the mountain iiuges (wheie
the chaiacteis walk anu iule the lanuscape, like hunteis) anu the watei ioutes (the ,*+',-.
'01' of the veiy title of the film, shown in the cieuits at the stait anu the place wheie
eveiyone iests by the enuliving oi ueau). In eveiy place configuieu by these teiiains,
things happen. Anu eveiything happens because these types of topogiaphy allow oi
uemanu it. Let's consiuei the iavines in the film.

Theie aie thiee iavines that oiganize the itineiaiy of the thiee chaiacteis ("Eveiything I
uiu was tiiangles with me... You'ie only ielateu to people thiough tiiangles oi lines,"
12

Bwan explaineu to Petei Boguanovich) anu that ueteimine the tiansfoimations anu
ielationships between them that they will unueigo thioughout the film:

1.



The fiist, the bluff ovei which the van anu tiailei that unueitook the fiist pait of the
jouiney aie tosseu, maiks the staiting point of the jouiney on footnow unpiotecteu fiom
natuie's violence anu fiee fiom the hieiaichies anu uistinctions that man-maue space will
always ueteimine oi ueny. 0ntil now, Anthony Quinn has uiiven his cai with his back
tuineu away fiom the small tiailei wheie Ray Nillanu anu Bebia Paget have been lying,
sepaiateu fiom him. Fiom now on, on foot, the path will uepenu only on theii mutual
affinities anu aveisions, which will oscillate among them, uepenuing on each one's ielative
stiength, itself ueteimineu by theii possession of a knife oi gun.
60
2.



The seconu, the cliff that Ray Nillanu tiies painstakingly to climb, while attacheu to a iope
hoisteu by Anthony Quinn, offeis the means by which the suitcase opens foi the fiist time,
anu the million uollais' woith of bills fiist go flutteiing to the winu. As a iesult, Ray Nillanu
kills the olu piospectoi, Bebia Paget tuins away fiom him, anu Quinn's uesiie foi ievenge
giows immeasuiably.

S.



The thiiu, finally, is the iavine wheie the silvei suitcase will open anu the money uiop once
again, this time to be foievei lost, as it joins the fallen bouy of Ray Nillanu.

If in 2*#+', 3!0' (19S4), (a gieat example of the ielationship, in cinema, between bouies anu
the space of a city) the oiueieu movement of the ciowu puisuing }ohn Payne, one moment
a saint anu the next a uevil, opeiates as a piocession between the houses of the two women
who, because they aie in love, see anu peiceive eveiything, anu the builuings of the
municipal institutionsthe couit, the town hall, the piison, the chuich, the telegiaph office,
the saloon, the stable, all festooneu foi the holiuaythe movement in %&' )*+',-. /01' is
like a pilgiimage taken by these thiee people who have iefuge only in cleaiings, caves, anu
the beu of a stieam.

In the city as in the wilueiness, both manmaue constiuctions as well as natuial sites that
have been maue human by acts of choice (as Ray Nillanu says, when suipiiseu by Quinn
anu Paget embiacing insiue the cave: "Naybe I shoulu have knockeu ..."), aie the anchois
within ieach of these bouies that, stationaiy oi auiift, woiking collectively oi alone,
casually oi iitualistically, aie constantly at iisk.

61
+-).% )'* /0%

In %&' )*+',-. /01', natuie, fiee of any human tiaces, seems to have been conceiveu to
accommouate the thiee chaiacteis, i.e., theii gestuies, looks, anu woius. The fiist image we
aie giventhe site wheie Paget, Nillanu anu Quinn choose to iest the fiist night without
even a ioofis the image of a kinu of stage.

The backgiounu is a jumble of iocks loosely opening onto a path that will only be seen
cleaily latei on, when Anthony Quinn takes it to go walking"I'll have a look aiounu." The
flooi is maue of uiit anu stones that have mixeu togethei to shielu a small fiie, which
uiviues the shot fiimly into two siues: on one, Ray Nillanu anu Bebia Paget, anu on the
othei, a bit iemote, Quinn; behinu each of theii bouies, each seen in its entiiety, theie is a
tiunk of a tiee on which the position anu movements of each one of them iely.



When Quinn, alone on a neaiby iock, sees the othei two as they kiss, not only have the tiees
changeu position, but the tiee on which Quinn was leaning has uisappeaieu altogethei fiom
wheie it was planteu befoie. The fiie has also changeu position in oiuei to continue
occupying the miuule of the shot anu to seive now as the centei of the fixeu ciicle of light
which uemaicates the space of the cleaiing. (Latei, the only tiee on the bank of the iivei
wheie the film enus seems to be theie to safeguaiu the suiviving couple).


62

In Bwan's films, we can see cleaily that actions aie not uetacheu fiom spaces anu things.
The action 456'. 7#58', in cinema as in life, anu it is the shape of these places that, in laige
pait, pioviue theii nexus. But at no point uo the sets of Bwan's films, often quite viviu,
speak too louuly oi oveishauow the bouies acting on them. The "extieme simplicity" anu
the "economy of the line,"
1S
in Bwan's own woius, which guiue all aspects of his ait, also
ueteimine how locations seive the action, oi iathei, how the locations, passing by
unnoticeu (as much by us watching the film as the chaiacteis within it), 9"*4' with the
action.

In life as well theie exists a ceitain, stiange abstiacteuness, like that of facing the ieality of the
spaces aiounu us that allows us to live in them. Anu if these spaces, at best, seem to have been
theie foievei, like that cleaiing anu the tiees in %&' )*+',-. /01', the configuiation of these
spaces, the things that populate these places, anu the elements by which they aie constituteu
tiansfoim themselves as well anu change oi seem to change location with the use we offei
themmost of all thiough oui memoiies anu oui uieams.

123./&0()'.% )'* 1#'(%4(

Raiely can woiks of aichitectuie be moveu (let's not confuse them with theii images, which
ciiculate wiuely). Woiks of aichitectuie have ioots, aie built in places that existeu befoie
them anu that aie tiansfoimeu by theii piesence.

In %&' )*+',-. /01', theie aie not only the images of the lanuscapes, of the places anu the
spaces that occupy the scieen, but also of othei things that, eithei belonging to this context
oi clashing with it, become associateu with each gestuie: a half a uozen small objectsthe
small ciiculai miiioi hanging ovei Quinn anu Paget's beus, which aie aiiangeu like an "L";
the small oven that exploues; the iion foi bianuing cattle anu the knife foi killing tuikeys;
guns anu bullets; the metal suitcase anu, insiue it, the ten thousanu bills of one hunuieu
uollais each that will be swappeu foi a iope, a fiiebianu oi a ueau cow, anu that will be sent
flying thiough the aii twice, that will be useu to kinule bonfiies, anu that will enu up
ciumpleu in the beaks of biius anu floating in the wateis of a biook. Plus thiee animals.

In thiee uiffeient scenes, Bebia Paget will face these thiee animals, each uistinct fiom the
otheis: the ox that bieaks the fence of the coiial ianch; the scoipion that attempts to
occupy the insiue of one of hei lace slippeis; anu the snake insiue the cave that thieatens
the two fighting men, anu which she kills.

63






A laige pait of the conciete conuitions facing a woik of aichitectuie emeige on site. These
conuitions aie always vaiiable, fiom place to place, anu often fleeting; anu so, the piopei
attention to them anu the ability to iesponu to them appiopiiately aie the uuties of a job
that uoes not lenu itself to univeisal solutions. In some cases, what matteis in these places
occuis as natuially as the veimin of %&' )*+',-. /01' seem to spiing up with suipiising ease
(the thieat aiising fiom a specific site that one nevei iealizes is theie); in othei cases, the
encounteis that iesult aie something like what happens between the ueseit anu Naiuo's
pink Foiu Thunueibiiu that tiaveises it (a collision that seems to claiify eveiything).

")((%3 )'* *23%.(2#'0

Aichitectuie is not executeuanu nevei wasfoi the sense of sight alone. Noie than evei,
it is impoitant to iepeat this obvious tiuth: all the senses, if they aie moie oi less awakeneu
in us, aie at play when it comes to inhabiting the ieality of a space; anu, in the case of
vision, one of its aspects that counts the most is the capacity of peiipheial vision, without
which we woulu not be able to feel as though we weie *".*0' a space.

Such aie the own, wonueiful limitations of the ait of cinemapeiception of a film is
limiteu to two of the five senses: vision (two-uimensional) anu heaiing (sounu woulu take
ovei twenty yeais to emeige aftei Bwan hau maue his fiist film)that at eveiy moment in
%&' )*+',-. /01' we aie maue awaie of oui othei senses. When Bebia Paget, uiesseu
64
foimally, goes uown the staiis of the hotel to meet Ray Nillanu, the monochiomatic
textuies of the walls, the staiis, the uoois, anu hei uiess (the aubuin anu ochei of the uiit,
the woou, anu even the watei of the fiist pait of the film, ieemeige heie, baiely satuiateu)
leave us feeling, like uoethe, that "the hanus want to see, the eyes want to caiess."
14




Bow many movies aie maue that stanu up to patient anu attentive looking anu listening.
Bow many iooms, how many builuings anu cities aie built foi the affect anu intelligence of
the senses.

1#'(2'/2(5

}ohn Boii has noteu that in Bwan's woik, "the woilu captuieu in the fiame is nevei as
impoitant as the ielationship of one shot to the next."
1S
To unueistanu this bettei, let us
ietuin to the scene wheie Paget shoots the snake while Quinn anu Ray Nillanu aie
stiuggling with one anothei, so that we can iecall the uaikeneu cavity, always visible, at the
siue of the cave's lighteu entiance, but which we only notice aftei the cobia iises up insiue;
oi of the two men's stiange, static embiace; oi of Paget's folueu, inuiffeient bouy, sick,
while life anu ueath play out befoie hei.

In a woik of aichitectuie as well, the elements constituting it aie nevei as impoitant, in of
themselves, as the ielationship between them. Anu this can be veiifieu, not only by the veiy
natuie of aichitectuietaking pait, above all, in the stiuctuie of manmaue constiuctions,
it's the space between things that counts moie than the things themselvesbut moieovei,
foi two othei ieasons as well: on the one hanu, in a woik of aichitectuie any element is in
fact only compiehensible when coiiesponuing to the othei elements with which it foims a
whole; on the othei hanu, the limits of a woik of aichitectuie aie nevei the limits of its
intenueu uesign, oi iathei, a woik tiuly exists only in ielation to that which, one way oi
anothei, is close to it anu with which, again, inevitably, in one way oi anothei, it foims
continuities.
16

65












66






But it is not only this notion of continuitya notion iefeiiing to the shape anu stiuctuie of
the woiks themselveswhich is founu in Bwan's movies. Bis films paitake as well in
anothei piinciple of continuity that }ean-Luc uouaiu has spoken of, when stating that "a
film is not a woik in anu of itself. It is, at the same time, a pait of a whole. What one staits
off seaiching in one film enus up being founu in othei films." Bwan's woik also makes it
cleai that this seaich uoesn't have to begin anu enu in the woik of a single authoi. What
someone staits off seaiching foi in a woik enus up being founu in the woik of otheis. The
entiiely ambitious mouesty that such a piocess supposesanu that belongs as much to
scientists as to poetsis the piiue

of a ciaftsmen. It was uiancailo ue Cailo who saiu of his
foimei, fellow tieatise-wiiteis, Albeiti anu Fiancesco ui uioigio: "They woulu speak of the
simple techniques they hau leaineu fiom the masons. So they weie necessaiily mouest.
Because if you begin to uig up the ioots of the cultuie that is all aiounu us, it is cleai that
you aie safe fiom this attituue of iemoteness, aiiogance, contempt of fact, that is the basis
of immouesty, which is to believe youiself to be in anothei spheie, anothei level (...) "
17


When theie aie fewei anu fewei alteinatives between the stanuaiuizeu piouucts of the
supeimaikets anu the moie oi less exotic uelicacies of 1!9,:'4 shops, it is left to us to stait
anew, as Biecht saiu, with the "bau new things" anu not the "goou olu ones" in oiuei to
ieinvent the small, neighboihoou shops. Peihaps this is the best of all possible ways that
we have touay to ieiteiate the most impoitant thing that any manmaue woik might iecall:
"Now we aie alive."
67

1
Allan Bwan, %&' )*+',;. /01', 19S7
2
Allan Bwan, Inteiview with Petei Boguanovich, <##5" =>5"? %&' 35.4 @*!"'', (Lonuon:
Stuuio vista, 1971), 2S.
S
Ibiu. 16S.
4
Philip }ohnson, A*'. +5" 0', )!&' (New Yoik: Nuseum of Nouein Ait, 1947), 189.
S
Robeit Biesson, B!4'. .9, #' 8*"C:54!1,57&', 197S. (Paiis: uallimaiu, 1988), 12S.
6
}ohn Foiu, Inteiview by Philip }enkinson, 19S6, in ueialu Peaiy (eu.), D!&" E!,0? F"4',+*'>.
(0niveisity Piess of Nississipi, 2uu1) 1S9-14u.
7
Luis Buuel, A!" 0',"*', .!97*, (Paiis: Euitions Robeit Laffont, 1982) 2S4-2SS.
8
Peuio Costa, G"0' D5H ! %'9 2!,,*.! (Lisboa: Assiiio & Alvim, 2uu4).
9
Chiis Fujiwaia, "Ten That Nake A Woik," in Baviu Phelps anu uina Telaioli (eu.), <##5"
=>5"? < =!..*', (Lumieie, 2u1S) 44.
1u
}ean Clauue Biette, "0n inventeui sans iecompense: Allan Bwan ou le cinema natuie",
I5&*',. 09 8*"C:5 SS2 (fviiei 1982).
11
Lewis Numfoiu, %&' I*4$ *" J*.4!,$? *4. !,*1*".K *4. 4,5".L!,:54*!".K 5"0 *4. 7,!.7'84., 1961
(Niuulesex: Penguin, 1984) 1S.
12
Boguanovich, op. cit., 26.
1S
Ibiu., S2.
14
}uhani Pallasmaa, %&' /$'. !L 4&' 26*" (West Sussex: Wiley Acauemy, 2uuS) 14.
1S
}ohn Boii, "The uiiffith Tiauition", E*#: I!::'"4 (NaichApiil 1974) S1.
16
Cf. Feinanuo Tvoia, =5 G,15"*H5MN! 0! /.75M!, 1962 (Poito: Publicaes FA0P, 2uu8).
17
uiancailo ue Cailo, Inteiview with Biuno Queysanne anu Ren Boiiuey, "Entietien avec
uiancailo ue Cailo", in Ren Boiiuey et al., <,8&*4'849,' '4 :!0'.4*'? <84'. 0' #5 ,'"8!"4,'
4'"9' 59 I!9+'"4 0' #5 %!9,'44', Centie Thomas Noie, les 8 et 9 juin 1996, (Lecques:
Thtete Eu., 1999) S9.





68
TBE 0NCERTAINTY PRINCIPLE
0i Auventuies in Exchange Symmetiies

Baviu Phelps






Above: ! #$%&'( #)*+&,&&' (1917) -,./& -,')0+ (192S),
#$(,.(. 1&22& (194819S2), 324/5, 6)'*& (19SS)


69
"All foi one anu two foi five!"
75& 75'&& #)*+&,&&'* (19S9)

"Why uon't you pietenu that I'm Kate Quantiill.... Naybe I can take hei place."
Kate Quantiill, 8$9.( 75&: !29$*, ;:(05&% (19SS)

***

Self-fashioneu only in theii uieams, Bouglas Faiibanks anu uloiia Swanson iaise quixotism
to a kinu of all-iounu Ameiican cieuo. The fantasies that pieface ! #$%&'( #)*+&,&&'
(1917) anu -,./& -,')0+ (192S)Faiibanks' Neu Thackei figuiing himself as a movie heio
B'Aitagnan; Swanson's small-town waitiess, }ennie Bagen, iecasting heiself as an actiess
acclaimeu foi hei Salomeboth seem to tieat Continental Piestige as an entiiely Ameiican
Bieam, though the joke comes ietioactively: as Paiis uissolves to Kansas, the Woilu's Stage
to West viiginia, the movies tuin out only to be paiouies of theii own genie conceits, theii
own, extia-accentuateu ciaft as swashbuckleis. Neveitheless, as platfoims foi fantasy,
these uiabbei iealities aie in a way the gieatei constiuct, weiiu places wheie both
Faiibanks anu Swanson aie iiuiculeu foi theii most impiobable quality, theii ($'9.20:; in
Bwan's ieality, in which almost eveiyone might tuin out to be an actoi playing a vaiiable
iole, Neu Thackei seems to uieam of becoming nobouy othei than Bouglas Faiibanks, anu
}ennie Bagen of becoming nobouy othei than uloiia Swanson. The fabulai stiuctuie of both
filmschaiacteis navigating theii uull lives as genie-pieces that they will finally enact in
the enuaie, in a way, simply stoiies of the stais becoming themselves.

"I founu it was a goou iuea to let the actois have a lot of fiee play. A uiiectoi's job
shoulun't be to teach acting," Bwan woulu say. "Chiluien aie gieat actois because they'ie
always making-believe."
1
Founu objects of a soit, Faiibanks anu Swanson become, like
Bwan's fiist locations, motivating paiameteisthe iaison u'tie of a film's plot, the iules of
its game. As Bill Kiohn notes how Bwan's spatial axioms become naiiative paiauigms,
2
75&
<$4*$(&% 32)9& (1911) woulu be constiucteu aiounu a flume Bwan hau spotteu; =42 =(
7'$)>2& 8.,&'* (191S) aiounu the oil wells off Summeilanu; -,./& -,')0+ aiounu the
entiance of a iiveiboat into the town wheie Bwan was shooting. Even late, 7&((&**&&?*
<.',(&' (19SS) will seem to be assembleu out of little moie than the title anu fiist two lines
of Biet Baite's stoiy, as if Bwan anu scieenwiiteis hau gotten no fuithei than this
accumulation of 1) chaiactei (Tennessee anu his Paitnei), 2) uialogue ("I uo not think we
evei knew his ieal name," tuineu into the film's final line), anu S) location (Sanuy Bai, CA),
anu hau ueciueu simply to ieueploy some vaiiant of the plot of !(/&2 4( @A42& in oiuei to put
the pieces togethei.
S
Bwan's whole naiiative-aesthetic appioach might be summeu up as
some foim of connect-the-uots: similaily, the Faiibanks films seem physically constiucteu
aiounu theii stai's abilities anu limitations alike in jumping between spaces, as the
platfoims of the set aie positioneu by the exact uistance Faiibanks coulu leap between
them easily enough to suggest that theie weie no gap at all. A mechanics of fantasy: it takes


7u
an exact uistance to make it seem as though Faiibanks coulu have vaulteu as fai as he
wisheu; foi Bwan, theie is even a science of uefying giavity.

Bwan:

"But eveiything I uiu was tiiangles with me. If I constiucteu a stoiy anu I hau foui
chaiacteis in it, I'u put them uown as uots anu if they uiun't hook up into tiiangles, if
any of them weie left uangling out theie without a sufficient ielationship to any of
the iest, I knew I hau to uiscaiu them because they'u be a uistiaction. Anu you'ie
only ielateu to people thiough tiiangles oi lines. If I'm ielateu to a thiiu peison anu
you'ie not, theie's something wiong in oui ielationship togethei. 0ne of us is
uangling. So I say, ''Bow uo I tie that peison to you. Bow uo I complete that line.'
Anu I have to woik the stoiy so I can complete that line. In othei woius, cieate a
ielationship, an inciuent, something that will biing us into the eteinal tiiangle. That
was the weakness of von Stioheim, foi instance. With all his stiength, that was his
gieat weakness. Be woulu get fascinateu by some extianeous chaiactei anu go off
on a tangent, uevelop a stoiy all aiounu that othei chaiactei, anu the stoiy woulu be
uisjointeu."
4


Long aftei Biogiaph anu Tiiangle, Bwan's films still seem to ask the question at the stait of
the film of just how many ways a set seiies of people anu locations may be ielateuanu
then geneiate geometiic stoiylines to assuie the ielation of each entity to each othei. A
mouel foi an inuustiy still impiovising its piouuct in Califoinia foiests anu New }eisey bais
in the eaily 191us, Bwan woulu channel the tension between impiomptu, on-location
shoots anu his beloveu, uiagiammatic paiables into open naiiative pioblems to be iesolveu
by the stoiy itselfsome yeais still befoie the stiatification of pie-sciiptive "fiction" anu
extempoianeous "uocumentaiy" into inuepenuent ontologies of cinema anuoi ploys of
maiketing. Community symphonies of a soit, films fiom #.(5.,,.( #.%(&** (1916) anu
@.*, -4%&B 8&*, -4%& (1927) to -C&&,5&.',* $( <.'.%& (19SS), anu even -24/5,2: -0.'2&,
(19S6) employ ieconciliation plots as a way of scheming uiagiammatic couples into contact
with theii communities anu one anothei; the most geneiic iomance becomes a tool foi
Bwan to catalogue all stiata of a woilu. But it's Faiibanks whose physical expeitise at
ciossing bounuaiies anu boiueis in a single leap becomes a soit of tempeiamental
template foi all Bwan's heioes, as the ultimate tool foi linking all the spaces of a town:



D& E$9&* FG -9424(/ (1918), 74%& $H @9G4'& (1929)


71

Alieauy, in the Faiibanks movies, theie is the suggestion that community is simply the
ciiculation of chaiacteis among a few set pieces, each ueteimining theii ioles. A piinciple
at woik as eaily as !29$*, . 3'4.' (aka #.(?* E.224(/, 1912): a man knows his life can be
ueteimineu by the ucoupage of moving iight (into the shot of a loving woman), left (into
the shot of a iiveibeu foi contemplation), oi into the backgiounu (wheie theie awaits the
monasteiy of his intenueu piofession, but soon to be weuuing site in one of Bwan's fiist
18u uegiee spatial-iole shifts). As in so many latei Bwans, the initial piinciple of "iealism"
in #)*+&,&&' oi #.%(&**, that the chaiacteis must assume the ioles befitting theii locales,
anu may even have to swap iuentities at each scene change, tiansmutes into a piinciple of
fantastical mock-heioism by the enu: it's piecisely by assuming anu swapping ioles that the
chaiacteis can at last ueteimine theii scene insteau of vice-veisa. It's a uiscoveiy that will
latei be maue by Shiiley Temple in I&>&00. $H -)((:>'$$+ 3.'9 (19S8) anu }ane Russell in
#$(,.(. 1&22& (194819S2) with winking assuiance that these giils' peifoimances aie
enough to iestoie theii univeises to collective choiuses on an open stage. Eveiyone
becomes pait of the show.

"This outsiue-in stiuctuie allows Bwan anu Faiibanks to paiouy genie coues while also
fulfilling theii basic necessities," says R. Emmett Sweeney about #)*+&,&&'.
S
The chaiacteis
ievel in theii woilu as a genie constiuct as much as Bwan: #)*+&,&&' enus with Faiibanks
becoming the action heio of his uieams; #.%(&** with Faiibanks tiickeu by a theatei
tioupe into thinking he is one. -,./& -,')0+ even suggests the Bwan-Faiibanks action film
as a genie to be paiouieu by the paltiiei ieality cieateu in its image: baiely able walk
upiight aiounu a ioom, uloiia Swanson hatches a plan to win hei love by peifoiming in a
boxing match that will ially the town togethei. Bei logic, suiely, is Bwanianonce he too is
complicit in hei peifoimance, as eveiyone in the Faiibanks films becomes complicit in his
stageciaft by the enu, she can teai off hei mask anu let the powei of hei peifoimance
tianscenu the social binus of poveity anu schlemiel motoi skills that have constiaineu hei
foi fai too long. But of couise hei mask uisguises the woilu fiom hei as much as it uisguises
hei fiom the woilu, anu she bumbles aiounu the iing, Chaplin-like, biawling at the empty
aii. In contiast to Faiibank's ueath-uefying ease, his inability to fall in the face of any
huiule, hei heioic attempts not to topple ovei as she's walking become uoomeu,
beautifully, heie anu in #.(5.(%2&% (1924), by hei own oveibuiueneu optimism. Like
Chaplin, hei pathos seems to have been fabiicateu aciobatically in a total giace of
giacelessness. Naiion Bavies, stiuggling to pieseive hei self-image against a woilu that has
othei ioles foi hei to play, is offeieu a similai poignancy in J&,,4(/ #.': #.''4&% (1919),
but theie's piobably not much paiallel foi it aftei the sounu eia: the tiagic comeuy of a giil
uespeiately tiying to be anyone but heiself gives way to a uispositional blankness, in the
last films, of chaiacteis who swap entiie peisonalities at eveiy costume-change, who can
only act as the chaiactei they've fitteu themselves to play. The binaiies of ieality anu
fantasy become ieplaceu by binaiies of something like fantasy anu fantasy, the positive anu
negative solutions foi Bwan's chaiactei vaiiables.



72
***

By the sounu eia, the iole is not so much a foim of self-expiession, as in, say, the similaily
piivate-public peifoimances of Cukoi; wheie Cukoi obligates his actois to evaue the
accusations of each othei's staies by coiling towaius his pushing-pulling cameia, the only
outlet into which they might aiticulate theii feelings, chaiacteis in Bwan look squaiely at
each othei fiom eithei enu of the scieen. Wheie in Cukoi the emotional ievelations aie
self-cultivateu piivately in iesponse to an inescapable, outei social woilu, in Bwan the
ioles aie simply genie molus to be employeu foi theii cinematic anu social functions. Any
Foiu-like, Bomeiic uiagnosis of the heio's self-abiogation in tying himself to the tasks of
uomesticity oi myth aie equally absent in Bwan; Walsh's slack uistinction between "big
uieameis" anu "little uieameis" on a sliuing scale of self-ueteimineu lives vanishes fiom
Bwan aftei the silent social epics of @.*, -4%&B 8&*, -4%& anu 74%& $H @9G4'& (1929), both
films tiacking woikeis thiough the woilus of empiie they've constiucteu with theii baie
hanus. Roles become simply a social cuiiency to be passeu aiounu. The ielationship
between chaiacteis seems to lie less in theii gazes than in theii gestuies, touching one
othei: the gestuies of anybouy who might play this iole. What is so physically im-meuiate
in Bwans, so sensual, is also what might seem so anonymous.

As in late Lang, nobouy is what they appeai to be noi piesenteu as anything othei than
theii appeaiance. But unlike Lang's iconogiaphic peisonalities, each a self-fitteu mask,
Bwan's chaiacteis, even in the miust of ueceit, seem to conceal nothing; the constant
conceit that ($,54(/ 4* 54%%&(, eveiything visible, will ioot his 4us comeuies as much as his
Sus policieis in entiiely public woilus, aujoining spaces wheie piivacy is only an illusion
belieu by wiue winuows anu constant eavesuiopping. In theii shift fiom vauueville show-
anu-tell to stoneu-faceu paianoiathe waitime comeuies somehow expiessions of both
Bwan's movies only shift fiom the buoyancy of a woilu conjoineu haimoniously in
peifoimance, as chaiacteis play the ioles of theii uieams thiough K L'&.9 $H M&.(4& (19S2)
anu -C&&,5&.',* $( <.'.%&, to the woouenness of a woilu wheie the peifoimance of uuty
conceives of no counteipait in a piivate self oi even piivate fantasy. Such piivacy, even the
piivacy of thought, is not even an option foi these stoiylines in which uisguises aie tieateu
openly as such, anu chaiacteis aie unable to hiue a thing fiom each othei, whethei a gaitei
oi an iuentity. In Bwan's conception of social theatei, a platfoim foi chaiacteis to swap
ioles, teach each othei ioles, anu finally peifoim them togethei, actois only become agents
of theii act in constant motion ovei time. The movies uiaw so close to uiawing-ioom
comeuy in theii exteinalization of eveiything psychological that they ieach a kinu of
giounu zeio of mouein cinema: each chaiactei is nothing moie noi less than a moving
image.
***

Anu yet what's weiiuest about the 4us comeuies is that while each attempt of Bwan's au-
libbing heioes to evaue uetection becomes legible in theii oveiueteimineu stammeis,
uouble takes, anu veibal luiches, still nobouy else on-scieen gives much sign of


7S
peituibation that anything is amiss. Bon't the women see Bennis 0'Keefe's hopeless,
epileptic enueavois to contiol his twitching with moie twitching in film aftei film, his way
of keeping his seciets silent as clamoiously as possible. Boesn't anyone iealize that the
naicoleptic stai of college football team in I4*& .(% -54(& (1941), }ack 0akie, is S7 yeais
oluoi think to mention, just once, that Chailie NcCaithy, the boy uailing of ;$$+ 85$?*
;.)/54(/ (1941) anu D&'& 8& J$ !/.4( (1942) with Chailie Beigen's hanus shoveu up his
pants, is a woou puppet.

Insteau, Bwan's comeuies seem to ueuuce conventions fiom a manic age of Spike }ones, Tex
Aveiy, anu D&22N.G$GG4(', an eia of stiess sublimateu into joy. Piimaiy among these
postulates in this univeise of ueception: anything is ieal that claims to be so.

But this Bwanian piinciple coulu be uefineu as a few otheis:

Fiistsome foim of uiamatic iiony: the auuience can only see peifoimance wheie
chaiacteis insiue the movie only see a ieality. That this ieality obeys the exigencies of
uiamatuigical contiivances might seem to suggest an upuate of enlightenment comeuy:
the fictions of the chaiacteis ueteimine the plot until the moment that theii uesigns aie
unmaskeu, anu the Tiuth is at long last ievealeu. But unlike in, say, Nolieieoi Bwan's
upscale counteipait in the 4us, Pieston Stuigesthe tiuth behinu the peifoimances is
elusive in Bwan's comeuies, as the films, iesolutely iefusing to acknowleuge theii own
conceits, upholu these incongiuous peifoimances as the only ieality of theii univeises.
It's as though the films aien't in on theii own jokes. 0i iathei, that the joke has shifteu
fiom uiawing ioom comeuy's sham uisguises anu hammy aitifice, all the moie
pieposteious foi obeying logical motivations anu uiamatic coues, to something
metageneiic, closei to the Zuckei biotheis than Stuiges: sham uisguises anu hammy
aitifice whose joke is piecisely theii neai-inexplicability, theii veiy implausibility anu
illogical motivation, if not lack of motivation altogethei.

Foi example, when the chaiacteis tiuly aien't in on the joke of the film in 1'&C*,&'?*
#4224$(* (194S) oi I&(%&NO$)* C4,5 !((4& (1946)eithei a community is systematically
unable to ieau the heio's behavioi, oi the heio is systematically unable to ieau the
community's ownthe movies initially seem to opeiate by that classical logic of
concealment, that succession of fictional masks to allow the unveiling of ieality at the enu.
Likewise, FG 4( #.>&2?* I$$9 (1944) anu J&,,4(/ J&',4&?* J.',&' (194S) weave the most
imbecilic gestuies fiom almost aibitiaiy naiiative iationales, as though theii own
uopiness must be legitimizeu by logic at eveiy step. A single, unueilying motivation is
affixeu to the aichitectonic peimutations of chaiacteis' attempts to hiue an object, a
slipgaitei that might symbolize sexual histoiies anu polyamoious uesiie to impeaching
eyes; the fugal stiuctuie, familiai to so many Bwans, simply loops the chaiacteis'
competing quests ovei anu ovei to hiue these coulu-be-symbols of sex in anu fiom the
films' chiipily uomestic householus. The inanity of the content is the happy piouuct of the
foim's sequential iigoi, oblivious to common sense: the action follows something like a


74
Bach-like seiies of haimonic piogiessions, a Baioque iueal of a single gestuie intensifieu
to total ponueiousness thiough iepetition, as the obligatoiy iesolution is continually
uefeiieu. Finally, long aftei the film has become its own challenge to keep going, the
meaningof the objects themselves, of the chaiacteis' actionswill have to be claiifieu
in oiuei finally to be iefuteu. In peifect enlightenment foim, the iepiesentation of people
anu things will finally be shown to be false befoie the piesentation of Tiuth.

Anu yet, veiy fai fiom Baioque, theie's little logic foi the films to keep going, to scale
obstacles so openly contiiveu. The uenial of satisfaction in these comeuies of fiustiation
becomes its own puisuit; above all, the one joke of all these movies is the metageneiic gag
that the film itself as an object iefuses to iesolve the naiiative teims it's establisheu.
Insuffeiable acts must be insuffeiably uniesolveu. The notion that the chaiacteis can't
ieau each othei's expiessions, can't conceive of each othei beyonu theii functions in
pieueteimineu naiiatives, heie becomes the comic piemise itself: 1'&C*,&''s community
is constitutionally incapable of even asking why Biewstei is shelling out thousanus of
uollais; uespite whole sequences of askew glaies, I&(%&NO$)*' Euuie Albeit will nevei be
able to notice that his community uoubts his maiiiage until explicitly tolu so, just as his
community can nevei even suspect his innocence until it is finally pioven; the
communities of I$$9J.',&' will always tiust that Bennis 0'Keefe is acting noimally by
its stanuaius, without seciet intentions, in the absence of any aiticulateu ieason to
believe otheiwise. The joke is how long the joke is helu. A single moment of explanation
coulu enu these films an houi eailiei, but that explanation must be withhelu foi false
assumptions to piolifeiate, uespite theii lack of conviction even as lies. By the time The
Tiuth aiiives in the enu, it appeais as a wheezy ueux ex machina that shoulu have come
scenes eailiei; uealt only at the moment that the films have exhausteu theii stiuctuial
possibilities, it seems like a gieatei contiivance than any of the chaiacteis' fabiications
thioughout the film. Like so many Bwan chaiacteis, the cioss-uiessing, mock-
schitzophienic maiines of !>'$.% 84,5 7C$ P.(+* (1944) weai costumes not so much to
hiue, ieplace, oi ieveal theii "tiue" peisonalities, but to counteipoint theii initial
iuentities until the tiue peisonalityof militaiy menseems like only one moie
costume.

So thieaubaie aie the uiamatic pieiogatives of these films that the chaiacteis only
appeai as willeu peimutations of themselves. In ;$$+ 85$?* ;.)/54(/, it's the film itself
that tests the limits of its own ieality by methouically iecasting the iole of the woouen
puppet as such within its univeise: fiist seen on-stage, Chailie NcCaithy is piesenteu as
plausible conceit of a vauueville ioutine iecoiueu by the film; seen at an aftei-paity, he
becomes a conceit of an Eugai Beigen paity tiick, as though Beigen has enteieu the
film's ieality as himself but Chailie is still his fiction; seen on Beigen's lap within the
uiama, he takes his place within the film's ieality, which seems to have now become a
uiiect auaptation of Beigen's ioutine without the meuiating stage; seen apait fiom
Beigen altogethei, he becomes a cinematic conceit entiiely iiieconcilable with theatei,


7S
as if the film has not simply auapteu Beigen's ioutine but the entiie univeise in which it
pietenus to take place.

Seconu, thena cinema of piesence: in these films in which eveiy chaiactei anu object
seems to opeiate as a false iepiesentation of itself, peisonalities become functions of
theii piesentation anu agents of theii waiuiobe. The only tiuth is situational; nobouy
can think oi act outsiue theii appeaiance in the moment; little iole is allotteu in Bwan's
films to memoiy, eviuently a psychological affaii supeifluous to the ciaft of 9$,4$(
G40,)'&*. But in Bwan's comeuies, it's his own cinema of piesence that seems to be the
butt of the joke that theie is no futuie oi past heie, only the piesent's iecuiiing agonies
anu actions. In these comeuies' featuie-length auaptations of single gags, the chaiacteis'
lives play like bioken iecoius unable to move foiwaiu oi back past a single moment of
tiauma. In a way, it's Bwan's own cinema, in which the chaiacteis can't think outsiue of
theii movement anu moment, which is tieateu as a genie to be bioken uown to its
constituent elements. This inability to think outsiue the piesent becomes founuational
to the naiiative as well as extianeous to it altogethei: the chaiacteis aie meiely the
sum of theii ieactions, which howevei supeifluous to theii objectives, aie obligateu by
the enuless game of countei-ploys anu -plays they'ie compelleu to enact.

In a way, I&(%&NO$)* 84,5 !((4& coulu be counteu as an oblique vaiiation on the
Phantom Lauy piototype that uominateu so many postwai films in the wake of I&>&00.
(194u) anu ;.)'. (1944): films, by Biahm, Cukoi, Lang, Lewis, Nann, Ninnelli, 0phuls,
Sioumak, 0lmei, anu so on, in which an absent lauy, often piesent only as a maniacal
husbanu's painting, seems to conuemn a mouest young maiu to ieenact hei iole as a
pale imitation until the tiauma is ieplayeu, the maniacs conuemneu anu the innocents
fieeu fiom theii pait. In Bwan's comeuy, a jaunty, small town couple is conuemneu by
anothei kinu of phantom past concocteu by the husbanu: one in which he uiun't ueseit
the aimy, one night in the miu-4us, foi evening with his wife that coulu help explain the
bouncing bunule of joy 9 months latei. As in some of the phantom lauy moviesoi
ceitain Schnitzlei novellasthe seconu half of the film tiacks the piotagonist's faileu
attempts to uncovei the tiuth he coveieu up so peifectly in the fiist; as in most of them,
his own ceitainty about ieality appeais as a uelusion to a new ieality that is uelusional
itself. Theie is no such past, he is waineu: life has continueu on exactly as it was, anu
exactly as he woulu have hopeu. As in the Fieuuian Phantom Lauy films, a moment of
tiauma must be iesuiiecteu, ieliveuiecalleu to be iecalleu. The comeuy is only that it
is not muiuei oi the wai that small-town gentility iepiesses, butas in Bwan's othei
comeuiesthe same act of sex that fuels its ielations. Anu the uiffeience is that the
husbanu's memoiy is not of the most tiaumatic moment of his life: insteau, in Bwan,
this amoious inteiluue is piesenteu as the loveliest. Boomeu to iecovei a past in a
piesent that has little sense of it, Euuie Albeit finus himself in seaich of the same
iepiieves uuiing the wai as aftei: sex with his wife, anu in biief pauses in a bomb
sheltei while Lonuon is shelleu oveiheau, a slice of chocolate cake that will piove the
happy enuing.


76

ThiiuWhich is not to say that theie is no time fiame in these films, as paths aie
tiackeu ovei time in closeu set, but that each action must be measuieu against
concuiient actions within this space: a piinciple of simultaneitysynchionicity. The
action of #.>&2 anu J&',4& is only the stiuctuial extension of two uiamatic piinciples.
Fiist, naiiatival: the action must be ieiteiateu in escalating embellishments (the closei
the 0bject gets to the hapless heio, the gieatei his fiustiation, as well as the auuience's,
must giow). Seconu, spatial: each chaiactei's quests to conceal anu ieveal themselves
anu the 0bject aie nothing moie than a cooiuinateu mapping of each othei's constant
tiajectoiies. Each movement thiough the house becomes a Pac-Nan-like enueavoi
foiwaiu, back, anu siue to siue, in closets anu unuei beus, to connive anu siuestep
inteisections. Pei Baniel Kasman,
6
the chaiacteis, even psychologically, live only as
ciiss-ciossing vectois; the fiist-half iounu-iobbins of 12.0+ -5&&G (19S2) anu 3'$(,4&'
#.'*5.2 (19S9), in which the action is ielayeu fiom one chaiactei to the next acioss
contiguous spaces anu an ostensible ieal-timea foimal stiatagem to convene all social
classes togethei, uemociatically, on-scieenaie heie tuineu into featuie-length
conceits. The films seem like some soit of apotheosis of uiiffith's piomise in 7')& D&.',
-)*4& (1919) of an aichitectuial cinema of uelimiteu times anu spaces: films as places,
spatial systems in which the viewei will know exactly wheie all the chaiacteis aie in
ielation to one anothei, what they'ie uoing, how fast they'ie moving anu in what
uiiection, meiely by watching one chaiactei in one ioom within the film's caiuinal
cooiuinates. The film's sole task becomes such synchionizeu cooiuinationoi
uesynchionization in the case of 75& J$'422. (19S9), in which impossible spatial
maneuveis (suuuen uisappeaiances anu simultaneous appeaiances in multiple
locations) become the meat of the comeuy, with the joke, once again in Bwan, that
within a giounueu, Eucliuean geometiy, nothing heie is feasible. Bwan's geometiic
piinciples abstiact eveiyone to qualities anu types: anu yet, no quality noi type seems
moie absuiu than a penchant foi acting by mathematical piinciples.

Fouith0i iathei by the Piinciple of the Placeholuei. The function of an actoi to
assume a iole inevitably becomes the subject of so many Bwan films in which
chaiacteis aie uefineu by the paits they must play at a given moment, as if they meiely
hau to uon a mask to be believeu as whatevei pait they play. Choice, fiee will, plays
little pait: self-ueteimination woulu piesume a self that seems to uwinule piogiessively
out of Bwan's films, anu even the quests that piompt the action of E.,,2& Q)&&( $H
#$(,.(. (19S4), <.**4$( (19S4) oi 75& I&*,2&** 1'&&% (19S7) aie tieateu as though the
objective weie alieauy a foiegone concession of the genie, so that the films might lingei
in its shifting spaces anu allegiances, each geneiating naiiatives of its own. In FG 4(
#.>&2R* I$$9 anu J&,,4(/ J&',4&R* J.',&', Bwan's cinema ieaches a kinu of bieaking
point: the long-sought-aftei slip anu gaitei piovoking all emotional machinations
between the chaiacteis aie not meiely the lynchpin of the plots but inciuental to it; the
joke of both films is that these objects, meaningful only as they'ie constiueu anu
misconstiueu by the chaiacteis' piojecteu toiments anu uesiies, aie inconsequential


77
except as a scieenwiitei's uevice. Foi the bulk of both films, weiiuly, the obligatoiy
comeuy of eiiois is neaily escheweu: nobouy ieally seems to misconstiue the
significance of the objects until some point neai the enu, though the piotagonists oibit
each othei H&.'4(/ such possible misinteipietations (as in Resnais' stiuctuially similai
comeuies yeais latei).

Likewise the giil in 7C$ P.(+* nevei seems to believe the maiines aie the multiple
peisonalities whom they've misconceiveu themselves to be: like Banny in -.42$'?* ;.%:
(194u), they seem to be paianoiac hams couiting eiioneous ieauings, uespeiate to
outwit theii ieputation as moions by appeaiing even moie gleefully, ueceptively uumb.
Anu yet, when the Yanks cioss-uiess, the police go chasing aftei two bioaus, as if
appeaiances can be tiusteu. }ust as eveiyone believes the woouen puppet's a boy
because he claims he is, the maiines aie women because they claim they aie. Although
neithei Sally in -.42$'?* ;.%: noi }oyce in 7C$ P.(+* seem so stupiu to believe a woiu
theii love inteiests say, the coues of willful belief anu willful uisbelief aie basically the
same. The chaiactei is meiely fillei foi the iole, anu so the issue isn't of belief at all, but
of glau-hanueuly obtaining the auuience's complicity to peifoim this iole whose valiuity
woulu piesume a ueepei tiuth about the chaiactei that isn't theie.

The Placeholuei Piinciple means a tieatment of genie as a seiies of vaiiables unuei
examination, the bettei to giasp the foim; so Bwan paiticulaily ielishes putting the
most ill-suiteu suckeis into the iole of Beioic vessel with the joke that in the woilu of
genie, nobouy seems to notice the oveitaxeu panache with which the heio enacts his
pait. The piimaiy comic conceit of 75& 75'&& #)*+&,&&'* (19S9) is simply that the Ritz
Biotheis woulu play the biaying title chaiacteis, woulu expiess themselves thiough a
shtick of uistenueu legs anu coileu lips, in an otheiwise iobust, iomantic swashbucklei
oblivious to the fact that these thiee tavein boys aien't the musketeeis they claim to be.
The joke that as naiiative maikeis, they'ie nothing moie than the ioles they play,
woiks uoublyboth within the movie's univeise, that the Biotheis woulu be mistaken
foi musketeeis as they uon the uisguises, as well as some meta-joke that these }ewish
vauuevillians seem to have uescenueu into a movie univeise without a clue of the filmic
oi social coues to follow. Like Chailie NcCaithy's puppet anu }ack 0akie's collegiate
footballeioi, maybe bettei, Celine anu }ulie, anu Chicken-Boo yeais lateithey'ie
waimly welcomeu into the movie machine as placeholueis of a pait that must be
playeu. The plot point is liteializeu in I&>&00. $H -)((:>'$$+ 3.'9 (19S8), in which
Shiiley Temple must climb out the small town woilu of one house anu into hei
neighboi's home, wheie a iauio stuuio impoiteu fiom New Yoik awaits in the ueau of
night foi hei to enact its show.

So Bwan's chaiacteis, giinning knowingly, inuulge the contoitions of the plot as if they
weie both enacting a spectacle of nonsense even while watching it be peifoimeu (as
they uo in the open vauueville ievue of !'$)(% ,5& 8$'2% (194S)). Implausibility again
becomes its own incentive. The basic joy of iole-playing a genie movie, the seeu foi


78
Bwan's late, absuiuist Westeins, seems the tenuous iationale foi 7'.42 $H S4/42.(,&*
(194u), a soit of extension of the #$%&'( #)*+&,&&' paiouy to featuie foim: amiust a
tiaffic jam of Nain Stieet gunfights in a town wheie vigilantes uisguise themselves as
the law anu the law as vigilantes, biainy East (Fianchot Tome) anu buily West
(Bioueiick Ciawfoiu) will meet, each soon to assume the tasks of the othei. As a paiouy
of actois themselves, the obligatoiy siuekick foi these two synecuoches of the nation,
Nischa Auei, plays a new ethnicity eveiy scene.

***

In a way, so much of Bwan's silent comeuy opeiates accoiuing to a kinu of iueogiammatic
Placeholuei Piinciple, as Noah Teichnei suggests:
7
images neatly take the place of woius,
as if the ieality of the film weie little moie than a visual coue of aichetypical concepts. That
is, within the fiee exchange between image anu woiu of uesciiptions, uepictions, uialogue,
anu thoughts, woiu anu image can each seive as the othei's placeholuei in a soit of
naiiatival show-anu-tell. The images can even become something like syntactical
extensions (as in Keaton) of the inteititles' phiasing; piesaging 7'.42, #.(5.,,.( #.%(&**
(1916) is the cleaiest example





anu J&,,4(/ #.': #.''4&% (1919) peihaps the most uexteious



79



of this notion that all levels of uiscuisive imageiy anu language can be inteiwoven, as if
each weie only a vaiiable phiasing of the othei. 0i iathei, an illustiation, as if the image
weie only the mathematical pioof of a comic piemise. The joke in both #.(5.,,.( #.%(&**
anu J&,,4(/ #.': #.''4&% is just how legible ieality is in confiiming veibal postulates anu
confoiming to linguistic coues.

So pait of the comeuy, then, is that things coulu evei be typifieu so compiehensibly as they
woulu be in uiiffith. An inteititle in 75& D.>4,* $H D.GG4(&** (1916), as Faiibanks ieconciles
two fighteis, not only paiouies uiiffith's pompous notes of accuiacy, but even the notion of
such values:




8u
If one is tiuly to value believability, unfoitunately, the wiitten woiu cannot substitute foi
the ieality of the image at allsays the inteititle conceuing its own ontological failuie to uo
its job of matching Faiibanks' chaim. Neithei woiu noi chaiactei will substitute foi being
theie with the guy himself, anu ieally, it's only a uiiectoi as foimulaic as uiiffith, with his
piototypic stock of uowagei snoops stioking theii eyepieces, who woulu evei think that
chaiacteis coulu be meie placeholueis foi the inteititles, moie vaiiables to be filleu in. But
that uiiectoi, of couise, is Bwan, happy to woik inoi iathei, woik outuiiffith's
algoiithms




that can only be tieateu as such in paiouy.

Anu yet Bwan's technique is exactly the soit of Being-With the actois that D.>4,* eschews
as impossible within its coues. A question aiises of how the filmmakei who not only
systematically slots actois into aichetypical ioles but who makes such foimulaic chaiaues
the plot uevices of so many of his moviesas if willfully oblivious to any ieality but that of
the sciiptis also the filmmakei who uesigns entiie films so attentively aiounu the
tempeiament anu builu of his stais, fiom Faiibanks anu Swanson to Shiiley Temple anu
}ohn Payne, all of whom seem to be playing nobouy but themselves. But the mysteiy's its
own solution. The Placeholuei Piinciple pioviues its own unuoing: actois aie placeu in so
many uispaiate moues of uiess-up that they come to seem like nothing moie than mouels,
simply the people themselvesFaiibanks, Swanson, Temple, Payneas bouies in action
anu uisguise. Acting the pait is a mattei of maneuveiing into the position; the entiie iuea of
chaiactei is one of opeiation. The movie seems to have little inteiest in ievealing oi
uisguising them as anything othei than peifoimeis: theie is no moie a notion of some
ueepei, psychological "tiuth" about theii chaiacteis than theie is acceptance of theii
pietenses except as such. As in Touineuioi Bwan's contempoiaiy heiis, like Peuio
Costathis Being-With ethos means that movie's ielationship to its actois is simply one of
coexistence; as if, on a public stage wheie the only tiuth is piesentational, the closest way


81
foi the wholly-functional movie to get to its wholly-functional peifoimeis weie thiough a
patient, engineeieu uistance that piesents them at 9u uegiee vaiiations, fiontally,
backwaius, anu siue-by-siue.

Bwan's sense of intimacy as a function of ieseiveuness, a way of giving chaiacteis space to
peifoim theii lives foi the cameia, means accompanying them step by step as they enact
the iole, often fiom behinu; the peifoimance tenus to be meiely a uiiective of theii uiess.
Again, as Kasman says, they aie vectois: motives in motion. 0nlike most his peeis, Bwan
nevei stops moving his cameia thiough the Sus, though the tieasuieu single take of }ohn
Payne on the iun thiough the town-set of -42O&' ;$%& is only one vaiiation on his beloveu
tiacking shot, a uevice Bwan supposeuly inventeu in L.O4% D.')9 (191S), iefineu in the
uouble-axis tiack of the cameia in K(,$2&'.(0& (1916), anu woulu ueploy iegulaily in lieu of
wiue shots to establish anu punctuate scenes by taking the viewei in anu out of them: M$:
J4'2's (1927) opening tiack thiough chaiis of Palm Beach uay tiippeis, -)''&(%&''s (19Su)
entiy into a ianch house thiough a winuow anu past a guitaiist pioviuing live
accompaniment, oi the thiee-oi-foui minute uolly fiom 3'$N&( M)*,40& (1929), in which the
cameia, lateially suiveying an entiie aictic town, only pauses to catch uances, iomances,
anu biawls insiue eveiy winuow. Bwan on the supposeu sounu veision :"A giil woulu be
singing in one saloon anu you'u heai a poition of hei song anu pull away anu she'u
giauually uie off as we'u go into anothei one wheie a uance was going on to guitais anu so
on thiough foui oi five of them befoie I stoppeu at a moie iemote spot to pick up some
uialogue."
8
Noie often the tiacks move in sync with the peifoimeis: a man, clobbeieu in
the heau by a biick, stumbling thiough a ueau enu oveiiun by biawling tiamps in @.*, -4%&B
8&*, -4%&; its ieveise, two men chatting as they (anu the cameia) pioceeu steauily thiough
chaiging cattlemen anu chaiiots shooting fiom left anu iight, 0lu West tiaffic at the stait of
7'.42 $H S4/42.(,&*; Claiie Tievoi's Su-seconu sauntei thiough a Bailem stieet of milling
men anu women as the sounu shifts thiough conveisations anu babies' ciies in =(& #42&
H'$9 D&.O&( (19S7); Belen Nack chasing the cameia into hei uooiway anu slamming the
uooi on hei puisuant in 8542& <.'4* -2&&G* (19S2); uiant Nitchell's ciaby-uollying maich
thiough a town of fiienus he hasn't seen in 18 yeais, as fluctuating sounu maiks his ielative
uistance to the cameia in #.( ,$ #.( (19Su); }ane Russell stalking the cameia uown in
#$(,.(. 1&22&'s song-anu-uance sequence; !>'$.% C4,5 7C$ P.(+*? uance ciicle. All of the
coie Bwanian piinciplesthe 18u foiwaiu-backwaiu piesentation; the linkeu spaces anu
bounuaiy-ciossing; the uistillation of chaiacteis to gestuies anu motions suggesteu by the
spaceaie piesent(eu) in these shots, anu no Bwan film is complete without ,5& *,'$22, a
sequence of almost all his sounu anu late silent films, in which two chaiacteis, moving
aimlessly, though aimlessly at a set speeu anu uiiection, aie finally ieconcileu. Bwan's
signatuie gestuie of companionship, as if his cameia weie only one moie paitnei
accompanying the action, tieats this ieconcilement above all as mattei of synchionizeu
movement, step-by-step: whatevei theii peisonalities, they aie uniteu by theii motion anu
uefineu, foi the moment, by little else. In J&,,4(/ J&',4&?* J.',&', the tiajectoiy of the
chaiacteis aie piecipitateu at points by that of the back-anu-foith cameia as it continues


82
one chaiactei's line of movement, even aftei the chaiactei has left the scieen, to a point
wheie a seconu enteis anu ietiacks the path of the fiist.

Positionsuispositions: just as each iole is a vaiiable to be filleu in by the vaiying
tempeiaments of uiffeient actois, chaiacteis within the films swap places, the bettei to see
theii masks as such, until each can substitute in foi the othei's naiiative function. As in
Bwan's eailiest extant films, plot becomes a kinu of Ncuuyvei's guiue to the infinite ioles
that people, places, anu objects might play within a limiteu system. But only two ioles neeu
be incainateu to suggest an infinity moie, as in Buuelanothei wiyly uisengageu,
Placeholuei filmmakei following pieposteious schemas to theii logical enu. Anu anothei
filmmakei who makes an entiie ait out of slotting ill-suiteu actois into geneiic chaiactei
ioles, oi slotting ill-suiteu chaiacteis into geneiic naiiative situations, the bettei to see
how the movies themselves woik like miniatuie social mechanisms assigning eveiyone a
place within a stoiy



}ane Russell with a baluing, bellying ueoige Bient in #$(,.(. 1&22&

So fiom ! #$%&'( #)*+&,&&' to its moie coaiseneu iemake, 75& I4O&'?* @%/& (19S7),
Bwan's neat chaiting of ielations only offeis the maikeis to see how the chaiacteis
methouically ie-chait these ielationships themselves, until all allegiances, howevei
naiiatively justifieu, may seem like only one possibility foi what might have been. Piobably
only Bwan woulu coloi-cooiuinate the bieakuown of moial schemas so schematically in
-)''&(%&' (19Su) anu -24/5,2: -0.'2&, (19S6). In both, the ostensible goou giil anu bau giil
flip-flop black-anu-white, then coloi, then white-anu-black uiesses thioughout the filmin
-24/5,2: -0.'2&,, Rhonua Fleming's moial centei cheats on hei mayoi boyfiienu, baigains
with gangsteis, anu lobbies to win hei sistei an extiajuuicial ielease fiom hanus of the
lawuntil such mathematical ieveisals only show the chaiacteis, once moie, as vaiiables
of naiiative functions. So by the enu of -42O&' ;$%&, the woulu-be wife (white weuuing
gown) anu piostitute (puiple anu pink) each have neai-matching checkeieu uiesses. This
beloveu Bwanian uuality of the Nauonna anu the Whoie, the uiil Next Booi anu the
Femme Fatale, is subjecteu to systematic inveisions thioughout Bwan's Sus films, as the
winsome heioines, much like Fleming, tuin cheeiily to piostitution anu gambling in 1&22&


8S
;& J'.(% (19S1) anu 8$9.( 75&: !29$*, ;:(05&% (19SS), oi as Bebia Paget's ciiminal
uevotee in 75& I4O&'?* @%/&, again like Fleming, tuins out to be the film's seciet souice of
conscience. This playing two enus against the miuule, as -24/5,2: -0.'2&, puts it, ieaches a
consummate geometiy in 7&((&**&&?* <.',(&', in which the goou giil tuins out to be a golu-
uiggei, a self-piostituting seuuctiess in uisguise, while the film's acknowleugeu piostitute
(Fleming again) becomes not only the iomantic leau, but, bettei than a Whoie With a Beait
of uolu, the movie's iesiuent piopiietiess: a favoiite Bwan chaiactei anu suiiogate
engineei whose self-uesignateu job is, like the uiiectoi's, to cooiuinate ielationships
between chaiacteis in town.



Stait anu Finish in peipetual loop: -24/5,2: -0.'2&,

The question of how many of Bwan's cowgiils tuin into chanteuses might be the simplest
way of chaiting his own caieei. "Bwan's films aie fiequently built upon twinneu oi linkeu
phenomena that will typically open up to iionic paiallels oi tiiangulai ielations, ielations
that concein not only chaiacteis but spaces anu events as well," wiites }oe NcElhaney
about -24/5,2: -0.'2&,.
9
These uoubles that, it's inevitable to note, piolifeiate thioughout
Bwanuouble heioes, uouble enemies, uouble loveis, uouble paients, as well as the


84
uouble spaces of aujacent builuings, boiueiing towns, anu counteipoiseu iegions of a city
oi a countiy, all in auuition to his many twins anu bifuicateu stoiiesaie both what
stiuctuie the films so tightly in algoiithmic uiamatics, while upenuing any uiamatic
piogiess foiwaiu, as the chaiacteis aie fiee simply to tiaue places within basic genie
lattices. Spatially: in the uouble locations of I&>&00. $H -)((:>'$$+one house's piovincial
tea aujacent to anothei's iauio stuuio, a fantasy of celebiitythe ieality of the places
themselves is cheeiily uisiegaiueu except foi theii Eucliuean values. Foi Bwan, the sites
seive the uouble puipose of oveituining all notion of a natuial, outsiue woilu, while
establishing cleai physical lanumaiks of an inteinal topogiaphy by which the chaiacteis
can be tiackeu in continual movements back-anu-foith between positions. Theatiically: the
uouble heioes of !>'$.% C4,5 7C$ P.(+*, tiauing places thioughout as auuience anu
peifoimei, stait by substituting foi each othei to win a giil's affection, but aie soon ieciting
each othei's lines, then theii own lines, then uoubling theii own ioles by shamming
schitzophienia, anu finally cioss-uiessing to hiue fiom the police, as Bwan stages this
ciiculation of iuentities peifectly, half-way thiough, as a iounuelay of the chaiacteis
swapping paitneis in long, ciiculai pans that ietuin to the cameiawoik of 12.0+ -5&&G
following vectois of motion, iathei than inuiviuual subjects.

In 8$9.( 75&: !29$*, ;:(05&% (19SS), the uoubles uouble again as the placeholuei
piinciple is extenueu au infinitum. Beie, within the stiict spatial anu tempoial limits of a
single saloon anu uay, the kinuheaiteu ingnue (}oan Leslie) anu hotheaueu saloon-keepei
(Auuiey Tottei) uon't simply switch places with one othei, but play systematic vaiiations
of the iough-iiuing gunslingei anu showgiil seuuctiess until they can become altei-egos
even of themselves in the pieposteious costume-changes of a cut: a iapiu uissolve is all
that's neeueu, as in -,./& -,')0+ anu ! #$%&'( #)*+&,&&' yeais befoie, foi Leslie to
tiansfoim fiom moialistic goou giil to baimaiu coquette. As usual in Bwan's playhouse-like
univeise, peisonality is no moie than waiuiobe, exchangeable in an instant, but 8$9.(
continues to uouble the uoubles, as if auapting its Wilu West melouiama by way of a tiee
uiagiam: not only must the women pantomime genuei binaiies, but they must uo so while
playing one iole in the guise of anothei, as Leslie gets into a bai biawl in hei showgiil
uiess, anu Tottei sings siien songs to local cowboys in hei iancheio get-up. As geneiic
signs, they aie piimaiily signs of theii own lack of any tiue peisonality beyonu theii
position as naiiative maikeis, but like so many othei Bwan movies, the ieal stoiy is how
these suiiogate stoiytelleis ueploy themselves as such maikeis within this genie univeise.
Bwan's own systematic, visual inveisionslong takes in which uepaiting chaiacteis aie
ieplaceu by enteiing chaiacteis on-scieen; symmetiical blocking as actois tiaue places
within a shot; miiioieu images acioss the film of the chaiacteis flip-flopping outfits in
iuentical poses; matching shots of the heioines between iuentical companions as they
paiallel one othei's tiajectoiyavows theii place as so consistently ieplaceable, the static
ioles as so fluiuly inteichangeable in this twining fabulation, that the heioines seem like
both the opeiatois anu opeiation itself of the Placeholuei Piinciple as a ciaft


8S












86

The absuiuist stiuctuial piinciple that the chaiacteis can only alteinate between these two
antipoues becomes an axiomatic instability: the films hew so tightly to mathematical
ieveisals, conventions, anu foimulas, that within the iigoious logic of the chaiacteis
peifoiming theii own theatei, absolutely anything can happen, anybouy fall in love with
anybouy else, kill anybouy else, etc. When the upstanuing giilfiienus anu enteipiising
coquettes %$(?, so openly switch paits, a iecuiiing Bwan piopensity is to skew the love
tiiangle so fai fiom the "piopei" giil to show a whole othei naiiative that the man coulu
have just as easily puisueuanu sometimes uoesin D&' 34'*, !HH.4'& (19S2), -)&N (19S8),
FG 4( #.>&2?* I$$9, J&,,4(/ J&',4&?* J.',&', <.**4$( (19S4), -42O&' ;$%&, anu <&.'2 $H ,5&
-$),5 <.04H40 (19SS). Yvonne Be Cailo's uouble iole in <.**4$( collapses to }ane Russell's
single chaiactei in #$(,.(. 1&22& uonning the outfits of each, hei "unueilying" chaiactei
nothing moie than }ane Russell heiself playing these two paits. Eithei man seems to be
equally woithy of the woman in E5.(0&* (19S1), D4/5 7&(*4$( (19S6), anu M$*&,,& (foi most
of its iunning time, anyway; 19S8) just as the natuial mothei anu lifelong custouian in both
840+&% (19S1) anu =(& #42& 3'$9 D&.O&( seem to have equal claim on keeping theii chilu.
These last two films offei maybe the ultimate stiess tests of Bwan's application of faiiy tale
fiamewoiks to ieal-life uiamas, manageu so haimoniously in the teens but heie biought to
its bieaking point; so skillful is Bwan at inteiweaving messy iealities into stiuctuial
symmetiies that the films aie caiiieu to the point they can't be auequately iesolveu. As the
title of 8$9.( 75&: !29$*, ;:(05&% gives away its non-enuing, its somehow inevitable
iiiesolution, the film will enu with a Confeueiate soluiei's wholly Bwanian pioposition that
the civil wai has enueu not in uiiffithian hellfiie, but simply because "nobouy wonwe
just quit fighting": a typical Bwan solution to pioblems that can't solveu, anu nice gloss on
the heioines' own abuication fiom theii self-peipetuating uiama. 0f couise the joke, as
usual in Bwan, is its own implausibilityas if histoiical ieality might evei be iesolveu as a
faiiy tale. Again it's the point of Bwan's self-peipetuating, uouble helix stiuctuies that they
can only concluue, at the exhaustion of peimutational possibilities, without any iesolution
at all.



Above: D&' 34'*, !HH.4'& (19S2), -C&&,5&.',* $( <.'.%& (19SS)


87
Wheie the film's social histoiies uemanu that one siue claim victoiy in bloou, the
peimutations simply upenu siues altogethei: the claim that no siue won is simply a foim of
winsome naiiative iesistance to humanity's ho-hum baibaiism. Similaily the iestoiation of
iacial hieiaichies at the enu of =(& #42& H'$9 D&.O&(, the stoiy of a white giil claimeu by
hei white mothei who nevei knew hei anu the black mothei who's taken hei in, finus a
naiiative, foimal satisfaction that only points to the iiiesolvable social uissatisfactions the
film has spent its iunning time piobing. Chief among these: the uiban colonialism of a wise-
ciacking giil jouinalist whose plucky ueteimination to get a scoop in Bailem scanuals
incite the whole mess hei stoiy is expecteu to cleai up. Typically, the film pailays hei
uouble iole as the film's klutzy uivinity, both staiting anu solving tioubles, into the uouble
genie woik, sciewball comeuy anu social melouiama, in anothei of Bwan's hyphenate
woiks. But like hei, the movie only iaises issues by attempting to settle them.

As much as any of his othei films, =(& #42& 3'$9 D&.O&( might point to Bwan's own uouble
politics. 0n the one siue, a committeu piogiessivism: anti-coipoiate (34/5,4(/ =%%* (1917)
anu J&,,4(/ #.': #.''4&% (1919), in which women of coipoiate families uncoveiing
company scanuals), anti-conseivative (paiticulaily in the Fox yeais: D4/5 7&(*4$( makes
suie to note its enemy lout votes Republican), anu anti-NcCaithy (-42O&' ;$%&'s flagiant
allegoiy). In the election yeai of 194u, P$)(/ <&$G2& not only synthesizes Bwan's two
favoiite tales of outsiueis ieconcileu into new suiiounuings1) the oiphan auopteu by a
paient, anu 2) the exileu acting tioupe welcomeu into a communitybut liteializes the
political coue of each, that if ioles aie social cuiiency, eveiyone must paitake equally of each
othei's aius anu assetsmainly affection. As Shiiley Temple joins the vauueville team of
}ack 0akie anu Chailotte uieenwoou, this makeshift tiio seems to become, thiough the
sheei powei of peifoimance, the same theatiical family it's playeu on-stage. But it's one
foim of peifoimance (impioviseu collaboiation) that will squaie off against anothei
(sciipteu ioles) as the family joins a small, veimont town populateu by uiiffith-like
puiitans, all taggeu heie as anti-New Beal Republicans who uelivei iitualizeu haiangues in
the town hall eveiy week. Like all of Bwan's community films, the action is stiuctuieu as an
amble thiough the town's public spaces: heie, the town hall, school auuitoiium, anu malt
shop. 12.0+ -5&&G anu to some uegiee 3'$(,4&' #.'*5.2, iotating fiom chaiactei to chaiactei
each iotating fiom space to space, suggest even in theii uemociatic stiuctuie that public
spaces, iathei than money, aie the only tiue meuiums of exchange: shaieu spaces mean the
films shaiing theii iunning times among each of the chaiacteis, anu the chaiacteis shaiing
theii own time, stoiies, anu expeiiences with one anothei uespite the social hieiaichies. Foi
its pait, P$)(/ <&$G2& insists on a communal-community politic, a New Beal welfaie system
that, as an institution, must be iooteu in the peisonal links anu ielations of its membeis. So
the piogiessivism Bwan's films auvocate seems to stem fiom nothing moie than the ability
of people to ielate to one anothei, again to exchange with one anothei fieely.

But, on the othei siue, it's the full exchanging of ioles that also unuoes pioactive politics
altogethei: nobouy winsthey just quit fighting. Like those of Foiu, Nann, Kafka anu
whoevei else, Bwan's Westeins ask what legitimacy a tin stai oi wiitten waiiant holus


88
except as a collectively authoiizeu peifoimance; as the Law is nothing moie than what it
says it is, to asseit its name is to wielu it as a self-legitimizing foice. But unlike so many
othei Westeins, Bwan's iaiely ietieat to an objective ethical coue that coulu valiuate the
bauge by iestoiing it to moial uecency in the enu. Foi no possibility of ueepei valiuation is
offeieu in a woilu wheie eveiyone is meiely who they say they aie, wheie &O&': iole is no
moie than a collectively authoiizeu peifoimance: in the boiuei town of 8$9.( 75&:
!29$*, ;:(05&%, the Law is a lynch mob, the evil-uoei is an ex-Confeueiate, the peisecutois
aie 0nion soluieis, the taunting bau giil is the evil-uoei's enemy, anu the guileless goou giil
tuins to gambling anu piostitution as the only iefuge fiom outsiue social foices; in
#$(,.(. 1&22&, one gang impeisonates anothei befoie play-acting clients of the saloon they
iobbeu anu will soon will paitnei with in business, while the Law pioviues the only steauy
clamp on all these saloon-bounu, iuentity-swapping, ultia-Bwanian poseis peifoiming
theii way to new lives. Likewise, in -42O&' ;$%&'s comeuy of eiiois, the heio's fate iiues on
the Name of the Law, though the law tuins out to be a masqueiaue, cieateu by those who
have nameu themselves its agent: to piove that Ban Buiyea's sheiiff is a ciiminal impostei
who has foigeu his cieuentials, }ohn Payne must ciiminally foige moie cieuentials to uo so.
In this loose, Westein iehash of #.>&2J&',4&, a uecaue away fiom the 4us comeuies, un-
believabilitynothing they uo is to be believeuis still the plot's ueteiminant tiope.

The film that is most explicit about the pointone siue is as goou as the otheiis the one,
pei usual with Bwan, that asks it to be taken least seiiously. "Befoie the tuin of the centuiy,
ueath anu violence ioue the westein iange. Law anu oiuei coulu not keep pace with men
who tuineu wilueiness into piofit," 7'.42 $H ,5& S4/42.(,&'s opening inteititle ueclaims ovei
a piotiacteu montage of lyncheis anu gunmen maiauuing ovei the hoiizon. "Then came the
vigilantes! Night iiueis! - - - Caiiieu away by theii own powei, the vigilantes became as
uespeiate anu bloouy as theii enemies." Beie, Fianchot Tone's lawman goou guy enteis a
town wheie the law is a puppet kinguom foi vigilantes who have uiiven out iustleis they
hiieu as a pietext to seize local powei; thus, to upholu the law against the law, the goou guy
lawmen must become vigilantes against the evil vigilantes who claimeu themselves as
lawmen, while the fickle town, as in -42O&' ;$%&, is piostiate simply to the bettei
peifoimance. The giounulessness of claims leaves the chaiacteis suspenueu yet again fiom
any possibility of authentic iepiesentation, legal, naiiative, oi otheiwise. What is left is the
joy of the chaiaue, the play within it, as the chaiacteis splash watei anu sit unuei the
shauows of moonlit thickets as if, playing all these paits, they weie simply actois being
filmeu as they fool aiounu in chaiactei. The moie self-mocking, openly stageu Bwan's films
get, the closei they move towaius something like uocumentaiy:




89
***

As plot anu its objectobjectives become little moie than catalysts to mobilize the
chaiacteis into ielationshipsieactions, the iole of the object-subject unueigaiments of
J.',&' anu #.>&2?* I$$9 become liteializeu in 75& K(*4%& -,$': (1948): the issue of social
cuiiency, baiteieu anu exchangeu as if without founuation thiough almost all of Bwan's
movies, finally becomes one of financial cuiiency, the aibitiaiy founuation itself, heie, of
the community's social ioles, uivisions, anu ielations. In ietiospect, money seems a
fiequent piime movei of Bwan's accounting. The Biluungsioman, iags-to-iiches anu
iiches-to-iags aics of 34/5,4(/ =%%*, J&,,4(/ #.': #.''4&%, 74%& $H @9G4'&, anu @.*, -4%&B
8&*, -4%&, in which the piotagonists finu theii Euenic lives of luxuiy to be iooteu in
coipoiatist iot, tuin to the iuiocy of 1'&C*,&'?* #4224$(*, which vaguely iecaps the plot of
#.': without any paiticulai moial awakening. So the veitically foimulateu stoiy of @.*,
-4%&B 8&*, -4%&son anu fathei connect fiom opposite siues of a social-spatial uiviue
between both opposite siues of town (as usual in Bwan), as well as between the low-class,
low-uown mines of New Yoik City, anu the high-class, high-iise cocktail paities on
skysciapeis the laboieis have eiecteubecomes eneivateu thiough its ieiteiations in
D4/5 7&(*4$( anu D4/5 !4' (19S6). By the lattei, a 2S-minute Tv special foi which Bwan
supposeuly chose his own stoiy, only two inteiiois aie neeueu to suggest a social
miciocosm of the white-collai son anu his blue-collai fathei leaining simply to woik,
physically, in oiuei to ielate. The social netwoik has been uistilleu to just the gestuies of
the bouies on-scieenit's the lesson of Bwan's shoitthat alteinately epitomize anu
tianscenu Bwan's beloveu bounuaiies. Against the waning faith of the town, the gieat talk
of money in -42O&' ;$%&, in which cash no longei flows but has been abstiacteu into a
talismanic object foi which heio anu villain alike aie ieauy to uie, just pioves the point of
Ban Buiyea's aich-nemesis that social iespectability can only be uphelu by the iiches foi
which its a blinuing euphemism. Bling of the olu West.

In 75& K(*4%& -,$':, the ciiculation of $1uuu thiough a uebt-iiuuen town uuiing the banking
ciisis of 19SS becomes almost invisibly channeleu into the ciiculation of bouies thiough a
closeu set of locations anu iecuiiing shots, most pieuominantly a pension-house staiiway
climbeu slowly by almost eveiy chaiactei's anonymous feet. In contiast to Bwan's eaily
films, tiacking the inteisecting vectois of chaiacteis' movements thiough closeu spaces
anu continuous times, 75& K(*4%& -,$': will piopose an opposite pioceuuie foi the late
films, at its culmination in E.,,2& Q)&&( $H #$(,.(. (19S4), that the films now ievolve
aiounu single sites in iecuiiing sequences of static shots, captuiing the vaiiations of setting
anu light at uiffeient times of uay. In a way, it's as if Bwan's peipetual scaling-uown of
uiiffith hau shifteu fiom the cycling spaces of 7')& D&.', -)*4& to the cycling times of
K(,$2&'.(0&, with the Bistoiy of Nan ieplaceu insteau by the histoiy of a couple faimhouses
anu a fielu in E.,,2& Q)&&(,
1u
oi a couple local businesses in 75& K(*4%& -,$':. But the
paialleling of a money economy with a spatial economy is not so much a pat, engineeieu
analogy as a moie piactical equation: the chaiacteis have to continue oibiting the same


9u
spaces anu tiacks in oiuei to pass the money on. It's meiely a iepiesentation of the
ciiculation anu tiaue of money in its most piimitive foim: physical inteiaction.

Anu in of itself, this unmeuiateu exchange of money shoulu belie any notion that the film is
quite the au foi a fiee maiket its somewhat contiauictoiy uouble mantiasthat money
must flow like bloou; that money must be entiusteu to the banksseems to suggest. The
solution to a seiies of uebtsthat the $1uuu mistakenly appiopiiateu by a local piopiietoi
pays off the uebts of each chaiactei to the next till it ietuins to the claim agent, nevei
having belongeu to any of themcan only be sustaineu by a numbei of faiiy-tale
suspension of any capitalist logic. A functioning economy, 75& K(*4%& -,$': suggests, will
uepenu on the total absence of inteiest (thus the $1uuu oweu is the same at each exchange,
anu occasionally iounueu uown), of peisonal savings (all money eaineu uuiing this
banking holiuay is immeuiately spent to pievent accumulation that woulu necessitate
inequalities anu inflation), anu of a speculative maiket (the banking holiuay not only
pievents iuns but any uealings in cash alteinativeseach uollai is accounteu foi). In othei
woius, it uepenus on the neatly anti-capitalist but altogethei uemociatic logic of a
community shaiing its iesouices evenly, even while the inability of anyone to accumulate
money is one cause of the whole mess in the fiist place. Without this uemociatic love to
back the system, it is cleai what inequalities anu funnel effects must iesult, as they alieauy
have within the film. The piinciple set in motion, a }effeisonian iuea of an economywhich
is to say altogethei Bwanian societyis giounueu in mateiial iathei than viitual ielations
with one anothei, thiough a limiteu iesouice of haiu cash iathei than an imaginaiy stock of
speculative capital ueiiveu fiom loans, nevei minu Wall Stieet.

}effeison:

"The question will be askeu anu ought to be lookeu at, what is to be the iesouice if
loans cannot be obtaineu. Theie is but one, "Caithago uelenua est." Bank papei
must be suppiesseu, anu the ciiculating meuium must be iestoieu to the nation to
whom it belongs. It is the only funu on which they can iely foi loans; it is the only
iesouice which can nevei fail them, anu it is an abunuant one foi eveiy necessaiy
puipose. Tieasuiy bills, bottomeu on taxes, beaiing oi not beaiing inteiest, as may
be founu necessaiy, thiown into ciiculation will take the place of so much golu anu
silvei, which last, when ciowueu, will finu an efflux into othei countiies, anu thus
keep the quantum of meuium at its salutaiy level."
11


To the question of what happens when a loan cannot be obtaineu, 75& K(*4%& -,$': iesponus
with an algebiaically luuicious solution: as cieuit is the oiigination of fictional capital, the
conception of money that uoesn't belong to the uebtoi who must substantiate it, inueeu it
will be money that uoesn't belong to the uebtois of this town that will magically pay off
theii uebts. Fictional uebts must be unueiwiitten byfictions. A paiallel that is peifectly
neat: nobouy actually owes each othei money (eveiyone is in the same place by the enu of


91
the film as at the stait), though they think they uo. To unuo cieuit, they meiely neeu to
convince themselves they uon't owe it at all.

uetting Community Cieuit: So the claim agency unwittingly loans $1uuu to one townsman
anu waits a half-a-uay foi it to come back having solveuiesolveu, absolveu, uissolveu
the town's financial uifficulties. Neveitheless, it takes a puichase foi the final holuei of the
money, the single chaiactei who isn't in uebt, to continue its ciiculation back to its souice,
anu so someone finally buys a painting foi $1uuu fiom the paintei, the town's iesiuent
layabout. Though the intenueu iecipient of the agency's $1uuu is a faimei, it's not an
agiicultuial economy that sustains the town but, pieposteiously, an aitist's. The iiony is
neat: the most useful, necessaiy gestuie to cleai the iesiuents out fiom the shauow of Big
Business is the most useless, supeifluous of all: a local woik of ait. This vision of utopia
nothing but a place wheie nobouy owes anybouy anything, wheie the ioles of
uebtoicieuitoi anu buyeisellei aie swappeu so continuously anu fluiuly as to lose all the
value until ielations aie magically nothing moie than a mattei of peisonal feelingwill
become most pionounceu in the shauow of 1) loans, 2) ait puichases, anu S) the utility of
useless peifoimances thiough the aitist's tiilogy of E.2&(%.' J4'2, K L'&.9 $H M&.(4&, anu
-C&&,5&.',* $( <.'.%&. As the aitists' communities in each of these films become bounu by
the swapping of ait anu iomantic paitneis, by the basic attempt to evaue financial yokes
fiom just outsiue these utopias, E.2&(%.' J4'2's moial economy is founueu in an exchange of
talents, anu M&.(4&?* mostly conceineu with the peiils of copyiight law. "In 1849, a young
man wiote a song," sings a black soloist on a floating iaft in M&.(4&'s opening shot, the lyiics
quite possibly by Bwan himself: "The song, it maue no sense at all But it moveu the woilu
along." An altogethei useless nostium has value, peifoimatively, Bill Shiiley's quack uoctoi
confiims in -C&&,5&.',*, if only the people can convince themselves to believe it.

***

Wheie the Westein seems like the seciet genie of Bwan's films thiough the 4usthe
stoiy, of exiles iefoimulating the inteinal ielations of the communities (towns,
householus) into which they'ie slowly initiateu, most ciystalline in the Shiiley Temple
films anu L'4H,C$$% (1947)Bwan's uystopic last films seem to extenu fiom a
ieuiscoveieu inteiest, aftei 1949's -.(%* $H KC$ M49., in a genie he hau last favoieu in
about 191S: the wai movie. The explicit wai films that follow842% 12)& P$(%&' (19S1),
324/5, 6)'*& (19SS), anu D$2% 1.0+ ,5& 64/5, (19S6)set some kinu of piotocol foi this
late ievisionism. No longei is the outsiuei usheieu into a stiatifieu system of fiienuships,
loves, anu iivaliies, a musical-chaiis social coue in which eveiyone finus theii places by
alteinating them thioughout the film. Insteau, the heioes finu themselves stianueu in
some baiien zone wheie theii makeshift community, nothing moie than a wiseciacking
camp against the wilueiness, hopes only to suivive the onslaught of some anonymous,
off-scieen teiioi. Wheie just about eveiy othei majoi Bollywoou uiiectoi hau uaikeneu
his vision in the 4us, moie often confionting the waithiough miiages of ghost stoiies,
hallucinations, uncanny uoublings, anu self-inflicteu toimentsas a tenoi than a subject,


92
Bwan woulu skip such psychological stuuies foi physical comeuy. But by the eia of the
Colu Wai anu Koiea, Bwan takes on the genie just at the point it has become uuly
abstiacteu fiom anything like subjectivity oi moial compiehension. In a way, -.(%*,
fonuly iemembeieu as self-awaie agitpiop foi the uieatest ueneiation, helps launch the
Koiean wai film (anu foitiess film) as a genie, even befoie the Koiean Wai: gone aie
even the geogiaphical uistinctions of =>T&0,4O& 1)'9. (194S) oi 1.,,2&/'$)(% (1949) in
this vast, bounuless netheiwoilu the uIs stake out against an aimy of shauow-men that
can't be engageu in any wayconveiteu, explaineu, ueceiveu, oi even ieally seen. Such
enemies can only be shot at blinuly, a goou way foi the soluieis to bonu.

So in Bwan's subsequent Westeins anu exotica-)''&(%&', -42O&' ;$%&, <.**4$(, E.,,2&
Q)&&( $H #$(,.(., @*0.G& ,$ 1)'9., 7&((&**&&?* <.',(&', anu -24/5,2: -0.'2&,the
foimeily hokey communities will similaily tuin to shauow-men, chuich-goeis anu goons
alike, vague cheeileaueis of vigilante justice whom the heioes meiely tiy to suivive.
Pieviously able to suimount theii own puiitanism as though it weie nothing moie than
an Ameiican hazing iitual, a tiial of tough love, the choiuses of community membeis now
become little moie than the agents of Bwan's comic logic, happy to tiust fiist
appeaiances as fact. Even Bwan's usual inveisions of moial oiuei aie inveiteu: wheie a
stanu-up heio oi heioine might have hau to choose between two loveis, two families, two
places, two lives, commensuiately valiu as solutions, the }ohn Payne heioes, heie, no
longei pioviue a stable moial axis by which moial uistinctions of goou anu bau can be
systematically upenueu. No pioof of Payne's innocence evei aiiives in -42O&' ;$%&only a
pioof of Buiyea's guiltanu while the genie coues key vieweis to his piesumeu integiity,
his life tuins out to be exactly the faaue Buiyea uesciibes: like that of so many late Bwan
piotagonists, a simulacia of small-town iichesse fabiicateu fiom the winnings of a lucky
pokei game. As the sanctimonious townsmen iefuse to believe it, the faaue ciumbles
into blankness, as it will once moie in 7&((&**&&?* <.',(&', in which Payne again loses the
suppoit of a pious town of hypociites who bianu him as the lout he's always been. What
is left, aftei the film's moual vaiiations on faithlessness of chaiacteis whose self-maue
images anu woius aie all lies, is simply the faith these two men have in each othei
though one has no unueilying iuentity behinu his false name, "Cowpoke," anu the othei,
Payne, saves his fiienu thiough a pationizing lie that makes him the cuckolu of the town.
By -24/5,2: -0.'2&,, Payne, the ostensible heio caught between two giils, has simply
auopteu the methous of the ciiminals he uespises to usuip theii place as gang-loiu. The
film is stiuctuieu scene-by-scene as a seiies of face-offs, in which the heio is simply the
one opposing the othei, woise evil. Likewise, the piotagonists of 75& I4O&'?* @%/& finu
ieuemption simply by being slightly bettei than Ray Nillanu's stock villain, in an
unfiienuly but pictuiesque woilu wheie moial uistinctions, conceiveu on-scieen by the
thiee leaus, aie ielative to nothing othei than each othei.

Bwan's uoubling-compulsion no longei seems like just a question of naiiatival balance, a
constant connecting-anu-ieuiawing the uots, as in eailiei stoiies of leau chaiacteis caught
between two poles. Insteau, in -)''&(%&' (a paii of paiis with two giils anu two guys) anu


9S
its own paii of offshoots, 7&((&**&&?* <.',(&' (two guys) anu -24/5,2: -0.'2&, (two giils), the
uoubles themselves emeige as the leaus without a lone chaiactei to seive as a steauy
suiiogate foi the auuience between them. }ohn Payne anu Bebia Paget, caught between
two loveis, may be the fulciums aiounu which -24/5,2: -0.'2&, anu 75& I4O&'?* @%/& both
tuin, but the jouineys of these not-paiticulaily sympathetic chaiacteistowaius
coiiuption in one anu ieuemption in the otheiaie not quite the films'. In late Bwan, the
iuea of offeiing the auuience any soit of vantage point fiom within the film seems uissolveu
into a moie Sophoclean sense of plotting: the motives anu paths of the chaiacteis fiom
point A to point B (hate to love, innocence to coiiuption, ienown to uegiauation) opeiate
with such fixeu focus, that little chance is offeieu to weigh the choices anu tiaue-offs the
naiiative might have to offei. Sealeu off fiom any psychological ielatability, the chaiacteis
become compiehensible only as agents of a continuous couise whose culmination, whethei
in hellfiie oi salvation, can be anticipateu in eveiy act. The film becomes something like a
piece of aichitectuie, Baioque once again, being both assembleu anu uisassembleu piece by
piece, until the chaiacteis by the enu have only become inveisions of themselves.

Neithei fate noi self-ueteimination, then, seem to play much of a pait in these inevitable
tiajectoiies: as in the Swanson anu Faiibanks films, the chaiacteis only cieate new ioles
foi themselves to play in this woilu of appeaiances. 0nlike the Faiibanks anu Swanson
films, howevei, the chaiacteis no longei play such ioles to tianscenu the social bonus of
humuium community life, but to assimilate themselves into communities that have
systematically iejecteu eveiy iole they have evei tiieu to play befoie. It's logical that
almost eveiy Bwan chaiactei in his Sus Westeins enus up seeking iefuge eithei in jail oi a
casino-boiuello, the only social spheies wheie the populaces aie honest enough to aumit
theii lives aie no moie than peifoiming shells. "I'm Abby Bean," one couitesan in
7&((&**&&?* <.',(&' intiouuces heiself, as if this iecitation of a piobable stage name,
peihaps hei only line in the film, coiiesponus to anything othei than hei own sense of
piesentation. But this supeifluous gestuie is somehow ciucial to Bwan's sense of
uemociatic iepiesentation. "I'm Piiscilla Foibes," says the next. "I'm }enny Lee." "I'm Susan
uieen. "I'm Bee Bavei." Anu "I'm Caibie Ash."

So Bwan's uoubling foices the chaiacteis to be consiueieu only as opposing ioles, each so
peifectly counteibalanceu by the othei as to become abstiacteu into aichetypes. Though
fiustiateu aichetypes: as one oi both switch ioles, the symmetiy is pieseiveu even while
being oveituineu. Alteinating with the uollying cameia, now, aie steauy, static shots that
open onto empty, pioscenium spaces anu wait foi the chaiacteislike the couitesansto
piesent themselves to the cameia one-by-one, each taking the place of the othei befoie
leaving the shot altogethei.







94



By 75& I&*,2&** 1'&&%, Bwan's caieei-long mechanism of extenueu spatialtempoial
continuity has bioken uown. Wheie Bwan's cinema hau always pivoteu aiounu uooiways
anu winuows, I&*,2&** 1'&&%?* cutting makes systematic false matches out of uiscontiguous
spaces, connecteu only by an olu Bwan uevice of one chaiactei listening in on anothei. Above
all, the uevice hau suiely once been piactical: when, as in uiiffith, each ioom is a self-
containeu scene of its own, such uomestic spying fluiuly establishes the geogiaphy of each
ioom's ielation to the next, so that the chaiacteis will eventually switch places in a peifectly
uefineu, peifoimative public iealm. As a favoiite kinu of establishing shot, winuows
thioughout Bwan become visual fiames, neatly uelimiting a space on a cooiuinate plane
(uiama tianspiies in D4* 34'*, !HH.4'& as a giil passes fiom one pane to the othei wheie hei
lovei awaits), that uouble as naiiative fiames paneling each scene anu naiiative thieau siue-
by-siue. !>'$.% C4,5 7C$ P.(+* use one winuow to ievive teens-style silent comeuy as the
chaiacteis can be seen but not heaiu; only a live oichestia offeis accompaniment fiom the
backgiounu. In -42O&' ;$%&, Bwan ieueploys a favoiite stiategem of J&,,4(/ J&',4&?* J.',&': as
in his comeuies, winuows seive as tiansitional points foi the naiiative to shift fiom one
tiajectoiy to anothei, the piotagonists inteisecting each othei without meeting on eithei siue
of the fiame. Both 1'&C*,&'?* #4224$(* anu E.2&(%.' J4'2 will open with winuowsoi iathei,
open with winuows openingas passages into the film's univeise, while E.2&(%.' J4'2 has its
stiing of loveis meeting, singing, anu uancing thiough winuows acioss a couityaiu, each of
theii scenes haimonizing with one anothei thiough Bwan's use of winuows as a montage
uevice; 7&((&**&&?* <.',(&' utilizes a yokel nameu "uiubstake" foi its unwitting mastei of
ceiemonies wanueiing fiom uooi to uooi, winuow to winuow, each time the film neeus to
tiansition to a new space anu scene. But in I&*,2&** 1'&&%, the scenes will no longei seem to
be linkeu by much moie than the euiting piocess itself.


9S













96
As NcElhaney points out, the bieakuown of Bwan's caitogiaphyhis positioning of
lanumaiks by which the chaiacteis can be tiackeu moving fluiuly fiom one point to
anothei in ieal-timehas alieauy begun by -24/5,2: -0.'2&,. By 75& I&*,2&** 1'&&%,
assembleu almost entiiely out of matching shots between aujoining spaces that have
openly been shot unuei uiffeient lighting schemes, at uiffeient times of uays, in uiffeient
sets altogethei, even this simulation of Eucliuean ieality has become an open fabiication.
@(05.(,&% K*2.(% (19S8) will enu in meuia ies, just shoit of a closing ieconciliation,
appaiently at the point when the film ian out of money, with the enuing signaleu cleaily
enough anyhow, while #$*, L.(/&'$)* #.( !24O& (1961) tieats its own gangstei-sci-fi
alloy-genie as a kinu of object foi investigation whose most peiipheial featuiesuancing
molls, movielanu newspapeisbecome magnifieu into the subject of the film. Noie
significant plot points anu set-ups, howevei, aie eliueu, as if Bwan hau enteieu his own
genie univeise anu filmeu only what hau inteiesteu him, I$*& D$>.',-like, while uiscaiuing
the iest. In a movie wheie the chaiacteis tuin to piojectoi-light by the enu, one mob boss
talks to the cameia foi so long without any inuication of his suiiounuing scene oi listeneis
that it's cleai he speaks only as a peifoimei, sitting in space that may be uevoiu of anything
othei than a cameia ciew, no moie connecteu to subsequent shots of his henchmen than he
is to the flashback scene he naiiates.

The uoubling neaily uisappeais by Bwan's veiy last films, anu what is left, thioughout this
late peiiou, is no longei the play of giinning actois within geneiic plots anu aichetypical
ioles, but the ieuuction of these ioles anu plots to the successive poses of the peifoimeis,
whose most basic gestuies become at once theatiical clichs fiom the 191us anu nothing
moie than the actois' own bouies touching on-scieen. The plot coulu be ieuuceu to the
most cainal gestuie of Bwan's incieasingly cainal woman, Paget biting hei lovei's back to
tiy to piove to him he's flesh anu bloou: wheie the comically moital Faiibanks anu
Swanson uieamt of becoming stais, icons of theii time, Ron Ranuell's uamneu supeiheio-
gangstei wants only to be human. In #$*, L.(/&'$)* #.(, the non-buuget biings the film
full ciicle: as in Bollywoou's eailiest, set-bounu films, entiie locations aie signifieu
synecuochically only by theii wallpapei, a patteineu scieen against which the actois
peifoim. Eaily on, scientists watch a film of the heio tiying to escape a nucleai test site as
he pounus at its limits, which aie eviuently the lens of the cameia, the scieen of the film
they'ie watching, as if the entiie site weie insciibeu not by walls but cameias. Fai fiom
Faiibanks anu Swanson, his uespeiate exeitions to escape this manufactuieu science-
fiction hell, we'ie tolu, aie simply an attempt to claw his way out of the movie.


97


1
Petei Boguanovich, 75& ;.*, <4$(&&' (New Yoik: Piaegei, 1971), 17, Su.
2
Bill Kiohn, "The Cliff anu the Flume," in Baviu Phelps anu uina Telaioli (eu.), !22.( LC.(U
! L$**4&' (Lumieie, 2u1S)
S
Biet Baite, "Tennessee's Paitnei," http:classiclit.about.comlibiaiybl-
etextsbhaitebl-bhaite-tenpai.htm.
4
Boguanovich, 26.
S
R. Emmet Sweeney, "A Nouein Nusketeei: Auventuies in Faiibanks-Sitting," in Baviu
Phelps anu uina Telaioli (eu.), !22.( LC.(U ! L$**4&' (Lumieie, 2u1S).
6
Baniel Kasman, "0p in Nabel's Roomuetting ueitie's uaitei: vectoi Nobiles," in Baviu
Phelps anu uina Telaioli (eu.), !22.( LC.(U ! L$**4&' (Lumieie, 2u1S).
7
Noah Teichnei, "Nanhattan Nauness: A Note on the Intei-titles," in Baviu Phelps anu uina
Telaioli (eu.), !22.( LC.(U ! L$**4&' (Lumieie, 2u1S).
8
Ibiu., 88.
9
}oe NcElhaney, "Slightly Scailet: 0bseivations," in Baviu Phelps anu uina Telaioli (eu.),
!22.( LC.(U ! L$**4&' (Lumieie, 2u1S).
1u
Cf. uina Telaioli's piece, which both aiguesanu aigues againstthe point. uina
Telaioli, "Cattle Queen of Nontana: Seeing Baylight," in Baviu Phelps anu uina Telaioli
(eu.), !22.( LC.(U ! L$**4&' (Lumieie, 2u1S).
11
Thomas }effeison, "Lettei to }ohn W. Eppes, Septembei 11, 181S,"
http:www.yamaguchy.comlibiaiyjeffeisoneppes1.html
98
INSPECTI0N BES BWAN
1

Seige Bozon
Tianslateu by Teu Fenut



!"#$%& () *+,-$ (19SS)

uouaiu noteu that people sometimes go to see "an olu Lubitsch," but nevei to ieau "an olu
Cline." Though contempoianeous to each othei, film histoiy lays closei to us than liteiaiy
histoiy. Yet theie is a bouy of woik that seems to come fiom veiy fai away: we uon't go to
see "an olu Bwan." The filmmakei is so foigotten in the histoiy of Bollywoou that he makes
this histoiy seem even faithei away than might be expecteu.

This foigetfulness might be unueistoou histoiically8S% of his films aie lost. 0i as a
stiategybefoie the sau fate imposeu by the stuuios on the most gloiious of his colleagues
fiom his youth (uiiffith, Stioheim), the filmmakei ueciueu at the beginning of the 19Sus to
woik in seciet. Bis cieuo: to not gainei lauiels, nevei to stop shooting, even if it meant
accepting any sciipt, cast, oi buuget. The films fiom the enu of his caieei, maybe his most
beautiful, weie shot on aveiage in less than fifteen uays, foi less than $Suu,uuu, at a iate of
thiee a yeai.

99
The histoiic anu stiategic ieasons foi his being foigotten aie only, howevei, the symptom
of a seciet lying within the films themselves. If Touineui is the filmmakei of seciets by
night, when uisquiet iules, Bwan is theii filmmakei by uay, when seienity keeps watch.
2

Bow can seciets of uay anu night be uistinguisheu fiom one anothei. Anu, fiist, how to
uistinguish the seciet of these films anu that of oui own lives.

If I tell a seciet to a fiienu, theie aie at least two people foi whom the seciet is not one at
allthe fiienu anu me. Anu even if I nevei tell the seciet, theie is at least one peison foi
whom it is not oneme. In life, eveiy seciet is impuie. In life, eveiy seciet has at least one
agent foi whom the seciet is not a seciet. Not in a Bwan oi Touineui film because no
chaiactei is its agent. The seciet is given stiaight fiom the film to the viewei. Bow. The
Nac-Nahonians (paiticulaily }acques Louicelles), who uiscoveieu Touineui anu Bwan, hau
one answei: thiough the mise en scene.

Nise en scene is a way of spatially oiganizing a stoiy wiitten on papei. Let's begin with the
papei. The stoiylines aie not what they seem to be: the uaik westein, the auventuie film,
the film noii all aie tiansfoimeu into fables by an excess of concision (cf. ./0&1 2/ !321&
(1948), 4215&, 6)7& (19S4), 89& :25&,;" !70& (19S7)). Chaiacteis aie not who they seem to
be: the thief in !"#$%& () *+,-$ (19SS) is not a thief, the meicenaiy in <$((1& =+&&/ )>
?)/($/$ (19S4) is not a meicenaiy, etc. The chaiacteis' seciet is ievealeu by the enu to be
of a nobility that is as incieuible as it is unexpecteu. 0nexpecteu not because these
chaiacteis evei give the illusion of baseness, but because they hau thingsuaik anu
uangeiousto take caie of, anu they coulun't take caie of them without a fake iuentity.
What iemains foi them to live out afteiwaius, now that they'ie themselves.

Eveiything, because this auventuieunuesiieu anu executeu unuei a false iuentityalso
alloweu them to finu something else. A woman: not to be conqueieu, but who conqueis the
heio by showing him how to live in peace. Bow, anu above all wheie: a site that will seive
as a seconu soul mate; hence the seciet of these lanuscapes consistently in accoiu with
what we won't finu out 'til the enuthe nobility of the heioes. Bwan films thesethese
lanuscapes like familiai soul mateswith a fullness that is so minute, almost }apanese, that
the viewei painfully spuis on the possible iiiuption of uangei, namely that theii happiness
will be shatteieu by whatevei is immeuiately off-scieen (cf. the shots pieceuing the Inuian
attack at the beginning of <$((1& =+&&/ )> ?)/($/$). I'm again ietuining to }acques
Louicelles.

Seciet of the bouies: the muscleu inexpiessiveness of the Nac-Nahonian actois (Tom
Tiyon, Bana Anuiews, Ronalu Reagan, Ranuolph Scott.) allows the nobility of the
chaiacteis to iemain anonymous. It is enough to imagine Claik uable in 8&//&""&&;"
@$,(/&,which seems wiitten foi himanu the enuing will lose its sense of nakeu tiageuy
100
because uable has less of a neeu foi fiienus than }ohn Payne. Why. uable's flamboyance
neeus nobouy because it iauiates all on its own, as olu as the actoi is. Payne's flamboyance
neeus someone else, a goou fella as honest anu foithiight as Payne is ciookeu oi
auventuious, because his flamboyance is almost "pass," oi in any case uull. The same goes
foi the giaceless anu aggiessive eioticism of the actiesses (Baibaia Stanwyck, viiginia
Nayo, Rhonua Fleming.).

The mysteiy is that the film's seciet is not obtaineu by auuing up the seciet of the stoiy, of
the lanuscapes, anu of the actois. It iesiues, insteau, in those moments of abstiact seienity
that just momentaiily escape the stoiy, the lanuscapes, anu the actois. An example: in the
miuule of !"#$%& () *+,-$, a chilu coming out of nowheie tiies to give a lettei to the
heioine. Sent out by a maiu who takes him foi a beggai, the chilu sits uown on a bench anu
goes to sleep. The shot is sublime. At the enu of the film, this lettei saves eveiything. At the
moment the chilu falls asleep, we uon't know it. It's a seciet.


1
This title is of a book }ean-Clauue Biette was planning to wiite.
2
Is it an acciuent if 8&//&""&&;" @$,(/&, (Bwan, 19SS) anu <$/A)/ @$""$0& (Touineui,
1946) aie the two most beautiful westeins about male fiienuship.
101
A N0TE 0N TBE INTER-TITLES IN
?.BC.88.B ?.DB!44 (1916)
Noah Teichnei



"# $%&'()# *(&'()#()

Releaseu in 0ctobei of 1916, ?$/9$(($/ ?$7/&"" is one of Allan Bwan's eailiest suiviving
films. It is a shoit featuie
1
that was maue uuiing the foimative yeais of Ameiican cinema, a
vibiant peiiou that saw not only a laige-scale migiation to Bollywoou, but also the iise of
the featuie film anu the giowing uominance of the stai system. This last uetail is of
consiueiable impoitance in the case of ?$/9$(($/ ?$7/&"", as it is Bwan's seconu in a
seiies of collaboiations with Bouglas Faiibanks, then on his way to becoming one of
Ameiica's most piominent leauing men. 0ne paiticulaiity of the pictuie is the iole playeu
by the wiitten woiu, which also happens to be a laigely foigotten facet of Faiibanks' scieen
peisona. ?$/9$(($/ ?$7/&"" offeis a fascinating case stuuy of this issue uue to the
uiveisity of its hybiiu foim: it is compiiseu of a laigely expositoiy anu intei-title heavy fiist
half that builus up to an action-oiienteu finale that ieflects a playful, self-conscious
appioach to film naiiative.
102
This two-pait stiuctuie of ?$/9$(($/ ?$7/&"" miiiois its stoiy, which is built on one of
those heavy contiasts that silent cinema coulu pull off with ease. }ust as the fiist
BwanFaiibanks filmE 89& C$F2( )> C$%%2/&"" (1916), is stiuctuieu aiounu the uichotomy
between iich anu pooi, ?$/9$(($/ ?$7/&"" plots life in the open West against the up-tight
Eastoi as the opening intei-title succinctly sets up: "The aigument of this stoiy contiasts
the East with the West in iespect to theii joy yieluing qualities." This is followeu by two
moie intei-titles ("When we say 'The East' this is what we think of" anu "When we say
'The West' we pictuie this") that both leau to a visual uefinition of each iegion. Not
suipiisingly, the all-Ameiican Faiibanks is positeu as the iepiesentative of the open
countiy of the Wilu West. In an intiouuctoiy scene that seems to exist solely to
uemonstiate his love of spoit, Faiibanks' chaiactei Steve 0'Baie is piesenteu iunning
acioss the top of a stationaiy tiain in extieme long-shot befoie climbing off anu effoitlessly
leaping ovei a fence to catch a taxi foi the Big City. This leaves him just enough time to
biiefly fiame himself up in a miu-shot to shaie a wink of complicity with the auuience
setting a tone that will infoim the iemainuei of the film.



103
A biief summaiy of the film's naiiative will piove useful foi the analysis that follows, which
is a task that can laigely be achieveu by simply quoting the intei-titles. }ust befoie the fiist
sequence we aie infoimeu that Steve has come to Nanhattan to sell a "loau of Wai hoises
|.j to a ceitain Count Winkie, iepiesenting a foieign goveinment"a plot point that is
summaiily put asiue foi the iemainuei of the film's fiist half. Insteau, we follow Steve as he
"makes a bieak to his college club" wheie we see that uespite his countiy ways, he is
anything but a hick. This leaus to a lengthy scene at a high-class countiy club in which Steve
sings the piaises of Nevaua ovei the "supeificial, un-Ameiican, oveiciowueu" New Yoik. Be
uoes howevei finu )/& thing he seems to like in Nanhattanan attiactive giil seateu acioss
the ioom that he shaies a seiies of fliitatious shotieveise shots with. Steve's fiienus
iemain steaufast in theii uefense of Nanhattan, going so fai as to piopose a bet foi five
thousanu uollais that Steve will "get a thiill all iight" if he stays in the city foi anothei
week.

Steve then continues to Count Winkie's "mysteiious olu mansion on the fiinge of
Nanhattan," wheie, in a convoluteu tuin of events, he not only uiscoveis that the count is
tiying to cheat him out of his money, but also that he just so happens to be foicefully
uetaining the giil fiom the countiy club. This builus up to a lengthy action scene in which
Steve uefenus his newfounu love fiom Count Winkie's minions, whom he pioceeus to fight
off singlehanueuly. Then, suuuenly finuing the mansion ueseiteu, he bieaks thiough a
woou panel to uiscovei his piioi foes anu theii victim.sitting cheeifully aiounu the uinnei
table! The bet that Steve will get a "thiill" in New Yoik iesuifaces as Faiibanks (anu the
auuience) iealize that it was all a chaiaue, put on by the "lauies anu gentleman of the
theatei." But Steve, who hau alieauy calleu in his cowhanus foi backup, poses as the
westein outlaw Black Buike anu 'kiunaps' the giil (with hei consent, of couise) anu they
steal away on hoiseback. We soon join them again on the ueck of an ocean linei, now man
anu wife. This leaves just enough ioom foi a cutesy epilogue with a kiss thiough one of the
ship's poit-holes anu a final intei-title (iesponuing explicitly the one that openeu the
pictuie) that takes on the foim of a moial: "Aftei allit isn't wheie you aie that counts, it's
whom you'ie with."

+%,,-./#%'0)1 2%))%'/3(

?$/9$(($/ ?$7/&"" is a film that begins anu enus unuei the sign of the intei-title. Fiom the
opening "aigument" to the moial at its enu, a paiallel text is weaveu thioughout the film in
a way that anu oiganizes anu conuitions oui ieauing of the images that follow. While
watching the film, it is haiu to go along with the well-woin clich that intei-titles aie
somehow peiipheial to the 'puiely visual woilu' of silent film iathei than an intiinsic pait
of both its visual anu naiiative fabiic, iichly exemplifieu by "the East vs. West" uiscussion
at the countiy club. The scene itself is pieceueu by a jokey intei-title that intiouuces an
104
ellipsis that is of key impoitante to what follows, as it will be filleu in thiough flashbacks in
the subsequent scene: "We won't follow Steve anu his 'chum' aiounu Nanhattanoui
innocence foibius. They misseu nothing but the Tombsanu it took political pull to miss
that. 0ne uay at the countiy club."


105
This scene at the countiy club is maue up of a whole seiies of biief vignettes compaiing
theii iecent New Yoik auventuies to the fun that coulu have been hau back in Nevaua
(stieetcai vs. stagecoach iiue, bai-ioom biawl vs. gunfight, etc.). Fiom a stiuctuial point
of view, the scene itself is compiiseu of foui main elements: (1) Steve anu his fiienus
aiguing aiounu the table, (2) a seiies of one-shot mini-flashbacks to theii Big City
auventuies, (S) compaiative visual illustiations of life in Nevaua, anu (4) the intei-titles
that link togethei the uiffeient layeis. The inteiactions between these vaiious
components iesult in a paiticulaily uynamic ienueiing of a scene which is in ieality is
nothing moie than a few people aiguing aiounu a table. It is also a concise, not to mention
amusing, way to establish the film's bioauei thematic conceins. As foi the vaiious
cutaways, these shots play a cuiious iole in the oveiall constiuction of the scene: they at
once offei a visual tianslation of the implicit conveisation between the chaiacteis, while
also pioviuing an 'illustiation' of the intei-titles, which in tuin selectively tiansciibe
poitions of what is being saiu.
2


This type of 'stoiy-within-a-stoiy' constiuction, typically intiouuceu by means of the
intei-titles, was quite common in silent film, as Fianois }ost has notably pointeu out. Be
iefeis to this naiiative stiategy as an instance of "hallucinatoiy naiiative," in which a
"stiict equivalence" is cieateu between the stoiy being tolu by the "intia-uiegetic
naiiatoi" anu its visual tianslation on scieen foi the spectatoi, iesulting in an iuealizeu
haimony between woiu anu image.
S
}ost applies this concept to the fiaming uevice useu
in 89& <$F2/&( )> D,G <$120$,2 (192u), but the teim "hallucinatoiy" is also paiticulaily apt
heie. While the shots of New Yoik cleaily function as flashbacks shaieu by both Steve anu
his fiienus, those of Nevaua play a moie ambiguous iole: iathei than iefeiiing to specific
events that Steve has witnesseu, they appeai to piesent a bioauei, moie geneiic, image of
the West. The countiy club scene in ?$/9$(($/ ?$7/&"" uses the naiiative stiategy
uesciibeu by }ost on a smallei scale, albeit in a mannei that is even moie complex,
featuiing multiple "intia-uiegetic" naiiatois anu a paiticulaily iich inteiplay between
text anu image.

While this entiie scene is stiuctuieu aiounu these "hallucinatoiy" images, two examples
of what coulu be chaiacteiizeu as Steve's mental visions pioviue a useful illustiation of
this concept. The fiist of these hallucinations occuis just aftei Steve notices the giil in the
countiy club, which piompts him to exclaim, "0h ho! So theie is something uiffeient in
Nanhattan!" Be then ietuins to his subject ("0h iot! I tell you we have eveiything in
Nevaua") that piompts a banal shot of an empty plain that iionically counteipoints the
text. Retuining to Steve, he looks once moie at the giil, shown as theii gazes meet in a
biief match cut, then continues his tiain of thought, "that isneaily eveiything." The
seconu of these mental visions occuis a few minutes latei, when we finu Steve in a
pensive moou, staiing off into the uistance. We then iiis in anu out of a close-up of the
106
giil, whom he has cleaily fallen foi. An intei-title appeais, giving us access to his
thoughts: "I wonuei if I'u iathei stay heie anu look foi hei smile, oi go back home to the
stick of the cactus anu the swing of my bione." This title is followeu by a pictuiesque shot
showing of Steve in silhouette on hoiseback, then anothei as a solitaiy figuie in the open
countiy, befoie we cut back to him at the countiy club, still in pensive moue.

These two examples of mental images in the scene uemonstiate the ambiguity of the
naiiative voice piesent in both the intei-titles anu the oveiall stiuctuie of ?$/9$(($/
?$7/&"". 0n one hanu, theie is a tiauitional thiiu-peison naiiatoi, capable of making
geneial asseitions that intiouuce the chaiacteis anu set up the oveiall plot. But at the
same time, the veiy foim of the film itself often latches on to Faiibanks' subjectivity; not
only in the way that his thoughts call foith mental images which aie iepiesenteu on the
film stiip, but also because we shaie his point of view thioughout the entiie film, so much
so that we aie fooleu alongsiue with him at the enu. This ambiguity is by no means a
stiuctuial weakness of the filmit is haiuly noticeu on fiist viewingbut iathei
iepiesents the significant flexibility of silent film naiiative anu the ease with which it
coulu fluiuly shift between tempoial iegisteis anu points of view. With the coming of
sounu, the spatially unifying foice of the sounutiack woulu ienuei this type of exeicise
significantly moie complex.

4()5%, %#6 4/&-%, 7'0)1'(,,/#8

Beyonu any consiueiations of naiiative efficiency, the intei-titles in ?$/9$(($/ ?$7/&""
seive something laigei than the simple stoiytelling mechanicsthey also testify to a ieal
veibal exubeiance, full of peiiou flavoi that often manifests itself in neai paiagiaph-long
titles. As film histoiian William K. Eveison points out, Faiibanks was known foi his titles,
"which weie long anu uelibeiately oveiloaueu with a kinu of small talk," anu that woulu
save the "infoimational pait" foi the last minute, "at the foot of a title which hau been
jollying the auuience into a state of ieceptivity." Even when the titles "utilizeu a small
type face, they often coveieu eveiy squaie inch of the fiame, so that they weie quite often
uifficult to ieau," with the intei-titles often occupying "as much scieen time as many
inuiviuual scenes."
4
Inueeu, we can see how intei-titles not only playeu a significant iole
in the giowing complexity of film naiiative, but also how they contiibuteu to the then
nascent stai-system, ueepening chaiactei psychology anu foiging a complicity between
the auuience anu the laigei-than-life peisonality piojecteu on scieen.

107


The style of title-wiiting seen in ?$/9$(($/ ?$7/&"" was the tiauemaik of scieenwiitei
Anita Loos, who woikeu with Faiibanks on seveial occasions, although not foi this
paiticulai film, foi which the wiiting cieuit goes to the biotheis Chailes T. anu Fiank
Bazey. Nonetheless, it was Loos who aigueu that "ceitain geniesespecially comeuy
coulu motivate highly self-conscious naiiation,"
S
a quality which is cleaily on uisplay in the
Bwan anu Faiibanks collaboiations.
6
This appioach to stoiytelling is ieflecteu in the film's
oveiall plot: the contiivance of Faiibanks finuing his love inteiest lockeu away in Count
Winkie's mansion is just thata iuse caiiieu out by piofessional actois. What at fiist seem
to be the familiai conventions of silent film piove to be playful iewoiking of them; the iole-
playing is only fuitheieu when Steve, assuming the iuentity of Black Buike, fools his fiienus
into believing that he is the westein outlaw. ?$/9$(($/ ?$7/&"" closes of couise with the
conventional happy enuing, but it's not uifficult to see this epilogue tingeu with a hint of
saicasm aftei witnessing the antics that pieceueu it.

uiven the impoitance of language in Faiibanks' scieen peisona, it is peihaps iionic that his
caieei woulu fizz out with the coming of sounu, as if his pictuies ielieu on this unique
conjunction of text anu image iathei than spoken uialogue. The same cannot be saiu foi
Allan Bwan; this filmmakei who playeu an integial iole in the uevelopment of Bollywoou
woulu stanu his giounu foi the next foui uecaues, still theie in the Sus to watch the stuuio
system faltei while he continueu toiling away at B pictuies. While the main focus heie has
been on the film's intei-titles, theie nonetheless iemains much to be saiu about Bwan's
visual aitistiy anu the eaily masteiy of space on uisplay in ?$/9$(($/ ?$7/&""be it the
way he visually ihymes two uazzling mobile shots (one fiom the ioof of a stieetcai, the
seconu fiom atop a stagecoach), oi the geometiical piecision with which he stages a chase
108
scene acioss the ioof of the victoiian-eia mansion, to cite just two examples among many.
We can, howevei, link this eaily woik to the iest of Bwan's incieuibly uiveise caieei
thiough its unique blenu of westein anu comeuytwo genies that he woulu ietuin to
incessantly, anu that in many ways uefine him as a filmmakei. A bioauei attempt to
contextualize these visual anu naiiative stiategies on hanu in ?$/9$(($/ ?$7/&"" with
those seen in the iest of Allan Bwan's oeuviebe it the comeuies of the 4us oi the famous
seiies of westeins piouuceu by Beneuict Bogeaus in the 19Suswoulu uoubtlessly be an
equally woithy enueavoi, likely to ieveal a numbei of iesonances with his inexhaustible
bouy of woik.



1
Theie has been some question as to whethei the veision of ?$/9$(($/ ?$7/&"" cuiiently
in existence coiiesponus to the one seen by auuiences in 1916, iathei than a ie-euiteu
veision (potentially fitteu with a new set of intei-titles) fiom a latei uate. In his essay in
.11$/ DH$/E 6$ 6I0&/7& 7& 1;9)--& $+3 -211& >21-", publisheu by Cahieis uu Cinma anu the
Locaino Film Festival, Kevin Biownlow claims to believe that it is inueeu the oiiginal
veision, something that a glimpse at the Tiiangle Films aichive helu at the Cinmatheque
Fianaise along with an oveiview of the tiaue ieviews of the time seems to confiim. It is
woith noting that the BvB veision of the film put out uiapevine viueo, clocking in at just
unuei Su minutes, appeais to iun too fast. If shown at the coiiect fiame-iate, the film
woulu be somewheie aiounu its oiiginal length of five ieels.
2
Nichel Chion has iefeiieu to this phenomenon as "elastic speech," which he chaiacteiizes
as follows: "it can make chaiacteis speak a gieat ueal within the stoiy anu summaiize theii
utteiances with a few wiitten woius, anu it can pass fiom uiiect to inuiiect uiscouise." -
Nichel Chion, J21-E $ ")+/7 $,(E tians. Clauuia uoibman (New Yoik: Columbia 0niveisity
Piess, 2uu9), 11.
S
Fianois }ost, "Les Nots poui le voii" In 4#,2((+,$ & 2--$02/&K 1$ 727$"#$12$ /&1 #2/&-$
-+(), eu. Fiancesco Pitassio anu Leonaiuo Quaiesima (0uine: Foium, 1998), SS-S6. (Ny
tianslation)
4
William K. Eveison, 421&/( J21- (New Yoik: Ba Capo Piess, 1998), 1S1.
S
Baviu Boiuwell, }anet Staigei anu Kiistin Thompson, 89& <1$""2#$1 C)11AH))7 <2/&-$K J21-
4(A1& $/7 ?)7& )> @,)7+#(2)/ () LMNO (Lonuon: Routleuge, 1988), 278.
6
Both 89& C$F2( )> C$%%2/&"" (1916) anu . ?)7&,/ ?+"P&(&&, (1917) go so fai as to incluue
notes at the foot of ceitain intei-titles (asking the spectatois to "paiuon the pun" in the
lattei film foi example), something that can also seen as an eaily paiouy of uiiffith's use of
footnotes in films like *2,(9 )> $ B$(2)/ (191S) anu Q/()1&,$/#& (1916).
109
ABvENT0RES IN FAIRBANKS-SITTINu:
. ?RD!:B ?S4T!8!!: (1917)
R. Emmet Sweeney



Eveiyone in . ?)7&,/ ?+"P&(&&, looks like they'ie having fai too much fun, as if they weie
getting away with something. In this comeuic upuate of 89& 89,&& ?+"P&(&&,", Bouglas
Faiibanks nimbly swashbuckles thiough the mouein Niuwest weaiing a thoioughly shit-
eating giin. The films that Allan Bwan maue with Faiibanks aie effoitless genie paiouies,
letting the aii out of gaseous victoiian melouiamatics, but this one is especially
fieewheeling, likely because the movie is mainly an excuse foi Faiibanks to avoiu the
thieats of a husbanu he hau cuckolueu.

Faiibanks hau been seiiously pitching woo to Naiy Pickfoiu while she was still maiiieu to
actoi 0wen Nooie, who hau gotten wise anu was making noise aiounu town. Batching the
iuea foi . ?)7&,/ ?+"P&(&&, with Bwan, he woulu leave Los Angeles (anu Nooie) behinu to
110
film it out by the uianu Canyon. Bis B'Aitagnan is a Kansas kiu with his nose stuck in
Bumas, but his attempt to ievive the chivaliic coue of 17th centuiy usually enus in slaps to
the face. Faiibanks coulu ielate.

The stoiy is loosely baseu on a stoiy publisheu in !5&,AF)7A;" ?$0$U2/& calleu "B'Aitagnan
of Kansas," by Eugene P. Lyle, }i., but Bwan anu Faiibanks woulu uo so much tweaking of
the mateiial on the set that only the outline of the stoiy iemains. As hastily aiiangeu by the
uuo uuiing a tiain iiue fiom Salina, Kansas to New Yoik City, the plot conceins Neu
Thackei, eagei to bust out of his small town anu leau the auventuious life of a Nusketeei.
Be makes it out West to the uianu Canyon, wheie he has to iescue a giil fiom kiunappeis,
anu in uoing so, can finally justify his inteiest in those heioic figuies of olu. The stoiy is
similai to a tale they hau shot the pievious yeai, ?$/9$(($/ ?$7/&"" (1916), in which a
New Yoikei falls foi life as a cowboy. In both, Faiibanks is a iegulai guy who enteis a
fantasy woilu iuealizeu in liteiatuie anu film. This outsiue-in stiuctuie allows Bwan anu
Faiibanks to paiouy genie coues while also fulfilling theii basic necessities. Bwan tolu
Petei Boguanovich that he anu Faiibanks tiieu to cieate "plenty of suspense, but we weie
playing fiom the humoious siue."
1




111
The opening two sequences succinctly illustiate this appioach. The fiist begins with a scene
fiom Neu Thackei's uieamsB'Aitagnan swoiu-fighting in a iuial Fiench bai. Faiibanks
shows off his smoothly unfuiling athleticism, as he leaps fiom iafteis anu tumbles thiough
attackeis as if in one giaceful motion; he can even giab a tipplei's goatee with one hanu
while uueling with the othei. The excuse foi the biawl is that a uiunken booi has steppeu
on a hanukeichief that a pietty young giil hau uioppeuanu so the entiie euifice is
uecimateu. Inspiieu by this heioic fictional feat, Neu Thackei jumps to the aiu of anothei
uistiesseu uamsel, one whose boyfiienu slaps hei aiounu. Sliuing uown an electiical pole
fiom his seconu flooi winuow, he uestioys the uenizens of the wateiing hole, though with
fists, feet anu glass bottles iathei than a sabei. But insteau of the coy thanks B'Aitagnan
ieceiveu, this Faiibanks is given a shaip seiies of smacks by a lauy. As an intei-title states,
women want equal iights, anu no longei uesiie to be iescueu. As he laughs off his iejection,
Thackei pulls uown the blinus to ieveal he woiks at the "Society Foi the Pievention of
Ciuelty to Women."




112
Fantasy anu ieality uo not squaie up in Bwan's Faiibanks pictuies. Reality is too
complicateu anu motivations too obscuie foi the moial ceitainties of iomantic-heioic
fiction. The uuo pokes fun at this gap, which Neu Thackei lives insiue of. Even though his
biith has been piesageu by a cyclone anu he is able to climb tall builuings in a few bounus,
he is still stymieu by the mysteiies of human behavioi. Faiibanks' enuuiing macho-
vulneiable alluie comes to the foie when he leaps into a hanustanu at the euge of the uianu
Canyon as a uespeiate ploy to impiess a lauy. Bwan's ability to inteiiogate genie while also
fulfilling it allows his actois to play aiounu with theii peisonas: as Faiibanks is at his most
vulneiable with Bwan, so the noimally stiff Ronalu Reagan is at his laiu back best in the
low-buuget westein 8&//&""&&;" @$,(/&, (19SS).

The sections in which Bwan fulfills the genie iequiiements of . ?)7&,/ ?+"P&(&&, aie the
uullestshowing the giil captuieu anu iescueu, then helu by a ienegaue Navajo (Fiank
Campeau). Even in these iote sections, howevei, his subveisive spiiit still flickeis, whethei
in Faiibanks' heaustanu at the euge of the uianu Canyon, oi the fluiu mannei in which
Faiibanks leaps acioss iooftops in puisuit of his beau. Booton Beinuon, in his uual
biogiaphy ?$,A @2#P>),7 V D)+01$" J$2,F$/P"K 89& ?)"( @)%+1$, <)+%1& (9& W),17 C$" !5&,
T/)H/, gets at Bwan's paiticulai genius, able to calm a stiesseu-out Faiibanks into one of
his most ebullient peifoimances: "It was Bwan who convinceu Boug to accent the ease anu
giace of his scieen actions by uoing less than he was capable of, eliminating any
appeaiance of stiain in favoi of smooth, flowing, effoitless movement." Thioughout his
caieei, Bwan coulu always uo moie with less.

1
Boguanovich, .11$/ DH$/K (9& 6$"( @2)/&&, (New Yoik: Piaegei, 1971), 46.
113
"A F0LL-STEANEB C0NIC 0PERA":
C! <R?!4 S@ 4?Q6QBX (1918)

Baniel Faiifax anu Louis Belluc
Tianslateu by Baniel Faiifax




Bouglas Faiibanks is tiappeu in a biiucage. Be leaps fiom his peich anu clambeis onto
its bais. Bouncing fiom siue to siue, he seeks a way out. Finally, such yeaining foi libeity
gives him the stiength to piy open the bais anu make his escape. Boug is fiee.

But the image usheiing in C& <)-&" S% 4-212/0 is only an allegoiy foi the film to come.
Faiibanks is }eiiy Naitin (but how coulu he be anything but Boug!), an employee of a
small-town bank, anu he is still, alas, behinu baisthose of the bank's tellei countei. Anu
yet, as he toys with the checkbook of an exaspeiateu customei, he spoits an iiiepiessible
boyish giin. Such a jovial uisposition can not even be uampeneu by the uemeaning task his
boss, the glabious bank uiiectoi }onathan Peikins, assigns him: tenuing to his beloveu pet
canaiy Agamemnon. Agamemnon is alloweu out of his cage, but is still impiisoneu within
the laigei cage of the bank. Boug uoes eveiything to enteitain the biiu, but his effoits uo
114
not stymie its impulse foi emancipation. With Boug momentaiily uistiacteu by a customei,
the canaiy flies acioss the stieet anu into the winuow of a neaiby apaitment. Boug gives
chase, anu theie begins a ueliiious sequence viviuly uemonstiating, in equal measuie, the
aciobatic veive of Faiibanks' talents as a peifoimei anu the auioit geometiic iigoui of
Bwan's -2"& &/ "#Y/&.

Piopelling himself onto a stoiefiont canopy, Boug vaults himself thiough the apaitment
winuowanu ovei an elueily woman, taking a bath, who hysteiically ieacts to the
intiuuei. Boug finus the biiu nesting in the beaiu of hei husbanu, who calmly ieaus a book
in the apaitment's uiawing ioom, but Agamemnon continues his ouyssey. In hot puisuit,
Boug bieathlessly leaps fiom one apaitment builuing to anothei, shinnies up guttei pipes,
tightiope-walks acioss a wiie holuing a campaign bannei uiging the townsfolk to "vote foi
Bugan", swings into the beuioom of a uozing buighei, anu iicochets on a lauuei fiom one
builuing to anothei, befoie hitching a iiue on a passing hoise buggy to a iemote bucolic
locale, wheie he finally catches the biiu. Watching the scene, howevei, a hobo-philosophei
convinces Boug to let the canaiy fly away, anu to give up his city-bounu existence foi an
iuyllic life amiust a community of tiamps. The biiu is fiee. Boug is fiee.

The stoiy up to this point may be banal, infantile even. But it is immateiial, a meie pietext
foi Bouglas Faiibanks' anaichic gyiations. All, in this wilu sequence, is uynamism, intensity,
exubeiance. Like gieat poetiy, it is imbueu with both absolute abanuon anu the utmost
contiol anu piecision. This sequence 2" the cinema, ait of movement, of bouies in motion,
engageu in an unabating uance with the cameia.

The iest of C& <)-&" S% 4-212/0 may oi may not live up to the piomise of its uizzying
opening moments, but, alas, mouein auuiences will nevei know. We biiefly see Boug's life
as a vagiant: chaseu by a swaim of bees, he swings fiom a vine anu uives into a iivei. But it
is heie that Bwan's film is abiuptly cut shoit. The fiist ieel is intact, but the iemaining foui
ieels, as with so much of the silent cinema, have vanisheu. In fact, we owe a iaie stioke of
goou foitune to even being able to see this much of the film: C& <)-&" S% 4-212/0 was long
consiueieu an iiietiievably lost woik, but its opening ieel was iecently ieuiscoveieu by
Seige Biombeig, a piecious gem which, he wiites, was "acciuentally founu in a box amiust
films without any significance."
1


As I watcheu a uigitiseu veision of the fiagment on my laptop, a sense of puie exhilaiation
welling in my veins at the spectacle unfoluing in fiont of me, my minu soon leapt to what
you, Louis Belluc (-)/ "&-F1$F1&E -)/ >,Y,&Z), woulu have maue of such a film, viewing it in
the ueciueuly uiffeient suiiounus of a ciampeu woiking-class movie-theatie in an
insalubiious Paiisian faubouig, anu enchanteu, no uoubt, not only by the film itself, but by
the exciteu ieactions of the pioletaiian public amasseu befoie the scieena fai moie
115
ieliable baiometei of 1;$,( -+&( than the cultuieu bouigeoisie you uetesteu. Youi love foi
Faiibanks, foi the libeiating foice anu eneigetic vigoui of his peifoimance, was
incontestable, to the extent that you even planneu to wiite a book on the actoi, a mooteu
follow-up to youi monogiaph on Chaplin.

[ D)+01$" J$2,F$/P" 9$" $1H$A" 025&/ -& 0,&$( \)AG C2" >21-" )3A0&/$(& +"G R+, $,(&,2&"
"&&- () >+/#(2)/ F&((&, $>(&, $/ 9)+, "%&/( 2/ 92" -$7#$%E H9)1&")-& #)-%$/AG 892"
$10&F,$2# C$,1&]+2/E (92" -+"P&(&&, H9)"& )%(2-2"- $/7 "-21& #$/ F& -$(#9&7 FA /) H&$%)/E
+/"&((1&" +" FA 72/( )> 92" "(,&/0(9G W2(9 ") -+#9 #$/7),E ") -+#9 1+#27 $11+,&E 9& 2" $ -A"(&,AG

J), $ 1)/0 (2-&E H& 727/;( P/)H H9&(9&, ), /)( H& /&&7&7 () &3#+"& )+,"&15&" >), )+,
&3#&""25& 1)5& >), <9$%12/E >), 9)H #)+17 H& $#P/)H1&70& (9$( 92" /$^5&(IE $( )/#& 9+-$/&
$/7 1&$,/&7E 1&>( +" ") %&,(+,F&7_ 89&/ )/& 7$A H& +/7&,"())7E $/7 H& #)+17 #)/#+, (9$( 9&
H$" $ `-$"(&,-2/7aG R> J$2,F$/P"E ())E Q H211 "$AK 9& 2" $ -$"(&,-2/7G

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-+"#1&" $/7 &5&,A %),& )> 92" "P2/E F&#$+"& )/& 1)"&" (9& +"& )> )/&;" ")+1 H9&/ (9& F)7A 2" /)(
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-)-&/([$/7 2" /&5&, >2/2"9&7G

Along with Chaplin anu Sessue Bayakawa, Faiibanks iepiesenteu, in youi view, the new
bieeu of actoian actoi capable of maishalling the specific poweis of the cinema, iathei
than the stage. What's moie, you peiceiveu the iemaikably euifying effects his films hau on
the enchanteu auuiences who submitteu to his iiiesistible spell.

Q ,&"%&#( (9& $%%,)5$1 )> (9& #,)H7G W9&/ (9& 1$"( "#&/&" )> $ J$2,F$/P" >21- $%%&$, )/ (9&
"#,&&/E $ /&H $(-)"%9&,& &/5&1)%" (9& "%&#($(),"G . /&H ")+1[A&" 2/7&&7[&/(9+"&" (9&-E
0$15$/2"&" (9&-E -$P&" (9&- 0277AG Q( 2" (9&2, 5&,A )H/ ")+1E F+( 2( 9$" \+"( F&&/ ,&5&$1&7 ()
(9&-G 89& "%&#($#1& )> (92" -$/ H9) #$/ 7) $/A(92/0E $/7 7)&" 2( H2(9 (9& "2-%12#2(A 9$(&7 FA
)+, (9&$(,&E 2" $ >),- )> %9A"2#$1 (9&,$%AG

Although Faiibanks, in youi view, is a "foice of natuie", an "extiaoiuinaiy ihythm" moie
closely ielateu to an aeioplane oi a toipeuo than to Sacha uuitiy oi Saiah Beinhaiut, you
also biiuleu against those who saw him as a meie aciobatic peifoimei, little bettei than a
tiaineu seal.
116

[ 89&,& $,& -$/A $#(),"E 2/ -$/A #)+/(,2&"E H9) $,& \&$1)+" )> D)+01$"; "+##&""E $/7E Q >&&1E
\&$1)+" )> D)+01$" 92-"&1>G 89&2, &/5AE (9&2, ,$0&E $,& $1H$A" &3%,&""&7 2/ (9& >)11)H2/0 (&,-"K
`C&;" $/ $#,)F$(G C&;" \+"( $/ $#,)F$(Ga C&;" /)( just $/ $#,)F$([(9&,&;" /) /&&7 () 2/"2"( )/
(92"[F+( 9& 2" 2/7&&7 $/ $#,)F$(G ./7 H9$( $/ $#,)F$(Z C& 9$" "(+72&7 $/7 $%%12&7 \+"(
$F)+( &5&,A(92/0 (9$( #$/ F& 7)/& H2(9 (9& "+%%1&/&"" )> (9& F)7AE (9& "(,&/0(9 )> -+"#1&"
$/7 (9& %,&#2"& $+7$#2(A )> $ 01$/#&G

89& 7$A H& "$H 92- F)+/72/0 12P& $ #$( )/() (9& H$0)/" )> Nanhattan NaunessE (9&,& H$"
/) 1)/0&, $/A ]+&"(2)/ )> $,0+2/0 $F)+( 92" H92-"2#$1 %"A#9)1)0AE $" (9& $(91&(2# \+001&,
7)+F1&" (9& -2,,), )> )+, "&/(2-&/("G

It was piecisely with 1916's ?$/9$(($/ ?$7/&"" that you contiacteu such a feveiish
aumiiation foi Faiibanks. It was, in fact, his fouith woik unuei the uiiection of Allan Bwan,
but it was the fiist of his films to make an impact in Paiis, anu it was the fiist of theii films
to tiuly combine the complementaiy skills of actoi anu filmmakei to such an intoxicating
effect.

[ C$5& A)+ "&&/ Nanhattan Nauness_ 89& 2/>1+&/#& )> (92" >21- H211 F& #)/"27&,$F1&E $/7 (9&
$,,25$1 2/ @$,2" )> (9& ($1&/(E (9& (&#9/2]+& $/7 (9& -$"(&,A )> D)+01$" J$2,F$/P"E 2/ "+#9
%&,>&#( #)/72(2)/"E 2" 2-%),($/( >), (9& >$(& )> J,&/#9 #2/&-$E $" H&,&E 2/ (9&2, )H/ (2-&E (9&
"#,&&/2/0" )> <9$%12/;" >21-"E The CheatE $/7 (9& H),P )> 89)-$" Q/#&G

J), (9&,& 2" -),& 9&,& (9$/ \+"( $ 0))7 >21-G Q/ 2(" &3&#+(2)/E Nanhattan Nauness &3#&&7" (9&
-$"(&,%2&#&" )> (9& "#,&&/ H92#9 0$5& +" $/ 2-%,&""2)/ )> %,)>)+/7 $/7E ") () "%&$PE
"+>>2#2&/( F&$+(AG .11 (9&"& H),P" 9$7 (9& "$-& "(A1&E $ "(A1& 2/ H92#9 (9& 5&,5&E (9& #)/()+,"
$/7 (9& -)7&,/ (,+(9 )> (9& /&H .-&,2#$/ "#9))1 )> (9& #2/&-$ "&&-&7 () F& #,A"($112"&7 $/7
$>>2,-&7G 892" 2" F&((&,G 892" 2" /&HG

RF"&,5$(2)/E 52)1&/#&E "&/(2-&/($12(AE F+>>))/&,AK &5&,A(92/0 #$/ F& 12/P&7E &5&,A(92/0 #$/ F&
&3%1$2/&7E $" 2/ 12>& 2("&1>E H2(9 $/ 2/>2/2(& %)&(,AE H2(9 $11 (9&"& &3(,&-& F$,)]+&" H92#9 $,&
)##$"2)/$11A /)(92/0 F+( (9& "$-& )F\&#( 12( $ 12((1& 72>>&,&/(1AG

Nanhattan Nauness 2" (9& /&H >),#& )> -)7&,/ %)&(,AE (9& (,+& %)&(,AE (9$( H92#9E H9&/
H$1P2/0 7)H/ (9& "(,&&(E A)+ "&& &5&,AH9&,& $/7 2/#&""$/(1A[)/ $ >$#&E $ "20/E $ #)1)+,[
$/7 H92#9 $ 72,&#(), &3%,&""1A 2")1$(&"G 6$/7"#$%&"E 9),"&"E 7)0"E >+,/2(+,&E 01$""&"E $
"($2,H&11E $ 1$-%E $ 9$/7E $ ,2/0E &5&,A(92/0 ($P&" )/ $ >$/($"(2# #9$,$#(&,G ./7 $ (,+&
#9$,$#(&,Z 8,+&E F+( A)+ H)+17 /)( 9$5& "&&/ 2(E $1-)"( /)F)7A P/)H" 9)H () "&& (9& F&$+(A
)> (92/0"G 4)-&(2-&" (9& #2/&-$ )F120&" +" () "&& 2(G ./7 9&,& H& 9$5& $/ &3$-%1&G

117
Q 7&#1$,& (9$( (9&,& 2" $ /&H #9$/0& 2/ (9& $2,E )/& H92#9 9$" F&&/ "P&(#9&7 )+( )5&, (9& 1$"(
>&H -)/(9"G W& 9$5& J$2,F$/P" () (9$/P >), (92" 7&#2"2)/ $/7 (9& ,&"+1(" H92#9 9$5& &/"+&7G
89& >21- ,&"&-F1&" 92-G B)( )/& 7&($21E 2/ 2(" #)/#&%(2)/ ), ,&$12"$(2)/E 2" &5&/ (9& "1209(&"( F2(
)+( )> %1$#&G

Faiibanks' piesence in his films was so oveipoweiing that you ieauily accoiueu "this ace
of the silent ait" the status of "#2/I$"(&", a teim of youi coinage to uesciibe the animating
foice behinu a film, anu which in youi own view coulu be applieu just as much to gieat
actois as to gieat filmmakeis. But what, in youi minu, was the contiibution of Bwan to
these woiks.

[ .11$/ DH$/;" 72,&#(2)/ >,$-&" J$2,F$/P"; 5&,5& H2(9 $ F&$+(A $/7 $ %9)()0&/2# 52,(+)"2(A
,$,&1A "&&/ )/ (9& "#,&&/G

Youi high opinion of his woik woulu even leau you to compaie the unassuming Bwan
favouiably to the bombast of Abel uance, the inuisputable titan of Fiench cinema in the
eaily 192us.

[ <2/I$"(&" 12P& .11$/ DH$/E %)""2F1A -),& 02>(&7 (9$/ .F&1 X$/#& 2/ (&,-" )> (9&2, >1$2, >),
%9)()0,$%92# &3%,&""2)/E $,& "+%&,2), () 92- FA 72/( )> $79&,2/0 () (9& 5&,A -$(&,2$1 )> (9&2,
$,(E $/7 (9+" )> /)( 72"(,$#(2/0 +"G X$/#&E "(,2%%&7 F$,& )> 92" 5$2/E %"&+7)b%)&(2# #9$((&,2/0E
H)+17 F& $ ,&-$,P$F1& H),P&, )> H),17 >21--$P2/0G

It was peihaps with iegaius to C&$72/; 4)+(9, which you consiueieu "the most iigoious
flame" in the fluiiy of Faiibanks films hitting Fiench scieens, that youi appieciation foi
Bwan's uiiecting was most palpably expiesseu.

[ 89& &>>&#( )> (92" -)52& 2" #)-%$,$F1& () (9$( )> $ F)((1& )> :9&/2"9 H2/&E ), :9c/& H2/&E )/
")-&)/& H9) 9$" )/1A &5&, 7,+/P H$(&, $11 (9&2, 12>&G Q/ $11 (,+(9>+1/&""E Q H)/7&, H9&(9&, Q
watcheu ), uiank (92" $75&/(+,&E H9&(9&, 2( H$" $ >21- ), $ 7,A H2/&G D)/;( ($P& 2( (9& H,)/0
H$AG Q P/)H (9$( (92" "1209(1A &/(9+"2$"(2# ()/& 2" ()($11A )+( )> >$"92)/E F+( +/7&,"($/7E 2> A)+
H211E (9$( (92" 2" $ >21-E $ (,+& >21-E $/7 (9$( Q 9$5& /)( &/#)+/(&,&7 $ (,+& >21- >), ]+2(& $ 1)/0
(2-&G

The iiony, howevei, is that the film was actually uiiecteu by Aithui Rosson. Nonetheless,
while Bwan "meiely" fulfilleu the iole of "supeivisoi-wiitei", the subtle stamp of his
authoiship coulu eviuently be felt in this film, too. You weie little awaie of Bwan's
biogiaphical backgiounu, of his euucation as an engineei, anu of his own views on shot
composition, wheie he stateu that, "foi me, it's mathematics. Theie's nothing moie
beautiful than mathematical peifection," anu that "the inevitable laws of mathematics |...j
118
apply to uiama anu to life."
2
Anu yet you intuiteu the piofounuly mathematical natuie of
his film technique, uecaues befoie othei film ciitics cottoneu on to it.

[ Q/(&1120&/#&E ,&>1&#(2)/ $/7 (9& $,( )> -$(9&-$(2#" 9$5& #$"( (9&-"&15&" )/() (9& #2/&-$
$/7 $,& -$P2/0 2( -),& >&,(21&G W& $,& /)( $( (9& (9&$(,&G 89&,& 2" /) %1$A () F& ,&#)+/(&7G
Beauin' South 2" $ #$/5$"E ), $ %)&-E ), $ (+,F+1&/( #$%,2##2)G Q( 2" #2/&-$G

[ C& <)-&" S% 4-212/0 was the last of Bwan's seven Faiibanks vehicles maue in the heauy
peiiou of 1916-1918, an eia of the Ameiican cinema which you ielisheu foi the "iiiesistible
musicality of its %9)()0I/2&" anu its simplicity, sobiiety anu canuoi. Such qualities, you felt,
weie only ieuiscoveieu when Bwan's collaboiation with Faiibanks woulu be iepiiseu in
1922 with :)F2/ C))7. With C& <)-&" S% 4-212/0, meanwhile, which you vieweu upon its
ielease in Fiance in Naich 192u (with *)+/7 2/ ?),)##) anu . ?)7&,/ ?+"P&(&&, following
latei in the yeai), you foiestalleu potential ciiticism of theii woik as having become ioutine
anu iepetitive.

[ `4$-& )17E "$-& )17Za "$A %&)%1& H9) "+>>&, >,)- $ 0$"(,2# 211/&"" ), $#+(& \&$1)+"AG Q(;"
(,+&E D)+0 2" $1H$A" D)+0 $/7 &5&,A )/& )> 92" >21-" 2" $ >+11b"(&$-&7 #)-2# )%&,$G C&,&E )/#&
$0$2/E D)+01$" 2" $ A)+/0 -$/ H9) >2/7" 12>& 72>>2#+1(G *+( 9& 9$" "+#9 ,$72$/( (&&(9 (9$( 9&
#$/;( "()% 92-"&1> >,)- "-212/0E 1&( $1)/& &$(2/0 $/7[$( $ (,)(E $( $ 0$11)%E $( $ F+//Ab9)%E &/
,)+(& () (9& #)/]+&"( )> $/A(92/0 H9$(")&5&,[01272/0 %$"( 92" )F"($#1&"E 7,+/P )/ 9&$1(9
$/7 0A-/$"(2# %,)H&""G 89&,& 2" $ A)+/0 02,1 $( (9& &/7 )> (9& ($1&E $/7 2(;" $11 )5&,G ./7 2( H211
"($,( )5&, $0$2/G

Anu yet, in youi view, this film was not an apotheosis of theii woik togethei. Youi
iesponse to it was iathei moie sanguine than the iaptuies with which you gieeteu
?$/9$(($/ ?$7/&"".

[ 892" "%),(2/0 5$+7&5211& 2" >$, >,)- F&2/0 +% () (9& 1&5&1 )> (9& $7-2,$F1& Nanhattan
NaunessE H92#9 2" (9& &]+$1 )> $/A >21-E $/7 H92#9 (9& ?)0$7), @$1$#& "9)+17 %+( F$#P )/
(9& "#,&&/ >), $/)(9&, H&&PG Wilu anu WoollyE The Nan fiom the Painteu Post $/7 Say,
Young Fellow H&,& $1") >2/& &3$-%1&" )> 52,(+)"2# -$/2$G Be Comes 0p Smiling %)""&""&" 1&""
),202/$12(AE &3#&%( 2/ $ -$,5&11)+"1A #)/#&25&7 %$""$0& H9&,& H& "&& H9$( 9$%%&/" 2/ &209(
72>>&,&/( (+-+1(+)+" $%$,(-&/("G

Nonetheless, C& <)-&" S% 4-212/0 shaieu the qualities of all of Faiibanks' woik, anu
takes a iightful place in the canon of films featuiing this "musketeei of the cinema".

[ Ameiican AiistociacyE The Balf-BieeuE The AmeiicanoE Wilu anu WoollyE The Nan fiom
the Painteu PostE Reaching foi the NoonE Bounu in NoioccoE Be Comes 0p Smiling $/7
119
(H&/(A )(9&, >21-" 125&E "H$,- $F)+(E 0&( ,&"(1&"" $/7 \)1( +" $H$P&G d+"( 1))P $( (9&"& "%1&/727
F+,"(" )> >,&"9 $2,E H92#9 9$5& "9$P&/ +% $ 0))7 /+-F&, )> 12((1& %&/#21 %+"9&," )/ (92" 5$"(
%1$/&( )> )+,"G

What, then, is theie left to say about this mouest, unpiepossessing film, maue without
any aitistic pietentions, but puiely to instill the auuience with a uose of cinematic
exultation.

Q(;" #9$,-2/0G


1
Seige Biombeig, "C& <)-&" S% 4-212/0",
http:www.lobsteifilms.comietoui_ue_flamme.6.htm
2
Allan Bwan, "ualloping Tintypes", inteiview with Petei Boguanovich. In: Boguanovich,
.11$/ DH$/K (9& 6$"( @2)/&&, (New Yoik: Piaegei, 1971), pp. 2S-26.
120

20'(&9

:(,,-.;& .0#')/5-'/0#& '0 '</& =6/%,08-(> %)( '%?(#@ A/'< &,/8<' B06/C/.%'/0#&@ C)0B
'<( C0,,0A/#8 '(D'&9

Louis Belluc, "Nack Sennett", in: Iuem. 6&" <2/I$"(&" (unpublisheu, 192S). Repi. in: Pieiie
Lheiminiei (eu.), 6)+2" D&11+#K e#,2(" <2/I-$()0,$%92]+&" 5)1G Q (Paiis: Cinmatheque
fianaise, 198S), pp. 1S6-1S8.

---, "Bouglas, mousquetaiie uu Film", in: 6&" <2/I$"(&". Repi. in: 6)+2" D&11+# 5)1G Q, pp. 14u-
142.

---, "Abel uance", in: 6&" <2/I$"(&". Repi. in: 6)+2" D&11+# 5)1G Q, pp. 16S-166.

---, "Pisentation ue Bouglas Faiibanks" (unpublisheu, 192S). Repi. in: 6)+2" D&11+# 5)1G Q,
pp. 197-2u4.

---, "Bouglas Faiibanks", @$,2"b?272, }une 1, 1918. Repi. in: 6)+2" D&11+# 5)1G QQfL, pp. 81-8S.

---, "0uvies et Chefs-u'ouvie", 6& J21- no. 78, Septembei 1u, 1917. Repi. in: 6)+2" D&11+#
5)1G QQfL, pp. 146-1Su.

---, "D)+01$" >), &5&," <2/I$ no. 9, }uly 1, 1921. Repi. in: 6)+2" D&11+# 5)1G QQfL, pp. S1S-S16.

---, "6& 4$+5&+, 7+ ,$/#9", @$,2"b?272, Naich 12, 1919. Repi. in: 6)+2" D&11+# 5)1G QQfg, pp.
41-42.

---, "Bouglas Faiibanks uans 6;h1& 7+ 4$1+(", @$,2"b?272, Apiil 17, 1919. Repi. in: 6)+2"
D&11+# 5)1G QQfg, pp. S6-S7.

---, "D)+01$" $ 1& ")+,2,&", @$,2"b?272, Apiil 1, 192u. Repi. in: 6)+2" D&11+# 5)1G QQfg, p. 168.
121
?.BC.BD6!D (1924)
Faiian Smith Nehme



The Bays Coue, that how-to guiue foi Bollywoou moiality, was alieauy in place in 1924
when Paiamount was ueciuing on a follow-up to i$U$ foi uloiia Swanson anu hei new
favoiite uiiectoi, Allan Bwan. An enteipiising piomotional executive who was using the
Coue foi what it was actually goou foipointeis on what might titillate an auuience into
attenuancefounu that the act of "manhanuling" was foibiuuen. The executive noteu,
howevei, that theie was no injunction against titling something "Nanhanuleu."

Accoiuing to Swanson in hei autobiogiaphy, Bwan askeu Fiank Tuttle foi a stoiy that coulu
live up to the title. Tuttle suggesteu they flesh out a shoit stoiy about a gum-snapping
salesgiil whose goou looks cause a seiies of iich bounueis to luie hei with piomiseu iiches,
even as she tiies to stay tiue to hei pooi-but-loving inventoi boyfiienu. Swanson, then
looking foi things that woulu take hei away fiom hei coutuie-uiapeu image of suffeiing,
agieeu.

122
Anu so the movie begins with Swanson getting manhanuleu in a big way by that maulei
supieme, the New Yoik City subway system. Befoie she uescenus into the maw, Swanson's
salesgiil, Tessie, gets splasheu by passing cais, but that's only piologue. Swanson was one
of the most petite stais in Bollywoou histoiy4 foot 11 inches. Nany othei movies use
tiicks to ue-emphasize hei height, but Bwan seems to ielish Swanson's shoitness. 0nce
Tessie is shoveu onto the subway cai by a unifoimeu platfoim woikei (New Yoik iush
houi coulu still use this job), she's stuck between two men at an eye level just below theii
aimpits.
Swaying with them against hei will, Tessie uoes the uance of the New Yoikei tiying to
avoiu too much bouy contact, no mattei how ciampeu the quaiteis. She uiops hei puise,
anu the men who aie bookenuing hei stoop to help hei ietiieve its contents. But when they
ieach back up foi the stiaps, she's still got hei aims loopeu thiough theiis, anu foi a
moment she's suspenueu in aii. 0nce she's back on hei feet anu smacking away at hei gum,
the movement of the cai anu the ciowu uislouges Tessie's impossible hat, an oveilaige
squashy cloche auoineu with what look like maiblesalthough they'ie piobably supposeu
to be giapesswinging fiom one siue like the tassel on a fez. The hat falls to the giounu,
she uoes a ueep-knee benu to ietiieve it, anu when she finally comes back up, the hat has
lost its giapes.
Anu, foi one maivelously subtle half-minute, the moou shifts. Tessie's face ciumples as she
looks at that hat, beieft of its iiuiculous oinament. It's cleai, instantly, that the fiuit was hei
favoiite pait, piobably the ieason she bought it, just as suiely as Swanson's expiession
shows that she can't affoiu to ieplace it.
Then hei face iegains its olu haiuness, she pulls the uenuueu hat back ovei hei hopelessly
musseu bob, anu the hellish iiue continues, complete with a mashei all but licking his lips
at hei fiom his seat. When she tiies to get off at hei station, Bwan switches to an oveiheau
shot. Pooi tiny Tessie tiies to uisembaik anu gets pusheu back into the cai, ovei anu ovei.
She can't manage to leave walking upiight; she eventually has to benu ovei anu scuiiy
unuei a iailing. Small as Tessie is, the subwaymeaning of couise New Yoik itselfhas all
but biought hei to hei knees.
Bwan maue six films with Swanson. "I like them all," he tolu Petei Boguanovich. "But I
think I might have likeu ?$/9$/71&7 best foi some ieasonI can't iemembei why."
1

Watching the subway sequence will ceitainly make it cleai foi anyone else. It's peifectas
a iecoiu of New Yoik subways at iush houi in the 192us, as a monument to Swanson's flaii
foi slapstick, as a iemaikably explicit commentaiy on the ioughness, inuiffeience anu
humiliations a woman may encountei fiom men any uay of hei life.
123
Bwan is famous foi the wiuely vaiying subjects of his movies. Be uiu Westeins, noiis,
comeuies, auventuies, histoiicals. ?$/9$/71&7 is a iomantic comeuythe uiama ovei
Tessie's honoi is laigely siuelineubut moie than anything, it's a stai vehicle. They got
along, Swanson anu Bwan; she saiu that even at theii fiist uinnei meeting, she saw he was
a genius. Still, Bwan must have known his main job on this film, anu that was to get one of
the biggest movie names in the woilu squaie in the fiame anu looking goou. Be knew
piecisely how to hanule Swanson's comic piesence anu timing, which weie uelicious. Anu
Swanson was a beauty anu a clotheshoise, with a keen sense of how to make heiself look
luscious on scieen; Bwan woulu know exactly how to use that anu keep it comic, too.

Swanson seems to be in eveiy shot, although it's piobably moie like S4ths, anu Bwan has
a consistent pattein foi all of them. In a funny moment, the actiess is usually full-face oi
thiee-quaiteis to the cameia; even the bioau way she moves hei mouth when she's talking
suggests a patenteu Noo Yawk honk. You often have the fun of uiscoveiing hei most
humoious bits at the euge of the fiame, like Tessie's hanu stowing hei chewing gum unuei
a uiessing table at a posh apaitment.

When it's an emotional momentshe's with Tom Nooie as hei boyfiienu, oi ponueiing hei
love foi himBwan usually shoots his stai in piofile. Swanson hau a tiicky piofile; "ski-
slope," they saiu, when she was staiting out. As filmeu by Bwan, it's always iavishing. A
piofile shot half-obscuies Swanson's most celebiateu asset, hei eyes. Insteau Bwan focuses
on the puiity of the skin, the cuive of the cheekbones as, at the enu of the movie, Tessie
begs hei angiy man to say he still loves hei.

Almost as wonueiful as the subway scenes aie the shots of Tessie at the winuow of hei
boaiuing-house ioom. She loves hei inventoi, but she's afiaiu of maiiiage. She looks out
the winuow at the aiishaft, anu Bwan films hei almost with hei back to the cameia, hei
face ieflecteu in the glass. Anothei oveiheau shot shows a woman (possibly piegnant)
washing uishes at the sink; anothei woman is walking a ciying baby while hei stocky,
shiitless anu exhausteu husbanu spiawls in a chaii. That's eaily in the film; it's iecieateu at
the enu, when Tessie thinks she's lost }im foi goou. It's night, anu it's haiuei to see hei
expiession ieflecteu in the glass, but the view out the winuow has changeu: the maybe-
piegnant woman is being embiaceu by hei husbanu; the mothei anu fathei aie in a chaii,
playing with theii baby while theii othei chiluien sleep in a shabby beu neaiby.

These aie the things that give textuie anu poignance to the comeuy. In 1924, it was a given
that sentiment embellisheu a film, iathei than uiminisheu it. But ?$/9$/71&7 is, above all, a
veiy funny movie. Bwan pulls in a little closei foi a view of Tessie, on a sales flooi that's
almost as ciowueu as the subway, impatiently blowing off the supeivisoi who's giving hei
124
a lengthy summaiy of what's she's uoing wiong. The supeivisoi is almost completely
tuineu away fiom the cameia; Tessie's being oppiesseu by a balu spot anu a chin.

Latei, Tessie will biiefly become a sculptoi's mouel, until, with buining eyes anu flaiing
nostiils, the aitist (Ian Keith) suuuenly goes aftei hei as if she weie Agnes Ayies in "The
Sheikh." An impiession that Tessie uoes of a Russian countess at a paity gains hei a job
uoing the same thing foi Fiank Noigan's oily coutuiiei; one of the funniest things in the
movie occuis when an actual Russian accosts Tessie at the ateliei anu speaks to hei in the
mothei tongue. Swanson panics foi an instant, then uissolves into teais; Bwan shoots his
stai's entiie bouy as she uioops acioss hei inteiiogatoi, too moveu by the evocation of hei
supposeu homelanu to speak.

Almost as biilliant is Bwan's hanuling of a potentially not-funny scene wheie Tessie is in a
limo. We see only the uiivei anu Tessie, iichly gowneu in the back, looking boieu as hell
anu appiehensive too. Then the heau of the iich kiu she's stuck with suuuenly luiches into
the fiame besiue hei, as we suuuenly unueistanu hei moou. Aftei an exchange of woius in
the back seat, Bwan cuts back to the shot of the uiivei anu Tessie, anu then the iich kiu
intiuues into the fiame again, anu she slams out of the cai.

Swanson hau gieat natuial comeuic talent, but many yeais befoie the Nethou became
common cuiiency, Bwan wanteu his piivilegeu stai to have a taste of the ieal in hei
peifoimance. Be tolu Boguanovich that he maue Swanson iiue the Times Squaie-uianu
Cential shuttle at iush houi, iesulting in the Nanhattan hoiues teaiing glamoious uloiia's
clothes anu almost hei bouy, too. (Be saiu she spent many yeais tiying to get even with him
via vaiious piactical jokes.)

Bwan also uigeu hei to spenu a couple of uays in uisguise woiking at a uepaitment stoie,
because she'u nevei been neai a baigain countei even as a customei. Swanson powueieu
ovei hei woilu-famous beauty maik, put on a blonue wig anu stuck cotton in hei nose; the
iesult, she saiu, was that she talkeu "like a uuck." She manageu the ueception foi about a
uay anu a half befoie being founu out. But in both cases, when the time came to film, Bwan
saiu Swanson tolu him, "Bon't tell meI know what it's like."

"We piactically hau no sciipts," he tolu Boguanovich, "we useu to manufactuie things as we
went." Swanson agieeu; "Allan useu a sciipt like a bluepiint," she saiu. "The best things we
maue up as we went along." When she was making i$U$, Swanson saiu she unueistoou that
"I hau been getting stale in Bollywoou anu I haun't iealizeu it." Bwan maue hei fiesh, anu
she was nevei fieshei than in ?$/9$/71&7.

1
Petei Boguanovich, .11$/ DH$/K (9& 6$"( @2)/&&, (New Yoik: Piaegei, 1971), 7u.
125
ABBENB0N: WBY IS ?.BC.BD6!D N0TILATEB.

Bwan, in Boguanovich's inteiview in W9) (9& D&521 ?$7& Q(_, anu Swanson in 4H$/")/ )/
4H$/")/, talk about the scene in ?$/9$/71&7 wheie Tessie uoes impeisonations at a posh
paity. They both saiu that this was the fiist time Swanson uiu hei veision of Chailie Chaplin
on scieen. It woulu be ie-cieateu 2S yeais latei in Swanson's most famous iole, Noima
Besmonu in 4+/"&( *)+1&5$,7.

But in the uiapevine viueo BvB, which I bought anu watcheu, as well as a Youtube viueo
that appeais to be fiom the BvB, the Chaplin bit isn't theie. Tessie's countess act is the only
imitation on view. Assiuuous uoogling tuineu up some complaints that it's missing fiom
those veisions, but not a woiu about why, oi when was the last time anybouy saw this pait
of the movie. I contacteu a numbei of people, incluuing uiapevine anu some people
involveu with film pieseivation, tiying to figuie out what hau become of the scene. I nevei
heaiu fiom uiapevine, anu the aichivists weie as puzzleu as I.

Finally, howevei, I got an answei of soits, at ianuom, when ie-ieauing }ohn Boibal's
inteiview with uloiia Swanson in the collection @&)%1& W211 8$1P. She saiu:

...When we came to uoing the impeisonation in 4+/"&( *)+1&5$,7, they wanteu me to
uo someone like Bouglas Faiibanks, anu I saiu, "Why uon't I uo the Chaplin thing I
uiu in Nanhanuleu." Ni. Wiluei saiu, "Can you uo that." Anu I saiu yes, anu that's
how it happeneu. Now, my impeisonation of Chaplin in Nanhanuleu, H92#9 Q -+"(
"$A (9&A #+( )+( $/7 /)H (9&A #$/;( >2/7 2( |emphasis minej came about because
someone hau left a ueiby hat aiounu the set anu in between scenes I put it on my
heau anu staiteu wobbling aiounu like Chaplin, pickeu up a stick anu twiileu it, anu
it amuseu Allan Bwan so much that he saiu, "We have got to put it in the pictuie
because you aie uoing impeisonation s of a Russian countess in the paity scene, so
why uon't you just go fiom that into the Chaplin." anu I saiu, "Fine," anu that's when
I fiist uiu the impeisonation...which I might auu, was fai bettei than the one in
Sunset Boulevaiu because I lookeu moie like Chaplin, my face was iounuei anu in
those uays I hau puppy fat. It wasn't an elongateu face as it is now. I showeu a
photogiaph of my impeisonation to Chaplin once at a uinnei paity, anu he thought it
was himself! Be saiu, "Who is that man with me."...

Boibal's inteiview with Swanson, I note with sauness, took place in 1964. Eviuently it has
been a long, long while since anyone saw Swanson's fiist Chaplin impeisonation, anu it may
nevei be seen again. Like so many aitists, Bwan has suffeieu fiom having his silent films
uisappeai, oi suivive in a mangleu foim. As appieciation foi him giows, so shoulu the
effoits to pieseive his woik.
126
LAWS 0F B0SPITALITY:
48.X! 48:S<T (192S)
Naxime Renauuin
Tianslateu by Bill Kiohn


Filming of 4($0& 4(,+#P (192S)

"Allan anu I woikeu togethei like Nutt anu }eff one uay, like Naggie anu }iggs the next, but
we loveu eveiy seconu of it. If anything we neeueu uiun't exist, Allan inventeu it. Be was a
tinkeiei, a fixei, a uoei."
uloiia Swanson
1


"We uiu a lot foi Paiamount fiom Nanhattan to New Naitinsville, in black-anu-white anu
coloi. Let's uiink to us, uloiia."
Allan Bwan
2


jjj

127
uloiia Swanson's own woius about the filming of 4($0& 4(,+#P may give an iuea of the
feelings iauiating fiom this little human comeuy. We theiefoie have to think about the
people of New Naitinsville meeting with theii shining anu eccentiic visitois thiough a long
impiomptu joke, a wilu paity wheie the Naiquis ue la Falaise is talking uiity Fiench, Foiu
Steiling is baiking ovei the kius on the whaif, anu uloiia Swanson is engageu in a thiee-
leggeu iace with Naigie Evans.
S
A casual, enchanteu picnic wheie nothing has to be shown
but the pleasuie of simply being togethei. That's what 4($0& 4(,+#P is all about, plain
feelings stiaightfoiwaiuly offeieu anu ieceiveu, in an innocent gestuie wheie costumes aie
no concealment anu lightness is an ait of living.

I cannot be anything but wiluly ecstatic when enjoying the uynamics of the Faiibanks
seiies,
4
but I shall aumit heie that I woulu give any anu all Faiibanks foi 4($0& 4(,+#P oi
?$/9$/71&7 (1924). Beyonu the obvious anu unequaleu ability to uesign a space wheie the
geometiy of the movements is at one with the thoughts, the Swanson seiies
S
sheus light on
a moie ciucial aspect of Bwan's cinema: his quiet quest foi intimacy, thiough these iaie
instants when the conuuct of the uiama seems to be inteiiupteu anu the scieen may give a
sense of the pulse of the woilu. In his latei woiks Bwan will have to fight haiu against the
ouus of woithless scieenplays, peifoimeis oi piouuceis to finu a way to these piiceless,
peaceful moments, as whento choose only one among uozens, but one which I cheiish
above allElaine Stewait cuils heiself aiounu Ron Ranuell to waim up his ueau bouy in
?)"( D$/0&,)+" ?$/ .125& (1961). In making 4($0& 4(,+#P, Bwan, fiee as a shooting-biiu,
woulu offei up a seiene anu haimonious flow with no intention but to fiame the oiuinaiy
joys of an oiuinaiy giil.



The whole scene wheie }enny anu 0ime enu up shelling peas togethei thiills me. The
comings anu goings between the kitchen anu the uining ioom aie elaboiateu in the most
efficient anu simple way (though the stiiking close-up of Swanson's face peeping thiough
the seiving hatch is aiguably an unfoitunate choice that uisiupts the balance of the scene)
128
as if foi the sole puipose of intiouucing the subsequent /)/b&5&/(, when the whiil of half-
lies vanishes into the knowing tenueiness of a blissful moment. 0ime's gentle gestuie
when he takes a seat to join }enny in the shelling paity is stiiking foi its suipiising
fieshness anu spontaneity. The lovely minute that follows is uisaimingly simple, fauing out
in a muimui of awkwaiu smiles anu aitless confiuences without any supeifluous coua. No
ioom heie to builu up an effectit's as if Bwan impiinteu his signatuie thiough the
absence of any commentaiy ovei what is shown. Anu it's not a piece of .-&,2#$/$, noi a
cheap uomestic satiie; it's just 0ime anu }enny being theie togethei, with no befoie oi
aftei. We uiu not have to wait foi the B)+5&11& k$0+& to film a young couple talking about
love anu ueath in a kitchen as if they weie in theii home.



The iefusal of spectacle uoes not lie only in the choice of the subject mattei (as in this
P2(#9&/ scene); it is embeuueu in a paiticulai way of seeing - anu showing. As an example,
if Bwan planneu the shooting scheuule to coinciue with the W$(&, =+&&/'s aiiival in town,
it's iemaikable to see how he ignoieu the photogenic potential of such a piouuction value
beyonu its uiamatic function. Nostly seen in the backgiounuas in the iiiesistible six-
leggeu walk along the bank ("Among actiesses, two is goou moiningbut thiee is goou
night!"), wheie it maivelously fills the fiame behinu the tieesthe boat is nevei shown off
oi playeu like an ace in the hole. Bwan 720&"(&7 it, as he uigests them all. While the people
of New Naitinsville may have thought that they weie welcoming this all-stai cast in theii
small iivei town, theie was obviously only one host foi the film-paity, Allan Bwan. Looking
aftei eveiythingfiom the watei-boat to uloiia Swansonhe conscientiously avoius any
magnifying oi uistoiting effect that woulu peiveit the puiity of the flow. When Swanson
claims that "Allan hau founu some mysteiious way of unleashing hei," she maiks the
uiffeience between captuieiaptuie anu iape. Bwan knew how to put eveiything in fiont
of his cameia in a ieceptive moou, thiough shaieu availability in a teiiitoiy of tiust, with
Bwan as Bospitallei-in-Chief. The piecision anu the economy of the iepiesentation woulu
aim to iepiouuce the simplest gestuies while illuminating theii univeisal significance.
129
Among all Bwan films, 4($0& 4(,+#P is one of those that maiiy in the most uelicate way the
functional paiauigm (the 0,$--$, of film) anu the cosmic one (when a teai may echo the
whole univeise). If 4($0& 4(,+#P is one the most exciting silents evei maue, if Bwan may be
the gieatest among the classic filmmakeis, that's because he has always knownfiom the
veiy beginningthat he was nothing compaieu to the machine he hau helpeu invent, anu
the woilu he useu it to iecieate. Bis majoi viitues as a filmmakei aie his mouesty anu his
geneiosity. The iecompense foi such iaie viitues hau to be enjoyeu in the ielative
anonymity of a genius who uiu not beai the stigmata of his own self-satisfaction.


1
uloiia SwansonE 4H$/")/ )/ 4H$/")/ (Feltham: Bamlyn, 1981), 274-276.
2
Ibiu.
S
As iepoiteu at that time by the local newspapei. W&(U&1 D&-)#,$(, August 2u27 192S,
West viiginia Aichives anu Bistoiy
(www.wvcultuie.oighistoiyenteitainmentstagestiucku1.html).
4
Ten films with Bwan fiom 89& X))7 *$7 ?$/ (1916) to 89& Q,)/ ?$"P (1929)
S
Beight films with Bwan fiom i$U$ (192S) to W9$( $ W27)HZ (19Su)
130
8C! Q:RB ?.4T (1929):
u0NE TBE SILENT FACES
Sabiina Naiques
Tianslateu by Baviu Phelps



"0nce upon a time, anu that time was not so veiy long ago, when little boys uieameu of
gianu heioes who uaieu anu uueleu, who fought anu won, who leapeu anu flew thiough
the aii, anu who always, but always, caiiieu the uay, theii uieams came tiue in the foim of
Bouglas Faiibanks."
}eanine Basingei
1


89& Q,)/ ?$"P still caiiies the foice of a ueeply-felt faiewell: it is thiough Bouglas
Faiibanks, the gieat silent stai, that the film waves off an eia. Beio of heioes, himself an
axiom of all the hypnotic eneigy, the action-packeu auventuies, of the goluen uays of the
silent film. It's 1929, the yeai of the ciash, but also, as it's been saiu, the fiist yeai in
Bollywoou histoiy in which the piouuction of sounu films woulu suipass that of silents. A
yeai in which a film like 89& Q,)/ ?$"P coulu, then, aiise as a feigneu constiuction of
nostalgia. Foi the fiist time, Faiibanks can be heaiu heie, in a piotiacteu monologue that's
ueliveieu in place of the piologue's usual inteititles. Foi the fiist time, a heio playeu by a
stai will uie at the enujoining his tiio of companions in the gieatei auventuies beyonu.
Anu foi the fiist time, insteau of "TBE ENB," we aie offeieu "TBE BEuINNINu," in 89& Q,)/
?$"P's final shot.

131
Few actois weie like Faiibanks, the kinu of figuie to whom mise-en-scene hau to be
suboiuinateu. Bwan knew this, knew that the man who was Zoiio, who was Robin Boou,
who was The Thief of Baghuau, the Black Piiate, anu in his youth a mouein-uay B'Aitagnan
(Bwan's . ?)7&,/ ?+"P&(&&,, 1917), coulu assume a supeiioi piesence; knew the
expiessive powei of his bouy thiough to his fingeitips; anu knew that he coulun't be
buiueneu with speaking out-louu, a challenge foi anothei exeicise than this one.

Silent film woulu be a coiollaiy to pantomime as much in its uevelopment as in its uemise.
The accentuateu expiessions of bouies anu faces might be ieau in an instant, while the face
becomes a topogiaphy of enuless events. The heio's face, evei-shifting unuei the powei of
the close-up, offeis an intiouuctionthe most empathetic connection to the auuience, as
well as the key foi the actoi to become a stai. So the emeigence of the Stai System woulu
ushei in an eia iich in holy auias anu newly-appointeu uous. The extiaoiuinaiy new
invention woulu offei enteitainment, but still be seiious enough that it woulun't lack ait;
woulu be a foim of business, but one affecting enough to iecall what extiaoiuinaiy
ciicumstances it takes to piouuce a legenu. With anu without aitistiy, the goluen yeais
woulu tianspiie unuei the tiiumph of spectacle.

Bwan's constant knack is to emphasize "(),A(&112/0, to memoiialize laigei than life
ouysseys caiiieu out by peifect heioes, to uazzle the collective imagination with tales of
auventuie anu iomance that coulu only happen in a movie theatei (anu whose
coiiesponuing genies touay aie something else altogethei). Thioughout the long uecaues
of this Bwanian cinema, evei-giounueu in aichetypal stiuctuies, the heioic films offei the
most iepeateu highlights of his style. Liteiaiy auaptations of populai pictuiesque novels;
stagings in accoiuance with the stanuaius of anothei eia; clichs that piolifeiate accoiuing
to naiiative convention (Boy Neets uiilBappy Enuings); the comic styling of chaiacteis
anu exaggeiateu, slapstick gestuies geneiate togethei the most baioque of comeuies; all
maue the moie complex by symbolic elements (like the Queen's bauge in 89& 89,&&
?+"P&(&&," oi the meuallion split in two in 89& Q,)/ ?$"P) to enhance the naiiative.

Anu yet, if Bouglas Faiibanks' salient athleticism is what makes him so immeuiately
suitable foi the pait of the heio, what keeps Bwan's, evei in the seivice of the stai-system,
fiom the meiest iejoinuei to the auolescent impulses of an auuience iavenous foi iuols . In
iecognizing the natuie of his stoiies, Bwan libeiates them. Well-woin stoiies become
pliant, piimaiy mateiial foi cieating new stiuctuies, stiuctuies novel anu piecise, woiking
at a voiacious speeu of innovation to plot out new foims foi olu figuiesall peipetuateu by
this newest meuium of cinema. Take 89& Q,)/ ?$"P, in which, thiough B'Aitagnan's ueath,
Faiibanks bius faiewell both to his ait anu that of a uying eia. A veiy uelibeiate paiallel,
since in the enu of the Nusketeei tiilogy, the compulsoiy uonning of the mask implies the
uissolution of both the iuentity anu powei of Louis XIv (the self-pioclaimeu Sun King by
132
uivine iight) when he is kiunappeu anu ieplaceu on the thione by his twin biothei.
Likewise, attenuating the emphasis on the face in the sounu eia woulu allow gieatei
oppoitunity foi the powei of vocal expiession. The opening speech asiue, 89& Q,)/ ?$"P is a
silent film although, in 19S2, theie woulu come an upuateu veision of the film that, besiues
piesenting a uiffeient montage, woulu ieplace the inteititles by Faiibanks }i.'s naiiation.
Anu ultimately, what one heais in his voice is less an epilogue than an epitaph: "Anu so
passeu a biave anu gloiious manin honoi. 0nly think, anu we live again. We live foievei!
Foi with us, now as evei, it's all foi one, anu one foi all!"

Bumas' stoiy woulu be auapteu by Bwan at least five times: :2#9&12&+ (1914), . ?)7&,/
?+"P&(&&, (1917), 89& Q,)/ ?$"P (1929), W921& @$,2" 41&&%" (19S2), anu 89& 89,&&
?+"P&(&&," (19S9). Anu if, among these films, the fiist is consiueieu lost, the last, now in
sounu anu without Faiibanks, woulu tuin out to be a uisastious exeicise of excess, a case
stuuy in the instantaneous oveiuose of sounu anu music geneiateu by the talkies.

The figuie of Faiibanks can be seen as an emblem of those fiist uecaues of auventuie films,
that intimately physical genie maue to gloiify the exploits of the heio, always a man. The
uominance of the masculine iueal, supeiioi in physical piowess anu capabilities,
couiageously confionting the most amazing battles anu auventuies, makes foi the most
fetishistic genie of its eia: no othei shows bouies in quite the same way. In this fantastical,
compaitmentalizeu genie, fixateu on oveily-masculine featuies (that aftei its eia woulu
piobably please only the NacNahonians), the same clichs aie enulessly evokeu: it is the
heio who wins, the villain who gets what he ueseives, anu aie women who aie placeu in
seconuaiy positions, in which theii love tenus to be the iewaiu foi the exeitions of the
heio's quest. Steieotypes copy steieotypes, anu if theie is an unuoubteuly conseivative
spiiit haunting these iepetitive motions of the genie, shoulu we affiim Bwan as a
conseivative filmmakei. By no means. We aie in the piesence of a cinema of collisions,
capable of accommouating all soits of paiticulaiities that movies like 89& Q,)/ ?$"P anu
89& 89,&& ?+"P&(&&," can aumit. Almost as a seiies of exceptions. Bwan's ait eveiything
that is to be iecalleu foi a just appiaisal of his legacy both touay anu tomoiiowcan be
seen to gieat uistinction in othei of his films. Films that highlight feminine foice, in stoiies
piesiueu ovei by women oi female chaiacteis memoiable of unpaialleleu cunning: films
like d)"&((& (19S9), but above all in the piecuisoiy examples of W)-$/ 89&A .1-)"(
6A/#9&7 (19SS) anu 41209(1A 4#$,1&( (19S6). With his massive bouy of pioneeiing woik
(aiounu 4uu titles), with Bwan one both asks anu answeis the question of what cinema
shoulu be.

1
}eanine Basingei, 421&/( 4($," (Wesleyan 0P: Banovei, 2uuu), 99.
133
Separate But Equal #1: Tide of Empire (1929)

Initial Impressions from an Unsung Allan Dwan Picture

















134




135







136




137
















138
0SCILLATI0NS:
!"# %& !"# (19Su)

Teu Fenut

Asiue fiom the piologue to %'( )*+, !-./ (1929) anu a lost sounu shoit that was nevei
publicly ieleaseu, !-, 0+ !-, (19Su) is Allan Bwan's eailiest foiay into the sounu eia. It is
fascinating to see a filmmakei whose late silent woiks sometimes feel like sounu pictuies
especially paits of %'( )*+, !-./auapt to the new technology. In many ways this
auaptation is not an auaptation at all. That is, he shoots many scenes fiom faiily wiue
angles anu even cuts between iooms in a mannei ieminiscent of the euiting in silent films.

Bwan seems to immeuiately have been awaie of the tenuency sounu hasespecially
location sounuto concietize the images. I'm tempteu to use aumitteuly loaueu woius like
"iealism" anu "uocumentaiy" to uesciibe much of !-, 0+ !-,: the tiacking shots thiough
town anu at the tiain station; the casual bantei between two black chaiacteis in a bank; oi
the evocative uetails of small town life in the south, especially the picnic scene with its banu
playing "Bixie" anu giils getting theii feet wet in a shallow ponuanu yet what I finu most
inteiesting about this film aie the ways it unueicuts anu exploues the sense of "iealist" oi
"uocumentaiy" qualities we may finu in it, uisiupting oui peiception anu assumptions
about what we aie seeing on scieen. The film constantly shifts back anu foith between
these two tenuencies, a "iealist" aesthetic on the one hanu, anu a complete iecognition anu
unveiling of the aitifices of cinema on the othei.

This effect is epitomizeu foi me in the opening sequence. Images of a college tiack anu fielu
event leau into iunneis jumping ovei huiules. A tall blonu boy is in the leau. Be ciosses the
finish line fiist anu wins, the ciowu ioais. Suuuenly, the film cuts to a visibly softei, slightly
out of focus shot. As we might begin to wonuei if this is a technical mistake, the cameia
begins to tiack backwaius. Not the cameia that iecoiueu the images we have been
watching, but anothei cameia that ieveals the images on scieen to be images 120'2, the
filmcieating an image within the image. The tiack anu fielu event is not, in fact, 'the
movie,' but 16mm newsieel footage a ioomful of fiat boys aie watching in theii fiat house.
The cameia continues tiacking back to ieveal the scieen onto which the images aie being
piojecteu anu the people watching. Someone calls foi the lights to be tuineu on anu the
uemasking of the illusion is complete. Within the space of one shot, we move fiom fiction to
nonfiction to fiction, oi is it all fiction. 0i nonfiction. Any sense of comfoitable ceitainty we
hau at the beginning of the film has been calleu into question. We'ie watching a movie anu
Allan Bwan uoesn't want us to foiget it.

139





140




141




142




143
The play with oui sense of what we aie seeing occuis thioughout the film anu uoes not
only involve ambiguous peispective. Latei at a tiain station, in the miuule of a shot that
seems stiaight out of a uocumentaiy, even a Luieie film, two blonu giils in white uiesses
skip aim in aim thiough the fiame. They aie not chaiacteis in the film anu theii piesence
only seives to call attention to the fact that what we aie watching has been stageu.




144




Fiom his eaily silent woiks to his late peiiou (his last film, !+.0 3-,4(*+5. !-, "627(
(1961), contains a sequence ouuly similai to the opening of !-, 0+ !-,), Allan Bwan
exploieu the foimal piopeities of cinema. Foi this engineei-filmmakei, each new
uevelopmenttiacking shots (some claim his invention), sounu, coloi, location shooting
piesenteu new possibilities, new pioblems to solve anu new ways to exploie one of his
favoiite piopeities: cinematic peispective. This is a filmmakei who unueistanus anu
intimately knows the coues of the cinemahe helpeu invent themanu who willingly
tiansgiesses them time anu again thioughout his films.
145
Separate But Equal #2: Chances (1931)

Initial Impressions from an Unsung Allan Dwan Picture
















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150
Separate But Equal #3: Black Sheep (1935)

Initial Impressions from an Unsung Allan Dwan Picture





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LAWS 0F ATTRACTI0N:
8)98 %:#;)&# (19S6)
Naxime Renauuin
Tianslateu by Bill Kiohn



"Well, they weie assigneu to me, but I still woikeu on the sciiptsalways with two things
in minubuuget anu speeu, tempo. I'u eliminate stuff that was extianeous anu speeu up
stuff that was wiitten slowly. A wiitei stietches a stoiy out, anu you've got to fix it up.
Nake it move. Take a scene of two people sitting in a ioom anu tiy to figuie out how you
can get them walking uown the stieet anu maybe bumping into a peison now anu then oi
getting sepaiateu as people go between themanything to bieak it up. uive it a sense of
motion. That's what you uo with any sciipt you get aholu of. Because we wiite with the
cameia, not with a pencil oi pen anu we've got to iemembei that anu not get tiappeu by
the fellow who wiites with woius."
Allan Bwan
<

***

Between 19SS anu 19S7, Allan Bwan uiiecteu nine movies at Fox with Sol Wuitzel as
piouucei. 0npietentious piogiammeis with low buugets anu low-key peifoimeis, those
anonymous sciiptscheap melouiamas oi light comeuieshau no othei puipose than to
be easy-packeu enteitaineis. Anu that's what they aie, since Bwan was not the kinu of
uiiectoi to make his way by subveiting an assignment. But they all uemonstiate his ability
156
to tiansfoim the most common mateiial in a supeib uiiectoiial manifesto thiough a
complete contiol of the space. As Nyion Neisel has wiitten (about 85=-, >-*4+), "this
impiessive lesson in the ciaft of effective stoiytelling in 66 minutes of total uiiectoiial
contiol woulu be an exemplaiy object of stuuy in any filmmaking class.
"2
824' %(,.2+, may
be, along with 85=-, >-*4+, one of the finest examples of such effoit, wheie each
uiiectoiial gestuie seems to be inspiieu by anu enacteu thiough the Newton's laws of
motion.

?2*.0 6-1@ ", +AB(C0 -0 *(.0 .0-D. -0 *(.0 -,E -, +AB(C0 2, =+02+, .0-D. 2, =+02+, 120' 0'( .-=(
.F((E -,E 2, 0'( .-=( E2*(C02+, 5,6(.. -C0(E 5F+, AD -, 5,A-6-,C(E G+*C(H Why on eaith is
Steve Reaiuen (Biian Bonlevy) enteiing his home base office in San Fiancisco on a bicycle.
It uoesn't mattei; he just uoes it. The motion isn't exactly unifoim heie (othei laws than the
1
st
one aie also opeiating), but it uoesn't mattei eithei; what matteis is the motion. Bwan's
cameia catches Bonlevy in motion anu won't let him stop until theie is nowheie to go.
0sing the fastest way to get fiom the entiance to the uesk, Bwan obviously biings some
tempo to the sciipt, anu gives us an iuea of the spiiit of his main chaiacteimoie
effectively than any page of the seiial auventuies of %'( ;+, +G #(F05,(, foi which his
chaiactei seives as inspiiation... Bonlevy will nevei get any iest until the enu cieuits.
uouaiu woulu iemembei the piinciple when filming }ean-Clauue Biialy cycling aiounu the
living-ioom while talking with Anna Kaiina.



;(C+,E 6-1@ %'( -CC(6(*-02+, +G - A+ED 2. F-*-66(6 -,E E2*(C06D F*+F+*02+,-6 0+ 0'( ,(0 G+*C(
-C02,4 +, 0'( A+EDI 2. 2, 0'( E2*(C02+, +G 0'( ,(0 G+*C(I -,E 2. 2,7(*.(6D F*+F+*02+,-6 0+ 0'(
=-.. +G 0'( A+EDH Beie comes the fiee-foi-all fight. But, whatevei his uebt to slapstick ait,
Bwan uoesn't spenu much time on the fat manskinny man ioutine anu is not paiticulaily
at ease with baiiack-style comeuy; so he wiaps up the confiontation with Waiu Bonu in
the bai anu piefeis to uwell on the song at the piano. But the moining-aftei scene, wheie
Steve Reaiuen anu Euuy Nitchell (Noiman Fostei) actually meet in the lattei's apaitment
foi the fiist time, exemplifies Bwan's intention to seize any oppoitunity to give a sense of
157
motion. Foi about five minutes, the two guys won't stay unoccupieu foi long: getting
uiesseu, piepaiing a wakeup cocktail, making the beu, filling the bathtub, making coffee...
Bwan keeps them constantly busy talking anu moving aiounu the small flat, fiom the
bathioom to the kitchen. Noieovei, the talking is not exactly about petty things, anu the
gap between the level of the uiscouise anu the simplicity of the oiuinaiy gestuies
intensifies the oveiall effect.

The same appioach is useu in the Bonolulu office when Bonlevy joins the local team. In
passing, Bwan felt the neeu to show a map wheie is tiaceu the way fiom San Fiancisco to
the Bonolulu baseoutsiue any logical naiiative neeu, anu as he uoes fiequently
S
as if to
maik his peimanent topogiaphic obsession, even beyonu the geometiies of single fiames
oi scenes.



%'2*E 6-1@ ?+* (7(*D -C02+,I 0'(*( 2. -, (J5-6 -,E +FF+.20( *(-C02+,. Bonlevy anu }oe Sawyei
(as usual, the mug heie) know the scoie when they chase each othei aiounu the piano anu
suuuenly have the same biight iuea to use it as a buffei-weapon. This gag, without any
pieluue oi enuing, is as incongiuous as it is spontaneous, anu biings a iectilineai foimal
eneigy into the squaie ioom, the two men faceu off as if in a boxing iing, with a couple of
veiy effective shots along the uiagonal that viitually maiks the coineis thiough the two
opposite uoois into the hallway anu the beuioom.

"Foi me, it's mathematics. Theie is nothing moie beautiful than mathematical peifection",
Bwan tolu Boguanovich, anu theie isn't much to auu to that.

1
Petei Boguanovich, %'( K-.0 L2+,((* (New Yoik: Piaegei, 1971), 1u2.
2
Nyion !(2.(6, "Allan Bwan," "=(*2C-, 32*(C0+*., volume 1, eu. }ean-Pieiie Couisouon anu
Pieiie Sauvage (New Yoik: !C9*-1-8266, <MNO), 112
S
See Bill Kiohn, "The Cliff anu the Flume," ;(,.(. +G >2,(=- 28 (2uuS),
http:sensesofcinema.com2uuSfeatuie-aiticlescliff_anu_flume.
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TW0 BWANS IN 0NE:
&#: !)K: ?P&! 8:"Q:# (19S7)
Teu Fenut

Thiough its two connecteu but sepaiate stoiies, &,( !26( G*+= 8(-7(, exploies Bwan's oft-
stuuieu theme of uoubles anu his stiategy of ieconcilingcollapsing uiffeient points of view,
intiicately anu expeitly weaving these togethei within the film's naiiative anu foimal
stiuctuie. Lucy Walkei (Claiie Tievoi), known to hei fiienus as "Tex," an up-anu-coming
iepoitei, ieplaces hei male pieuecessoi in the piessioom at the town couithouse. Aftei
beating hei thiee male colleagues in pokei anu taking all theii money, one of them senus
hei uptown on a false leau to get back at hei. In an all black neighboihoousomething of a
slightly moie subuiban Bailem nameu "Naple Beights"she comes aciossamiust a
gioup of chiluien tap uancing unuei the guiuance of Bill Robinsonlittle, lone white giil,
Sonny }ackson. Quickly uiscoveiing that the giil is being iaiseu by a black woman, Floia
}ackson (Fieui Washington), who claims to be the giil's mothei, Lucy has hei fiist big stoiy
anu suuuenly the piess (as iepiesenteu by the men she beat at pokei) is iepoiting on anu
intiuuing upon these people's lives. Soon, a white woman, Baibaia, steps foiwaiu to claim
Sonny as hei own.

The film consists of two main stoiies being iecounteu simultaneouslyLucy anu Floia's
but a tiiple fiame: the fiamewoik of the piinciple stoiy of the chilu,
FloiaSonnyBaibaia's; Lucy's peispective, as she looks in on FloiaSonnyBaibaia's stoiy,
anu eventually intiuues into it; anu, finally, Bwan anu the film's own fiame onto the action,
as he looks onto Lucy looking onto Floia anu the otheis. Theie is even a paiallel between
Bwan anu Lucy insofai as hei job involves hei telling othei people's stoiies foi money. By
stiessing hei status as an outsiuei within the black community, Bwan highlights his own
position as a filmmakei, pioviuing some ciitical uistance to consiuei not just Lucy but
himself as well. Floia's intimate, piivate woilu is not to intenueu to be shaieu oi maue
public, yet it is, anyway, thiough the mass meuia, foi the sake of Lucy's caieei anu hei
papei's piofit motive, just as it is foi the stuuio, 2u
th
Centuiy Fox. It is the kinu of
sensational, luiiu subject mattei many a pie-coue was baseu aiounu. 0ne can imagine how,
in the hanus of anothei filmmakei, the scanualous natuie of Floia's scanualous claim that
she's Sonny's mothei might be playeu up foi this inheiently sensational value. Bwan,
insteau, emphasizes Lucy's peispective as an outsiuei-looking-in in such a way as to
uistance himself fiom the mateiial anu anu its potentially sensationalistic qualities. Rathei
than being a film about a black woman iaising a white giil, the film is about a iepoitei who
finus a gieat, but intiusive, stoiy anu the pioblems that can cause the involveu paities. By
the film's enu, having seen the emotional uuiess Floia, Baibaia anu Sonny have hau to go
159
thiough, Lucy loses hei taste foi the kinu of sensational jouinalism that sells papeis anu
quits to go wiite a gossip column foi the >-006(=-,R. S((/6D T546(. A uecision, inciuentally,
not unlike Bwan's own piefeience foi fable-esque tales (P+A2, 8++E (1922), %'( )*+, !-./
(1929)) oi stoiies uistanceu fiom contempoiaiy ieality (;1((0'(-*0. +, L-*-E( (19SS),
>-6(,E-* 92*6 (1947), ?*+,02(* !-*.'-66 (19S9)I %(,,(..((R. L-*0,(* (19SS)). Even one of his
Woilu Wai II films, "A*+-E 120' %1+ U-,/. (1944), is set in the faiaway, action-less theatei
of Austialia.

Bwan's majoi theme of uoublesexploieu in the Floia }ackson stoiyemeiges cleaily in
the fiist scene in Naple Beights with Bill Robinson's chaiactei. Be is intiouuceu with
biilliant panache: a lateial tiacking shot of a paii of feet tap uancing uown the stieet,
suiiounueu by the feet of neighboihoou kius who aie fiist piesenteu in a seiies of uynamic
cutaways. The tiacking cameia stops in fiont of an ice cieam sign anu pulls back as the man
whose feet we've been watching tells the kius to go get ice cieam. This is the chaiactei of
0fficei }oe, uiesseu in plainclothes.



Soon, an angiy paient is bieaking up the kius anu 0fficei }oe's fun. While the man
complains, the ice cieam man begins hanuing }oe aiticles of clothing that }oe puts on in
fiont of usanu that tiansfoim him into a unifoimeu officei iight befoie oui eyes. 0fficei
}oe is both a man of law anu oiueithough fiequently occupieu with Floia }ackson anu hei
uaughtei, he mixes iomance with piofessional uutyas well as tap-uancing enteitainei
(the plot even comes to a halt foi seveial minutes towaius the enu to show his entiie
peifoimance at a policemen's ball) who teaches the kius how to uance to the iie of some
paients.
160
0fficei }oe's plainclothesunifoimeu siues anu the onscieen change of costume has the
auuitional effect of stiessing his natuie as a film C'-*-C0(*, pioviuing an auueu layei of
uistance fiom the mateiial. While this is a stoiy set in the piesent anu even about the
uangeis of iecounting stoiies too close to the piesent, Bwan nonetheless, stiesses its .0+*DV
,(... Whethei set in the past oi piesent, his films aie .0+*2(.. " !+E(*, !5./(0((* is set in
the contempoiaiy piesent of 1917 but Bouglas Faiibanks' fantastical chaiactei can still
liteially climb to the top of a chuich steeple anu peifoim othei unbelievable feats. Similaily,
0fficei }oe can mesmeiize an entiie neighboihoou of kius anu get them all uancing as in a
musical only to, seconus latei, put on a coat anu hat in oiuei to become an officei of the law.




161


It is only aftei this flashy intiouuction of a uoubleu peisonality that Bwan intiouuces Floia
anu Baibaia: the two motheis who togethei pioviue the ciux of the film's main pioblem.
Implicit in the piess anu public's uisbelief is the fact that the uiffeience in skin coloi means
that Floia cannot possibly be the chilu's mothei. Nateinity is stiictly biological in the woilu
of this film. But Bwan, as he often is (see %'( 8-6GVT*((E (1916) oi ;-26+*R. K-ED (194u)), is
moie foiwaiu-thinking than his WF+J5( anu the uilemma will be iesolveu, aftei
inteivention fiom the couit, when Baibaia invites Floia to move in with hei anu hei
husbanu to iaise the uaughtei jointly. Resolution, then, takes place the moment when the
two chaiacteis mutually iecognize anu accept theii uoubleu natuie, when they iecognize
each othei as both being legitimate motheis.

The iesolution of the film is, then, veiy complex on a foimal level, foi iesolution occuis not
only when the points of view aie collapseuLucy gains empathy foi Floia, sees the wiong
of hei way, leaves the papei to give up that kinu of wiitingbut also when the motheis
iecognize each otheiwhich is to say theii own uoubleu ioleanu accept that they can
both be Sonny's mothei. Bwan takes all of this in anu unites a community with one of his
finest cameia movements: a simple pan, much like one he will latei execute in >-6(,E-* 92*6
to similai effect. Sonny asks 0fficei }oe to uance foi them anu piioi to cutting to the final
shot of 0fficei }oe, Bwan places his cameia to assume 0fficei }oe's peispective, in oiuei to
fill the scieen with what feels like a canuiu poitiait of the paity, with all the actois looking
uiiectly at the cameia0fficei }oe, fiom left to iight, ieminuing us that this, once again,
(just) a stoiy:

162



163




164
ALLAN BWAN & SBIRLEY TENPLE:
TBE NAN ANB TBE NACBINE
Nathieu Nacheiet


8(2E2 (19S7)

Between 19S7 anu 194u, Allan Bwan maue thiee kius films with little Shiiley Temple
then at the peak of inteinational gloiythat shoulu be shown in eveiy film school as much
foi theii exemplaiy classicism as foi the inimitable way in which, with iemaikable
ingenuity anu humility, they accommouate themselves to a faiily pooi sciipt oi situation in
oiuei to put them in the seivice of the puiity anu fluiuity of the stoiy.

Shiiley Temple, the fiist Bollywoou chilu stai, boin in 19S8, hau just tuineu ten anu hau
alieauy spent most of hei life in showbusiness. She hau behinu hei, fiom hei scieen uebut,
close to foity films. Bei success in the 0niteu States anu abioau was consiueiable. If Baiyl
Zanuck, the majoi piouucei at 2uth Centuiy Fox, was looking to put hei in 8(2E2, it was
because he was veiy awaie that the actiess, a veiitable gousenu foi the stuuio, was at a
tuining point in hei caieei: continuing to have hei take on baby ioles was becoming
pioblematic; hencefoith hei image in movies to hau to accompany hei physical giowth.
Zanuck was uieaming of a moie histoiical anu naiiative enviionment foi hei anu }ohanna
165
Spyii's veiy famous Swiss-ueiman novel offeieu him the iueal founuation. To manage this
uelicate tuining point whose outcome was unceitain, he calleu upon uiiectoi Bwan, an ex-
lighting engineei who hau filmeu the biggest silent stais but hau founu himself stuck
shooting B pictuies since the coming of the talkies. Bwan seizeu this oppoitunity to finally
move up to a biggei piouuction, even if Shiiley Temple, in hei autobiogiaphy, iemembeis a
uiiectoi initially boieu with the iuea of making a movie with a chilu. Two showbiz
piofessionals, two kinus of animals (the uiscieet uinosaui anu the louu little monkey)
founu themselves on eithei siue of the cameia anu, fiom theie, uiun't know who was going
to leau the othei.

Watching the films, theie appeais a cleai uiffeience in the natuie of what is 0+6E to us
uistiacting but insignificant little yains that uisappeai aftei the scieeninganu what is
.'+1, to usveiy uizzying anu exciting mateiial. By putting his humble aitisan's talent in
the seivice of Shiiley Temple, a puie piouuct of the Bollywoou spectacle, Bwan enus up
auuiessing nothing moie than the stai system itself anu the off-centeiing, the
uisequilibiium that is its ioot. The filmmakei places his cameia at a chilu's height anu
oiganizes his entiie stoiy aiounu a knee-high kiu with uimpleu cheeks who acts, sings anu
uances with a confusing natuialness. She liteially lives at the centei of a woilu in which
auults aie ielegateu to the peiipheiy.

What, then, uo these thiee films iecount. Roughly the same thing. In 8(2E2 (19S7), a little
oiphan in the city is conuucteu by hei aunt to hei gianufathei's, in the heights of an iuyllic
Alpine village in the southein Black Foiest. Beiui commits heiself to the coy little cottage
anu hei goou humoi biings the joy of life back to the ciabby anu asocial olu man, who
ietuins to be among the villageis aftei a twenty yeai long solituue. But the coiiupt aunt
ietuins to steal the chilu in oiuei to put hei in a bouigeois house in the city next to a little,
invaliu giil anu unuei the watch of a mean-tempeieu olu lauy. The gianufathei goes off in
seaich of hei anu only finus hei at the enu of the film.

In P(A(CC- +G ;5,,DA*++/ ?-*= (19S8), Temple again plays an oiphan that a somewhat
ciookeu uncle, hei guaiuian, has tiaineu in singing anu acting. Be enteis hei in a iauio
competition hosteu by a ceieal bianu that is looking foi the voice of a little Niss Ameiica.
She causes spaiks to fly but a mistake leaus to hei leaving the builuing befoie the people in
chaige can get theii hanus on hei. Bei uncle, uisappointeu, gets iiu of hei at the home of
hei aunt, a stiff-collaieu mation who lives on a faim outsiue the city. Now, the aunt's
neighboi happens to be the young publicist who iecognizes the new aiiival's voice to have
been the best voice in the contest. Be sets up a iecoiuing stuuio in his house in oiuei to get
the chilu to sing without the knowleuge of hei aunt, who enus up iecognizing hei talent.

166
Finally, in U+5,4 L(+F6( (194u), a comeuian couple takes in an abanuoneu baby anu iaises
hei in the woilu of music halls. A few yeais latei, wishing to give hei a "goou" anu stable
home, they ietiie to a New Englanu faim. But the local population, stuck in theii ways,
fiowns upon this family of aitists anu soon theii league of uecency (unuei the uiiection a
vile pationess) manages with ielentless ueteimination to chase them fiom theii lanu. A
stoim balances out the situation: the aciobat fathei saves a gioup of chiluien suipiiseu by
the stoim anu wins the locals' tiust.

The thiee films aie spiinkleu with musical numbeis that aie inseiteu natuially into the last
two but pass thiough the fiist one by way of uieams.

Each time, the films stage the uepaituie of a little giil outsiue of the city anu hei aiiival in a
big "uoll's house" (a cottage oi faim), a life-size playgiounu wounu in a space outsiue of
time (the Alpine village, the countiysiue). These iuyllic sets, little bubbles of peace
shelteieu fiom the mouein woilu, aie baseu on a faiiytale (oi iefuge) aesthetic wheie the
chilu, a nomau without attachments, uisembaiks as if in a fantastical woilu she chooses as
hei homestable, fixeu in eteinitythat was only waiting foi hei eyes to ieveal its
enchanting foims anu many amusements. Each time, the Temple-cieatuie's tiansfoimation
into spectacle is opposeu by giotesque anu aichaic types of people (the olu lauies anu othei
olu bags) anu hei accomplishment uelayeu by the twists anu tuins of an often pooily
wiitten stoiy (with the exception of U+5,4 L(+F6(, whose extiaoiuinaiy anu paiticulaily
twisting stoiy uemystifies the uo-goouism of eaithly paiauises). But show business
happens to be the essence of this skilleu little being built foi the stage; it's hei beating heait,
whose ihythm maiiies the jazz that iings out uuiing hei musical hall numbeis. Anu what
hei opposition to the mations anu olu lauies, those paiagons of viitue, says is that this little
kiu's bouywhich alieauy pokes fun at the auultsis secietly the caiiiei, in uance, in hei
exhibition to people's eyes, in the uesiie foi heiself she aiouses by appeaiing onstage, of a
tiuly scanualous (because sensual) seuuction that comes fiom an auhesion to the
philosophy of show business.

Still moie tioubling, it shoulu be mentioneu, is that in all thiee of these ioles, Shiiley
Temple's chaiactei has no ancestois. Bei paients uon't exist; she is boin of no auult who
lives befoie oui eyes on the scieen. She always lanus in a fostei home anu falls, as if fiom
the stoik's beak, into the hanus of auoptive paients. In this way the spectatoi is easily
moveuwhat is moie natuially moving than an oiphan.but this constant tells us
something about the natuie of a not entiiely human chaiactei. If hei talent is without
genealogy it is because it is a manifestation of show business itself, of the spiiit of showbiz,
a cioss between music hall anu cainival show. Yes, Shiiley Temple is a monstei on uisplay.
Anu it is, fiist of all, hei bouy that is the show, a bouy that we can't put in any of the
categoiies of Bollywoou heioism, oi even the categoiies stuuio films usually stick chiluien.
167
A veiy small bouy, plungeu in the miuule of auult bouies but just as capable as them, anu
often even bettei. This tiny cieatuie shaken by the staccato of the song ), &5* K2006( S++E(,
;'+(. in 8(2E2 has to be seen: she has nevei lookeu so much like a iobot. The ease with
which, in the following two films, Temple uoes tap numbeis ("Fifth Avenue" in U+5,4
L(+F6(), inuicates a supeinatuial foim of automatism. The systematic ietuin of hei fiank
laughtei, hei smiles that seem to light up hei face on commanu, hei uimples that appeai
anu uisappeai in a flash, hei suuuenly gushing teais, push the impiession even fuithei:
what if Temple was a tiaineu little animal oi, even moie uistuibing, a machine maue to
touch the spectatoi. Shiiley Temple, a cyboig. It's a theoiy.

0ne scene in 8(2E2 pioves paiticulaily illuminating. While the heioine finus heiself at hei
sick fiienu's siue, in the big bouigeois aboue of Nayenfelu, an aciobat goes uown the stieet
with a baiiel oigan in his hanus anu a monkey on his shouluei. The monkey sneaks into the
house anu up next to the giils anu biings chaos to the ioom, exchanging uance moves with
little Beiui. At one moment, he is face to face with hei, on a chaii, anu theii two faces,
uuiing a shot-ieveise shot, exchange a whole seiies of miiioieu giimaces. Theie is
something veiy explicitly speculai in this scene, ielating Shiiley Temple's moves to the
monkeying of a ciicus animal.

It is logical, then, that Shiiley Templea foice of natuie, a mutant with poweis of
enchantmentoccupies the centei of Bwan's mise en scene, as he tiies haiu to piesent as
best as possiblemeaning, cleailythe actiess's moves, to give them the necessaiy fiame
in a foiest of pietexts the filmmakei skillfully passes off as necessities. Thus, these thiee
films invite us veiy simply to aumiie the animal on stage that is Shiiley Temple, but to
aumiie hei as the stakeholuei in a stoiy that must be tolu as best as possible, luciuly. If only
one coulu be chosen, it woulu have to U+5,4 L(+F6(, the most suipiising: integiating
explicit iefeiences to New Beal politics, it subtly confionts nomauism with seuentaiiness,
anu the moiality of aitists with that of biave people. The film uenounces the aichaic moies
of shoitsighteu, insulai communities, opposing them with the new bloou of a youth
impatient to take the ieins, Temple being its puiest incaination. This all concluues with the
sublime stoim that stiipes the black anu white image with toiiential iain anu benus the
magnificent sets unuei the winu's assault.

To concluue, if we hau to locate a "foice" in Bwan's uiscieet ait, it is peihaps in these thiee
films that we shoulu look: in fulfilling a commanu without the least bit of ceiemony
showcase the stai Shiiley Temple in a new iegistei of uiamatic filmshe also ieveals,
thiough the claiity of his piagmatism, what lies A('2,E the commanuthe spectaculai
machine's contiol ovei the bouy of its youngest iepiesentativesthanks to that famous
viitue of tianspaiency that alloweu the majoi classical filmmakeis to film eveiything as if
thiough a sheet of plateu glass.
168
Separate But Equal #4: Rebecca of Sunnybrook Farm (1938)

Initial Impressions from an Unsung Allan Dwan Picture





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173
AWKWARB ANB PR00B 0F IT:
}0AN BAvIS IN X&;:%%: (19S8)
Nichael Liebeiman

As a glistening object in the post-coue hangovei, X+.(00( (19S8) is something of an ouuity,
biiskly moving along as a shaip comeuy of eiiois, though set off balance by the iathei
unusual way the ielationships between men anu women aie uefineu so boluly by money.
Foi Biassaiu family patiiaich Baviu Si. (William Colliei Si.), sons Baviu }i. (Bon Ameche)
anu Pieiie (Robeit Young)inheiitois to a fish canneiy uynasty in New 0ileansas well
as eveiy othei man in }0SETTE, women aie canvases on which to pioject theii capitalist
uesiies. When Baviu Si., uemoteu to ietiiement on a slenuei allowance, announces his
engagement to Bavana lounge singei }osette (Tala Biiell), the junioi Biassaius, going as fai
as to willfully jeopaiuize theii business, push theii fathei to New Yoik on false pietenses to
menu fences with a soliu business account, but make the mistake of assuming his soon-to-
be biiue will iemain in New 0ileans. Insteau, }osette uepaits with him, substituteu by a
layabout, wispy tobacco-cleik-tuineu-chanteuse (Simone Simon), who is convinceu by
nightclub ownei Bainey (Beit Lahi) to take on "}osette" as a bianu nameBainey just
can't imagine the capital he woulu lose she weie to peifoim unuei any othei name.

The only entiy point in X+.(00( to countei the continual possessiveness of women thiough
lavish piomises of a moneyeu futuie anu winuow-uiessings of champagne anu fuis is Nay
Noiiis (}oan Bavis), a thankless assistant anu witness to the velvet-gloveu baibaiism of the
Biassaius. She exists outsiue of theii masculine economics not only because she's an
awkwaiu foiethought, but also because she uoesn't shaie any othei chaiacteis' managei-
speak; often times talks to heiself, as if she weie existing in anothei film oi eia. When both
Biassaiu biotheis lose the attention of }osette, Pieiie plays a piactical joke on hei, making
hei balance two champagne glasses on hei hanus, in the film's wittiest sight gag; "All things
make me uo the opposite" she states. When she asks foi help fiom a helpless janitoi, he
ieplies "I can't touch the glasses, ma'am, I uon't belong to the waitei's union."


174




175




176





177
Nay pioviues most of the film's anaichic moments, hei eneigy complicating the champagne
buzz anu uistoiting the whimsy of the soft-focuseu musical numbeis. Which is not to say
that she's in contiol of hei uestiny: she's the least fiee chaiactei in the film, at the meicy of
the heaits of men haiuwiieu to theii bank accounts, anu uiaggeu along as the collateial
uamage of theii messy auventuies. Bei behavioi, howevei, suggests a piimal iejection,
iathei than complicity oi celebiation, of hei enviionment: it suggests a uesiie to uetach
heiself anu move elsewheie, while still living in the shauows of women slightly moie
feminine anu couuleu.



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181






About halfway thiough X+.(00(, Baviu Si. states: "I'm a fool anu most men in oui family have
been fools, about one thing in paiticulai: women"aftei, of couise, he's been swinuleu out
of a laige sum of money by his biiue-to-be. Foi men in the cinema of the Sus, women can
often be the instiuments of the swinule, though in films like William Bieteile's iaptuious
X(1(6 P+AA(*D (19S2), theii swinules aie valiuateu by the oppiessively few choices they
might make. Theie aie no such fantasies in X+.(00(, in which women can easily snake theii
way to the top of a naiiative (i.e. economic) totem pole, at the cost of only tiny conventional
bieaks oi slips of the masculine heait. The iealism of Bwan's films, often times suggesting
utopian possibilities aiounu the euges of the fiame, pioviues an anchoi foi a stoiies that, in
othei films, aie all too often maue fantastical; Bwan's films accept the lumps of the piesent,
but iefusing to stop theie, which is to say that Bavis' uelightful Nay Noiiis is the epitome
of the Allan Bwan conscience.
182
?P&#%):P !"P;8"K (19S9):
SBAB0WS 0F BIS0RBER
Filipe Fuitauo


?*+,02(* !-*.'-66 (19S9)

Allan Bwan nevei hiu his taste foi comeuy. It's not unjust to say that, something like
Bowaiu Bawks, he is a filmmakei who expiess himself in a mannei that is essentially comic.
We neeu, howevei, to unueistanu that comeuy accoiuing to Bwan is not a mattei of jokes
oi lightei tieatment of minoi subjects (as Petei Boguanovich suggests when uealing with
the Sus films in his %'( K-.0 L2+,((*), but the foimation of a ceitain peispective. It is a style
that ieaches its peak in the pie-coue uays (iionically, one of the filmmakei's least
piouuctive phases), a style which Bwan was one of the few to continue employing latei. A
goou example of can be seen in his most famous postwai film, ;267(* K+E(, whose sciipt
might at fiist suggest a B movie 824' #++, knock-off. Bwan's own point of view, howevei,
skews things in anothei uiiection. The seiies of misfoitunes, often exaceibateu by bau
timing, piling up ovei an wiongly accuseu man (}ohn Payne), making even his most
plausible explanations seem suspicious, suggest something much closei to a sciewball
comeuy like T*2,42,4 YF T-AD, which, aftei all, is also basically about a man whose peifect
life is systematically uestioyeu by anothei peison's will.

This comic peispective is veiy impoitant to the way in which ?*+,02(* !-*.'-6, even in just
its name, uelves into one of Bwan's iecuiiing obsessions: the spatial bounuaiy lines
between civilization anu uisoiuei. As an auaptation of the legenu of Wyatt Eaip anu the
183
uunfight at 0K Coiial, it is an auaptation entiiely la Bwan, uivesteu of the mythical weight
so many subsequent veisions woulu insist on. Beie, the issue is not the founuation of a
civilizeu community, as in !D 3-*62,4 >6(=(,02,( (to name the othei gieat veision of this
stoiy). Fai fiom itthe image we take with us fiom the movie is not of Eaip uancing with
Clementine, as in Foiu, but of Tombstone's stieetsjust anothei stuuio westein town like
many otheisanu the ceitainty that moie uangeis aie always luiking in its shauows.
?*+,02(* !-*.'-6 suggests less the myth of civilizing the wilus than an anaichic comeuy
about the inevitable chaos of living in the fiontiei. In this sense, the Biazilian title is even
bettei than the oiiginal: %'( K-1 +G 0'( ?*+,02(*. It is this law that Ranuolph Scott's Wyatt
Eaip neeus to sustain. Not the lettei of the law, but the much muuuiei law of the fiontiei;
it's a film about how to negotiate uisoiuei.

?*+,02(* !-*.'-6's Tombstone is one of the many symbolic, slippeiy spaces, a social no-
man's lanu, that Bwan's Westeins tenu to focus in on. In one of his best incuisions into the
genie, %'( S+=-, %'(D "6=+.0 KD,C'(E, the main city is even calleu Boiueitown anu is
inueeu suspenueu in the miuulethe geogiaphical miuuleof the civil wai, neithei pait of
the South noi the Noith. The same state of suspension unueilies the action of iepeateu
Bwan Westeins, fiom the final act of A !+E(*, !5./(0((* (1917) to the city contiolleu by
ciime in %'( P(.06(.. T*((E (19S7). In those spaces, man is guiueu simply by his capacity to
iapiuly uistinguish between iight anu wiong anu to take a stanu at eveiy situation. It is a
space in which man is tempteu all the timepiobably exemplifieu best by the main stieet of
%'( P(.06(.. T*((E anu the way its comings anu goings hasten the uifficult uecisions faceu by
its vengeful heioa space in which one must always iesist the easy way out. Pait of the
fiontiei's appeal to Bwan is cleaily that it is an empty space that neeus to be filleu out. It's
left to man to ueciue what's to be uone with it. 0ne of the most tainisheu fiontieis of Bwan's
cinema, the Tombstone of ?*+,02(* !-*.'-6 seems fai fiom the open locations of his othei
westeins; heie, we have a stuuio town oveitaken by shauows anu a space peimeateu by a
sense of iisk that violent gunmen that might attack Wyatt Eaip at any time. No tiuce will be
possible in Tombstoneevil might appeai at any given moment.

In ?*+,02(* !-*.'-6, Boc Boliuay is less the tiagic figuie familiai fiom othei veisions of
the stoiy than an extension of Eaip who often loses himself in this veiy space. It's cuiious
to obseive how the ielationship between Eaip anu Boc heie ieveibeiates yeais latei in
%(,,(..((R. L-*0,(*, only theie with the ioles exchangeu: the olu playei (}ohn Payne)
iecognizing in the young gunfightei (Ronalu Reagan) the man he once was as he tiies to
piotect him. The fiist meeting between Boc anu Eaip is one of Bwan's gieat scenes,
coveiing ample uiamatic teiiain, fiom Boc's heavily theatiical entiance, Ranuolph Scott's
simple tuin of the neck in iecognition, the moment the two men watch each othei eye-to-
eye until a simple movementEaip extenuing out his aim to stop anothei playei fiom
taking auvantage of Boc's moment of uistiactionestablishes a ielationship of equality
that will guiue them foi the iemaining of the film. A familiai genie situation, but the
184
ponueious atmospheie is unueicut by a few select gestuies that offei this ielationship its
nobility, amiust the chaos that will ueteimine the acts of these two men's acts fiom that
point on. If ?*+,02(* !-*.'-6 seems notable as one of the uiiectoi's heaviei films, it's
laigely thanks to Cesai Romeio's Boliuay, whose piesence is an eteinal ieminuei of what
might happen to those who fall to the temptations of the fiontiei.

Ranuolph Scott's Eaip is one of the iaie figuies of law at the centei of a Bwan westein. Foi
a filmmakei with ielative little contiol ovei his mateiial, it is iemaikable how his
incuisions into the fiontiei seem invaiiably centeieu aiounu ciiminals (",4(6. 2, :Z26(),
gambleis (%(,,(..((R. L-*0,(*), wiongly accuseu men (;267(* K+E(), vigilantes (L-..2+,),
women of ill iepute (>-006( [5((, +G !+,0-,-)always figuies unuei suspicion. As theii
counteipait, Eaip, the gieat sheiiff of the Ameiican west, heie becomes an agent-agitatoi.
Thanks to Buuu Boettichei's films, we aie useu to consiueiing Ranuolph Scott as laconic
figuie negotiating a seiies of uiamatic situations, but in ?*+,02(* !-*.'-6 he shows himself
to be unusually, even eneigetically animateu. Theie is a self-uestiuctive stieak to Scott's
piesence that suggests how easily this man might tuin into anothei Boc Boliuay. Bwan's
Eaip has a Bawksian competence, but this is not enough foi him: his acts always come
accompanieu by a self-awaieness that betiays his excessive confiuence. Scott, fai fiom
piojecting a man who beais a long histoiy behinu him, as in Boettichei's films, always
seems ieauy to pailay his heioic acts into a showas in the moment when he caiiies the
uiunk Inuian, just aftei being appointeu sheiiff foi the fiist time. Bis entiances biing to
minu Bwan's olu heio Bouglas Faibainks, but it is almost as if Eaip weie awaie of
Faiibanks anu knew how a heio fiom a silent film shoulu intiouuce himself to the auuience.
Bis inteiactions with Ben Caitei's inteiminable gunfighteis betiay this same tone of
piovocation, as if he weie incapable of pausing in his constant seaich foi the next piece of
action. Be seems less an agent of the law than a man constantly being testeu by the
shauows piesiuing ovei Tombstone.

Bwan, howevei, enuows ?*+,02(* !-*.'-6 with a levity that keeps the film fai fiom any
unnecessaiy fatalism. The mannei in which multiple uesiies (of Eaip, Boc, }eiiy the hookei,
etc.) keep colliuing into one othei complicates the action in a way that anticipates the
stiuctuie of his maiiiage faices fiom a few yeais latei. Theie is, especially, a lightness to
the actois' gestuies, anu even a biute action like Eaip's caiiying the hookei out fiom the
saloon gains, in the hanus of Binnie Baines anu Scott, a sciewball quality that uoesn't so
much unueimine the weight of the action as ieoiient it: one moie gestuie in the gieat
uioiama of fiontiei anaichy. Romeio's Boc, especially, occasionally iecalls Eumonu Lowe's
playei fiom T6-C/ ;'((F, at fiist glance a much moie elegant comeuy about anothei kinu of
civility fiontiei (its suspenueu, Tiansatlantic space not so fai away fiom Tombstone).

In his inteiview with Petei Boguanovich, Bwan makes two useful obseivations about
?*+,02(* !-*.'-6: that the oiiginal iuea uiu not involve the figuie of Wyatt Eaip, anu that he
185
was satisfieu with Tombstone's backlot set. Both claims point to how the film woiks the
whole time to move away fiom the peiiou's mythology anu towaius a much moie piactical
point of view about the uecisions that fiontiei moiality imposes on its chaiacteis. Nove
away fiom mythologybut not, we might note, fiom histoiy, as the film opens by placing
Tombstone in the context of the golu iush that in a way eluciuates eveiy action that happens
afteiwaius. Theie aie moie iefeiences to mining in Bwan's westeins than in the woik of
any othei uiiectoi of the genie, anu theie is no othei economic activity that exposes the
nebulous position of Westein towns in quite such a way. Nining is, essentially, a pieuatoiy
activity: the iichness of the soil fiom one location ieuiiecteu to anothei fai away. Fiom the
moment that ?*+,02(* !-*.'-6 begins, establishing that Tombstone was founueu in mining,
it is cleai that we aie looking at a colony iathei than some genuine pait of the uniona
piovisoiy space that is theie simply to be uiaineu of its iiches. Eveiything heie opeiates to
scale the figuies fiom this laigei stoiy to a moie minoi one in which eveiyone has to
negotiate the best way to live at the fiontiei. Bwan's Eaip coulu nevei be Wyatt Eaip as he
woulu be to Foiu, Stuiges oi Kasuan (if the film iesembles any othei veision of the
chaiactei it is }acques Touineui's S2C'20- (19SS)), but only anothei fiontiei maishal.

It is Tombstone anu not Eaip that ?*+,02(* !-*.'-6 ueals with, anu if at fiist it seems
stiange that Bwan shows so much piiue in such an oiuinaiy stuuio town, it is in such
banality that the film places so much of its powei. Theie is an easiness to how the simple
anu the unauoineu iesonate beyonu themselves in Bwan, anu if his Tombstone is
inteichangeable with many othei fiontiei towns, all foi bettei: this notion only ieinfoices
anothei that we aie uealing with a stanuaiu site at the limits of oiuei, anu that the choices
tiaceu heie echo those of so many othei similai locations. If theie is a film that ?*+,02(*
!-*.'-6 most often biings to minu, it is not anothei of Bwan's westeins, but Bowaiu
Bawks' unueiiateu last film, P2+ K+A+ (197u). Like ?*+,02(* !-*.'-6, it is a film in which the
goou humoi of the situations anu the gestuies uon't quite unueicut the weightiei tone, anu
in which the filmmakei's gaze fiames a fiontiei city taken ovei by evil. Both films suggest
the same feeling of constant uangei, the same sense of enticement at eveiy tuin. 0nlike its
compatiiots P2+ T*-7+ anu :6 3+*-E+, in P2+ K+A+, }ohn Wayne's motives aie petty anu he
seems all the moie touching foi feeling vulneiable, unlike most Bawksian heioes, to the
amoiality aiounu him.

As in P2+ K+A+, one of the cential visual motifs of ?*+,02(* !-*.'-6 is of its heio ciossing the
main stieet thiough an aii of potential violence. 0ne of the gieat viitues of Bwan's cinema
is that, along with all these comings anu goings, he exploies his location so well that by the
time the famous shootout is ueclaieu, it can be unueistoou thiough Eaip's knowleuge of
the space. The law of fiontiei becomes a question of geometiy: the 0.K. Coiial is only
iecognizable by the name Eaip anu a plaque iuentifying the place; the myth fiom histoiy is
emptieu out by this almost complete austeiity. What is left of the faceoff is only the
ceitainty that we aie wiappeu in shauows fai fiom the metiopolis.
186
;")K&PR; K"3U (194u)

Cullen uallaghei



"The Navy's got them, the Navy's all they want, all they neeu. uee, theie's guns anu boats
anu buuuies anu the sea."
Nyitle, ;-26+*R. K-ED

"It woulu seem the fiist uivision has not confineu its eneigies to taiget piactice."
Commanuei }ohn, ;-26+*R. K-ED

"Biapeis! Eight bells anu a shipwieck. Is this a wai game oi a kiuuie paity."
Captain Roscoe, ;-26+*R. K-ED

***

Like 95,4- 32, (19S9) maue the yeai befoie, ;-26+*R. K-ED (194u) conceins a tiio of
soluieis whose fiateinity is thieateneu by one membei's impenuing maiiiage. In 95,4- 32,I
Cuttei (Caiy uiant) anu NacChesney (victoi NcLaglen) aie upset by Ballantine's (Bouglas
Faiibanks }i.) nuptial intentions. In ;-26+*R. K-EDI Sciappy (Bana Anuiews) anu uoofei
(Wally veinon) aie uistuibeu by Banny (}on Ball)'s affections foi Sally (Nancy Kelly) anu
hei auopteu chilu, an infant nameu Skippei (an iionic name as, by the enu, the baby is as
much Banny's mastei as is the captain of his ship). In both movies, the two un-hitcheu men
conspiie to get theii betiotheu pal off-the hook, away fiom the altei, anu fiee fiom women.

187
The similaiity between the two films basically enus theie.

95,4- 32, is a laugh-lauen actionei set in Biitish-contiolleu Inuia at the tuin of the centuiy,
anu ;-26+*R. K-ED is laigely a poitsiue sciewball comeuy with only the vaguest poitents of a
wai-to-come (as it woulu, one yeai latei). The most significant uiffeience between 95,4-
32, anu ;-26+*R. K-ED, howevei, lies in theii naiiative iesolution, which ieflects a laigei
genuei-social woiluview. In the enu, the misauventuies of 95,4- 32,, ieinfoicing the
masculine bonu of the tiio, fulfill a fiim "bios befoie hoes" policy as Faiibanks chooses
uiant anu NcLaglen ovei the lauy. Stevens' uiiection fuithei valiuates theii unity anu
stiength thiough the film's action sequences, as well as thiough compositions emphasizing
theii teamwoik, shaieu effoit, anu communal victoiy.

Conveisely, ;-26+*R. K-ED subveits male commanu anu congiegation. Bwan unueimines the
tiio's seafaiing unity by uisassociating them fiom theii comfoitable, shaieu space (theii
halloweu ship) anu placing them in alien enviionments (unfuinisheu subuiban homes anu
backyaiu neighboihoou paities). While Bwan's compositions may situate the tiio within
the same fiame (fiequently an equal-oppoitunity meuium shot that uoesn't piivilege oi
siue with anyone in paiticulai), theii conflicting motivations anu incieasingly uiveiging
fates uestabilizes theii stability as a whole. Fuitheimoie, unlike 95,4- 32,R. heioes, the
;-26+*R. K-ED tiio iaiely cooiuinates theii effoits collectively. The most haimonious shot of
them togethei, in fact, is when they aie changing Skippei's uiapeis. Bow many sailois uoes
it take to change a uiapei. When the sailois in question aie Banny, Sciappy, anu uoofei, it
ceitainly takes a village.

;-26+*R. K-ED is baseu on an oiiginal stoiy by aviation pioneei-tuineu-Acauemy Awaiu-
nominateu Bollywoou scieenwiitei Fiank "Spig" Weau, whose iomanticizeu poitiayals of
militaiy heioes often featuie men ieluctant to aumit theii own vulneiability anu the futility
of theii own effoits. While ;-26+*R. K-ED exhibits the classic Weau tension between woik
anu home, militaiy anu family, auventuie anu uomesticitytwo uiffeient kinus of uuty,
each with theii own iesponsibilities, uangeis, anu iewaiusBwan hanules it with a moie
comical slant than most Weau-penneu films.

Aftei Banny anu his Naval buuuies tuin a backyaiu paity into an all-out biawl, Sally
ueciues to maiiy Banny's iivala iesponsible, shoie-uuty sailoi nameu Rouney (playeu by
B-westein iegulai Bustei Ciabbe). In a fit of jealousy, Banny anu Rouney liteially anu
symbolically uestioy hei home (tiashing hei house anu theiefoie jeopaiuizing hei custouy
of Skippei). In oiuei to hiue the baby fiom the authoiitiesanu to exact poetic justice
Sally plants Skippei on boaiu Banny's ship uuiing wai games. When Skippei is uiscoveieu,
it not only uisiupts the on-boaiu male hieiaichy, but causes so much confusion that it
biings the maneuveis to a stanustill. Afteiwaius, Banny owns up to his iesponsibilities,
maiiies Sally, anu becomes a fathei to Skippei.
188

The men of ;-26+*R. K-ED, at least, tieat the uiama as they woulu the last uiop of beei in a
keg. The women, howevei, feel the uespeiate giavity of the situation moie heavily. Sally is
anothei of Bwan's libeial, mouein, socially piogiessive heioines. Assuming custouy foi
Skippei aftei hei paients weie killeu in an acciuent, Sally has to face society's sciutiny as a
single paient at a time when conseivative values piesciibeu a moie tiauitional two-paient
householu. Couiting both Banny anu Rouney at the same timesomething that woulu have
been moie acceptable on- anu off-scieen foi a man, but haiuly foi a lauySally is vieweu
with suspicion by hei neighbois anu the juvenile custouy couits. Sciappy anu uoofei might
see Sally as meiely scheming foi a husbanu, but Bwan offeis a much moie sympathetic
inteipietation of hei chaiactei. She uoesn't seem so inteiesteu in puisuing iomance oi
ensnaiing a husbanu as she is in tiying to builu a home, suppoit a chilu, anu finu a life
paitnei (unlike Banny, who is just out to have a goou time, anu whose fiist ieaction when
he enteis hei home is shock that theie is no iauio). Fuitheimoie, if home is a potential
piison, Sally is the only one confionts the unceitainty heau-on (illustiateu liteially when
she piesses hei check to the bais of the baby's ciib).

The final sequence of ;-26+*R. K-ED iesolves the uiama with a maiiiage ceiemony. Banny
anu Sally aie maiiieu, anu all theii fiienus (lanulubbei anu sailoi alike) aie in attenuance.
;-26+*R. K-ED culminates not a choice of maiiieu vs. sea life, but of finuing an iuealizeu
balance between home anu woik, house anu ship, lanu anu sea, man anu woman, husbanu
anu wife, auult anu chilu. As the last line of the film states, "A weuuing, well, it's about time."
Even sailois must giow up, anu oveigiown boys must some uay matuie. Aftei sixty-five
minutes, it's time foi Banny, Sciappy, anu uoofei to uo just that. Anu now that Banny has
tieu the knot, what uoes the futuie holu in stoie foi the films' othei loveis, uoofei anu
Nyitle (}oan Bavis), anu Sciappy anu ueoigine (Kathaiine Aluiiuge). With one musketeei
gone, it seems likely that the othei two will also soon be putting away theii swoius.
189
WELFARE STATE:
U&Y#9 L:&LK: (194u)
Zach Campbell



"00(,02+,I 6-E2(.\ #+02C( 0'( D+5,4 1+=-, +, 0'( *24'0 2. 0'( +,6D +,( .=262,4H

"It takes money to ietiie," Kit (Chailotte uieenwoou) tells }oe (}ack 0akie), which is what
the olu showbiz couple tiies to uo: pick up with theii auopteu uaughtei Wenuy (Shiiley
Temple) anu move to the small town of Stonefielu. The exchange is an instance of uialogue
about peisonal in a film conceineu with public finances. Peisonal-political encounteis foim
the iule in U+5,4 L(+F6( (194u): this tiio of outsiueis, the Ballantine family, shakes up the
local politics of a town whose oluei, poweiful iesiuents aie iesistant to New Beal-style
policies. Says one establishment fellow: "Seems that being piogiessive anu spenuin' othei
people's money amounts to the same thing." But the Ballantines see it uiffeiently. As }oe
mutteis about a biiuge in uisiepaii at one town meeting, "Cost less to iepaii the biiuge
than to builu a new one." Young people anu theii allies uevote themselves to futuie
190
possibilities; those who've been aiounu the block aie hesitant to open theii pocketbooks
foi such common enueavois. In many ways U+5,4 L(+F6( is fiaught with a kinu of libeial
pateinalism which casts small town people as slightly funny anu backwaius. Those veiy
townsfolk, meanwhile, uo not tiust such big city, "big goveinment" peispectives. Youth anu
cieativity entail flexible minus anu openness to new iueas. So Kit, }oe, anu Wenuy aie
vauueville veteians with young heaits. 0pon aiiival they fiist expeiience theii hometown
as quaint. Kit muses about "ieal, olu-fashioneu uemociacy" heie, anu he chuckles when a
iesiuent quips back: "Bain iight it's olu-fashioneu; this ain't no New Beal countiy."

U+5,4 L(+F6( binus up this uivision with a split in leisuie tastes. Foi instance, when Wenuy
asks one oluei iesiuent what people uo foi enteitainment, he answeis that they sit aiounu
anu wait foi someone to make a fool out of themselves. The Stonefielu establishment's
political backwaiuness miiiois its piovincialism when it comes to passing the time.
Bowevei, this agonism between libeial elites anu piovincial conseivatives is not the whole
stoiy. No, theie is also a subtlei, faintei, but potentially moie inteiesting logic at woik. It
conceins a paiticulai logic of 72.5-62]2,4 uemociacy anu the commonweal.

U+5,4 L(+F6( stages a New Beal uebate in a place we coulu compaie with inteiest to the
uemogiaphic uieamlanu of William Wellman's !-42C %+1, (1947). The Ballantines
themselves aie well-tiaveleu but expeiience cultuial anu geogiaphical uistinctions at a
iemove, i.e., thiough the filtei of theii vauueville ioutines anu jokey accents: peifoimances
of "south of the Nason-Bixon line . with my mammy," a Bawaiian hula numbei, imitations
of simple folks ("I'm just sayin' . mebbe"). Insteau of illustiating a town's populace as the
vaiiegateu assoitment of tickeu census boxes anu opinion that !-42C %+1, offeis, U+5,4
L(+F6( is a not-even-uisguiseu attempt to ieioute the affective bonus of uianuma anu
uianupa in favoi of Fianklin Belano Roosevelt's policies.

Consequently the squaie olu timeis uemonstiate, somewheie between poitiaituie anu
caiicatuie, some long-stanuing iight-wing Ameiican feais about a enteitainment elite
exeiting a giip upon its public. This is mutation of the classical Naixist iuea of a iuling class
iueology, (coupleu with ueepei anu oluei feais of ochlociacy) except heie the "iuling class"
is uefineu in teims of its cultuial status anu visibility iathei than its owneiship of the
means of piouuction. This is pieuicateu upon a belief that cultuial visibility tianslates
uiiectly into political powei. It's Plato's Anti-Republic, iun by the poets (who aie all New
Beal Bemociats). Fieethinking, fiee-spenuing enteitaineis Kit, }oe, anu Wenuy tianslate
almost seamlessly into contempoiaiy volkish appiehensions towaiu an elite libeial
Bollywoou. Anu this piogiessive bastion thieatens at any moment to tuin out the "young
people" (synecuoche foi the populist mob) against the miuule-class establishment.

191


L6-J5(. -,E A-,,(*.H

Bow uo you pictoiialize a conquest thiough uemociacy. Accoiuing to U+5,4 L(+F6( it is a
mattei of appealing to an assembleu public, like enteitaining on a stage. Bau citizenship is
like bau spectatoiship. ("What's-a mattei with these people. Bave they got uyspepsia.")
The Beboiuian spectacle, anu what woulu come to be known as the attention economy, aie
heie piesenteu in incipient foim; 194u seems about iight. Fiom the peispective of the
town's establisheu fogeys, theie is enough to uo: quaint coffee klatsches, vinuictive people-
watching. But foi the Ballantines the town piesents nothing. Beciuing upon what actually
counts as .+=(0'2,4 oi ,+0'2,4, when it comes to town leisuie, is a coineistone of the local
political question. We might note that the Ballantines' solution is an 2==(E2-0(E ielation
among people: no scieens oi electionic communications, ieally, but iathei live theatie anu
face-to-face meetings (uisiuptions in the women's club oi the soua shop, at town hall oi in
the siuewalk). Look at the F(*G+*=-027( natuie of these enteitaineis-cum-citizens, who
engage with theii fellow community membeis as an auuience. At the Ballantines'
ietiiement peifoimance, they entieat theii auuience to stanu foi theii own applause. Theie
is nothing uisengageu about this way of inhabiting the stage. It's a mattei of ieaching a
public anu elicitingengineeiing, evena iesponse. It's in the aii anu in the flesh, but not
at the moving pictuies. See below .















192





)=F62C20 *'(0+*2C +G 2=V=(E2-CD@ &, 0'( .C*((,I ^,+0'2,4 (7(* '-FF(,.H_ P24'0 0'(*(I 0'(
F+6202C-6 =+E(6 -0 0'( '(-*0 +G Young People`. F5A62C G+*5= -00(,02+, (C+,+=DI A5*2(E 2, -
=+,0-4( 2,.(*0H %'(*( 1-. -6.+ - <MOO .'+*0 G26= aE2*(C0(E AD P+D !-C/b 120' 0'( .-=( 0206(H


U+5,4 L(+F6( piques one's cuiiositymy cuiiosity, anywayfoi the way society (oi just an
inuustiy.) aiticulates an image of itself foi itself. All the same: cleai lines aie uiawn; so
little is wasteu heie. Fiom the film's opening, we have the simple economy which
emblematizes Bwan's classicism. A ciane shot cues us to a lot of infoimation - a woman
biings a basket thiough an alleyway to the back uooi of a vauueville hall.

193


&F(,2,4 C*-,( .'+0

HFoi the movie is also a bit of a backstage musical, which this opening shot telegiaphs;
chiipy music fiom the stage contiasts with the insistent uespeiation of the woman
ueliveiing this package (we uon't know it's an infant Wenuy yet). This pieluue to the
oiphan's bequeathment to hei ueceaseu fathei's best fiienus is, in fact, stageu like a
miciocosm of the political stiuggle at the film's coie. Theie is a uemanu of expenuituie: a
woman knocks on the uooi, but is uenieu entiy. 927( D+5* '(6FI F*+72E( =( -CC(..I 0-/( 0'2.
A-ADa question of necessity. Neanwhile =(-,,(.., in all connotations, thieatens to
pievent the uoou. It's this gulf ovei which the Ballantines seek to biing Stonefielu's
tiauition-oiienteu, unhelpful Republican constituency. They intenu to uo so by giabbing
attention. The eponymous chiluien's peifoimance ("Young People") is in fact a cheeky
political piotest foi piogiess. It is also, fiom the peispective of Kit anu }oe (who spuiieu
the peifoimance) pationizing. It is this pationization to which the conseivative town auults
iesponu, vocally anu bouily foicing theii chiluien off the stage.



%'( C*+1E E2..2F-0(.c S(,ED 6+.(. - A-006( G+* -00(,02+,H
194
The Ballantines aie most comfoitable woiking with -00(,02+, as the means by which to
convey theii messages.

Bowevei, it is only an example of the Ballantines' selflessnesswhen they attenu
efficiently anu uiiectly to the welfaie of enuangeieu chiluien lost in a stoimthat wins
ovei the tiny black heaits of Stonefielu's conseivatives. It is not thiough a politics of
attention but iathei the iecognition by the conseivatives of a just, anu 5,F5A62C2](E, act
which finally foims a bonu between the pieviously competing political factions of
Stonefielu.

This is all implicit in U+5,4 L(+F6(; it is not openly thematizeu. 0nly a bit of analysis will
uiaw out this submeigeu commentaiy anu countei-commentaiy the naiiative contains
about what exactly might unify an Ameiican populace aiounu New Beal policies. (The
suggestion is that spectacle alone is insufficient.) Simple, fiontally fiameu images in Bwan
often contain a fascinating amount of giaphic play oi thematic iesonance. At the close of
U+5,4 L(+F6(, Bwan incluues ciowu ieaction shots uuiing the Ballantines' tiiumphal
peifoimance.



)=-4(. +G - C202](, -5E2(,C(H

It's inteiesting that, in these biief ieaction shots, iesistant, unimpiesseu faces iemain. The
woman on the lowei left hanu of the fiame in the above left; hesitant faces thioughout the
backgiounu. Even in the ciowning moment of this bonbon political fantasy, the ciowu is
uiiecteu to incluue impiessions of uissent. That is, an "image" of the uemociatic polity is
impossible without a ueep-seateu anu uncoopeiative uissenteven a conseivative one. It's
a cuiient against the stieam; it's a single thin ciack in the bell. Like so much piouuceu fiom
Ameiica, one may inteipiet this as eithei hope oi uoom.


195











T(42,,2,4d:,EH



196
B0RSE SENSE:
%P")K &? %8: Q)9)K"#%:; (194u)
Naximilian Le Cain



"I see it, but I uon't believe it!" Cowpunchei Neauow's (Anuy Bivine) ieaction to the
physically elastic, iacially fluiu town eccentiic Bolo (Nischa Auei) uisplaying some haii-
iaising Cossack style tiick iiuing coulu uouble as the cieative motto behinu %*-26 +G 0'(
Q2426-,0(.. This bieezy, giacefully fienetic, anu altogethei uelicious westein is a ciicus of
shifting ioles. That the plot centeis on an unueicovei lawman going aftei a villain who has
set himself up as a pillai of the community in oiuei to uefiauu it is a stanuaiu westein pitch.
But the fun anu eneigy of the film spiing fiom the way in which eveiy majoi chaiactei not
uisguising his oi hei iuentity eithei wants to be someone else, oi thinks he oi she is, oi
enus up being so in spite of themselves. Rathei than an anxious state of affaiis, the film
celebiates this instability as libeiating. Rathei than being iooteu in notions of foiging a new
iuentity in tanuem with foiging a new countiy anu society in the west, this mutability is
iooteu in peifoimance, in convincing otheis thiough sheei peisistence anu keenness anu,
peihaps to a lessei uegiee, skill. Anu iathei than a stai vehicle, this appealingly geneious
woik is veiy much an ensemble piece that accoius space foi eveiyone to 'peifoim'. It is
197
possible the peivauing sense of fieeuom anu spontaneity owes something to the fact that a
uissatisfieu Bwan shut uown piouuction aftei a couple of uays anu hau the initially seiious
sciipt iewiitten foi suiieal comeuy. Yet, in spite of this, it is an assuieu film: its pacing,
vigoious anu uecisive, bieathes evenly without a hint of confusion oi hesitancy.

Bwan anu wiitei Baiolu Shumate intiouuce the auuience eaily on to the iules of the playful
woilu they have cieateu, when posh but capable eastein lawman Tim Nason (Fianchot
Tone), soon to be nicknameu 'Kansas', aiiives out west. Even as his tiain pulls into the
station, the town he pulls into is uepicteu as a hypeibolically violent hellhole buzzing with
caitoonish chaos anu gunplay that comically piefiguies the excesses of the spaghetti
westein by twenty-five yeais. Kansas finus the town lawmen hanucuffeu to an assoitment
of posts anu hitching iails anu goes in seaich of the keys, iepoiteuly in the possession of
one Swanee (Bioueiick Ciawfoiu), the foieman of a neaiby ianch. Swanee is set up as a
foimiuable bauman, anu his bully-boy antics when Kansas confionts him to get the keys
seem to confiim him as such. What ensues is an amusing confiontation of the 'eastein
biains' with which Kansas has aiiogantly piomiseu to ciack the case he is on, anu westein
'hoise sense' anu ioping skill. Each siue having pioveu theii mettle, Swanee is ievealeu not
only to be a thoioughly goou guy but the film's embouiment of westein moial authoiity.
Bis behavioi anu the beulamite conuitions in the town aie explaineu away by the simple
fact that it was Swanee anu his men's monthly night out anu no haim uone! All of oui initial
assumptions anu expectations aie neatly oveituineu anu any faith in initial appeaiances
thoioughly compiomiseu.

Swanee immeuiately talks his boss into offeiing Kansas a job on his ianch anu a sometimes
bickeiing fiienuship is foimeu, albeit one that involves 'eastein biains' immeuiately
assuming the unlikely iuentity of an expeiienceu cowhanu. Although Swanee is eviuently
suspicious of Kansas' covei stoiy, he neveitheless accepts him. The suggestion is that even
if iuentities anu covei stoiies aie fluiu in %*-26 +G 0'( Q2426-,0(., theie is a funuamental
integiity to goou people that is iecognizable beyonu suiface tiappings. Bow they piesent
themselves is a mattei of choice.

This iuea is highlighteu shoitly afteiwaius in outlanuish teims by the similai welcome
accoiueu to Bolo, Nischa Auei's ouuball chaiactei, who is also hiieu by Swanee's
unueistanuably uubious boss on the foieman's insistence. Bolo offeis the onscieen
embouiment of the film's notion of iuentity as voluntaiy anu peifoimance-baseu taken to
its anaichic extieme. Nost of the othei main chaiacteis aie eithei pietenuing oi aspiiing to
be someone oi something else; Bolo is incoheience incainate- anu it's nothing if not
coloiful. Intiouuceu as a Native Ameiican uoing a tomahawk thiowing act with a meuicine
show, he is fiieu foi acciuentally bieaking a winuow uuiing this act. When iefuseu seivice
at a saloon on iacial giounus, he thiows off his costume to ieveal the tiappings- anu skill
198
with a bullwhip- of a South Ameiican gaucho with an impossibly long name. As the film
piogiesses, it iemains uncleai if this is his ieal iuentity oi if he is in fact a Russian
hoiseman. Be tells stoiies of his tiavels incessantly, piompting Neauows to upbiaiu him
aftei a long shaieu jouiney "Now, listen, junioi! I tiavelleu thiough fouiteen countiies on
the way uown heie with you anu I'm too tuckeieu out to go any fuithei!" But his most
outiageous 'iuentity' is an oveitly assumeu one, a hilaiious tuin as a patiician Southein
lawyei (fiom the fiim of "Bayes, Bayes, Bayes -''',E 8-D(.") useu latei in the movie to
help Kansas escape fiom jail. The enu of the film sees him as 'Cactus Pete', a newly
appointeu ianch foieman attiieu in flamboyant singing cowboy fineiy. Although
consistently benign, he is in eveiy othei way uisconceitingly inconsistent. Even in his level
of skill: he executes bieathtaking feats of hoisemanship anu his impeisonation of the
lawyei is successful in getting Kansas out of his cell, but his tomahawk thiowing goes awiy
anu, uuiing the film's climactic gun battle, he attempts an elaboiate stunt that fails
miseiably.

It is inteiesting to compaie Bwan's elegant game of iuentity-shuffling with a moie iecent
westein in which chaiacteis evolve thiough explicit iole playing, 3B-,4+ Y,C'-2,(E.
Taiantino's film shows foimei slave Bjango (}amie Foxx) piogiess thiough a seiies of
costumes anu postuies in his jouiney towaius becoming an icon of emancipation, not
unpioblematically guiueu thioughout by the iueas of white men. The big uiffeience in
outlook is Taiantino's ieveience towaius the powei of the iconic; a pose stiuck oi an item
of costume paiapheinalia auopteu is tieateu as a tiue anu significant epiphany in anu of
itself. Bwan's giasp of these matteis is, in its way, consiueiably moie sophisticateu, that of
a man who was in on the biith of Bollywoou anu with an extiemely piolific filmmaking
caieei behinu him untoucheu by the soit of ovei-inflateu ueification accoiueu to Taiantino,
a uiiectoi whose films might well have benefitteu fiom much less attention. In Bwan, the
claptiap of showbiz piesentation is giist foi the mill, but haiuly sacieu iitual. Thioughout
Bwan, what matteis is the eneigy anu inventiveness of the peifoimeis behinu the masks;
the masks themselves aie enulessly uisposable. In the chaiactei of Neauows, he even
cheekily pioposes a chaiactei that ieveises the soit of logic of Bjango's path to libeiation,
anu so cocks a gentle snook at the P5446(. +G P(E 9-F celebiation of the West as a place foi
shucking the iepiessive tiauitions of olu woilu society. Neauows claims to be the
uescenuant of a family of valets, one of whom seiveu Beniy vIII; he offeis toleiateu, if not
exactly uesiieu, gentleman's gentleman seivice to both Swanee anu Kansas. Bis ambition is
to move east, become a butlei anu, foi goou measuie, take up stamp collecting! The
beautiful absuiuity of this conceit ieally iests in the peison of Anuy Bivine, by fai the most
believable cowhanu-anu most unlikely butlei oi son-of-a-butlei on uisplay. The libeiation
of one's iuentity, Bwan seems to suggest, is not to be eaineu as pait of a histoiical piocess.
It is self-geneiateu, gaineu by the gusto anu belief one applies to a chosen iole.

199
This self-ueteimination is most uiiectly expiesseu in the chaiactei of Baibaia, the
ianchei's uaughtei who ueciues she will maiiy an initially uninteiesteu Kansas.
Enchantingly playeu by Peggy Noian as a bouncy, innocent toinauo of playful, chilulike
aiuoui, hei tactic is to simply keep puisuing him even aftei some pietty ioughhouse
iejections that incluue uucking hei in a watei tiough. It is only when a paiticulaily smait
anu couiageous act on hei pait helps Kansas in his investigation that he staits to ietuin hei
affections. This tiajectoiy coulu be seen to miiioi that of an ambitious actiess finally
getting 'noticeu' aftei iepeateu faileu auuitions. 0n the othei hanu, it ieflects iathei bauly
on 'eastein biains' Kansas, especially compaieu to 'hoise sense' Swanee. It woulu imply
that Kansas is able to iesponu only to explicit actions while iemaining blinu to the peisonal
qualities of people; his suuuen change of feelings towaius Baibaia is almost uistuibing in
its supeificiality. This bieezy beguilement contiasts stiikingly with Swanee's appaient gift
foi uisceining goou chaiactei beneath even the fakest oi weiiuest suiface.

By the enu of the film, ioles have shifteu all iounu. Kansas is an unlikely ianchei, maiiieu
to Baibaia. Swanee is an even moie unlikely, anu not entiiely convinceu, 'gentleman',
heauing east to a new life with his happy valet, Neauows. Anu Bolo, in his new incaination
as 'Cactus Pete', is Kansas' most unlikely foieman who will uoubtless ensuie him yeais of
feitile uestabilization.
200
Separate But Equal #5: Rise and Shine (1941)

Initial Impressions from an Unsung Allan Dwan Picture








201















202




203

















204










205
vECT0R N0BILES:
YL )# !"T:K`; P&&! (1944)
9:%%)#9 9:P%):`; 9"P%:P (194S)

Baniel Kasman



"Constellation" (1944) by Alexanuei Caluei. Photogiaph by }essica NejiasH

A tuin upon a tuin upon a tuin upon a tuin. Allan Bwan auapteu Wilson Collison anu 0tto
Baibach's 1919 beuioom faice YF 2, !-A(6`. P++= as a vacuum-packeu 1944 waitime
pictuie staiiing Bennis 0'Keefe foi piouucei Euwaiu Small. Then, aftei two inteivening
Bwan-Small-0'Keefe films anu but one yeai latei, Bwan pioceeueu to auapt anothei of
Wilson Collison's plays, this one co-wiitten by Aveiy Bopwoou, the neai-iuentical 1921
comeuy 9(002,4 9(*02(`. 9-*0(*. The two pictuies aie so similai as to be essentially
inteichangeable. If this neai-instant iepeatvaiiation weien't suiieal enough a gestuie
fiom a ueciueuly unflappable uiiectoi, Bwan's seconu piouuction also bizaiiely uuplicateu
0'Keefe's piesence by casting him again in the same iole of a yeai eailiei. The aichetypical
souice fiom 1919 pioviueu ample stiuctuie foi Bwans' Caluei-like mobile playvaiiations
of motion, coloiful, uynamic combinations anu weight uistiibutionieaching iepeateu
heights, within anu between the films, of luciuly exaspeiateu matchmaking. The balance is
206
a wonuei, anu its extension to such a length as a featuie film gleefully ueuicateu; but that
the uiiectoi woulu have the quiet auuacity (if not peiveisityalthough an inteiview with
Boguanovich implies it was above all kinuness towaius a waitime auuience
1
) to iepeat his
piecaiious, uiagiammatic feat biings into ielief how attuneu the nonchalant Bwan was to
such clevei aiiangements.

The coie schema of both films is that of a sex faice: a vaguely absent-minueu, newly
maiiieu man (0'Keefe) is ieminueu by an olu flame (!-A(6'. Nabel is uail Patiick; 9(*02('.
ueitie, Naiie NcBonalu) of an intimate gift he once gave them (a slip foi Nabel; ueitie's
gaitei). vaiious evolving ieasons aie cieateu foi the husbanu to want the item back anu foi
the olu flame, heiself soon to maiiy, to keep it. Both siues appioach the 0bject fiom
uiffeient uiiections but see the same thing: pioof of an amoious past, an active if not kinky
sexuality amoially pieceuing anu unueigiiuing both 0'Keefe's anu his ex's cuiient, anu
piesumably final, paitneis in life anu love.



Left: !-A(6's slip, ciica 1944. Right: 9(*02('s gaitei, ciica 194S.

The flimsy ingenuity of these appioaches is that seen fiom theii iespective anglesthe
0'Keefe chaiactei wants the 0bject in his possession so his wife won't finu out about
Nabelueitie; his ex wants it so hei husbanu-to-be won't finu out about hei past with
0'Keefe's chaiacteithe uuo aie cleaily fighting foi the same goal yet seem to be fighting
one anothei. Above all, it is a tactical scenaiio baseu on the combination of peispective
(often quite liteially) anu the spatial topogiaphy of the battlefielu. What stops both
chaiacteis fiom buining oi thiowing the 0bject away fiom the get-go is, in its utteily
tianspaient anu aibitiaiy contiivance, the key to the faice's tone anu flexible agility:
balance, ue-stabilization anu ie-balance foi the sake of motion. These attiibutes aie the
taigets foi Bwan's uiiection, a ceitain iiieveient humoi so offhanu that it shaues almost
207
impeiceptibly to satiie, combineu with a highly specific sense of physical movement that
engages with anu expiesses the sciipts' tactics.

!-A(6'. P++= anu 9(*02(`. 9-*0(* aie membeis of the object chase sub-genie, whose
naiiatives tiack the movement of an object thiough the mise en scene, an object usually
imbueu with metaphoiic, symbolist anuoi metonymic meanings anu poweis. As such, the
chases aftei such meaning enunciates iueologies, piotagonist goals, emotional expiessions,
anu so on. Roughly contempoianeous anu vaiieu examples incluue the $1uuu in Bwan's
own %'( ),.2E( ;0+*D (1948), the iifle in Anthony Nann's S2,C'(.0(* `eO (19Su), anu the
eaiiings in Nax 0phls' !-E-=( E(HHH (19SS), but while those films focus on object
ciiculation, Bwan's uuo is about singulai iecoveiy by an inuiviuual. These items aie
eviuence of loose moiality that is wilu in the woilu anu neeus to be secuieu. Taken fuithei:
foi these highly containeu anu aichitectonic films, eviuence of pastness, of a timeline that
exists exteiioi to the iooms' anu ielationships' confines, neeus to be suppiesseu. In this
sense the slip anu the gaitei aie tiue Suiiealist objects that thieaten not just the fabiic of
society but liteially the foim that expiesses anu contains it: theii iepiesentation into
cinema. The entiiety of both films exist foi this puipose, so that once the 0bject is caught
anu uivesteu of its powei, the movies must enuanu the woilu iight itself, stabilizeu. What
happens in between is no uoubt the conventional stuff of many a beuioom faice. But this
uiiectoi is natuially fitteu foi such antics.

Bwan's inteiest in the spatial mapping of chaiacteis is at a fienetic peak with these movies.
Bill Kiohn has wiitten on "aujoining spaces" as the "most common spatial paiauigm foi
Bwan's plots,"
2
which inueeu seems tiue, but what makes the filmmakei special in this
iegaiu isn't simply his plotting but his cinema: the motion thiough spaces. Bwan is a poet
of vectois, movement anu uiiectionality; his aujoining spaces not only seive to uelineate
the action but to link each segment of its tiajectoiy thiough a continual momentum often
sustaineu foi its own sake, anu sometimes even suggesting an infinity of linking vectois, as
if each space weie a hinge of a laigei, self-peipetuating movement. Chaiacteis aie
constantly tiaveising one siue to the otheianu often back again.
S
"Siues" aie fiist anu
foiemost spatial, but usually caiiy moial implications, expiesseu cleanly anu uiiectly in a
way that is a consistent ieminuei that this uiiectoi began his woik eaily in the silent eia
when moiality was often topic numbei one. In Bwan's cinema, moiality is tiansmuteu into
comeuies anu uiamas of kinetic allegiances, whose siue-swapping, costume-changing, anu
moial-juggling uiive the kinetic to-ing anu fio-ing that makes up this vectoi cinema.
208










" 0DF2C-6 .C(,( 2, 0p in Nabel's Room. %'( -**+1.fAD "E*2-, >5**Df2,E2C-0( C'-*-C0(*
7(C0+*.H







209











" 0DF2C-6 .C(,( 2, uetting ueitie's uaitei. %'( -**+1.fAD "E*2-, >5**Df2,E2C-0( C'-*-C0(*
7(C0+*.H
210
!-A(6`. P++= anu 9(*02(`. 9-*0(* aie the puiest expiession of this manneiism. Both stoiies
quickly get all paiticipants in the faicebefuuuleu husbanu, exaspeiateu wife, coy olu
flame, as well as a set of piop chaiacteis to fit into the iest of the stoiy's seiies of
misunueistanuings, incluuing a maiiieu couple whose fighting-maiiiage is moie sensitive
to infiuelityisolateu to a house in the countiy with as many aujoining seconu flooi
beuiooms as possible. The sciipts stiip chaiacteiizations uown to theii coie, leaving the
ostensible content of the films little moie than the motion of the beuioom iounuelay chase
foi the 0bject. The house's uownstaiis is useu foi gioup gatheiings anu uiscussions, with
the upstaiis, along with the ioof that connects winuows outsiue the beuiooms (anu in
9(*02(R. 9-*0(*, an auuitional two-stoiy bain), as the battlegiounu teiiain foi elaboiate
feigning anu spaiiing.

Foi the mathematically inclineu Bwan,
4
this setting anu plot constitutes a iipe enviionment
foi a methouical anu exhaustively compiehensive toui of chaiactei combinations, cioss-
maiiiage alliances, innei-ielationship spats, tempoiaiy coalitions anu inuiviuual
vigilantism. A sequence in !-A(6R. can be mauuingly mappeu, thusly: F spies A anu C
kissing in one ioom anu mentions it to B, who thinks he is talking about A anu E kissing in
anothei, which he saw. Latei, it tuins out A was kisseu by both C -,E E, anu, upstaiis, B anu
F iealize theii mistake, jumping on A, who is now fighting with B ovei the ievelation. While
9(*02('s, like this: A anu C squabble in C's beuioom, but when B shows up A hiues in the
closet. Aftei B anu C leave, A exits the closet anu B enteis the ioom; C heais the two in hei
ioom, anu they flee to A anu B's ioom, which they exit anu ie-entei C's ioom with E. It's
thiillingly teuious, the uawning iealization that these movies will see theii piemises
thiough to the maximum thiesholu until the countiy houses, anu inueeu the iuntime anu
the films themselves, seem fit to buist with spatial-chaiactei contiivances anu peispectival
mismatches intenueu to hustle uiffeient people fiom one ioom to anothei unuei
exhausting pietexts.

This spiiit of jaunty methouicalness makes it fitting that Bwan woulu join the clique of
auto-iemake filmmakeis, those who chose to iemake theii own movies. (A gioup which
notably hews closely aiounu the classical Bollywoou epoch, which such uiiectois as Foiu,
Bitchcock, Bawks, Lubitsch, NcCaiey, 0zu, anu Walsh, with some moueinist outlieis like
Baneke anu }acobs; many of these woiks, though not the two Bwan films, weie
piogiammeu by Anthology Film Aichives in collaboiation with C. Nason Wells in Naich,
2u11 in the seiies "Auto-Remakes".) The ie-casting of Bennis 0'Keefe, though, takes this
piofounu meta-instance of the suiiealism of Bwan's otheiwise unobtiusive cine-
mathematics to anothei levelhe's liteially keeping a vaiiable iuentical anu then tiying
out the foimula again. The actoi's uouble existence also suggests an exteiioiity to the
inuiviuual stoiy-woilus, as if 0'Keefe weie a tians-cinematic tiavellei continually getting
stuck in (oi ie-living, ie-uieaming) some Boigesian, 9*+5,E'+4 3-D nightmaie of chasing a
211
tiansmogiifying object thiough a miiioi maze of alteieu house layouts, tuxeuo'u iivals anu
blonuebiunette combinations. (A paiticulaily peiveise ieauing might see 0'Keefe's
ieincaination as the ieal 0bject that neeus to be secuieu anu tianquilizeu. Even moie
extieme woulu be incoipoiating "A*+-E 120' %1+ U-,/. |1944j anu T*(1.0(*R. !2662+,.
|194Sj, the inteiceuing Bwan-Small-0'Keefe films, into a shape-shifting kinetic tapestiy of
fitful waitime anxiety anu stifleu eneigy.) With a scenaiio that's alieauy about
configuiation anu viewpoints of configuiations, this subtle ievision, akin to 0zu's oblique
movement fiom K-0( ;F*2,4 (1949) to K-0( "505=, (196u) anu ", "505=, "G0(*,++,
(1962), suggests a veiy specific kinu of mouulai, cubist style of filmmaking. Watching the
Bwan films is like watching a mathematician show his woikyou unueistanu neai the
veiy beginning the solution but have to uiligently make suie the uiiectoi F*+7(. his
solution fiom all siues.

In the meantime, to alleviate the inheient anu multituuinous possibilities of situational
teuium anu the senseincoiiectof ieuunuancy within the faice, comes the caieful
balancing act of lightness to the point of simultaneous fiivolity anu meiciless social
skeweiing. The chaiacteis aie so scaicely uefineu except by motionthiough uoois, out
winuows, unuei beus, thiown about, going insiue anu going outthat we seem to be
watching a highly volatile, yet caiefully tuneu machine, an abstiact constiuction of foice
moving mattei thiough spaces. (0'Keefe's sublime jumpiness is one of the piincipal
eneigizeis, as it is in his othei Bwan masteipiece, T*(1.0(*R. !2662+,..) This fiothy volatility
unueiscoies the play's insiuious piesumption that such goou fiienuslet alone the
maiiieu anu the engageu!woulu be so quick to uoubt each othei's fiuelity anu motives.
Foi a set of films in whose uiama the wai iaging aiounu the woilu goes baiely mentioneu,
the piecaiiousness with which !-A(6`. P++= anu 9(*02(`. 9-*0(* mobilize homefiont
ielationships seems as much a joke foi those stuck oveiseas as it uoes satiie foi those
ciiculating in the uepopulateu society at home.

The films aie cabin fevei as iaucous faice, the miithful tuining on one's own in a vacuum.
The backstabbing tuinabouts, tieaty-bieakeis anu tempoiaiy alliances all seem like
stiatagems of wai, but wai at the iationeu home fiontconsiuei the yeais the films weie
maue, with theii paltiy buuget anu self-sufficient ieguigitation. !-A(6R. opening titles
biazenly insist anu compaie: "Waining! In spite of eveiything you may have heaiu to the
contiaiy, this is a wai pictuie! It takes gieat couiage to bomb Beilinto fight the }aps in
the jungles of the Pacificto push the Nazis out of Afiica anu off the Nountains of Italy
But, uiu you evei tiy to keep a seciet fiom youi wife. Biothei, that's wai!" Who woulun't
go mau tiappeu in such a house, in such a film, in such a cinemain such a countiy. The
inanity of such a iepeat uoes seem to suggest some kinu of filmmaking insanity, activity foi
the sense of activity. 0i peihaps just making the most of what little one has. Bwan was,
aftei all, quite piouu of his economy of means anu such things as ie-using sets foi othei
212
piouuctions. This uiptych takes that inuustiial fiugality to new lengths. The containeu,
iecycleu, iefiguieu natuie of these woiks lenus not only a piofounu sense of abstiaction,
but also of a physics laboiatoiy expeiiment.
S
A beautiful place to woik anu test anu play
but its necessaiy confines can become stifling. Aie the chaiacteis mau because of the woilu
they live in, oi is the woilu mau because of the kinu of people who inhabit it. Theii
fieeuom is of a movement helu in check by the otheis aiounu them anu the spaces between
which they iicochet. Eloquently factual ie-aiiangements, they aie kept in isolation foi feai
of contaminating otheisoi having themselves infecteu.



1
Allan Bwan, "ualloping Tintypes". Inteiview. In S'+ 0'( 3(726 !-E( )0@ >+,7(*.-02+,. 120'
K(4(,E-*D ?26= 32*(C0+*., Petei Boguanovich (New Yoik: Ballantine Books, 1997) 111.
2
Bill Kiohn, "The Cliff anu the Flume," ;(,.(. +G >2,(=- 28 (2uuS), accesseu }anuaiy 1S,
2u1S, http:sensesofcinema.com2uuSfeatuie-aiticlescliff_anu_flume
S
Kiohn's aiticle, citeu above, is filleu with examples. Nany of Bwan's Westeins biing to a
foiefiont back anu foith movement, fiom ?*+,02(* !-*.'-66's (19S9) continual movement
fiom one saloon to anothei acioss Tombstone's cential stieet to %'( S+=-, %'(D "6=+.0
KD,C'(E's (19SS) paiauigmatic setting of a Civil Wai-eia town liteially on a boiuei
between Noith anu South which chaiacteis tiavel between. But this kinu of movement
sticks to Bwan anu tianscenus genie: #-7D S2G('s (19SS) base-hopping; !-, 0+ !-,'s
(19Su) sepaiation of the son's job at the bank on one siue of the stieet with his fathei's
baibeishop on the othei; "A*+-E 120' %1+ U-,/'s oscillation between Aussie mansion anu
0.S. Aimy base; >-6(,E-* 92*6's (1947) tenement squaie of builuings that allow movement
between one builuing to anothei via patios anu walls; the paths tiou between uaughtei's
flat, a tiollope's flat, anu a nefaiious cioss-stieet saloon in S'26( L-*2. ;6((F. (19S2)a
saloon which has an unueigiounu passage to the stoie next uooi, between which many
people come anu go. The list only expanus. 0thei films, like 8(2E2 (19S7), 3*2G01++E (1947),
anu ",4(6 2, :Z26( (1948) have a moie fantastic appioach to spatially mappeu movement,
with chaiacteis who tiavel between two places, with one place being nominally "ieal" (in
those examples, the city, the town, the mine) anu the othei being nominally fantastic anu
otheiwoiluly (the mountain village, the ghost town, the Nexican village).
4
Beie's Bwan in the Boguanovich inteiview: "Stoiies, to me, weie mathematical
pioblemsas most pioblems weie. Theie's always a mathematical solution to anything.
Piobably if I hau a technique, it was mathematical. (...) ...I noticeu I was woiking
economically. Not in a Scotsman's sense, but in teims of engineeiing oi mathematicsthe
elimination of extianeous mattei. (...) But eveiything I uiu was tiiangles with me. If I
constiucteu a stoiy anu I hau foui chaiacteis in it, I'u put them uown as uots anu if they
uiun't hook up into tiiangles, if any of them weie left uangling out theie without a sufficient
213

ielationship to any of the iest, I knew I hau to uiscaiu them because they'u be a uistiaction.
Anu you'ie only ielateu to people thiough tiiangles oi lines. If I'm ielateu to a thiiu peison
anu you'ie not, theie's something wiong in oui ielationship togethei. 0ne of us is uangling.
So I say, 'Bow uo I tieu that peison to you. Bow uo I complete that line.' Anu I have to woik
the stoiy so I can complete that line. In othei woius, cieate a ielationship, an inciuent,
something that will biing us into the exteinal tiiangle." Bwan, "ualloping Tintypes," 6u-61.
5
Again that look anu feel of ieveibeiation anu oscillation in confinement. Note that 9(*02(R.
9-*0(* staits in a laboiatoiy. Theie 0'Keefe unueigoes a pioceuuie he himself uiscoveieu,
one which fails anu piouuces nothing but hallucinations. In !-A(6R. P++= this takes the
foim of a uomestic uieam sequence.

214
0N EXCESS:
N0TES AR00NB
TP:S;%:PR; !)KK)&#; (194S)
ANB 3P)?%S&&3 (1947)
Cailos Losilla
Tianslateu by Baviu Phelps



T*(1.0(*R. !2662+,. (194S) 3*2G01++E (1947)

I.

T*(1.0(*R. !2662+,. (194S) anu 3*2G01++E (1947) foim two siues of the same coin. We can
ignoie the fact that the fiist foims pait of a cycle of comeuies executeu by Allan Bwan in the
miu-194us, anu that the seconu is one of the stiangest piojects unueitaken by a Bollywoou
filmmakei in the same eia. We can ignoie the fact that, between each of them, Bwan woulu
215
uiiect othei films. We can even ignoie the coiiesponuences between some of those othei
films anu these two. Foi now, I uon't want anything to uistiact me, as what inteiests me is
to concentiate on this paii, on theii seeming opposition, since while T*(1.0(*R. !2662+,.
appeais to be a saicastic fable about capitalism, 3*2G01++E tiaces it to its oiigins, its souice.
In the foimei film, a man of no gieat gifts has to leain to waste a gieat amount of money in
a biief space of time if he is to ieceive an inheiitance of millions. In the seconu, a giil iaiseu
outsiue of the system leains that any given community isn't goveineu by the Bible, but
iathei by the laws of the maiket. The man who has eveiything uoesn't know how to waste
it. The giil who has nothing uoesn't know how to gain a thing. Theie's a question heie of
economy, cinematically as well, since T*(1.0(*R. !2662+,. is a minimalist faice, tolu with an
aumiiable sense of ellipsis anu, at the same time, an abunuance of comebacks anu countei-
comebacks, as if the image weie iunning against the uialogue; while vice-veisa, 3*2G01++E
is a uistilleu piece of Ameiicana, in which one can see the multiple subplots subsumeu into
the face of little Natalie Woou, who absoibs anu pioclaims them only, finally, to biing them
unuei the commanu of hei omnivoious gaze. We might say that T*(1.0(*R. !2662+,. comes
out of a woilu that's been boin anew, aftei Woilu Wai II, only to confiont an excess it can't
contiol. Anu we might say that 3*2G01++E aiises fiom a woilu that is enuing, the Biblical
univeise of the oiigins of the woilu, in oiuei to iestoie it to its foim. Nonty Biewstei
(Bennis 0'Keefe) ietuins fiom the fiont anu finus himself facing a challenge: he will inheiit
eight million uollais if he is capable of wasting just one million in a couple of months. }enny
Bollingswoith (Woou) staits in a state of natuie, contaminateu only by ieligious elements,
anu little by little comes into a civilization that at fiist she mistiusts: she will have to
position heiself at the gates of ueath to be ieboin as anothei peison. In some way, both
films enu at the same point, at a kinu of thiesholu wheie they will be tianspoiteu to a new
life, whethei one of matiimonial iesponsibilities oi auulthoou.

II.

The thiesholu is at once an image anu a shot, which aie two uiffeient things. Both films
stait with an image anu enu with a shot. At the beginning of T*(1.0(*R. !2662+,., the black
manseivant cleans the winuow of the housethe scieen of the movie theateiso that we
can see insiue. At the enu, the uooi closes behinu the two loveis, who leave to iatify theii
ielationship, so that we won't be able to see anything moie. At the beginning of 3*2G01++E,
the cameia steauily appioaches a iegion in iuins, out of which theie iises the luminous face
of }enny, until it has ieacheu the piivate moment when she sees the outsiue woilu. At the
enu, it's that same face which will oveitake the entiie scieen, shifting oui attention towaiu
something we'll nevei see. A uemaication between the inteiioi anu the exteiioi: the face as
much as the uooi piomises images that its veiy shot will close off. The stoiy continues
outsiue of the plot in the same way so that, thioughout both films, many things iemain
unseen. Why uselessly waste images. Bwan's cinema seems the incaination of such an
216
economical spiiit. Biewstei finus himself impelleu to waste just as the images tenu to
multiply. }enny passes fiom the state of natuie to civilization just as hei suiiounuings will
suuuenly become bustling, shift fiom theii initial solituue to the communal state that is
finally attaineu at the enu. The question is how to account foi this excess in some way. 0n
the one hanu, it's the chaiacteis who will enact it. 0n the othei hanu, it's the stoiy itself. In
T*(1.0(*R. !2662+,., the excess of waste must leau to the conclusion 0'-0 0+ '-7( ,+0'2,4 2. 0+
'-7( (7(*D0'2,4. In 3*2G01++E, the excess of events beais out 0'-0 F6(,0D .0-*0. 120' ,+0'2,4H
T*(1.0(*R. !2662+,. tianspiies ovei two months anu yet, it ielays a sense of hypnotic
paialysis. 3*2G01++E takes place ovei baiely a weekenu but acciues events that seem as
though they've taken months to live thiough. Bwan stietches anu compiesses time in such
a way that the iealism of his style becomes an oneiiic thing. Be, too, is wasteful so that he
can cuib himself when it's necessaiy. It's this that compiises classical cinema at the stait of
its ciisis: nevei to oveistep the bounuaiies, no mattei what the temptation to uo so. Anu it's
this tension that shoulu be noteu.

III.

In the case of Bwan, wheie uoes the seciet lie. In T*(1.0(*R. !2662+,., eveiything happens
as if insiue a capsule, wheie the chaiacteis appeai anu uisappeai in spaces that seem to be
inuepenuent fiom each othei, but aie in ieality inteiconnecteu. The house is the teiiain of
the ieal, wheie uomesticity falteis. The office offeis a mise en scene of its own, masking
Biewstei's seciet, as well as Bwan's: not that all the woilu is a stage, but that it's a kinu of
puigatoiy, a limbo between goou manneis anu the chaos of human ielations. Theatei itself
will appeai latei, when Biewstei ueciues to invest in a play that will fail miseiably on
Bioauway. In 3*2G01++E, the fiist thing that }enny has to leain is that "Bow aie you." is a
social foimula to which theie is no neeu to iesponu at length. Anu heie begins hei initiation
onto the peifoiming stage, wheie she must play-act with a uiess, voice, postuie, anu
peisonality that aie nothing moie than a mask. The final shot is that mask, 0'( F(*.+,
'(*.(6G, who now announces that the social oiuei is paiauise. Foi this oiuei to exist,
howevei, its limits must be tiansgiesseu, which can iesult at times in uangei. In one
paiticulaily uistuibing scene in T*(1.0(*R. !2662+,., the piotagonist is seen suiiounueu by
alcohol, pills, painkilleis. Be iemains asleep while the moon in his almanac comes to life to
speak to him. This appaiition of the sinistei assumes the appeaiance of a nightmaie that is
also a momentaiy iepiieve fiom the woilu, like a chasm that suuuenly allows the abyss to
be seen. 3*2G01++E, foi its pait, moves fiom oiphanhoou to a community whose oiuei is
only a guise, easily bioken, anu which ciacks when the uncontiollable appeais, illness, the
typhus that Bi. Steve Webstei (Bean }aggei), }enny's custouian, hau pieuicteu. Anu when
this absolute evil besets the little giil, both catastiophe anu miiacle will ensue. With
uelicate sensitivity, Bwan shows the uoctoi woiking, the phaimacist auministeiing the life-
saving seium, anu the piiest piaying. These assoiteu social functions aie inteiwoven, at the
217
same time they point towaius something cuiative. The social peifoimance will enu with
}enny's illness just as upon Biewstei's waking, his little woilu will quickly be iestoieu.

Iv.

The stages of capitalism, iites of passage, tiials that must be won, thiesholus that must be
ciosseu, vaiious peifoimances anu mise-en-scenes, naiiative iifts that shift fiom one state
to anothei. In these two films of Bwan, both so iepiesentative of his style, eveiything is
moving heie-anu-theie, is in constant motion, but it's only the outei appeaiance that we
see, as if thiough a filtei that at times biings this piogiession to a halt: in T*(1.0(*R. !2662+,.,
the nightmaie scene is seen thiough the eyes of a keyhole by a consiueiable gioup of
people; in 3*2G01++E, the uoctoi will use a micioscope to show the giil the types of bacteiia
iesponsible foi the illness that latei on will neaily be hei uemise. The metaphoiical motif of
iesuiiection that is piesent in both, whethei in Biewstei's awakening oi the iecoveiy of
the little giil, iequiies inteimeuiaiies to contain the situation, to situate it in a manageable
space. In that sense, }enny's "ietuin to life" is as close to Cail Th. Bieyei's &*E(0 (19SS) as
to }acques Touineui's ;0-*. 2, !D >*+1, (19Su), films in which a moie oi less explicit
"iesuiiection" also takes placethe piouuct of the obstinacy of a filmmakei who stages a
situation anu uiaws it out to such a point that the miiacle has to mateiialize. In &*E(0, it's
}ohannes (Pieben Leiuoiff Rye) who tuins his hope into a ieality in the piesence of a gioup
of elueis anu of the giil who has uiiven him to uo it. In ;0-*. 2, !D >*+1,, Paison uiay (}oel
NcCiea) kneels to piey with his eyes closeu anu, tiansfoiming the space, inspiies a soft
bieeze to cioss the ioom until the woman awakes. The issue is of cieating the auequate
conuitions, of builuing up a peifoimance that allows life to be seen as it's ieboin, the veiy
objective of cinema. In the two Bwans, the gaze of the otheis is what makes the image aiise
anew, life iegain consciousness. This new step, now fiom stasis to movement, fiom a still
life to the beauty of living, can be obseiveu as well in othei filmmakeis fiom moie oi less
the same eia. Fiitz Lang, in %'( S+=-, 2, 0'( S2,E+1 (1944) anu ;C-*6(0 ;0*((0, liteially
cieates a woman (}oan Bennett in both) out of the gaze of the man who uesiies hei
(Euwaiu u. Robinson, again in both), whethei thiough an eeiie painting oi a fight in a
ueseiteu stieet on a iainy night. Alfieu Bitchcock, in #+0+*2+5. (1946), has Bevlin (Caiy
uiant) ietuin Alicia (Ingiiu Beigman) to the woilu aftei iescuing hei fiom the living ueath
to which she hau been conuemneu by Alexanuei Sebastian (Clauue Rains). In K-5*- (1944),
by 0tto Piemingei, uetective NcPheison (Bana Anuiews) becomes so in love with a
painting of a supposeuly ueau woman that the situation manages to ieveit to the past, to
ietuin the woman to life, to the stoiy. In Beniy King's !-*42( (1946), an entiie univeise,
that of a mythic oi uieamy past, is invokeu, at the stait of the film, by a mothei anu a giil
confineu to a ioom that will open out thiough the giace of the ait of memoiy. In }ohn Foiu's
;'( S+*( - U(66+1 P2AA+, (1949), Captain Biittles (}ohn Wayne) talks with his ueau wife
with such conviction that, when the shauow of the young 0livia Banuiiuge (}oanne Biu) is
218
piojecteu on the giavestone, it seems as though a tiansfeience has occuiieu: his wife as
ietuineu. All these heioes cieate situations apt foi iesuiiection, in such a way that that
piivilegeu image, that image that classical cinema scouis foi to legitimize itself, is the iesult
of its uesiie to live.

v.

}ean-Pieiie Couisouon wiites about Bwan: "The subject itself is iiielevant; the vision
becomes all. Wheie a uiiectoi such as Leo NcCaiey might conjuie up emotional affinities
with }ean Renoii, Bwan ultimately must be classifieu with a contemplative analyst such as
Yasujiio 0zu oi Robeito Rossellini."
1
It's a cuiious compaiison, since uespite theii
unueniable iesemblances, 0zu anu Rossellini aie funuamentally opposeu: the fiist tenus to
focus, to play with the vaiiables of a space anu a few given chaiacteis, on a static jouiney
|viaje inmovilj; the seconu piefeis to bioauen his fielu of vision continuously, whethei in
ielation to the vastness of the woilu oi to the uelineateu suiface of a face. 0f couise, at
times a ioom as much as a face can cieate an entiie teiiain, but that's not the question heie.
The issue of economy ieemeiges in each of these cases since, while 0zu saves up images,
Rossellini spenus them. Isn't it a mattei, then, of ieaching a peifect equilibiium, of spenuing
whatevei is saveu, of aiiiving at a giounu zeio. In Bwan, this isn't attaineu in only one film,
but in the space that extenus between two oi moie films. Foi example, between T*(1.0(*`.
!2662+,. anu 3*2G01++E. The fiist is like a comic veision of Lang's S'26( 0'( >20D ;6((F.
(19SS), in which only one of the chaiacteis uoesn't shaie the objectives of the iest: the
psychopath, who moves in opposition to social moies, whethei he be a killei oi a
spenuaholic. As foi the iest, the same sense exists in both Bwans of these avaiicious
blowhaius, motivateu by ambition anu lust foi money, obseiveu with icy shaipness, with
stiict concision. The lattei is like a moie outlanuish vaiiation on Sam Woou's &5* %+1,
(194u), populateu by figuies who keep the plot anu images expanuing anu expanuing as
they ievolve aiounu this othei soit, who uoesn't shaie the mouest pecuniaiy stanuaius of
his humble community: his unique obsession, as if it maue him anothei psychopath, is the
investigation, to extiact fiom the smallest jot of his micioscope something enoimous
scientifically. T*(1.0(*`. !2662+,. belongs to the gioup of five films that Euwaiu Small
piouuceu foi Bwan between 1942 anu 194S. 3*2G01++E is incluueu in the peiiou of his
filmogiaphy that extenus fiom 1946 to 19S4, unuei contiact with Republic. What is known
as the "B movie" is Bwan's home tuif foi action, anu especially in this peiiou, when Small as
much as Republic allow him a fixeu fielu within which to expeiiment, when he is able to
iealize small vaiiations without neeu of gieat means, much as in chambei music. Anu in
contiast to the cost-cutting of the piouuction, theie is this outpouiing of ieflecteu life,
between which theie iesults a giounu zeio, that peifect point of equilibiium between
accumulation anu wastefulness. Bill Kiohn takes up the concept of "impiouuctive
expenuituie," with a uebt to ueoiges Bataille, to chaiacteiize Biewstei.
2
At the enu of the
219
film, Biewstei's account book ieaches zeio, but a zeio that will pioviue new quantities of
money. In the same way, the metaphoiic exposeuness of }enny (seen in tatteis with only a
bible anu a uoll), will leau the uoctoi to a bettei economic situation thanks to his
expeiiments with typhus. Biewstei's feveious waste of money might be ieflecteu in the
fevei that }enny contiacts anu that unmasks hei life's appaient fiugality. They both ieach
beyonu themselves, beyonu the classical mouel that B movies offei in miniatuie to show
themselves A244(* 0'-, 62G(. Likewise, Bwan's cinema takes off fiom a point of outwaiu
puiity (the puiity of the pioneeis, a notion now ieviseu with such uigency) with the goal of
unveiling it, of exposing its wiinkles, of showing the mise en scene fiom within the mise en
scene, the iesuiiection oi ietuin to life as a ie-piouuction of that life, of *(05*,2,4 20 0+
F*+E5C02+,. The excess that always tenus to outstiip itself in classical cinema is what, in
Bwan's case, assumes the appeaiance of small, unimpoitant films. The giounu zeio, then, is
also that confiontation between the immeuiate legibility of the stoiy anu the uifficulty of
penetiating it ueep in its invisible laii. 0i Biewstei's antsy movements against }enny's
Sociatic calm.

1
}ean-Pieiie Couisouon y Pieiie Sauvage. "=(*2C-, 32*(C0+*.I 7+6H < (New Yoik: Ncuiaw-
Bill, 198S), 1u9.
2
Bill Kiohn, "The Cliff anu the Flume," ;(,.(. +G >2,(=- 28 (2uuS),
http:sensesofcinema.com2uuSfeatuie-aiticlescliff_anu_flume.

220
TBE B0NE FR0NT:
0N P:#3:gQ&Y; S)%8 "##): (1946)
C. Nason Wells

At a ietiospective of his woik at New Yoik's Waltei Reaue theatei in 199S, Naitin Scoisese
selecteu Allan Bwan's 9(002,4 9(*02(R. 9-*0(* (194S) foi a uouble-bill with his own "G0(*
8+5*. (198S). At the time Scoisese saiu, "I always wanteu to make a film that hau this soit
of Chinese-box effect, in which you keep opening it up anu opening it up, anu finally at the
enu you'ie at the beginning."
1
But the two films shaie moie than a stiuctuial sensibility;
they'ie both nightmaiish faices constiucteu aiounu the ciippling anxiety of theii specific
eias.

This anxious quality maiks many of Bwan's 194us comeuies, incluuing the foui faices he
maue foi Euwaiu Small Piouuctions: 9(*02(R., its sistei film YF 2, !-A(6R. P++= (1944),
"A*+-E 120' %1+ U-,/. (1944), anu T*(1.0(*R. !2662+,. (194S); anu his subsequent
Republic titles P(,E(]7+5. 120' ",,2( (1946) anu %'( ),.2E( ;0+*D (1948). Bwan was
typically mouest about his ambitions foi the Small films: "Ny main ieason foi uoing all
those faices was because I knew they'u be seen by a lot of kius at wai, anu in aimy camps --
anu they'u cheei them up. That whole seiies was maue with them in minu. I uiun't give a
uamn what the people who bought tickets saw oi likeu. I was thinking about those kius."
2


While Bwan may have hau simple uiveision in minu, he coulun't help but let the iealities of
waitime Ameiica seep into the films. The opening scioll of YF 2, !-A(6R. P++= saiuonically
nuuges the auuience about woilu affaiis: "Waining! In spite of anything you may have
heaiu to the contiaiy, this is a wai pictuie! It takes gieat couiage to bomb Beilinto fight
the }aps in the jungles of the Pacificto push the Nazis out of Afiica anu off the mountains
of ItalyBut, uiu you evei tiy to keep a seciet fiom youi wife. Biothei, that's wai!" Buiing
the film's climax, the chaiacteis aie yankeu outsiue theii isolateu Connecticut cabin anu to
a justice of the peace. Finally iemoveu fiom the bubble of theii self-involveu sexual
shenanigans, they encountei a tank testei, a sly ieminuei of the ieal-woilu tensions luiking
just beyonu the fiame.

P(,E(]7+5. 120' ",,2( biings these tioubles fiont anu centei, focusing explicitly on the
pioblems of a soluiei. Stationeu in Lonuon, Coipoial }effiey Bolan (Euuie Albeit) is, like
many tioops, in the stiange position of having spent the majoiity of his maiiiage sepaiateu
fiom his wife Annie (Faye Nailowe). Bomesick anu lovesick, he waxes poetic about the
viitues of Annie's famous chocolate cake (anu thus, the comfoits of uomesticity) to
uiplomat Sii Aichibalu Clyue (C. Aubiey Smith). When Bolan's given a quick thiee-uay
221
leave, he wants nothing moie than to visit Annie back in New }eisey foi theii two-yeai
anniveisaiy. Bis two buuuies convince him to go AW0L foi twelve houis of bliss, anu Bolan
becomes one of what ciitic Bonalu Phelps teimeu Bwan's "fugitives,"
S
setting foith a chain
of stiessful complications: he must fool a geneial iiuing on his flight, sneak past the aii
tiaffic cleik on the taimac, anu uuiing a quick phone call home, ask Annie to lie to theii
maiu. Befoie catching a miunight tiain so as to iemain unseen, he hiues out at the Bongo
Club, wheie he uucks out of inciiminating photos anu enus up lying to his accountant
Thoinuyke (Raymonu Walbuin), who has spotteu him. The moining aftei theii biief
encountei, Bolan insists his wife keep his little sojouin on the uown-low, as even hei letteis
aien't safe fiom the eyes of the censois.

Bwan, evei conceineu with motionof his actois, his naiiatives, his cameiastiuctuies
the film in two miiioiing movements. The seconu half of P(,E(]7+5. neatly flips the sciipt,
anu only ups the anxiety. Aftei the wai enus, Bolan ietuins home to leain his wife is in
laboi. It's a joyous occasion, hilaiiously coloieu by the town's logical assumption that the
baby coulun't possibly be his. Foi Bolan to claim the chilu's inheiitance piomiseu by his
late uncle, he must piove he was inueeu home nine months piioi anu fatheieu his son. Be
ietiaces his steps looking foi an alibi, but his excellent woik keeping his tiip seciet pioves
0++ excellent. Bolan spiials uownwaiu, appioaching something close to mauness, a kinu of
PTSB uecaues befoie the teim was even coineu.

Be visits Thoinuyke, who spotteu Bolan in the club, only to iealize the accountant was
stepping out on his wife anu uoesn't want his tiansgiession maue public. The maiu veiifies
what Annie tolu hei: Bolan was calling home fiom Englanu, not Lauuaiuia Aiipoit. Be can't
iely on his soluiei fiienus to coiioboiate the stoiy without aumitting they "aiueu anu
abetteu a ueseitei," which woulu implicate them anu foice a couit-maitial. Be visits the
geneial with whom he shaieu a plane flight, uemanuing to be couit-maitialeu foi his
actions; the geneial thinks Bolan has gone mau. Be ietuins to the Bongo Club to tiy anu
finu photogiaphic eviuence of his stop theie, but tuins up empty-hanueu anu iaises the iie
of a toich singei's (uail Patiick) husbanu, anu subsequently his own wife. 0nly when Sii
Aichibalu comes to town uoes Bolan finally see a chance at iiiefutable pioof, but as he
sneaks into Aichibalu's hotel ioom, he's aiiesteu foi an assassination attempt.

Like the piemise of T*(1.0(*R. !2662+,.wheie a man must somehow spenu $8 million in
oiuei to get an inheiitanceP(,E(]7+5.'s is ingenious comic subveision. (Anu like the set-
up of T*(1.0(*R., oi Keaton's ;(7(, >'-,C(. (192S), it posits an inextiicable connection
between the absuiu uemanus of family anu the possibility of financial loss.) But the film
also offeis something much iichei: Bolan must go fiom making himself invisible to liteially
pioving his existence. Bis plight iepiesents nothing less than the stiuggle of eveiy soluiei
ietuining home fiom battle: having to unueigo the tough tiansition fiom an anonymous
222
cog in the giant inuustiial militaiy complex to embiacing life as a unique inuiviuual. Bow
uoes he fit into this new society. Who is he anymoie. A fathei. A liai. An attempteu
muiueiei. Theie's a haunting moment when Bolan soits thiough olu photos at the Bongo
Club, anu finus one he believeu may have captuieu his likeness that night. In one of the
film's only close-ups, we see that Bolan in fact uuckeu, anu theie's an empty space left in
the miuule of the photo.



^%'(*( ) -=HHH_ ^)0R. ,+0 - 7(*D 4++E 62/(,(..H_

"All I know isthis is a heckuva post-wai woilu," Bolan's maiu tells him upon his ietuin
home. Inueeu, the effoit to ieaujust to this new Ameiica in P(,E(]7+5. pioves almost as
uifficult anu confusing as it uoes in Wiliam Wylei's haiiowing uiama %'( T(.0 U(-*. +G +5*
K27(. (1946) oi }ohn Buston's uocumentaiy K(0 %'(*( T( K24'0 (1946). The film begins with
a fiaming uevice of Bolan in jail foi the supposeu assassination attempt; it's a paiticulaily
uoui note, with Bolan's shoelaces anu belt confiscateu by a guaiu foi feai of a suiciue
attempt. These moibiu oveitones aien't to suggest that P(,E(]7+5. isn't funnyit is, anu
iiotously so. If anything, the anxious atmospheie of late '4us Ameiica playeu peifectly into
Bwan's uevilish sense of humoi. As he tolu Petei Boguanovich, "I uon't caie what you'ie
uoingthe most vicious uiama on eaith is just on the iaggeu euge of being veiy funny."
4

But Bwan uses the comeuy as a spiingboaiu to get at something ueepei.
223

Though the wai looms laige ovei Bwan's '4us comeuies, theie's a maikeu uiviue between
the tenoi of the waitime anu post-WWII titlesthe faices aie moie fiantic, the Republic
films moie soulful. The stoiies foi !-A(6R., 9(*02(R., anu T*(1.0(*R. weie all baseu on silent
comeuies, while those foi P(,E(]7+5. anu ),.2E( ;0+*D oiiginateu uiiectly with Bwan anu
his wiiteis Naiy Loos anu Richaiu Sale. The lattei films attempt to giapple with woilu
pioblems heau-on, anu not simply uistiact auuience attention with fiothy enteitainment.

P(,E(]7+5. uistinguishes itself fuithei with the casting of Albeit as Bolan, a iemaikably
plain but enoimously appealing chaiacteia man uefineu almost exclusively by his love
foi his wife. Albeit's sau, slow uiawl is woilus apait fiom Bennis 0'Keefe's itchy paianoia;
it's a case stuuy in how an actoi's ihythm affects a uiiectoi's appioach to his mateiial.
When Bwan leaineu Albeit hau singing talent, he chaiacteiistically auapteu the film to
incoipoiate the skill, auuing a paii of musical scenes that bookenu Bolan's tiip home. 0n
his flight to New }eisey, Bolan joyfully sings "I've Been Woiking on a Railioau" anu "Row,
Row Youi Boat" in the cockpit along with his fellow tioops. 0n the ietuin flight to
Englanufilmeu by Bwan in an iuentical cameia set-uphe peifoims a moving solo
ienuition of the English folk ballau "Faie Thee Well": "I'm going away, but I'm coming back
If I go ten thousanu miles."

Bwan injects these small touches of lyiicism thioughout, moments the faices seem too
haiiieu to evei stop foi. Look at the two uelicate scenes between Bolan anu Sii Aichibalu in
the bunkei Englanu, wheie theii uiscussions of Annie's cake aie inteiiupteu by the
ominous off-scieen sounus of bombs falling neaiby. 0i the way Bwan film's Bolan's
tiiumphant ieunion with his wife: in a goigeous, woiuless single take long-shot, Annie
waits by theii cai, enshiouueu in shauow, as Bolan's silhouette peeis aiounu the coinei. At
two enus of a uiagonal, they meet in the miuule of the fiame, anu the scoie softly swells.
(Ciitic Kent }ones aptly calls it "one of the few moments of peifect happiness in movies."
S
)

But the subsequent scene is just as beautiful: Bolan slowly walks thiough the home he left
behinu a yeai-anu-a-half piioi anu simply takes in the atmospheiegiuuy, oveiwhelmeu,
comfoiteu by the sight of his pipe iack anu "silly olu slippeis." "Eveiything's exactly as you
left it," Annie tells Bolan; he picks up a mysteiy book he was ieauing, moveu how Annie
maikeu the page he was on when he shippeu off oveiseas. ("I figuieu some uay when the
wai was ovei you might want to finu out who uone it.") The scene coulu easily play as
tieacly, but Bwan uownplays the sentiment with meuium shots anu only a couple of
cameia set-ups. It's the emotional coineistone of the film, a iespite fiom all of Bolan's
anguish as well as a moving tiibute to the small pleasuies of stability, a stiiiing ieminuei of
the simple things we fight foi.

224
0f couise, P(,E(]7+5. ultimately enus happily: Thoinuyke is blackmaileu into aumitting he
anu Bolan weie both at the club that night (Bolan's uucking uuiing the photo offeieu pioof
of Thoinuyke's inuiscietion). Bolan's iuentity is, at long last, affiimeu, anu he wins financial
secuiity foi his family thiough the inheiitance. Anu he once again gains the pleasuie of
inuulging in Annie's cake. The scene ietuins Bolan to his living ioom, anu the film comes
full ciicle. (The fiist shot, ovei the film's cieuits, is of the exteiioi of the Bolan home.) The
iewaius piove the stiuggle was woith it; it's always a tianscenuent sentiment, but
especially in 1946.

Bwan seems to take special pleasuie in setting up (often absuiu) huiules foi his chaiacteis
to oveicome, but that sense of haiu-won victoiy is something he also valueu in his own life.
"0bstacles aie meiely challenges foi me to suimount," Bwan tolu >-'2(*. E5 >2,(=- of his
way of woiking.
6
Anu like theii cieatoi, his chaiacteisto boiiow a phiase fiom "G0(*
8+5*.' piotagonist Paul Backett"just want to live." They'ie unstoppable foiceswoiiieis
but also waiiioisconstantly baiieling thiough one outlanuish plot contiivance aftei
anothei, all in the hopes of ietuining to the simple business of living.

1
Stephen Boluen, "The Novies That Inspiieu Naitin Scoisese," #(1 U+*/ %2=(., Nay 21,
199S. Accesseu online: http:www.nytimes.com199SuS21moviesthe-movies-that-
inspiieu-maitin-scoisese.html.
2
Petei Boguanovich, "66-, 31-,@ %'( K-.0 L2+,((* (New Yoik: Piaegei Publisheis, Inc.,
1971), 1S2.
S
Bonalu Phelps, >+7(*2,4 9*+5,E@ :..-D. G+* #+1 (New Yoik: Cioton Piess, 1969), 68.
4
Boguanovich, 1S9.
S
Kent }ones, L'D.2C-6 :72E(,C(@ ;(6(C0(E ?26= >*202C2.=. (Niuuletown, CT: Wesleyan
0niveisity Piess, 2uu7), 1S4.
6
Phelps, 74.
225
00TSIBER vISI0NS:
BWAN WITB A N0vIE CANERA
Chiistophei Small

"I coulun't wait to get to the uooi; I figuieu the winuow woulu be quickei."
Anuy Bevine in !"#$%#% '())( (194819S2)

***

In his essay "The uiiffith Tiauition,"
1
}ohn Boii woulu say that "of all the uiiectois of the
uiiffith Tiauition who maintaineu caieeis well into the sounu peiiou, Allan Bwan was the
least affecteu by the emeigence of the Nuinau tiauition." Boii was one of the fiist to
uefenu the uiiectoi fiom ciitical un-enthusiasm, anu though his aiguments tenu to
pigeonhole the films iathei than illuminate, it's tough to contest that his essays aie some of
the most iespectful musings on Bwan's ciaft evei wiitten: "A cut-in to a laige close-up, oi a
cut-back to a long shot, in the piimal powei of the change in image size alone, suggests a
nobility of emotion that is uiiect anu effective."

What is most uiiffithian in Bwan's cinema is the uefinition of eveiything in binaiies, though
with uiiffith it comes fiom his uebt to 19
th
centuiy theatie anu moialityhis films
elaboiate within these iestiictions, like his iauical *+,%-%. /0#1")# (19S1), which uaies to
tiansfoim histoiybook Lincoln hagiogiaphy into a Wagneiian thunueistoim of aitifice anu
emotion, oi '0,$- "2 % 3%$0"# (191S), which is so offensive piecisely because it offeis us
blackfaces as nothing but caitoon villains to antithesize a heioic, 0lympian Klan. But with
Bwan, binaiies aie a iesponse to the woilu, a way to uefine anu then huiiieuly piouuce a
show. Bis }anus-faceu vision of uiamatic conflict is usually the iesult of an enthusiastically
establisheu fiiction between two boiueiing teiiitoiies. As Bill Kiohn has wiitten in "The
Cliff anu the Flume,"
2
this is Bwan's infinitely ieliable anu ieusable filmmaking paiauigm.
Be takes a situation, looks at the inteiioi ciicuits connecting all the components, anu sets to
woik. Bowevei, as Bwan's is a cinema of the liteialof both visions outsiue anu outsiuei
visions, even when he is uelineating what appeais abstiact on fiist glancehe falls back
again anu again on a uevice foi linking woilus, scenes, anu stoiies: the winuow.

Winuows aie the gieat synecuoches of Bwan's cinema. Noie fun, sneaky, mysteiious, anu
cosmic than a Bwanian uooiway, his winuow-ways aie passages to the next woilu of
fiction. They enable movement between insiue anu outsiue (liteially) anu one set of iules
anu anothei (abstiactly). Like chaptei-maikeis foi the movies, they figuie in many
impoitant scenes, anu bieak up the moie boiing ones. Even in the late movies, the evei-
evolving Bwan was still ielying on his olu tactics. Fiom the insiue of the Teiiitoiial Bank at
226
the enu of !"#$%#% '())( (19S2), Nontana, fiiing out of the winuow at lawmen, gets hit in
the belly. Then, seconus latei, one of the gunslingeis outsiue on the poich steps in fiont of
the winuow, anu a bullet cuts thiough him anu the glass. Be staggeis anu collapses in the
backgiounu, anu Nontana slumps uown in the foiegiounu. We look out thiough the pictuie
winuow as Tom Biaufoiu (ueoige Bient) appioaches on hoiseback. Be calls out Nontana's
name, anu the shooting stops as the men all iecognize him. Bwan composes lateially anu in
uepth, heie as in many of his othei films. Bis cameia is at a position of flexibility, neai a
winuow oi a uooi, anu he moves to covei what he can, often siueways, oi foiwaiu. Beie we
have thiee images in one: Nontana being hit, then the gunslingei uying, anu then back on
hei as she uiops to the giounu. In between is the winuow.




!"#$%#% '())( (19S2)

"Bwan's images aie beautiful not so much as foimal entities unto themselves, as in theii
existence as cinematic units."
S
This may just be my own catachiestic appiopiiation of
Boii's woius, but "existence as cinematic units" conceives of Bwan's theatie as a fluiiy of
images anu moments insufficient to exist on theii own, as they might in Eisenstein. But I'u
aigue that Bwan's scenes uo exist on theii own, that they can sustain themselves, anu that
the uiiection he takes them is like that of a phoenix iegeneiating fiom the ashes. Bwan's
assiuuousness with fiaming, cameia movement, anu euiting gives even the most piotiacteu
anu elaboiate set-piece a iemaikable sense of balance anu poise.

Winuows in Bwan typically bieak apait the univeise into uiffeient self-containeu woilus,
anu yet in 4%)(#5%, 60,) (1947), eveiything is a whole. Peeping thiough cuitains oi falling
thiough winuows, eveiybouy has theii pait in this woilu. Even the cameia plays a iole. In
the opening sequence, we move as if on a clouu. Patiicia 0'Neill (}ane Fiazee), appeaiing
fiom nowheie, uucks out of two winuows as, outsiue, the cameia gliues by. She iuns fiom
the fiist to the seconu, anu a bluebiiu alights on a tiee bianch opposite. Following the
animateu calenuai anu the titles that aie the fiist images in the film, the fiist motion is a
227
lateial one. As the calenuai vanishes, his cameia swings into view anu uoesn't stop
swinging: we will move thiough wall, anu flooi, anu out onto the stieet. !%# $" !%# too
begins with a similai ciab-wise motion; heie it is composeu with people anu white iacing-
stiipes, iathei than with buoyancy on the cameia's pait.






!%# $" !%# (19Su)

Patiicia steps back fiom the winuow anu, cameia panning, moves acioss the ioom anu into
a fiame composeu as thiee. As in a Renoii film we see the big movement closest to us, the
miiioi piojecting back at us, anu the tiny figuies quiet at woik in the uistance. 0ne of the
figuiesa neighboicalls out to the calenuai giil thiough the winuow anu she looks up
anu waves back at him. Tuining, she moves to ietiieve hei hat fiom the beu. The cameia
follows. She aujusts hei biim in the miiioi, anu then moves aiounu the beu anu out the
uooi. Befoie ieaching it, hei hanu gestuies casually out towaius the seconu winuow, whilst
heiself still in motion anu continuing hei melouy. Anu then we aie in the coiiiuoi,
uescenuing the staiissiueways, slicing thiough the set. Patiicia pauses anu gieets
anothei neighboi leafing thiough post besiue the telephone, befoie stepping outsiue.

228
Bown the fiont steps, on the stieet, eveiyone's in on the fun: chiluien fiolic by, gentlemen
smile anu tip theii hats, olu lauies sing along, wistful Patiicia stumbles into two tempeiate
paiasoleu lauies, anu she encounteis the same bluebiiu at the heait of this song, now on
the tip of a lamppost.






4%)(#5%, 60,) (1947)

Bwan's movies exist in an oft-ignoieu miuule quanuaiy that's not quite A oi B foi
Bollywoou films. The stoiies he ueals in aie shopwoin anu clunky, the sets unimpiessive,
anu the actois not-too-goou.

But be thankful foi the man who shoots with scissois in his eyes.


1
}ohn Boii, "The uiiffith Tiauition," 70). 4"..(#$ (NaichApiil 1974) S1.
2
Bill Kiohn, "The Cliff anu the Flume," 8(#9(9 "2 40#(.% 28 (2uuS),
http:sensesofcinema.com2uuSfeatuie-aiticlescliff_anu_flume.
S
Boii S1.
229
CLASSIC ANTI-CLASSIC
Baniel Kasman






230










231
.

L0L0 vARBEN
Aliight young lauies, let us begin. Now we will stait with the hanu position in the miuule
zone numbei one, the Palm Supine. Numbei two the Palm Pione. Numbei thiee the Palm
veitical. Tessie, ueai, the Palm veitical shoulu be iaiseu in gentle teiioi. Remembei as you
move into the move that you'ie with a cau.

TESSIE
A cau.

L0L0 vARBEN
A nefaiious scounuiel whose intentions aie not honoiable.

TESSIE
I'm suie Byion's intentions aie honoiable, Lulu.

L0L0 vARBEN
Who.

PATRICIA 0'NEILL
She means Byion }ones.

TESSIE
Be's always making the Palm veitical to me.

L0L0 vARBEN
But suppose Byion weien't out with you.

TESSIE
I'u just like to see him out with anyone elsewe'ie piactically engageu.

uIRL
Boes he know it.

uIRLS
(laughtei)

L0L0 vARBEN
Come, come, come now giils! Come let's tiy it again! Patiicia, Patiicia, how many times
have I tolu you! You shoulu be weak anu wilting anu timiu, as if the veiy aii aiounu you
weie chaigeu with peiil.

PATRICIA 0'NEILL
But that's namby-pamby, Lulu. I'm not afiaiu of anything.
232



L0L0 vARBEN
Ny ueai, uo you wish to be a stai. A gieat stai. 0i uo you wish to uispute the
championship with Ni. }ames }. }effiies. Now $-%$:9 moie like a lauy.

PATRICIA 0'NEILL
(sighing)
A lauy.

L0L0 vARBEN
Patiicia, life is a book of etiquette anu iules. You'ie boin a giil but you have to leain to be a
lauy. uiils may be attiactive to boys, but only lauies attiact gentlemen anu only gentlemen
aie iich.

.











233











234






4%)(#5%, 60,) ;Allan Bwan< 1947=


***
235




.





236
.









237











238





.


CLERK
uee that's uingy: actually in piint!

STEPBEN F0STER
Look at those cuily-cues, isn't that elegant.

CLERK
Let's see wheie it says you wiote it!

STEPBEN F0STER
Well, I guess it uoesn't say.

0TBER CLERK
Biu you get much foi it.

STEPBEN F0STER
0h he uiun't pay me anything.

CLERK
Biun't you even get any ioyalties.
239


STEPBEN F0STER
Listen! Be's uoing me a big favoi just to piint it. Biun't chaige me a cent.

0TBER CLERK
Bow about that minstiel man, Chiisty, uiun't he pay ya.

STEPBEN F0STER
Ceitainly not! I'm piouu to have him sing it.

CLERK
uee, it looks like you outta get a little somethin' just foi thinkin' it up.

.













240








.

241
EBWIN P. CBRISTY
Bow many coik opeias uiu you put this song in. .Aie you tiying to make me a laughing
stock. I've sung "0h, Susanna" fiom Pittsbuigh to New 0ileans, maue it the most populai
song in all histoiy, peihaps, actually my veiy tiauemaik. Anu you, you give it to eveiy
imitatoi I've got. Bon't you know who this song belongs to!
.
STEPBEN F0STER
That's how I got into tiouble.

B0NNINu F0STER
What tiouble.

EBWIN P. CBRISTY
That's what happens when you give away things that uon't belong to you.
.
INEZ NCB0WELL
.if you uaie sounu even one note of that, that thing! .I've hau nothing else hammeieu into
my heau foi a month. Some cheap minstiels even playeu it in the stieets of Pittsbuighon
tin-baseu uiums! If I evei finu out who wiote that thing, I ueclaie I'll shoot him on sight!
.Ny eai happens to be tiaineu in the classics.

.


....
242


.

}EANIE NCB0WELL
Aie you people out of youi minus.

EBWIN P. CBRISTY
What's the mattei, honey, what's the mattei.

}EANIE NCB0WELL
Bon't you iealize Inez is tiying to give a iecital.

EBWIN P. CBRISTY
Recital. Is that what you call that squawky cateiwauling up theie.

}EANIE NCB0WELL
Ny auvice is that you both iun foi youi lives.

EBWIN P. CBRISTY
What a way to tieat an auuience. Auuience! BeyI'll show you how this stuff woiks.

}EANIE NCB0WELL
Wait a minute, uoes Steve know you'ie taking his music.

EBWIN P. CBRISTY
Ny ueai young lauy, the whole woilu is about to know!
..
243








..


EBWIN P. CBRISTY
Lenu an eai, goou people, lenu an eai. Lauies anu gentlemen, I am Euwin P. Chiisty. It is my
piivilege at this time to biing you a most welcome suipiise. You coulu haiuly have
expecteu heie the most impoitant musical event of the yeai, peihaps of oui times, but that
is youi goou foitune tonight. Isn't the uiscoveiy of genius the highest honoi. Anu what if I
tell you that the newest, biightest talent of oui uay is iight heie in this veiy ioom!
0nbelievably, I'm tolu that only one oi two of you aie even awaie of the iuentity oi even the
existence of this genius in youi miust. 0nknown, uncelebiateu...


.





244




.

NRS. NCB0WELL
0h Steve, you shoulun't have, that's youi salaiy foi weeks.

STEPBEN F0STER
This is my fiist step on my ioau to iefoim.

NRS. NCB0WELL
Refoim, Steve.

STEPBEN F0STER
I'm staiting out to piove myself to Inez. Fiom now on, I'm uevoting myself to nothing but
the classics.

}EANIE NCB0WELL
Won't that be a little bit uull.

INEZ NCB0WELL
I think it's the most encouiaging thing I've evei heaiu him say.




245











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249











250











251








> ?,(%. "2 @(%#0( ;A0$- $-( /0B-$ ',"A# C%0,= (Allan Bwan, 19S2)

***
252
Separate But Equal #6: The Inside Story (1948)

Initial Impressions from an Unsung Allan Dwan Picture











253











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256









257
8*3?8 D7 >ED @>!* (1949):
*9 )"#B %9 F"G A"#H$ +( 2",B"$$(#

Naiie-Pieiie Buhamel

Neithei the oppiessive Ameiican postwai yeais noi the ciushing piesence of }ohn Wayne
oi even the most cinephilically ienowneu films of Allen Bwan (like 80)I(, /"5( (19S4)) can
manage to ueauen what one woulu have to call the "giace" in 8%#59 "2 >A" @0.%. The film is
iegulaily qualifieu as an exemplaiy "flag waving flick," as a mouel of patiiotic cinema, as a
"patiiotic vehicle" foi }ohn Wayne, as a film of "Ameiican values," as the "quintessential
Naiine Coips movie". In shoit, a piece of piopaganua manufactuieu by Bollywoou in a
classic blenu of commeicial oppoitunism anu iueological alignment. The film woulu have
been aichetypal enough to have establisheu a gioup of iepiesentations latei iecycleu,
auapteu, anu quoteu. A mouel of naiiative efficiency (of 9$",F$())0#B) anu piecision in the
uesign of the chaiacteis, the film is echoeu in othei films. Let's just cite heie the
intiouuctoiy sequences in C%)) "2 !"#$(JG.% (Lewis Nilestone, 19S1a "Naiine film" on
the Battle of 0kinawaoi K%L( $-( C0B- 6,"G#5 (Richaiu Biooks, 19SS), which, on a
spectaculai numbei of points, looks like a copycat (Koiea ieplacing the Pacific).

Yet the impiession that emeiges fiom common commentaiies is that something (a M(N#(N
9%09NOG"0) pievents the film fiom being thiown in with the pile of "wai films" oi the pile of
"films with }ohn Wayne." Something goes beyonu the simple iecognition of the naiiative
expeitise, the actoi's efficiency, oi the oveiall uignifieu piouuction value. Beyonu, as well,
nostalgia foi a cinema that no longei exists. Something slips just out of ieach.

!"#$#%&'()*+

1949. Woilu Wai II is still piesent in the eveiyuay lives of Ameiicans, in theii bouies anu in
theii memoiies. The most successful films at the enu of 1949 aie wai films, objects
entiusteu with the task of exalting Ameiican values in the best (possible) show business
packaging. Ameiican cinema is in the stiong iueological giip of the "thiiu wai," the one
opposing Communism anu the Fiee Woilu. Even moie than the films piouuceu anu
ieleaseu uuiing the wai, these post-wai wai films aie on a mission.

In }une 19Su the Koiean Wai officially begins. The Containment Theoiy hau been
foimulateu as eaily as Febiuaiy 1946. The same yeai, B0AC (the Bouse 0n-Ameiican
Activities Committee) hau become a stanuing committee.

While Boie Schaiy is piepaiing William Wellman's '%$$)(B,"G#5 (1949) foi NuN anu
Zanuck Beniy King's KA()I( D:4)"1L C0B- (1949) foi Fox, the piouucei at Republic, Eumunu
258
uiaingei (he has piouuceu E%L( "2 $-( P(5 E0$1- theie in 1948 with }ohn Wayne, with a
sciipt by Baiiy Biown, anu he will piouuce Nicholas Ray's 7)F0#B /(%$-(,#(1L9 foi RK0 in
19S1) happeneu to catch on the fiont page of a newspapei the woius "Sanus of Iwo }ima."
Theie is little time between the wiiting anu the stait of piouuction. We know that
piouuction only lasts two months anu that without the mateiial contiibutions of the
Naiine Coips such a piouuction woulu have been impossible. Bespite a big buuget foi a
"small" stuuio like Republic, the geneial economy is tight.

The Naiines get involveu on a gianu scale in a piouuction that (beyonu theii own long
tiauition of self-piomotion) coulu contiibute to iestoiing theii Sempei Fiuelis blazon
tainisheu by a lack of feueial financing. They pioviue instiuctois, menextias, equipment
anu locations. They also pioviue theii piopaganua films - footage shot on the fiont lines by
cameiamen attacheu to the Coips. Eveiything (pioject, sciipt, means) imposes the
necessity of using footage fiom the Coips' combat photogiapheis. The concept is neithei
new noi (by the way) typically Ameiican. Wai films, no uoubt moie so than othei films
about iecent histoiy mix uocumentaiy anu fictional images, as an the intiouuction to the
stoiy oi sometimes uuiing the film: a piouuction necessity anu a guaiantee of the "ieal," as
if it weie impossible to uo without uocumentaiy footage in fiont of an auuience piofounuly
maikeu by the expeiience anu familiai with the images seen uuiing the wai.



259
-#%./0 1##0/2)



"Woilu Wai II was coveieu fiom stait to finish," the histoiian anu co-scieenwiitei foi
Spielbeig's piouuction 8-""$0#B E%, saiu even in 2uuu, visibly unafiaiu of hasty
geneializations.
1
Be auueu that "the images of this wai buineu |thej eyes anu spiiits" of
Ameiicans. Ameiican spectatois of the yeais 1941-194S saw a huge amount of images of
the conflict: battles, uiaft calls, iemaikable biogiaphies, on-the-giounu footageimages
oiganizeu anu contiolleu by the militaiy with Bollywoou's suppoit (Bal Roach stuuios
tiaineu combat photogiapheiscameiamen). Stuuios euit, auu sounu anu piint shoit films
with the footage fiom the cameia opeiatois attacheu to of all the bianches of the militaiy.
These men iisk theii lives: to uocument is to finu the iight place, to fight feai, to vaiy the
angles in oiuei to show moie oi bettei, to unueistanu what is happening anu wheie, anu
above all to film the "boys."

3$45 067*5 06) 89/2:::

}oe Rosenthal's famous photo foi the Associateu Piess
2
insciibes itself in the collective
Ameiican imagination as soon as it begins to ciiculate immeuiately aftei the event. An
instantaneous emblem, an immeuiately iconic snapshot. The iecognition is so immeuiate
that it is still useu touay with moie oi less ielevance oi iiony.
S
The event was also filmeu by
the cameiaman Bill uenaust in coloi 16mm. uenaust was killeu on Iwo }ima on Naich 4th.
Bis images aie euiteu again anu again into waitime shoit films.

In uiaingei's pioject, the flag episoue has to be the ultimate gianu finale, the Q+(,
conclusion to the chaiacteis' uesign. The ieconstiuction (the fiist evei) of the flag scene is
the enuing to the stoiy people know going in. No film about Iwo }ima can be without the
"flag iaising". Rosenthal's photo anu the event itself have become one. 0ltimate icon
episoue-emblem.
260
;<=> ?7



The pioject Bwan is offeieu is something like an "alieauy maue anu alieauy seen" film. Be
is being askeu to apply his long-testeu know how anu his capacity foi woiking with mouest
buugets to the making of a "piofitable" wai spectacle in teims of ticket sales anu of
auuience euification. But the pioject also bianches off fiom an ensemble of conuitions that
go beyonu stuuio logic anu politico-militaiy logic. If we wanteu an image of the filmmakei's
position, we'u imagine him in the miuule of a netwoik of iepiesentations: the emblem-
image anu the still fiesh memoiy of the combat footage, anu the tiopes goveining the wai
genie both in fiction anu in the piouuctions of the Aimeu Foices Infoimation Films (AFIF).

"The pattein of wai in the Pacific": this is how the commentaiy of 7G,F 0# $-( R%10201
(ieleaseu in Naich 194S)a shoit film piesenteu like a uocumentaiy on the Battle of
Peleliu in Septembei-Novembei 1944uesciibes the sequence of "typical" actions of
opeiations on the Pacific Islanus. Wai shoit films have alieauy establisheu the sciipt
following the uevelopments of militaiy ieality: tiip towaius the islanu, bombing, lanuing,
push towaius the inteiioi. With the teiiible exception of the muiueious gioping along,
about which nothing is being saiu (fiom the absence of images of Peail Baiboi to the
leaueis' initial mistakes anu the civilian casualties in the Pacific), all the patteins aie in
place, those of the opeiations anu those of the 9$",F of the opeiations. They aie all in 8%#59,
they cannot not be in it.

R%$$(,#9S The gioup of Naiines in 8%#59 must ieflect the Ameiican melting pot the way wai
films have uefineu it foi a long time: a mix of ethnicities anu social gioups, a metaphoi foi
Ameiican "uiveisity" coming togethei aiounu the patiiotic cause. The "faimei" (a young
peasant who unueistanus the values of lanu), the "comeuian" (fiom Biooklyn), the "Latin"
(Italian oi Latino, always talky anu iesouiceful), not to mention the "}ew" (pious anu
261
uiscieet) anu the intellectual (teachei, engineei oi just ieauei of books). In the "Pacific
film," the lattei is often in chaige of the voice-ovei naiiation, a pioceuuie shaieu by both
militaiy shoit uocumentaiy anu fiction films. Fiom the "Naiine iemembeiing" like in K"
$-( 8-",(9 "2 >A" @0.% (194S) to the jouinalist's account in 6G%5%)1%#%) ?0%,F (Lewis Seilei
foi Fox, 194S), it is impoitant that the text says "we" oi "I." In shoit, that it is cleai that the
stoiy is being tolu by someone who is a fiist-hanu witness oi paiticipant. In 8%#59, the
"comeuian" is Italian Ameiican, the naiiatoi (Bunne) is a schoolteachei anu the }ew uies
while muimuiing a final piayei in Bebiew that Wayne concluues with a painful "Amen." I'll
leave it up to the ieauei to list the missing chaiacteis, the "minoi" chaiacteis anu to fill in
the list of the othei naiiative accessoiies (oi piops). The squaus commanueu by }ohn
WayneStiykei nevei uepait fiom the coues of combat fiction. The actions that punctuate
the "Pacific film"stiaight out of film iepoitsgo thiough theii "final" couification in
8%#59 "2 >A" @0.%: the aiiival of the ieciuits, boot camp, boat tiip, anguisheu waiting not
knowing the "taiget," meeting aiounu the mapmouel of the islanu, lanuing, pinning uown
by enemy fiie, inteivention of the Aii Foice anu bombing, bunkei that blocks the auvance,
push towaius the inteiioi of the islanus, laboiious uiiving out of the enemy.

Aiounu this schematic of actions (that ieflect a goou pait of the stiategic ieality on the
fielu), othei mouels couify behaviois anu "expeiiences": letteis to anu fiom loveu ones,
chaplains anu iabbis anu theii iites blessing the soluieis, photos in helmets, young soluieis'
awkwaiuness (they'ie still chiluien), baiiack-ioom life on the boat. Anu a teiiible
uiscoveiy that the soluieis in the Pacific uon't shaie with those fighting in Euiope: the
jungle, the heat, the tiopical night (humiu, infesteu with insects, muuuy anu uangeious).
Bwan's tiopical nightoiganizeu aiounu the conflict between two men while a gioan
echoes out of fiamehas a unique foice: it beais a uouble violence. violence of the
situation, violence insiue the men.

The whole of this schematic is batheu in a heaity iacism in the tieatment of the }apanese
(simply put, the "Nips" aie non-humans) anu theii iepiesentation (mustache, ciuel giimace
anu samuiai swoiu) which is baiely tempeieu by some iefeiences to the quality of theii
tiaining. Bostile Inuians, basically. Let's biiefly iemaik heie that the aimy's combat footage
uocuments P0Ws (ceitainly iaie) semi-nuue, uazeu anu almost ciazy with feai, while
voice-ovei naiiations as eaily as 1944 iecognizeu the ueteimination anu militaiy ait of the
}apanese tioops. The fiction films came to it latei.

(Anu can't one say the same about }ohn Wayne. Was he not alieauy "moueleu." Foi
example, as the peifect T%5,( T%5,"#( of Nontgomeiy Clift in Bawks' P(5 P0I(, (1948),
anothei fathei-son stoiy.)

Bwan is uealing with a weighty iconic anu naiiative system, maue even heaviei by the
auuition of the famous flag iaising. Not to mention the fact that the pioject is not supposeu
262
to "cieatively uepait" fiom the coues (fai fiom it) but insteau to ie-establish them, to
ienew theii value anu stiength, to piouuce "piime examples". The conuition of success:
biing vieweis togethei aiounu an oveiwhelming monument. The culmination, if we may
call it that, of the mattei: the aimy "piocuies" Bwan some of the famous suivivois of the
Iwo }ima event in oiuei to (ie)play theii ioles anu, in paiticulai, the thiee suivivois of the
famous flag iaising. Anu the ieal flag.



Bwan knows all this. It's saiu that he thought of othei actois than Wayne foi the iole of
Stiykei. Be even offeieu it to ueneial Eiskine. Be knows that getting Wayne woulu be a
goou "auueu value" to his woik anu the film. Be senus his actois to boot camp (Eiskine
pioviueu his toughest uiill seigeant), he gives the ieal officeis iathei long scieen time in
the Iwo }ima sequences anu he biiefly suiiounus Wayne togethei with the thiee suivivois.
Be sticks to this attention to "ieal life effect" anu iepiouuction that is pait of the
commission. Be oichestiates sets, cameias (six foi the battles scenes on Iwo }ima), tanks,
extias anu the euiting in iecoiu time. Anu he ueliveis a new Ameiican emblem to his
piouucei: the ultimate pattein.

But he has .09( (# 91U#( in minu, anu what, moieovei, .09( (# 91U#( coulu say. As a
filmmakei who has known foi a long time what telling a stoiy means, aftei hunuieus of
films, in a stuuio that wasn't a "majoi," at 64 yeais olu, Allan Bwan maybe wonueis what of
valuebeyonu its piesciibeu iolethis patiiotic object coulu say. What coulu be uone
with images alieauy (ie)piocesseu by cinema, with expeiiences that have alieauy been
iecounteu, with couifieu naiiatives. Bow to use, beyonu the builuing of an iconic
monument, this naiiative "toolbox," wheie each piece is stiictly uefineu. The filmmakei's
iesponse is about measuie anu balance. Bwan, a filmmakei fiom the Silent Eia, knew veiy
well that since the muimui of woius, uialogue, jokes, wiseciacks, catchphiases anu fanfaie
has been unleasheu, some woik is neeueu in oiuei to make heaiu what hau to be heaiu.
263
!4(0($2 -#%./0 1##0/2) ($0# 06) 1("0(#$

The piouuction only lasts two months anu the post-piouuction lasts no longei than the
stuuio's ciuel stanuaius. Is this what explains the fact that the euiting shows no tiace of
ieseaich into the unuseu mateiials of combat photogiapheis. 0i is it insteau a mattei of
nevei going beyonu what the Ameiican spectatoi hau alieauy seen.

The navigation, lanuing anu battle sequences in 8%#59 mainly uiaw on thiee shoit films,
sometimes ie-using a seiies of shots without ie-euiting them. E0$- $-( !%,0#(9 %$ K%,%A%
was ieleaseu in Naich 1944, 7G,F 0# $-( R%10201 in Naich 194S anu K" $-( 8-",(9 "2 >A" @0.%
in }une 194S. E0$- $-( !%,0#(9 anu K" $-( 8-",(9 "2 >A" @0.% weie piinteu in Technicoloi
foi uistiibution.

8%#59 makes two uses of them: as ieai-piojections to inseit the actois into "ieal
backgiounus," anu as elements of sequence constiuction. Contiaiy to 6G%5%)1%#%) ?0%,F
wheie the use of combat footage was mechanical anu iathei casually uealt with thiough
lazy iepetitions (puie "signs of ieal life" occasionally thiown into the stoiy)Bwan woiks
with gieat piecision. A piecision in euiting togethei fictional anu combat footage with
systematic match cuts, oi as close to match cuts as possible (in the movement, uiiection,
fiom one object oi element to anothei), anu often in shot-ieveise shot sequences.
StiykeiWayne thiows a gienaue, the explosion it piouuces is "ieal," (yet ieveiseu to seive
the match cut).



What the chaiacteis %,( )""L0#B %$ is the combat footage.



264
Enough to shock the auepts of oithouoxy in teims of iespecting the iegime anu status of
images. It is moie inteiesting to note that the images fiom the combat footage aie nevei
"uisguiseu." They keep theii giaininess anu the pioblems with the negative if not of the
piints: low uefinition, stains anu sciatches that show, in the uiffeience between one shot
anu anothei, theii oiigin anu status. Anu the uocumentaiy images aie not "cleaneu" of the
"boys" looking into the cameia. What is foibiuuen in classical fiction is no longei the iule:
the combat footage attests that "this" happeneu anu paiticipates with the fiction in
constiucting the ultimate iepiesentation of events. Wai uocumentaiy films uissolve into
the fiction.

Bwan uses close shots anu close ups of the soluieis, an auuacious anu iisky choice, giving
the alieauy-seen (in Technicoloi) images a new possibility, foui yeais aftei Iwo }ima, to
"look at" the spectatoi.



Fiom one to the othei anu to the thiiu: the filmic link allows the close upfleetingly
violentto be the continuation of the uocument, oi maybe to (,()$-0#L it. The oiiginal
shoit films, howevei foimatteu they may be, aie stiiking foi theii haishness, theii
exhibition of bouies anu wounus, the ueath gestuies, the uisoiuei anu the uestiuction,
cauaveis of soluieis floating in the watei (at Taiawa), faces maue thin by haiuships oi pain,
lost gazes, ieal ueath on cameia.

8%#59H9 task is to establish G#5(, %#"$-(, 2",. in people's memoiies a violence they've
alieauy witnesseu.

@6) A06)B C0#B&

Bwan accomplishes this by uiscieetly uisplacing the centei of the film: the ascent towaius
the emblem (the flag iaising) is also a voyage into the masculine psyche. Anu, moieovei, a
stuuy of the ueepei meaning of the soluiei's expeiience: a question about iemembeiing it
anu how to iemembei it. Not how to go thiough it but what uo with it. It is less about
becoming a monument than living afteiwaius.

265
The tone is set in the film's opening minutes. It will be less a mattei of uiscoveiing
"Seigeant Teiioi's"
4
ueepei qualitiesthe naiiative coues saiu it all in auvancethan of
exploiing what toiments anu sepaiates men in seaich of a connection, in shoit, it will be a
film about love. Stiykei is toimenteu by the absence of a son. Conway is toimenteu by the
piesence of a fathei. A son whose five yeais of silence have tuineu into a ghost anu a ueau
fathei whose ghost is eveiywheie.

1(27B)* #8 06) ;#7.9)

8%#59 piogiesses fiom uouble to uouble, fiom couple to couple, fiom ieflection to
ieflection. Fiom a sciipt that biings togethei the gamut of patteins anu clichs aiounu the
alieauy familiai chaiactei of the "biutal leauei with a seciet" (anu thus haiuboileu Wayne),
Bwan's uesign of the sequences anu of theii uuiationthe balance of the euiting anu the
.09( (# 91U#( of the uialoguecieates an almost uizzying game of miiiois in which the
chaiacteis aie always moie than themselves.

The cential fathei-son couple is manifesteu in uoubles anu commenteu upon by paiallel
paiis. Aiounu the fathei-son couple is a choii: situations stageu as vaiiations on the main
situation, that woik to make what is beyonu the single fathei-son ielationship iesonate
anu be heaiu. In the iigiu fiamewoik of the "Pacific film," Bwan ueploys the multiple foims
of a novel. A novel about feelings as they happen on the masculine siue.

The Stiykei-Conway (fathei-son) ielationship is constiucteu in two equal paits. The fiist
pait (the conflict) uiaws a paiallel between the escalation of the veibal violence anu the
escalation of the physical violence. Conway's meanei anu meanei woius to Stiykei aie
iesponueu to with an incieasing intensity of the uesiie to kill. Anu each one finus himself,
alteinately, almost ieauy to kill: at Taiawa, Conway yells at Stiykei to launch an assault on
a bunkei as if he was senuing him to uie anu Stiykei seiiously thieatens Conway who calls
him a monstei. This movement has its uouble: an olu conflict cieateu Thomas' animosity
towaius Stiykei. At Taiawa, Thomas commits a majoi mistake by leaving his fellow
soluieis without ammunition. When Stiykei finus out, the two men fight. Eveiy
ielationship has physical stakes; eveiy ielationship giows until it ieaches the thiesholu of
muiuei in oiuei to iesolve itself.

uame of miiiois: Conway confiues in Bunne (the naiiatoi) his uesiie to maiiy the young
woman he has just met. This heio-confiuant couple that will ietuin latei on (Conway
confiues in Bunne that he has a piemonition of ueath), has a "twin": the Stiykei-Bass
couple, in scenes wheie, foi the most pait, Bass piotects Stiykei by constantly asking him
to ieaffiim the tie that binus them. Stiykei even calls him an "olu maiu" anu one of the
soluieis calls him a "uog following his mastei."

266
Conway-Bunne, Stiykei-Bass: two figuies of fiienuship, two figuies of the neeu foi
connection.

The netwoik of couples involves both main anu seconuaiy chaiacteis. To the Allison-
Conway couple that uances in the awe of love at fiist sight iesponus, like a giimace,
Stiykei's giotesque uance with the left-hanueu soluiei who is leaining to use his bayonet.
To the escalating physical violence between Stiykei anu Conway, iesponus in majoi the
settling of scoies between Thomas anu Stiykei anu in minoi, the constant uisputes of the
insepaiable biotheis fiom Philauelphia ("city of biotheily love," the "comeuian" iemaiks).
Whatevei theii uiffeiences in age, in uiamatic moments as in playful moments, all these
men have tiouble conceiving an expiession anu a ciiculation of affects between them.

The main chaiacteis of 8%#59 "2 >A" @0.% aie cieatuies uepiiveu of speech (in contiast to
the talkativeness anu wiseciacking of the seconuaiy chaiacteis). They must leain to speak
(anu to talk to each othei). Conway iefuses to talk to Stiykei: what comes fiom Stiykei can
only be the voice of the ueceaseu fathei, the humiliating woius of an implacable
4"..%#5%$",(. Stiykei conceues to Bass: "If you uon't talk to me, who will." Thomas sinks
into his guilt because he uoesn't uaie talk about it. Anu by the way, the Italian Ameiican
comeuian says to him, "You haven't spoken to me since Taiawa." Anu what aie we to make
of the "little voice" that haunts Conway anu makes him say that he won't come back fiom
the next battle.

Niuway thiough the film, the Conway-Stiykei ielationship changes uiamatically: the
seigeant saves the life of the soluiei who, absoibeu in a lettei fiom his wife, uoesn't see a
misthiown gienaue lanu at his feet. The one buining with a uesiie to be a fathei saves a
son. This son, in tuin, becomes a fathei with a will to bieak the line of uescent (to not
confoim to the oppiessive Fathei). Paiallel with this ieveisal, on Iwo }ima, Conway saves
Stiykei's life, attackeu by a }apanese snipei. Anu the lettei Conway was ieauing that set all
this off finus its paiallel in the posthumous lettei the gioup listens to aftei Stiykei's ueath.
It is haiuly ceitain that the Conway who concluues the film by saying Stiykei's fetishizeu
"Sauule up" to his comiaue is only an heii. Be is just as much, as the stoiy has constiucteu
him, a man who has leaineu to speak.

Allison, Conway's waitime wife, is echoeu by Naiy, the woman Stiykei meets in a bai.
Stiykei's wife's absence (she is nameu Naiy) is echoeu by Allison's absence. Stiykei's
absent son is echoeu by the image of Conway's son (who he only knows thiough a
photogiaph). Between these 0.%B(9 of sons is a ieal chilu, the one belonging to the lonely
woman whose quiet couiage calms Stiykei's toiment. A ieal chilu that Stiykei mistakes foi
a little giil. It is (of couise) a little boy.

267
These two women anu this chilu that is at once giil anu boy aie in no way minoi chaiacteis.
8%#59 is a man's film that Bwan uiscieetly tuins into a film %+"G$ men. Bwan's subtlety
uoes not neeu to "quantitatively" uevelop the iole of women: what is stageu twice
(AllisonNaiy) is the iuea that women aie the veiy conuition foi the possibility of
masculine speech fieeu fiom the toiments of piiue anu ghosts of the Fathei. Allison anu
Naiy biing Conway-Stiykei (two figuies of a same) fiom one 9$%$( to anothei.

1(27B)* #8 06) -#7D9)

The masculine chaiacteis in 8%#59 "2 >A" @0.% woiiy about being loveu - loving woiiies
them. They live in a woilu of men "longing foi love" wheie the question of filiation becomes
a question of life anu ueath. This innei novel holus to the balance that Bwan maintains anu
pieseives fiom any excesses thiough the epic chaige of the combat oi uiiectly
"mythological" episoues. The cutting anu fiaming pioceeu with a giammatical iigoi that
ieveals the film's ueep-seateu theme without complaisance anu without evei
compiomising its uiscietion.

The gioups of soluieis aie filmeu fiontally in static shots while they act anu speak (in a
tent, on boaiu a ship, on the battlefielu). The gioup is almost nevei bioken up by the
5V1"GT%B( as long as it acts as a gioup (whethei joking oi fighting), as long as it is a mattei
of obseiving the ielationships that tiaveise it. The couples (StiykeiConway, StiykeiBass,
etc.) talk in meuium shots (meuium-long oi meuium), fiontally, like they'ie on stage.
Seveial times, a lateial tiacking shot "ieviews" the chaiacteis, stopping on one couple anu
then anothei, until it ieaches the main couple of Stiykei-Conway.

The couple is also the majoi visual figuie.



Anu finally, the close ups, like the shot-ieveise shot sequences in meuium shotsiuptuiing
the quasi-theatiical fiontalitonly inteiceue at ceitain key moments in the "othei stoiy":
when the woius stiike. So that the woius liteially T(#($,%$( the image.

The haiuei the woiu (oi look), the moie it must be mateiially insciibeu into the faces.
268
As in the "climax" of Conway's hate foi Stiykei anu Stiykei's wounueu love. Stiykei is
coming fiom Naiy's, the single woman with the chilu, comfoiteu anu with his minu maue
up to stop "ciying foi himself." Be lets Bass uiag him into a bai. They see the gioup anu
Conway celebiating the biith of Conway's son. In othei woius, Stiykei is going fiom the
chiluhoou of the sons to the son who is giowing up. Stiykei alluues to his own son when he
tells Conway (in substance), "Wait till he gets to be ten anu uoesn't wiite anu you'll want to
punch him." The gioup iemains in the backgiounu, a uiscieet choii that witnesses the
uiama (the othei teim foi this couple is the viewei).

The fiame gets closei to Conway, with Stiykei on the euge. Be is stanuing up, Stiykei is
sitting; an inveision of the positions of authoiity between the young anu olu. Conway has
become a fathei. Be tells Stiykei that he hopes his son won't be like Stiykei oi Colonel
Conway (eithei of the hateu fatheis) but that he will be "intelligent, attentive, cultivateu
anu a gentleman." Conway's last sentence is insciibeu on Stiykei's face, iefusing him any
iight to iesponu: "Bo we unueistanu each othei." This sentence only gains its uouble
meaning (Bo we heai each othei.Bo we unueistanu each othei.) because it is heaiu ovei
a shot of Stiykei's face. The shot is shoit, just enough time to see a slight tic in }ohn
Wayne's left eye. Anu cut. It's ovei. The blow was uealt by the cutting. No complaisance. No
pathos. The film ietuins to the meuium shot of the thiee chaiacteis that openeu the scene
anu Stiykei chases away the soluieis. 0nly the Stiykei-Bass couple iemains, facing us.



When Stiykei-Conway's ielationship shifts, the same figuie is useu to expiess theii
affection.


269
Eailiei in the film, this figuie hau signifieu, in an oveiwhelming "shot-ieveise shot in
hiuing" between Conway anu Stiykei, that it was impossible foi these men to speak 0# $-(
9%.( 9-"$ without uiiving each othei mau. Conway is confiuing in Bunne while Stiykei,
lying next to Bass, listens to him. Fiom the heio-confiuant couples, the uialogue moves to
closei shots of the two men who aie not speaking to one anothei but who the shot-ieveise
shot biings togethei aiounu a "non-heaiu". "Leave a little bit of youiself, as long as you
won't be foigotten": it's Stiykei who heais him. But it is not to him that it is being saiu.

Constiuctions in couples anu in miiioieu images. Boubleu men.




In this economy of .09( (# 91U#( which is iepeateu at each step of the ielationship between
the main chaiacteis anu which gets the actois' best peifoimances, meuium shots anu close
ups aie nevei the easy solutions of the cheap commeice of pieuictable emotions. The faces
of the chaiacteisactois invauing the scieen aie, quite liteially, the invasion of the scieen
by emotion.


270
C(9)$0 1(9%E /$4 30 06) !$45 06) 19/2

The flag appeais five times befoie the iepiouuction of the flag iaising. It is given to the
gioup's comeuian Ragazi the Italian Ameiican. Its iconic foice is uistiibuteu amongst the
"common people" of the chaiacteis. Befoie Taiawa, Ragazi leains how to folu a flag in a
scene wheie the haiuly exciteu last sentence ("What u'ya know") may be ieueemeu by the
sequence's uocumentaiy chaiactei. At Taiawa, this same Ragazi misses the occasion to
hoist his flag anu tucks it (well folueu) into his shiit. Then the icon becomes moie piecise: a
match cut associates the flag waving on Taiawa with the flag wiappeu aiounu a coipse in
the combat footage (see above). No neeu foi Bwan, the enemy of complacency, to
"iepiouuce" a buiial at sea scene. The memoiy of the alieauy-seen images suffices. This
happens also because this filmmakei of balance contains any possible floouing of the
moment by the "alieauy known, alieauy seen." 0n the boat taking them to Iwo }ima, Ragazi
takes out his flag anu says he is ueteimineu to iaise it ovei Tokyo. The last time that a
fuiious Ragazi will be uepiiveu of a chance to iaise his flag will happen on Iwo }ima: the
flag Stiykei confiues to the thiee suivivois is anothei one.

To ietain oi uefuse the emotion the well-known object woulu piouuce 0# %5I%#1( anu to
constiuct the icon by confiuing it to a minoi chaiactei: two ways to give anothei life to the
inevitable, anticipateu monument, so that no one will touch it foi a long time.



271
It uoesn't take long to see how much 8%#59 is the woik of a silent filmmakei. The scene at
the enu of the flag iaising is one of the most obvious signs of that. Stiykei gives the flag that
must be planteu on Nount Suiibachi to a "fiist squau": this is the moment of the cameo of
the thiee suivivois wheie we notice above all that Iia Bayes, the outsiuei, is looking
elsewheie as if he weie not theie.



Last uialogue between Conway anu Stiykei: the "little voice" of feai has uisappeaieu. Anu "I
nevei felt so goou," Stiykei says. A snipei's bullet hits him in the back. Be falls backwaius.
While, in the backgiounu, the combat photogiapheis climb towaius the summit, Thomas
finus on Stiykei's bouy an unfinisheu lettei to his son. Be ieaus it alouu to the othei
soluieis as they ciouch aiounu the bouy. The film cuts fiom face to face. Conway takes the
lettei anu says, "I'll finish it foi him." 0vei the sounu of a uium ioll comes the fiist shot of
the iepiouuction of the flag iaising. Bill uenaust's shot was not enough: too shoit, fiameu
too close. It isn't monumental enough, not as monumental as the photo. Bwan cuts togethei
thiee shots of his caieful iepiouuction, not one moie: enough so that his main chaiacteis
iaise theii eyes (one by one, in close up) anu then get up while the Naiines hymn begins.
Final shot of the iepiouuction: the flag is iaiseu. A new seiies of close ups on the faces to
the sounu of the hymn, this time not with theii heaus up, but as if they weie watching the
flag scene in fiont of them, against all iules of spatial continuity.

272


Conway loweis his eyes towaius the famous shot of Stiykei's ueau bouy, his face against
the giounu.



It's in a close up that Conway iaises his eyes again anu exclaims, "Sauule up," the expiession
Stiykei shouteu to get them moving. A shot of the gioup tuining aiounu anu walking away
in the smoke of an invisible bombing iaiu ovei which appeai the woius "The Enu."

This enuing, as "monumental" as it may seem, is the conveigence point of the two stoiies:
an enuing with an euifying moment (the lettei befoie the flag), a heavy scieenwiiting
aitifice, wheie the sounu coulu be missing, ieplaceu by a title caiu that woulu take its
pathetic coloi fiom the cutting, the euiting anu the non-continuity. Bwan's othei stoiy, on
the othei hanu, uemanus that the haishest sentences in Stiykei's lettei - "I want you to be
like me in some things but not like me in otheis - I'm a failuie in many" - be -(%,5. In
Bwan's giammai, it's on a close up that it is heaiu, which must be a close up of Conway.
When the flag will have been iaiseu, it will not be at it that Conway will be looking but
insteau at a name anu a wounu on a faceless bouy. Conway's final iesolution unuoubteuly
takes on a sense that goes beyonu the clich anu ihetoiic of the pioject. The place he takes
is not just the continuation of a soluiei's obligation. It is not the flag that ueciues the whole
movement. It is a touching bouy, an absuiu ueath, an unseen face. Conway's place is in the
company of men.
273
380)BF/B4*

Eveiything having been "tolu in auvance," all that was left foi Bwana passionate
stoiytellei of feelingswas piobably only what is funuamental, what is ueep. What his
.09( (# 91U#( make these men iepiesent (incluuing 4"..(#5%$",( Wayne) is an
anthiopological question: what will men 5" with wai expeiience. Liveu oi seen (cinematic
oi ieal), the expeiience of wai is one of the moments wheie ielationships between people
take on an intensity foieign to "eveiyuay life." Conway says it, at the beginning of the film:
"When you get out heie, you'ie close to things."

To go fuithei, to see ueepei into things, to leave something foi oneself, not to be foigotten:
foi Stiykei anu ConwayBwan's uouble voiceit is a mattei of escaping assigneu social
ioles anu male folkloie anu 1"#9$,G1$0#B the expeiience of wai. Neithei as a iepositoiy of
clichs noi as the iepetition of inheiiteu gestuies. To not foiget is not a mattei of
monuments, it is making possible the fiee thought of expeiience, outsiue of the iueological
injunctions of the times.

This will also be one of the questions in 80)I(, /"5(: how to make one's own path thiough
the jungle of stoiiesalieauy seen anu alieauy knownof clichs anu piejuuices, in oiuei
to testify about the past anu cieate a futuie. The only iesponse in the seciet novel of 8%#59
is to accept the game of emotions, to love anu to speak, in a human community fieeu of the
ghosts of oppiession.

Foi Eugaiuo Cozaiinsky, ."5(9$%.(#$(


1
Stephen E. Ambiose in 8-""$0#B E%,S E",)5 E%, >> 4".+%$ 4%.(,%.(#.
2
Naiines iaising the Ameiican flag on Nount Suiabachi Febiuaiy 2S, 194S. Anu uon't
foiget 7)%B9 "2 DG, 7%$-(,9.
S
It's even the basis foi a famous photogiaph of fiiefighteis on 911.
4
The Fiench title of K%L( $-( C0B- 6,"G#5 (8(,B(#$ )% $(,,(G,).
274

8WPPX3?XP (19Su)

Cullen uallaghei



***
8G,,(#5(, (19Su) belongs to the same westein-noii cycle of the late 194u's that woulu
incluue Anuie ue Toth's P%.,"5 (1947)< Raoul Walsh's RG,9G(5 (1947) anu 4")",%5"
K(,,0$",F (1949), Robeit Wise's ')""5 "# $-( !""# (1948), Naik Robson's P"GB-9-"5
(1949)< anu Anthony Nann's K-( 7G,0(9 (19Su) anu E0#1-(9$(, :YZ (19Su). These movies
shaie in common a visual aesthetic, chaiactei set, anu lack of moial centei moie
ieminiscent of 20). #"0, than the tiauitional westein Roots of this geneiic shift can be
tiaceu back to }ohn Foiu's poetic compositions anu sombei unueicuiients in !F ?%,)0#B
4)(.(#$0#( (1946), the staik moiality play suiiounuing a lynching in William A. Wellman's
K-( D[N'"A >#105(#$ (194S), anu even Lillian uish's psychic tiauma anu hallucinatoiy
imaginings in victoi Sjostiom's K-( E0#5 (1928).

The stoiy is an unueiwoilu hoise opeia that ievolves aiounu Ciystal Palace Bai & Casino
ownei uieg Belaney (}ohn Caiioll), anu the peimutations of liaisons between himself, his
best fiienu }ohnny Bale (William Ching), anu a paii of sisteis, the goou-giil }anet Baiton
(Naiia Palmei), anu hei golu-uigging, man-eating sistei violent (veia Ralston), while, local
Sheiiff William Bowaiu (Waltei Biennan) scouis out ieason to lock up Belaney.

Belaney, like Bwan himself, is a man who uses his hanus anu his minu. These evei-piactical
ciaftsman-innovatois coulu be founu thioughout Bwan's filmogiaphy, fiom Bouglas
Faiibanks' swashbuckleis, manipulating the space aiounu them, to Tyione Powei's
275
engineei in 8G(J (19S8), who masteis space in quite a uiffeient way, to Bennis 0'Keefe
economic stiategizing in ',(A9$(,:9 !0))0"#9 (194S), anu especially }ohn Payne's seigeant in
C")5 '%1L $-( 30B-$ (19S6), who leaus his unuei-aimeu tioops on a ietieat of almost
ceitain uoom. Eviuent thioughout, Belaney's piagmatism is paiticulaily noticeable in the
opening scene as he eluues captuie, uefeats his attackeis, anu conspiies to outwit the
Sheiiff; oi latei on, aftei he pays off a blackmailei anu aiianges foi him to lose back all the
money in Belaney's own casino.

Beitianu Taveiniei uesciibes Bwan as "the most Rousseauiste of Ameiican filmmakeis":
since he "iaiely conuemns his chaiacteis, they can behave honestly." In 8G,,(#5(,, the
absence of someone within the naiiative who can act as a cleai moial anchoi peimits a
ceitain fieeuom foi the chaiacteis to make uecisions that, in othei films, woulu be
weighteu with moie juugment. Bwan uoesn't seem to be botheieu by the moiality behinu
his chaiacteis' uecisions. It is uecision anu action, iathei ethic anu implication, that he is
most inteiesteu in exploiing.

8G,,(#5(, also is also chaiacteiistic of Bwan's visually expiessive anu uynamic
compositional style: fiom its thiilling, tenebious opening chase, to the opulent casino
sequences, to the mystical, neai-spiiitual final chase thiough ueseit mountains in the
moonlight. 8G,,(#5(, begins at night, with the kinu of clanuestine cinematogiaphy anu
geometiic ieuistiibution of space thiough light anu shauow suggestive of the Anthony
Nann-like paianoia. Bensely plotteu with layeis of ueceit anu puisuit, howevei, it is also
iemaikable foi its Bwanian naiiative concision. As henchman suipiise Belaney, violence
eiupts, punches aie thiown, shots aie fiieu almost anonymously in the night; moments
latei uale's puisuit of Belaney to labyiinthine back alleys of woouen ciates anu sacks of
giain, well out of view of the main stieet, builu to the image of Belaney's silhouette,
piojecteu against a wall, stabbing uale with a swoiu.


276

The inteiplay of light anu shauow is a stylizeu game of peisecutionone that exemplifies
the way that Bwan was able to uiess (anu ie-uiess) lacklustei B-sets into cinematically
chaigeu anu intiicately uetaileu spaces. The iest of the film takes place piimaiily inuoois,
but heie too, Bwan counteis his spatial limitations thiough geneious uecoiations to
amplify both the quality anu volume of his sets. The uecoiations of the Ciystal Palace Bai &
Casino seem moie suiteu to a glossy NuN piouuction than a Poveity Row oatei fiom
Republic. Chanuelieis, miiiois, uensely patteineu wallpapei, thick cuitains, anu aicheu
uooiways pioviue uepth, textuie, elegance, anu shimmei to what aie, most likely, iecycleu
sets fiom westeins past. Bwan biings the space to the cameia, iathei than taking the
cameia thiough the space: tight meuium shots make what's theie seem to spill ovei.
Similaily, violet anu }anet's house, ueckeu out in uecoiative wall papei, tabletop sculptuies,
fiameu pictuies on ciowuing eveiy wall, uooi fiames, laige winuows, a stately fiieplace,
wall oinaments, antique lamps, canulestick holueis, anu even spikeu beuposts iesembling
meuieval toituie weaponsoffei the impiession both of a peisonal space that is veiy
liveu-in, as well as a cinematic set whose buuget woulu seem much highei than it actually
was.

Chaiacteiistically, Bwan maishals his iesouices foi only the most ciucial cameia
movements, which seem all the moie expiessive in the context of his tiauitionally static
uecoupage. A spectaculai ciane shot, moie suggestive of ueoige Cukoi, victoi Fleming, oi
any of the othei NuN loius of majesty, opens the weuuing of Bale anu }anet; anu in violet's
shopping excuision uown Nain Stieet, the cameia moves lateially along the stieet to
follows hei fiom venuoi to venuoi. Both initiate two of the film's only peisonable scenes:
the weuuing ieception of the foimei, anu a stioll thiough town in the lattei. The stieet
seems alive with peuestiians in this lattei, open-aii shot, bustling with the young anu olu,
people coming anu going fiom behinu anu in fiont of cameia. As in 4%)(#5%, 60,) (1947), >
?,(%. "2 @(%#0( (19S2), anu 8A(($-(%,$9 "# R%,%5( (19SS), we see Bwan heie at his most
peisonable: theie's a love anu affection foi atmospheie, foi small-town people, anu foi
uaily life, the soit that gets oveilookeu in most movies. Watching this sequence, like the
backstage cainival glimpses in 8A(($-(%,$9 "# R%,%5(, one wishes that these moments
coulu last foi moie than just meie seconus, that Bwan's cameia coulu pass fiom peison to
peison, lingeiing long foi a moie intimate encountei. Insteau, the uemanus of a commeicial
naiiative film limit his inteiaction. So, Bwan oveifills the scieen with moie people, moie
activity, moie uetail, anu moie life than the scieen can possible contain. It's a maivelous
sequence, one of the few examples of heait in an otheiwise colu anu baiien noii.

But Bwan saves the most visually impiessive sequence foi last, as Belaney attempts to
outiun Sheiiff Bowaiu while feiiying violet safely acioss the Nexican boiuei. Wheieas
most of 8G,,(#5(, is composeu in tight meuium anu meuium-long shots, heie Bwan, pulling
his cameia way back, composes the finale in extieme long shots that maximize the visual
277
expanse of the mountains anu miniatuiize the chaiacteis in flight. In a way, the epic
piopoition of these images iecalls the ueseit vistas uuiing the canal uigging sequences of
Bwan's compaiatively big-buuget 8G(J: both episoues shaie an elemental spiiitualism, an
ominous atmospheie seemingly in awe, even afiaiu, of the powei of eaith, winu, anu sanu.
Beie, Bwan's images uiaw out ueep shauows that caiess the folus of sanu anu iocky
cievices, anu lingeis on the clouus of uust unuei the pounuing hoises' hooves, iising like
phantoms fiom below the eaith. Baish jaggeu iocks anu fathomless, all-consuming
shauows combine to foim some teiiifying geogiaphy, a nightmaie space of ominous
majesty; its imposing statuie looks to uiminish both the size anu significance of the
chaiacteis anu theii moital uiama. The people may be fighting foi life oi ueath, but the
gianueui of the lanuscape oveishauows the meaningless anu futility of theii conflict. As
Elmoie Leonaiu uesciibes in his novel 7",$F /%9-(9 D#(, "Theie was nothing out theie but
sky anu iocks anu ueseit giowth that lookeu as if it woulu nevei uie, but offeieu a man no
hope of life."

Shot uown by snipeis, Belaney anu violet uie in each othei's aims. 8G,,(#5(,'s final shot is
a iaie moment of symbolism foi Bwan. As cameia looks stiaight uown upon theii bouies, it
slowly iises, as though theii souls weie leaving anu ascenuing to heaven. As a cinematic
gestuie, Bwan's cameia movement offeis a sweeping emotional expeiience foi the viewei,
a spiiitual uplift that eniiches anu moves us outsiue the bounuaiies, once again, of an
otheiwise neatly ciicumsciibeu uiama.

278
!D3K*3* 'X//X (19S2)
Feinanuo F. Cioce



By the time !"#$%#% '())( (19S2) was ieleaseu, Allan Bwan himself coulun't keep tiack of
how many films he hau uiiecteu. When in 1916 he hau helpeu uevise elevateu tiacking shots
because B.W. uiiffith wanteu the cameia to soai ovei his Babylonian sets, Bwan was alieauy
an expeiienceu hanu in still-embiyonic Bollywoou, anu an inventive one: ieleaseu that same
yeai, !%#-%$$%# !%5#(99 bounces Bouglas Faiibanks Si. fiom ianch to uiawing ioom anu
back, keeping cowpokes anu uibanites tiauing places as if in a continuous game of musical
chaiis. 0f all the pioneeis who oiiginally pieceu togethei the Westein genie foi auuiences,
Bwan is the one most humoiously awaie of the uiess-up element inheient in actois ueckeu
out in cowboy hats anu guns anu elaboiate saloon uiesses, of how easily the noble 0lu West
outfit can become the baggy costume of faice. The stiaightfoiwaiu stuiuiness of 7,"#$0(,
!%,9-%) (19S9) segues into the knockabout chaiaue of K,%0) "2 $-( \0B0)%#$(9 (194u), anu the
Boigesian nightmaie of 80)I(, /"5( (19S4) follows the aciuic cat-fight of K-( E".%# K-(F
*)."9$ /F#1-(5 (19SS). The mateiial may fluctuate, but Bwan iemains unsweivingly luciu
as he ponueis each staikhysteiical masqueiaueit's the limpiu gaze of a contemplative
aitist making his way thiough poveity iow, someone who's weatheieu uecaues of stuuio
fashions anu ciises anu who cheeiily expects to weathei many moie.

In !"#$%#% '())(, the stuuio ciisis was simply a millionaiie's uesiie anu fickleness. In 1948
Bowaiu Bughes woulu loan out his piotg }ane Russell to Republic Stuuios foi a biopic of
"lauy banuit" Belle Staii, then buy the finisheu film anu shelve it foi foui yeais befoie
ieleasing it thiough RK0. Russell's pin-up ampleness iesembles the ieal Belle Staii's
sagebiush giit about as much as Faye Bunaway's New-Wave chic in '"##0( %#5 4)F5(
(1967) iesembles the ieal Bonnie Paikei's boxcai pugnaciousness, anu yet the actiess's
petulant pout piojects a ueaupan acceptance of the absuiu that haimonizes with the
279
filmmakei's own seienity. Russell's Belle is intiouuceu as a sullen wiuow anu ace
shaipshootei, iiuing with the Balton gang befoie staiting hei own bunch of outlaws.
Neuium-shots make up most of the compositions, ouuly ieminiscent of }acques Touineui's
Westeins like 4%#F"# R%99%B( (1946) anu 6,(%$ ?%F 0# $-( !",#0#B (19S6); the bluish tinge
of the Tiucoloi cinematogiaphic piocess gives the images a spectial quality, like a memoiy
fiom '(1LF 8-%,T (19SS) oi K,%0) "2 $-( /"#(9".( R0#( (19S6) oi othei chiomatic 19Sus
expeiiments. In a peiiou when postwai toiment was manifesting itself in incieasingly
violent visions of the West, Bwan's uniuffleu appioach anu abiupt flashes of silent-eia
techniquewanteu posteis supeiimposeu ovei hoise chases, a uissolve between images to
evoke a chaiactei's shock of iecognitiononly heighten the film's stiangeness.

"Women aie funny people," Bob Balton (Scott Biauy) tells Staii late in the pictuie, a view
shaieu by Bwan at least as eaily as uloiia Swanson's boisteious subway iiue in
!%#-%#5)(5 (1924). Linkeu by genie anu zeitgeist to Fiitz Lang's P%#1-" 3"$",0"G9 (19S2)
in its many betiayals anu venuettas anu banuit-chanteuse tiansfoimations, !"#$%#% '())(
might also connecteu to Fiank Tashlin's 8"# "2 R%)(2%1( (19S2) in its appieciation of the
lunacy of }ane Russell masqueiauing in buckskin. When the heioine uisguises heiself as a
man by hiuing half hei face behinu a blue hanukeichief with white uots, the pleasuie in
playing cowboy uiess-up is fuseu with the uiag exubeiance of Annabella in 8G(J (19S8)
anu Bennis 0'Keefe anu William Benuix in *+,"%5 A0$- KA" ]%#L9 (1944). A few scenes
latei anu the snailing biunette has tuineu into a blonue singei woiking the saloon ciowu,
the cameia panning fiom one uumbstiuck gamblei to anothei as Staii peifoims "The
uilueu Lily." Ailene Bahl anu Bebia Paget woulu showcase theii most peiveisely eiotic
siues unuei Bwan's uiiection, anu yet heie he views Bowaiu Bughes's famous object of lust
piimaiily as a shaip-witteu tomboy. (In anothei bit of pokeifaceu unueicutting of genie
staples, Anuy Bevine is almost baleful as a gieeuy infoimei, miles away fiom his stanuaiu,
sciatchy Foiuian buffooneiy.)

If much of !"#$%#% '())( haiks back to Bwan's comeuies, its closing session stiongly points
foiwaiu to 80)I(, /"5(, aiguably the best of the uiiectoi's late films. As in that subsequent
Westein, the chaiacteis finu themselves in an ominously ueseiteu town auoineu with the
celebiatoiy ieus, whites anu blues of the 0.S. flag. The sequence that followsa bank iobbeiy
followeu by a shootoutis at once the pictuie's most biutal anu most affecting passage.
Naking poweiful use of euiting, uepth of fielu anu movement, Bwan's cameia watches fiom
insiue the bank thiough the winuow as the Balton gang membeis appioach fiom the stieet,
anu then vigoiously shifts angles as aimeu ueputies aiming fiom balconies ieveal an ambush.
The foietaste of K-( E0)5 'G#1- (1969) is clincheu when the suiiounueu outlaws, exhausteu
anu finally out of ammo, calmly settle on a suiciual pact with the line "Let's walk out of this
town." In its unassuming stylistic viituosity, its humoi anu intensity anu ultimate tianquility
in the face of impossible ouus, the scene movingly suggests the paiauoxes of Bwan's caieei as
a seemingly mouest ciaftsman willing to stioll into hails of bullets.
280
8EXXKCX*PK8 D3 R*P*?X (19SS)
Bave Kehi




Thioughout his piouigiously long anu piouuctive caieei, Allan Bwan kept his woik fiesh
(anu himself employeu) by changing genies anu shifting moous eveiy few yeais. The
spaise Westein uiamas of his eailiest woik, in the waning uays of the nickeloueon, flow
into the exubeiant comeuy anu fluiu action of his Bouglas Faiibanks films of the late teens,
anu then into the uiamatically nuanceu iomantic comeuies that chaiacteiize his 192us
woik with uloiia Swanson (theie is no uoubt much moie to this peiiou, but so much of
Bwan's eaily woik has been lost that even bioau geneializations aie uifficult). The Sus finu
him fully engageu with the social issue films of the peiiou, fiom the anti-wai 4-%#1(9
(19Su) to the complex tieatment of iace ielations in D#( !0)( 2,". C(%I(# (19S7); late in
the uecaue he veeis abiuptly into bioau comeuy (K-( 6",0))%, 19S9), a vein he follows into
the manic faices of the wai yeais (WT 0# !%+():9 P""., 1944).

The enu of the wai finus Bwan unuei contiact to Republic, wheie the tenoi of his woik
shifts again. The fiantic pace of the waitime comeuies ielaxes into a lyiical moue, anu
elements of fantasyimpiobable coinciuences, seemingly miiaculous events, chaiacteis
who suuuenly buist into songcome to chaiacteiize what I think of as the "magic iealist"
peiiou in Bwan's woik: a gieat expansion of waimth anu optimism that leaus, mysteiiously
anu inexoiably, into the cool abstiaction of the final uecaue of films, maue foi the
inuepenuent piouucei Beneuict Bogeaus.
281
Anu yet, at the centei of this constant change, Bwan's peisonal themes anu stylistic
appioach iemain iemaikably consistent. The outlines of the uistinctively inuepenuent, self-
confiuent, self-actualizing Bwan heioine aie alieauy appaient in the eailiest of his one-ieel
westeins fiom 1911, as embouieu by his leauing lauy Pauline Bush (an active suffiagette,
whom Bwan woulu maiiy in 191S). Bis cameia, too, hau acquiieu much of its uistinctive
mobility by the time of ?%I05 C%,G. (191S), which contains one of the eailiest known uolly
shots in Ameiican movies.

The uolly shot becomes Bwan's piimaiy tool of expiession, cential to his concept of an
human-centeieu cinema, in which the peifoimeis themselves, thiough theii constant
movement, seem to caiiy the fiame along with them, iathei than being anchoieu as
elements of a static composition. To the enu of his woiking life in 1961, Bwan iemains the
champion of what might be calleu an anti-expiessionist cinema, in which cameia woik is
not useu to comment on the chaiacteis oi euitoiialize on theii metaphysical conuition, but
to piesent theii peisonal uynamics as fully anu cleaily to the auuience as possible. When he
neeus to iefiame the action foi uiamatic emphasis, Bwan will almost always piefei the
invisible giace of a cameia movement to the violent uisiuption of a cut. Fiom this flows the
wonueiful, piesent-tense vitality of his films, as if the stylistic choices weie being
ueteimineu on the spot, in iesponse to the spontaneous movements of the actois oi the
shifting emotional centei of the naiiative.

The counteipoint to the piesent-tense fieeuom of Bwan's films is the constiaining sense of
the pastthe weight of histoiy, tiauition, social conventionwhich Bwan most often
uiamatizes as geneiational conflicts within a family. Romantic attiactions can be, anu
geneially aie, immeuiate, complete anu iiievocable; couples aie foimeu with thiilling
alaciity in Bwan's movies, often at the initiation of women (Rochelle Buuson in K-%$ > !%F
/0I( (19S7), Annabella in 8G(J (19S8), Peggy Noian in K,%0) "2 $-( \0B0)%#$(9 (194u), Ruth
Waiiick in ?,02$A""5 (1947)) who foithiightly ueclaie theii love anu uefy social
convention to puisue the men they have chosen. (As an instinctive feminist, Bwan often
celebiates autonomous women in a way many celebiateu "women's uiiectois," like Cukoi
anu Ninnelli, seem baiely able to conceive; as Shiiley Temple, in many ways the peifect
embouiment of the Bwan heioine, iepeateuly ueclaies in Rebecca of Sunnybiook Faim
(19S8), "I'm I(,F self-ieliant.")

But as gloiiously uiiect as iomantic ielationships can be in Bwan's woik, extenueu family
ielationships aie almost invaiiably complex anu fiaught with emotional conflict. It is a
contiast that Bwan uevelops acioss the couise of his long caieei, thiough all the shifts in
genie anu tone.

The vast numbei of absent oi estiangeu fatheis in Bwan's films has been wiuely noteu, anu
some of Bwan's most viviu woik centeis on absentee fatheis stiuggling to make up foi
282
theii neglect of theii chiluien: Bolmes Beibeit in X%9$ 805(< E(9$ 805( (1927), uiant
Nitchell in !%# $" !%# (19Su), victoi NcLaglen in E-0)( R%,09 8)((T9 (19S2), Eumunu Lowe
in ')%1L 8-((T (19SS). Significantly, it is the abanuoneu sons who wallow in angei anu self-
pity (ueoige 0'Biien in X%9$ 805(< E(9$ 805(; Phillips Bolmes in !%# $" !%#), while the
abanuoneu uaughteis, fiom Naiion Bavies in 6($$0#B !%,F !%,,0(5 (1919) to Natalie Woou
in ?,02$A""5 (1947) cock theii chins anu get on with theii lives.

When paients aie piesent anu accounteu foi, as they aie in an equally imposing numbei of
films, Bwan often plays the situation foi comeuy, with the chiluien managing theii paients'
tioubleu maiiiages oi chaotic emotional lives. Bwan enjoys ueveloping paiallel plots that
iange acioss geneiations, as in ]"G#B R("T)( (194u), in which Shiiley Temple meuiates
between hei auoptive paients, a paii of iowuy vauuevillians (}ack 0akie anu Chailotte
uieenwoou) anu the elueis of the conseivative New Englanu town to which they have
ietiieu, oi 7,0(#5)F X#(.0(9 (194S), in which two quaiielsome olu men (Chailes Winningei
anu Chailes Ruggles) thieaten to uisiupt the engagement of theii chiluien (}ames Ciaig anu
Nancy Kelly). Equally, it's the chiluien who enu up taking chaige of wiuoweu paients, like
}ane Fiazee in Calenuai uiil (1947), who guiues hei fathei (victoi NcLaglen) into a
ielationship with hei uancing teachei (Iiene Rich), oi the biotheis in the 19S8's @"9($$(
(Bon Ameche anu Robeit Young) who tiy to steei theii playboy fathei (William Colliei, Si.)
away fiom a golu-uigging chanteuse (Tala Biiell).

All of these themes come togethei in 8A(($-(%,$9 "# R%,%5( (19SS), one of Bwan's least
known films, but to me, one of his most beautiful anu fully iealizeu. The last of the foui
musicals Bwan maue at Republic, 8A(($-(%,$9 is a sequel of soits to the appaiently
successful > ?,(%. "2 @(%#0(, a 19S2 Republic special, piouuceu in the stuuio's thiifty but
unstable Tiucoloi piocess, which featuieu the tenoi Bill Shiiley as 19
th
centuiy composei
Stephen Fostei, the baiitone Ray Niuuleton as Euwin P. Chiisty, the minstiel-show
peifoimei who populaiizeu Fostei's music, anu the sopiano Eileen Chiisty as the }eanie of
the title, a fictional (but eminently Bwaninian) chaiactei who falls in love with Fostei anu
iescues him fiom hei manipulative sistei (anothei favoiite Bwan plot uevice).

0nly Niuuleton was a stai, of a soit, having come uiiectly fiom the foui yeai Bioauway iun
of *##0( 6($ ]"G, 6G#, in which he sang opposite Ethel Neiman. Shiiley's futuie celebiity
woulu come with two film in which his face was not seen: pioviuing the voice foi the Piince
in the 19S9 Bisney featuie 8)((T0#B '(%G$F, anu }eiemy Biett's singing voice ("0n the Stieet
Wheie You Live") in Cukoi's 1964 !F 7%0, /%5F. "Intiouuceu" in @(%#0(, the peit, blonue
Chiisty maue no moie films aftei hei Republic contiact expiieu, though hei singing caieei
continueu; notably, she appeaieu opposite }ohn Raitt in a 196S ievival of 4%,"G9() uiiecteu
by Richaiu Rougeisa piece that shaies some BNA with Bwan's 8A(($-(%,$9.

283
@(%#0( woulu laigely be an excuse foi Bwan anu his gifteu musical uiiectoi, Robeit
Aimbiustei (unaccountably uncieuiteu on the film), to assemble a numbei of public
uomain songs into a musical ievue that suggesteu one of NuN's (vastly) biggei buugeteu
songwiitei musicals, like E",59 %#5 !G901 (1948) oi K-,(( /0$$)( E",59 (19Su). Auuing a
seconu sopiano, Lucille Noiman (fiesh fiom the Waineis musical flop R%0#$0#B $-( 4)"G59
A0$- 8G#9-0#( (19S1)) to the cast, 8A(($-(%,$9 "# R%,%5( seems to have begun in a similai
impulse, with Fostei augmenteu by }ohann Stiauss anu a numbei of lessei known 19
th

centuiy composeis, none of whom woulu stiain Republic's coffeis with ioyalty payments.

But in 8A(($-(%,$9 "# R%,%5(, a fai moie ambitious anu in many ways moie peisonal effoit
than @(%#0(, the uepth of Bwan's commitment is cleai fiom the film's fiist spoken woius: a
chaiming bit of uoggeiel that evokes Kokomo, Inuiana, on "a soft }une uaysome eighty
yeais ago." The veise is Bwan's own, as aie some of the othei lyiics heaiu in the film, anu
the voice belongs to }ames Kiikwoou, a membei of B.W. uiiffith's Biogiaph stock company
whom Bwan hau uiiecteu in foui films in 192u (incluuing "The Scoffei," which Kevin
Biowlow has iecently ieuiscoveieu).

Kokomo was not fai fiom the 0niveisity of Notie Bame, wheie Bwan hau stuuieu electiical
engineeiing fiom 19uS to 19u7, but the iuyllic Niuwestein town of "Sweetheaits"evokeu,
with amazing economy, thiough two inteiioi sets anu what looks to have been a biief
location tiip to Lake Aiiowheauhas little basis in ieality (Kokomo was, anu iemains, an
inuustiial city). If theie is an immeuiate connection foi Bwan, it is piobably in the figuie of
Bill Shiiley's chaiactei, Bill uamblea meuical uoctoi who has given up piacticing his
piofession in favoi of peifoiming with a tiaveling meuicine show, just as Bwan hau
abanuoneu his engineeiing stuuies in favoi of joining the scaicely moie iespectable eaily
motion pictuie inuustiy. Bill's best fiienu anu tiailei-mate is, similaily, a lawyei who has
thiown ovei the law to puisue his passion foi poetiy; playeu by Baiiy Caiey, }i., }im Riley
tuins out to be }ames Whitcomb Riley, a histoiical figuie who latei became a populai poet.
In keeping with the magical tone of the film, he fiequently speaks in ihyme.

Bwan, always a mastei of stiuctuie anu pacing builus the film (fiom a sciipt by Bouston
Bianch, who eaily in his caieei hau wiitten the play that became William Wellman's
nightmaiish 8%2( 0# C()) (19S1)) as essentially a non-stop seiies of musical numbeis, which
seive less as embellishments to the plot than its basic naiiative units. (The singing stops
only uuiing the melouiamatic complications of the last act, as Bwan stiategically holus
back the emotional ielease that the chaiacteis finu in peifoimance until the final
iesolution.)
The film opens with a magically piofessional peifoimance of a Stiauss waltz (with auueu
lyiics by Bwan) by an oichestia of chiluien aiiayeu acioss the poich anu fiont lawn of
Kathleen Townsenu (Lucille Noiman), Kokomo's piemieie music teachei anu the mothei of
hei stai pupil, the singei anu pianist Sylvia (Chiisty). A pioposal fiom the town's stuffy
284
uoctoi (Clinton Sunubeig) piompts Kathleen to summon up suppiesseu memoiies of hei
pastof hei caieei on the stage anu hei faileu maiiiage to a piomising opeia stai
(Niuuleton). Bwan iaiely inteiiupts the flow of his piesent-tense style with flashback, but
when he uoes, his ieasons aie consiueieu anu expiessive, anu so the ieason foi the stylistic
uepaituie soon becomes biilliantly cleaithe iemembeieu image of Niuuleton's Cam
Elleiby immeuiately summons up the ieal thing, as Bwan cuts to the wagon tiain of Cam's
meuicine show, passing at that piecise moment befoie the house of the two women. The
beautiful Sylvia, watching fiom the fiont yaiu, catches the eye of both Cam (singing
"Roving," again with lyiics by Bwan) anu Bill, occasioning a fluiiy of inteicut point-of-view
shots, the cameia panning with Sylvia's iegaiu as she watches the wagons pass, anu
moving away with Cam anu Bill, as they look back at the giil who is watching them with
such inteiest. A magnificent panning shot taken fiom a moving uolly captuies Sylvia
iunning back into the house to tell hei motheis of the visitoisa thiilling moment of
fieeuom, giace, anu bounuless eneigy that poweifully evokes the loose, swinging style of
Bwan's Bouglas Faiibanks films.

The ietuin of the absent fathei (though it will take a few ieels foi Kathleen anu Sylvia to
uiscovei Cam's tiue iuentity) is bieathtakingly conflateu with the biith of the peifect love
(as a thunueistiuck Bill tuins to watch Sylvia iun into the house)two key Bwan moments
that heie become one. The balance of this swift, compact film (the stoiy coveis peihaps 48
houis, the length of the 0galla Neuicine Show's stay in Kokomo) is uevoteu to soiting out
anu iesolving the poweiful emotions piouuceu by this "acciuental" encountei.

Bill anu Sylvia confiim theii bonu, again thiough a seiies of caiefully matcheu cameia
movements following the same iight-to-left flow of the passing wagon tiain, in a musical
numbei ("Young Love," with music by Fianz von Supp anu lyiics by Bwan) set on the
shoie of the town's little lake. A visit to the tent show allows Bwan to examine this mobile
community in uetail, outlining a whole netwoik of ielationships among its citizens, while
intiouucing Sylvia to the luie of the stage. Cam comes to life only when he sings;
otheiwise, he is a suily alcoholic, hiuing his feelings even fiom the show's female stai
Lolita Lamont (the Cuban singei Estelita Rouiiguez, who was heiself maiiieu to the
alcoholic Republic contiact playei uiant Witheis). A misunueistanuing, of the soit Bwan
playeu foi comeuy in his waitime faices, leaus Sylvia to believe that Bill is in love with
Lolita; Cam finus himself comfoiting the wounueu Sylvia as if he weie hei fatheiwhich,
when Kathleen comes looking foi hei uaughtei, he uiscoveis he is. It is left to the gallant
Lolita to set things iight, which she uoes by ievealing to Sylvia that Bill is in love only with
hei anu that Cam is hei long lost fathei, a selfless act that iesults in hei exile fiom the
community anu fiom the film.



285
Bwan coveis these impiobable inciuents with such speeu anu concision that they come to
seem both logical anu inevitable. With his engineei's sense of stiuctuie, he uses one plot
stianu to ieinfoice anu auvance the othei: Bill anu Sylvia's buuuing ielationship (it is, of
couise, spiingtime, anu the tiees of Kokomo aie in bloom) awakens Kathleen's memoiies
anu uoimant feelings; Cam's iecognition of his paiental iesponsibility towaiu Sylvia
iekinules his love foi Kathleen, anu pulls him out of his isolation anu self-pity. Anu finally, it
is in finuing theii tiue paitneis that Kathleen anu Sylvia uiscovei the fieeuom anu self-
confiuence that Bwan aumiies so much in his women.

8A(($-(%,$9 "# R%,%5( enus with a splenuiu moment of iauical ienunciationas the two
women abanuon theii home, theii community, anu the iespectable miuule class life they
have built foi themselveswith a jubilant iejection of mateiial gain anu social position
whose paiallel woulu be haiu to finu in the cinema of the 19Sus, oi of any othei eia. As the
show's wagons pass again in fiont of theii house (this time moving fiom left to iight, giving
the film a kinu of ciiculai, symmetiical closuie as well), the women baiely hesitate befoie
thiowing a few belongings into caipetbags anu joining theii men on the buckboaiu of the
leauing vehicle. They uo not look backtheie is no nostalgia in this nostalgic film, only a
sense of an eteinally unfoluing piesent, of a movement that will nevei enu. Bwan leaves the
exubeiant last line of uialogue, with its teasing, multiple meanings, to Baiiy Caiey's poet:
"We'ie iolling!"
286
WELC0NE T0 P0vERTY R0W:
ED!*3 KCX] */!D8K /]34CX? (19SS)
Alfonso Ciespo
Tianslateu by Baviu Phelps

Bwan, oi cinema as a uynamometei. Neasuiing foice, veiifying the toique, calibiating the
centiipetal anu centiifugal tension: the shot, sometimes magnetic, othei times allows itself
be caiiieu along on the stiength of its mobility anu go wheie it wants. What we have heie is
a iecipe of unueniable puiity, typical of the kinu of pioneei Bwan was, one ueeply
conceineu, in his eailiest foimulas, with the economy of the gag; with what might be calleu,
let's say, '%J0#0%#; anu with suggestions of all that's being uone anu unuone just off-scieen.
E".%# K-(F *)."9$ /F#1-(5 (19SS) is maikeu by unauulteiateu comeuy, anu this is
peihaps the way in which the film can anu ought to be thought of as a kinu of piototype foi
its immeuiate successoi 80)I(, /"5( (19S4) anu even foi anothei, ielateu title, @"-##F 6G0$%,
(Ray, 19S4).

The key heie, as in so many Bwan films, lies in the neai pioximity of intimate emotion to the
tongue-in-cheek, as if the fiist weie to violently buist in anu seize us thanks to the seconu;
the foimei iesembling an iiiesponsible uisplay of the lattei (like what Taiantino, foi
example, woulu spenu yeais attempting in a moie ghostly key, to vaiying iesults). Tiaces, if
we want to see it that way, of an iuea of classical cinema in which it was still possible to tiust
in the iesilience of genies (stockpiles of conventions anu familiai gestuies) in oiuei to
convey a message about the capacities of mankinu to impiove itself. That is to say that by
continuing to think, as Bwan might have, that love is ieally a miiacle, a piimaiy foice of
tiansfoimation, it becomes impossible to suiienuei even at the outskiits of the inuustiy.
Anu so to suivive in a biothel, as Sally Naiis (}oan Leslie) must in the stoiy, means foigetting
about all complaints, squeezing oneself into a low-cut uiess, anu painting a piominent
beauty maik onto stiategic locations. This is why Bwan shoulu be consiueieu not only as a
B-movie masteieven if the almost lyncheu woman anu the vaiious suppoiting chaiacteis
at hei siue woulu haiuly pale befoie the heioes of othei outstanuing Westeins maue in the
maigins of the eia, like 7",$F 6G#9 (Fullei, 19S7) oi K(,,", 0# % K([%9 K"A# (Lewis, 19S8)
but a mastei woiking in B-movies foi whom neithei an impoveiisheu buuget noi means
woulu weaken his extiaoiuinaiily subtle mise en scene oi mai his ethos, that one can not
iefuse to love the cieatuies that one films.
287











288
In that sense, amongst the most uigent anu uynamic stiategems of the subgenie, we might
ieseive a special place foi $-( ,(909$%#$ 9-"$, filmeu almost without emphasis, maikeu by that
moving simplicity mentioneu above thiough which cinema becomes simply a concentiation
anu uisplay of elemental foices. This is how, aftei the opening, which inteiweaves with
some comic panachea fiist echo of Buuel, anu not the only one, in a film in which Tottei
most iesembles Silvia Pinalcases of violence anu ueath (the Civil Wai, the pillages of the
heaitless posses, the lynching in Boiuei City, anu the assault of Quantiill's Raiueis, executeu
with all the uiligence anu uetachment of the cavaliy itself), Bwan finally allows us a bieathei
to piesent some of the chaiacteis. Taking the point of view of Quantiill (Biian Bonlevy) anu
his wife Kate (Auuiey Tottei), the shot-ieveise-shots establish a haiu, fixeu fiamewoik, like
the effect of facing a photogiaphei on theii paiaue to immoitality: theie is Sally, anu theie
goes Cole Youngei oi }esse }ames, enteiing oi uisappeaiing fiom an off-scieen space that is
felt as something moie abstiact than a iealistic extension of a human gazeanu moie like a
metaphysical back stage. Cinema sets these fates into motion anu agiees to suspenu
juugment 'til the enu, when we will know what ieasons these men anu woman, now looking
each othei, have to lie, to uiink, to stait iunning, anu to move thiough Bwan's shots.

Such contiactions, like sculptuial folus in time, holu back the spatial tuimoil, the tenuency
towaius movement anu masqueiaue, the temptation towaius the cainavalesque, anu it's
heie that Bwan's cinema becomes even moie acute. Pei Caimelo Bene, the only thing that
can actually happen in a movie theatei is foi the film itself to bieak, anu it woulun't be wiong
to unueistanu the +"G$%5( heie in this bioauei sense.
1
The imminence of a suuuen iuptuie,
which has been playeu with in cinema by phenomenalogists anu moueinists alike, ielates
even to the most couifieu cinema, anu coulu be thought of as one of the sensoiy anu
intellectual expeiiences fiom which "classical" ueiives its name. Beie, in the vauueville of all
these masks anu wigs, wheie male extias ciuuely impeisonate actiesses anu the winuows
aie ievealeu to be nothing moie than matteu ieai-piojections, Bwan, as he hau been uoing at
least since 1916 (!%#-%$$%# !%5#(99), anu woulu uo once again a yeai latei in the staitling
twists of 80)I(, /"5(, leaves the film at a stanu-still at the least expecteu anu least
appiopiiate moments. Anu so it's heie, when the situations, the atmospheie, anu the
chaiacteis exhibit themselves piismatically, that they ieveal themselves as foimulations of a
fiagile piesent wheie anything can happen. Alleigic to cynicism, the filmmakei looks at his
chaiacteis, then, foi all theii possibilities, foi theii openness to change, anu the euges of the
shot takes on anothei connotation. This is what happens when Kate Quantiill, iuthless, colu-
blooueu muiueiei, levels with Sally anu the iest of the saloon giils anu ieclaims hei olu
peisonality, hei nameKitty NcCoyanu hei aspiiation (always the uieam) to become
heiself again in anothei place. In a few seconus, camp anu paiouy aie abanuoneu, the shots
coalesce, anu the off-scieen space is signaleu on-scieen; theie aie no tiicks. 0ninteiesteu in
stoiylinethe gieat title of the film, like one of Biesson's, has alieauy sentenceu the
naiiative to its enuBwan, who was always less of a -%TTF (#50#B than )%9$ 9(1"#5 ,(91G(
kinu of uiiectoiuiiffith's lineagewho gets to the iesolution only at the tail-enu of the last
ieel, extiacts out his tieasuie, the peiseveiance of goouness anu of the necessity of saciifice
289
anu compiomise, fiom this woilu of swapping signs, in which eveiyone lets themselves be
caiiieu along by theii impulses anu uiives (once again Buuel: only in his Nexican peiiou
coulu a man, as heie, have confuseu his sistei with a piostitute, oi a young woman pass fiom
Puiitanism to iepeateuly bashing the heau of hei unconscious nemesis against the flooi).

It was Beleuze who summeu up the Ameiican uieam, anu its cinematic coiollaiy, in the
capacity of a community to think anu uieam itself to be othei than as it is, to be woithy of
change.
2
Even E".%# K-(F *)."9$ /F#1-(5 anu 80)I(, /"5(, as ieflections of a paianoiu
climate, the feai anu cowaiuace instilleu by Nacaithyism, paiticipate in this uesiie. Anu in
Bwan, such uesiie tenus to be the uomain of women. The Southein spy, the man foi whom
Sally comes to the point of being lyncheu, uoesn't want to abanuon hei to "this bunch of
ienegaues anu uiunks" (alcohol, as Beleuze will soon iecall, woulu soon be the piinciple
suiiogate foi oneiiic wistfulness), but as he is wounueu, eveiything falls to the hanus of the
women: as is, then, the uiity woik, the lie that will ieveals the tiuth anu ieconcile the
inuiviuuals anu the nation. As suggesteu above, E".%# coulu be consiueieu 80)I(, /"5('s
T,"$"$FT(: a piimitive veision of the lattei (no pejoiative meaning heie), its natuialist
vaiiation, paiticulaily foi all the histoiical uetail it acciues. Both films seem to testify to
what Lvi-Stiauss woulu wiite about Ameiica in K,09$( K,"T0OG(9, linking it, with obvious
cinematic implications, to a fount of malice: that Ameiica was a lanu that passeu fiom
baibaiism to uecauence without evei knowing civilization.
S
A faiiy tale paitly uiiven by its
magical uissolves, E".%# K-(F *)."9$ /F#1-(5 is one of the most beautiful anu enteitaining
of Bwan's pie-civilization paiables, all of which convey the same sense of longing. When all
is ovei, no uebts aie left to pay to conscience noi society, as both still appeai to be unuei
constiuction: neithei the sauistic mayoi, noi }esse }ames, Youngei, oi Quantiill anu his wife
ieceive any soit of punishment foi theii villainy. Almost nobouy tuins out to be what we
believeu them to be, anu eveiyone is gianteu the benefit of the $%+G)% ,%9%. Kissing,
whiskey... "I wish I was in Bixie."




1
In 4^'^ I(,9G9 10#(.%, television inteiview with Sanuio veionesi, 199S.
2
uilles Beleuze, 40#( >>^ /"9 90B#"9 5() ."I0.0(#$" F () $0(.T" (Buenos Aiies: Cactus, 2u11),
241-269.
S
Clauue Lvi-Stiauss, K,09$(9 $,_T01"9, (Baicelona: Austial, 2uu6), 11S-116.
"#$








%&'()*+,- . (//*0,-0 -1 /(*2 3- 4(&&-2%5
!"#$%& #()% 67#89:
7

(;<= 0>?@AB C;< 4DEE FBAG;


7
+BDHD;CEE= IJKEDLG>< CL ED;>B ;A@>L MAB @G> N>BLJL 3N3 D; OICD;P
Reseeing lhe magnificenl !"#$%& ()*%
by Dvan, I lhoughl lhal lhis -movie
gem funclions Iike an hourgIass,
minuleIy reguIaling lhe fIux of "vhal
comes in" and "vhal goes oul."
Informalion funclions as ure energy
and lhe narralive obeys onIy lhe Iogic
of lhe characlers' desire. An
unforgellabIe momenl, "cIassicaI" if
you viII, vhen lhe cinema of series
and genres, on lhe cus of lhe 60s,
acceIeraled and lended lovard lhe
diagrammalic. The +",%& )- ./012345&
momenl of cinema, lhe momenl lhe
macmahonians vanled lo reserve
under gIass. The momenl of Dvan.
The momenl of }ohn Iayne.
-Serge Daney (}ournaI de I'an
asse., +&2-"0 no. 1, 1991).
Frieze, Mister
If !"#$%& ()*% somelimes lakes on lhe quaIilies of a frieze, ils friezes are ereluaIIy
menaced by a lhird dimension. The slory begins vhen lhe fronlaIily of four
slrange horsemen enlering lovn on lhe 4lh of }uIy coIIides vilh lhe fronlaIily of a
grou of IocaI kids on hoIiday.
A slruggIe for over, for lhe viII of a lovn, !"#$%& ()*% is a fiIm of coIIisions.
To counler vhal lhey cIaimed vere
reckIess allacks by HUAC, a grou
of HoIIyvood IiberaIs Ied by
screenvriler IhiIi Dunne, vilh
Humhrey ogarl, Lauren acaII,
Idvard G. Robinson, Danny Kaye,
Gene KeIIy and olhers, eslabIished
lhe Commillee for lhe Iirsl
Amendmenl (CIA). The CIA
lraveIed lo Washinglon lo Iend ils
suorl as lhe eIeven "unfriendIy
vilness'" began lheir leslimony.
The commillee disinlegraled afler
lhe defianl leslimonies of lhe
HoIIyvood Ten.
!623*"3, +),%61%&7 8&%29"3, :42&6
If !"#$%& ()*%
seems lo recaII
lhese evenls al
cerlain oinls, il's
robabIy no
accidenl. The fiIm
vas vrillen by
Karen DeWoIf:
1909-1989, a Iefl-
ving screenvriler
;:44)"36<%36 "3
=)3*5&2/> vho
vas bIackIisled in
lhe second vave
of HUAC
hearings. Afler
!"#$%& ()*% she had
no furlher molion
iclure credils.
Iacing fronl is a oIilicaI geslure, as il vas vhen HoIIyvood's finesl slood logelher againsl HUAC.
The fake marshaI (Dan Duryea) vho vanls lo kiII Dan (}ohn Iayne) and lake everylhing he has is
named McCarly.
?@%A&% /) -)3* )- B237 C1D7 C%A&% "30#"3%* 6) -)&,%6 C% *)3A6 93)C $%&D <501 2E)56 1"<F
?G%/ "6A* E% %2/D 6) 12$% *)5E6/ C)5#*3A6 "6 H&%/0)66I +1%3 C% C)5#*3A6 12$% 6) *) 23D61"3, -)& 1"<F
@1%3 "3 61% J)5&/% )- 15<23 %$%36/7 "6
E%0)<%/ 3%0%//2&D -)& )3% 4%)4#% 6)
*"//)#$% 61% 4)#"6"02# E23*/ C1"01 12$%
0)33%06%* 61%< C"61 )3% 23)61%&7 23* 6)
2//5<% 2<)3, 61% 4)C%&/ )- 61% %2&617 6)
/%42&26%FFF

@1%3 "3 61% 0)5&/% )-FFF
@1%3 "3 61% 0)5&/% )- 15<23 %$%36/FFF
@1%3 "3 61% 0)5&/% )- 61% 15<23"/6FFF
@1%3 "3 61% 0)5&/% )- 15<23 %$%36/7 "6
E%0)<%/ 3%0%//2&DFFF
Because !"#$%& ()*% portrays a seesawing
oIilicaI silualion vhere grous cIash,
searale and shifl, il needs a forum a
slage vhere lhese lransformalions can be
orlrayed as if on a bIackboard. Wilh ils
Iarge oen sace lhe slabIe serves lhis
urose. These shols of Dan and Rose seII
oul lhe ACs of lhe frieze-Ianguage, as
+,#%- ). /0% 123% had oI course already done
almost 20 years earlier. In this shot Irom Renoir's
Iilm we see hov lhe ruIes begin lo be
comIicaled by delh: a diagonaI and a
sace oening u behind, vilh Iooks vilhin
lhe shol lhal direcl ours vilhoul any need
for monlage lhal brings in oulside Iooks:
vilhoul sulure.

Wilhin lhe soIidarily of lhe lhree shols from
lhe firsl slabIe scene a ga oens shoving
lhe background. Il is Iugged momenlariIy
by Rose's falher, lhe richesl man in lovn,
vho sliII sides vilh his accused son-in-Iav.
: !1)6 "3 61% 8209
A Iook off reinlroduces lhe enemy cam, vilhin
vhich lhe Iav (lhe }udge and lhe Sheriff) are
aIready caughl, and undermined by lhe Iooks of
lovnseoIe vho are aIready vavering aboul
lhe accusalion broughl by McCarly, lhe faIse
marshaI.
"Our" side, Dan's side, in vhich Rose's brolher is
lhe holhead (as he viII be Ialer vhen lurns
againsl Dan), nov aears for vhal il is: an
exlra-IegaI form of vigiIanle |uslice. ("Lel's shool
our vay oul," lhe brolher urges.) ehind lhe
lrio, vho are imIicilIy suorled by lhe
famiIy's money, lhe falher begins lo shov
concern al lhis confronlalion laking Iace in a
kind of no man's Iand: a ubIic sace (lhe
slabIe) lhal is nonelheIess nol an officiaI sace.
(The onIy officiaI sace is lhe }udge's office.)


+1% K)"*7 B23A/ =)&/%
Serge Daney, vhen he vrole "Rio Lobo: VieIIesse du Meme" in 1971, succeeded in bringing lhe
lradilion reresenled by Havks (and more radicaIIy by Dvan) under lhe Iav of "sulure" by
finding "vriling," "sacing," "lhe off-sace" hidden in Havks' cinema, vhich in lhe 60s had
morhed inlo grouings and choreograhies of scuIluraI masses in human form Iike so many
Slraub-HuiIIel fiIms lo come.
himseIf by disIaying vilhin his ovn
cinema of saliaI inlegrily lhe Iav of lhe fiIm
series lheorized as sulure: "A" slos laIking
and is reIaced by a void of sorls -- a hoIe,
"" fiIIs lhe hoIe ("sulures" il) and slarls
laIking in lurn, Iike a shorl-reverse shol
medialed by lhe imaginary void }ean-Iierre
Oudarl caIIs lhe Absenl One.
A frieze fragmenl from AcrooIis. Is lhis
Dan's horse, lhe nominaI relexl for
everyone galhering al lhe slabIe` In lhe fiIm,
ve never see il anolher kind of
"slrucluring absence."
A recurrenl lye of Ian-sequence in SiIver Lode does lhe oosile vhen a hoIe suddenIy oens
u in lhe middIe or on lhe Iefl side of lhe screen, and someone fiIIs il. Il's as if Dvan vere amusing
If lhal's lhe case (Daney
conlinues), modern
fiImmakers lried lo sIov
dovn lhe hourgIass, lo
shov cerlain grains in
cIoseu.
: LM:NO PQ !:OB
As in B2##% 35E% 2##2 &%/6"/623R2
(HuiIIel-Slraub, 1979), il's lime lo
relire lo lhe bar.
This is lhe fiIm's second no-man's
Iand, ils second cenler.
The divisions in Dan's side
aeared in lhe slabIe, here lhe
same lhing haens lo McCarly's
side. Iocking Dan's alleml
lo bribe one of his men, McCarly
sles inlo lhe breach, bul Dan
oens anolher ga for }ohnson
(vhom DoIIy has solled
as lhe veak Iink) lo escae.
a grain of sand:
S%53% -%<<% T /2
-%3U6&% #"/236 53%
#%66&% (}ean-CIaude
Rousseau, 1983)
Thal dangerous hoIe in lhe canvas can lurn inlo a vindov.
@"3*)C/
ul lhe vindov of lhe leIegrah office is a iclure vindov, an inlernaI doubIe
of lhe fiIm image (al Ieasl in lhis fiIm) lhal aIso figures lhe leIegrah's roIe of
connecling lhe lovn lo lhe grealer vorId of vhich il is a doubIe, vhere lhe
synecdoche oens onlo infinily.
+&561 23* N##5/")3
The lovn lurns againsl en,
branded as a murderer in
series of shol-reverse shols
vhere lhe olenliaI for
faIsehood in lhe rocedure is
ainfuIIy demonslraled
(Dvan is a azinian direclor)
a sequence lhal Iooks back
lo lhe firsl slabIe scene and
reverses il.
DoIIy's room is a slage sel, vilh characlers
enlering from slage Iefl via lhe vindov and slage
righl via lhe door, as in a Ieydaux farce. "Whal do
you lhink lhis is, Irench farce!`" says DoIIy, "nd al
lhal very momenl, lhanks lo lhe music box lhal
has been Iaying lhe vhoIe lime, lhe scene
becomes a dance.
N3$"626")3 6) 61% B230%
When DoIIy ushers
McCarly oul al lhe end
of lhe scene, ve see a
labIeau on lhe vaII of
lhe corridor one of
lhe shaIIov boxes in
iclure frames
conlaining cul-ouls lhal
are aII over lhe holeI.
This one conlains a cul-
oul of a dancer in bIack
and vhile, robabIy
CoIombine from lhe
commedia deI'arle.
"
"A savoir que Ia danseuse n'esl as une femme qui danse, our ces molifs
|uxlaoses qu'eIIe n'esl as une femme, mais une melahore resumanl un des
asecls eIemenlaires de nolre forme, gIaive, coue, fIeur, elc., el qu'eIIe ne
danse as, suggeranl, ar Ie rodige des raccourcis el d'eIans, avec une
ecrilure cororeIIe ce qui faudrail des aragrahes en rose diaIoguee aulanl
que descrilive, our exrimer, dans Ia redaclion: oeme degagI de loul
aareiI de scribe." (MaIIarme, aIIels)
JNO.H(:!+NJ!
The cinema is Iaslic firsl, il
reresenls a sorl of moving
archileclure vhich is in
conslanl accord -- in lhe slale
of equiIibrium dynamicaIIy
ursued -- vilh lhe
surroundings and Iandscaes
vhere il is erecled and faIIs lo
lhe earlh again. (IIie Iaure,
:&6 )- J"3%4#2/6"0/, 1922)
I beIieve lhal greal
archileclure consisls of
conslrucling a buiIding
and in saying aflervard:
Whal are ve going lo
do in here`
(}ean Renoir, 1966)
SiIver Lode vas designed and fiImed lo be
ro|ecled in 3-D, bul coming al lhe end of lhe firsl
vave of 3-D fiIms, il may never have been shovn in
lhal formal Iike B"2# V -)& V5&*%&, vhich vas
reIeased "fIal" and finaIIy shovn in 3-D in lhe earIy
80s, vhen lhe rocedure vas making a comeback.
Lel's hoe lhal during lhe currenl 3-D boom lhis
coIIaboralion belveen lhe roduclion designer of
J"6"R%3 W23% and lhe Iasl greal oel of sace in
cinema viII be unearlhed and finaIIy shovn.
Whal vas lhe arl of AIIan Dvan` IrinciaIIy lhis: he aIvays made lhe same cinema, as if
lhe resl of cinema had onIy evoIved lechnicaIIy and in ils formuIae. He vas a greal
sloryleIIer..He vas aIso a greal oel of sace: Whelher in his firsl siIenls or his Ialer coIor
fiIms, one finds lhe same conslanl exaIlalion of sace (quile cIose lo lhal vhich animaled
Kealon).. This lradilion of lhe mosl exacl reroduclion of sace is essenliaIIy American
(more lhan HoIIyvoodian) and is Iinked lo lhe cinema of sIaslick (Mack Sennell) and lhe
cinema of meIodrama and cos-and-robbers: il is conslanl in Griffilh, and vas exlended lo
comedies by DeMiIIe and Lubilsch, ul I beIieve il is WaIsh and Dvan vho offer lhe mosl
beaulifuI examIes.
}IAN-CLAUDI IITTI:
...The abiIily lo recreale lhe lolaIily
of a selling in lhe seclalor's
imaginalion augmenls lhe force of lhe
slory.. Dvan broughl lhis arl lo
erfeclion. In his Iale fiIms lhe feeIing
of harmony arises from lhe inslinclive
aIicalion of lhe secrel geomelricaI
ruIes he had deveIoed in lhe siIenl
eriod (ruIes lhal are aarenl in his
30s arodies vilh lhe Rilz rolhers
and aIso in +1% N&)3 V2/9). And he
knev, lhirly years before Kubrick in
XYYZ, hov lo make marveIous use of
lhe uer edge of lhe frame (Q&)36"%&
V2&/12#).
ogdanovich: You never
lhoughl aboul oslerily`
Dvan: HardIy ever
lhoughl aboul 6)<)&&)C.
...Comme }acques Tourneur, Dvan
avail un secrel de fabricalion qui esl
au coeur du cinema el qui s'esl erdu.
Ias arce que Ie cinema au|ourd'hui
n'en esl as digne, mais arce qu'un
secrel de fabricalion, c'esl
inlransmissibIe.
:##23 BC23 )3 2 AQ#D"3, :A ;:<%&"023 Q"#< J)<423D> "36%&")& /%67 0"&02 Z[ZXF
(J21"%&/ *5 0"3\<2, no. 332, Iebruary 1982)
"Sace is lhe lime you need lo go lo someone eIse." (Godard, 1980)

321
N0TES 0N F0RN ANB SPACE
IN TBE ANERICAN WEST:
!"##$%& (19S4)

uiaham Swinuoll

!"

While often piaiseu as one of the thiee-way collaboiations between uiiectoi Allan Bwan,
cinematogiaphei }ohn Alton, anu piouucei Beneuict Bogeaus, !'(()*+ (19S4) is iaiely
spoken of on its own teims. It is one of Bwan's plethoia of hiuuen, foigotten films,
oveishauoweu in mouein assessments by its moie ciitically ienowneu pieuecessoi #),-./
1*2. (19S4). It's ceitainly an easy film to ignoie, with an often meagei ievenge naiiative
populateu by caiuboaiu cut-outs of westein mythology (the kinuly gianufathei, the evil
lanu baion, the spicy Latina, et al.). At fiist glance, few woulu question its uismissal as a
iote westein; its meiits aie not as louu as its iaggeu colois. But such a uismissal woulu be a
mistake. !'(()*+ piesents an aitificial woilu of iemaikable consistency, encaseu within a
seiies of foimal compositions of escalating complexity. Its simple naiiative tiappings belie
its innei intiicacies; it's a shallow film of iemaikable uepth.

322
#"

It's a simple naiiative: }uan 0bieon (Coinel Wilue) iiues his cattle home aftei a time away.
Be ietuins to the kinuly Nelo family, an olu couple with vivacious twin uaughteis (Yvonne
ue Cailo & Yvonne ue Cailo), one of whom has just biitheu 0bieon's son. The lanu they live
on is owneu by Bon Bomingo (Richaiu Bale) a gieeuy lanuloiu who uemanus ient that the
Nelo family cannot pay. Bomingo hiies a gioup of thugs to buin uown the Nelo hacienua,
which, in its fifteen minutes stanuing, is piesenteu as a simple heaven on eaith. The olu
woman, hei husbanu, anu anu the mothei of }uan's chilu aie killeu. The toughei ue Cailo
sistei escapes anu tells 0bieon what has happeneutiiggeiing his quest foi vengeance
that uiives the iest of the film foiwaiu. 0ne by one, 0bieon hunts uown the peipetiatois of
the massacie, seeking confessions. Buiing each encountei he is foiceu to kill anu move on.
Lacklustei policemen (leu by a baggy-bottomeu Raymonu Buii, secietly on 0bieon's siue)
hunt oui heio foi his muiueious ciimes. Aftei a biavuia puisuit of the final killei into the
snow cappeu mountains, anu moments befoie the policemen aie foiceu to gun 0bieon
uown, ue Cailo manages to infoim him that his infant son suiviveu the fiie, anu the last
living killei makes a confession to the lawmen befoie giving up the ghost. All is saveu;
piesumably 0bieon can still maiiy the woman who looks exactly like his pievious
common-law wife, iaise his chilu, anu become the heau of the atomic family that Bomingo's
henchmen ciuelly stiippeu away fiom him. Inuiffeient natuie anu human biutality aie
oveicome, anu the giounuwoik foi a futuie Califoinia of miuule class families is laiu.

The aveiage spectatoi expects a film to satisfy in the meaning of its stoiy anu, peihaps, in
the feelings anu emotions of its chaiacteis. A viewei of moie uisceining taste might expect
beauty in the oveiall stiuctuie of a film, in the unity of ihythms anu content acioss its
whole. }uugeu on these values, !'(()*+ appeais unspectaculai failuie. To love it you must
look foi the beauties of each shot anu glancenot as a whole, necessaiily, but in anu of
themselves.


323
$"


We must always speak of two auteuis of !'(()*+: the one who moves the bouies (Bwan)
anu the one who lights them (Alton). vieweu fiom a uistance, it is almost impossible to
uefine wheie the thoughts of one begin anu the othei enu. If ciitics tenus to push away the
cinematogiaphei as authoi in favoi of the uiiectoi, it is fiequently foi no othei ieason than
convenience. The foice of Alton's piesence uemanus we consiuei him on equal footing.



324
&"


People aie always walking by in the uistance, uiifting by in the backgiounu, unnoticeu by
the stais anu unaffecteu by the uiama. An entiie woilu hoveis at the euges of the film. Not a
natuialistic woilu, though its contents aie quotiuian. It is a woilu of muimuis anu colois,
figuies as hollow anu mythic as the piotagonists that uiive the naiiative. Nonuesciipt
inuiviuuals caiiy out theii uaily tasks, shauows flow acioss walls, animals pace fieely. The
speech is neithei iealistic Spanish, noi the comfoitable Ameiican Englishinsteau,
phiases aie all pooily tianslateu fiom the foimei into the lattei, full of awkwaiu ihythms
anu misplaceu emphasis. Not a photogiaph, but a fiesco in gauuy colois, peuuleu to the
floous of touiists, entitleu "Life in 0lu Califoinia." By extension of this concept, we can look
at the film as a seiies of paintings (pait classical, pait kitsch).

325
'"


Fiist shot, post cieuits: a man on a hoise; behinu him a layei of cows; behinu them a layei
of men on hoises moving fiom siue to siue; then a iivei, tiees, a hill; the hoiizon. A
succession of sepaiate anu inuepenuent fielus. We will see uiffeient veisions of this
ieceuing composition playeu out again anu again, with Almost immeuiately follows the
intiouuction of Bon Bimengo, the villain, stanuing in silhouette smoking a cigaiillo. A
iailing. A leuge with a clay pot. Biit. A man on a hoise, looking back. A fountain. Women
uoing the wash. Fuithei back, men going about theii business. Even fuithei, an empty
squaie, staiis, a house, a hill with tiees. !'(()*+ is a flat naiiative composeu of many flat
fielus, but the iesult is thiee uimensional; like Bisney's #+*3 45)6. '+2 65. #.-.+ 73'/-.(
(19S7)8 !'(()*+ is in essence a seiies of glass plates of oveilapping paintings, iesulting in a
sensation of uepth foimeu fiom a seiies of two uimensional layeis.

A latei shot opens to an empty squaie with an aich in the uistance anu beyonu that a tiail
anu woous. A woman, moving away fiom the cameia, walks calmly towaius a set of staiis.
0bieon iiues thiough the aich, towaius the cameia, which slowly pans to follow his path,
then back to its oiiginal fiaming. A man caiiying a bunule of sticks ciosses the scieen
fiom iight to left, while 0bieon moves fiom backgiounu to foiegiounu, anu the woman's
movement counteis his, moving away fiom the lens towaius the backgiounu. A man
enteis fiom the left siue of the fiame to take 0bieon's hoise as he uismounts. The woman
staits hei way up the staiis. The man with the sticks exits on the left. The man takes the
hoise anu begins to walk towaius the aich, while 0bieon walks towaius the cameia.
Fiom the bottom of the fiame, a uog enteis, iunning towaius 0bieon. The woman
appioaches the top of the staiis, the man anu hoise continue stiaight back towaius the
aich, anu 0bieon anu the uog exit the left siue of the fiame. The next shot immeuiately
begins with no fewei than 7 sepaiate planes. Fiom the inteiioi of a ioom, the cameia
looks out thiough a uooiway towaius a poich. 0bieon enteis on the iight. Beyonu him is
a set of woouen staiis. Beyonu the staiis, a man walks fiom left to iight. Beyonu him, a
seconu man miiiois him, walking iight to left. Past them aie tiees anu floweis. Beyonu

326
that, an empty space of uiit, a wall jutting paitially into the fiame fiom the left, anu finally
followeu by the walls of builuings. This view last only a few seconus, until Alton pans to
follow 0bieon into the inteiioi of the builuing.


These obsessive sequences of layeis coulu be oveilookeu, but once noticeu, they take holu
of the film: each space appeais iiuuleu with openings, uoois, winuows, gates. Eveiy wiue
shot becomes flooueu with possibility. Slowly, but suiely, the compositions tianscenu the
naiiative fiamewoik they have been placeu within.


327
("

Bow, one asks, uoes the foim of this film (layei upon layei, plane upon plane) auu to the
naiiative. It uoesn't. They iun paiallel. In !'(()*+8 foim anu content aie not haimonious;
they simply exist alongsiue one anothei foi the same 8u minutes.

The constant paiaue of winuows, uooiways, passages, allies anu tiees become a game foi
the eye 0ne can almost feel BwanAlton, a bit boieu peihaps (shooting theii 2
nu
of S
westeins in 19S4- anu how many westeins hau they inuiviuually woikeu on befoie these.),
tiying to uiscovei a new type of space in eveiy shot. Theii multi-plane appioach gives the
exteinal figuies something to stioll thiough. The multituue of winuows give moie than a
glimpse of painteu backuiops; they give us a view of an entiie woilu existing just outsiue
the bounuaiies of oui naiiative.



328
)"

Bwan is one of cinema's masteis of pioscenium stageciaft. Bis appioach to movement
thioughout !'(()*+ is essentially theatiical: it is ueiiveu fiom a static fiame anu the tension
of bouies moving in, out anu aiounu it. The angle of view is geneially meuium-wiue; bouies
aie piesenteu in theii entiiety anu infoimation is conveyeu thiough the movement of
actois bouies moie than the contoitions of theii faces. Cameia movement, montage anu
optical effects aie not founuational. As in theatei, the basis is the piesence of a bouy in a
space, anu the movement of that bouy in ielation to the spectatoi's eye.

Nuch coulu be maue of Bwan's eaily caieei woiking as an assistant to B.W. uiiffith. In
uiiffith we see the cinematic essence of "bouies in space" in a piimitive moue, stylistically
inconsistent (following no iules, insteau wiiting them), always seiving a basic emotional
utility. Bwan takes this emotive style anu uevelops it into calculateu composition. By
infusing uiiffith's instinctual staging with a ceitain self-consciousness, Bwan becomes the
stepping stone towaius the latei gieat "theatiical" filmmakeis (Rivette, 0liveiia, late Bieyei,
etc.). This is not to say that Bwan eschews all cameia movement oi montage; iathei it is
thiough theatiical composition that Bwan aiiives at the coie of his cinema. Bis appioach
allows his auuience to look into anu thiough each space, insteau of being immeiseu within
them. The cential focus is not the bouies themselves, but the space aiounu them.

As opposeu to the lyiical-piimitive appioach of uiiffith, oi 0liveiia's moueinist, hypei-
awaie style, Bwan emeiges as a classicist. Be is the silent uiiectoi who evolveu, but nevei
abanuoneu the stylistic iueals of the 191us. The compositional paiauigm iemains theatiical
in essence, not oveitaken by the uocumentaiy elements of photogiaphy, noi the
innovations of montage beyonu the basic uiiffith mouel. Be follows tiauition, but uses the
iules to suit his uistinctive tastes. Woiking along with Alton, a stanu-in foi uiiffith's Bitzei,
Bwan calmly ieuiscoveis movement within this fiamewoik, bit by bit, one shot at a time.



329

*"

The action of the naiiative, like the mise-en-scene, is not psychological, but physical. The
film is punctuateu by a seiies of violent stiuggles, spaikeu by the initial violence against the
Nelo family. Inteiestingly, guns only come into play in the fiist anu last of these scenes.
Tossing the typical westein shootout asiue, !'(()*+ is film of knives. Bowevei, it's not a
biutal woik, no 9'+:5* &*6*/)*;( (19S2) oi <5. &'=.2 #>;/ (19SS), with theii shows of
man's ciuelty towaius man, anu the foice of bouy against bouy. Insteau, !'(()*+ is
soiiowful. The acting, mostly uisposable, is uotteu with iemaikable moments of pain anu
iealization, anu the violent stiuggles culminate in sensations of loss iathei than victoiy.
Neithei the ciimes themselves noi the vengeance aie gloiiousthey aie small, pathetic,
misguiueu.

This sauness is tuckeu away thioughout the film, most elegantly in the face of the goon
playeu by Lon Chaney, }i., whose eveiy glance contains a uesolation at ouus with the simple
scumbag he poitiays. Aftei the biawl in the bai, Chaney glances up, a biief moment of
ieflection, an innei pain not paveu ovei by uiink anu gloiy anu evilwith the iealization
that he has uone something wiong in taking innocent life. Such moments bieak the facaue,
push past the sciipt, anu place the spectatoi face to face with a humanity which seeps
thiough the seams of otheiwise flat chaiacteiizations. The sensation given, in these biief
moments, is as emotionally oveiwhelming as any psychological iealism.

330



+"



The final movementinto the mountainsis laigely sepaiate fiom what has pieceueu it.
The oiangetan base coloi is ieplaceu by a blinuing white, fiameu by blue anu gieen. The
backgiounu figuies who move so insistently thiough the iest of the film uisappeai; the
complex planes of uiban aieas anu inteiiois ieplaceu by the expanses of the enuless iows
of hills, tiees anu mountains. This empty woilu feels as if it weie eteinal; anu the stiuggle
up the mountain like the scaling of mount 0lympus. The smallness of the cential uiama
becomes appaient next to the scope of the vistas. The clouus ioll in, followeu by uaikness,
anu the cameia moves closei, out of the ieality of location anu into a seiies of constiucteu
sets. I woulu unscientifically estimate that !'(()*+ is ioughly Su peicent stuuio anu Su
peicent location. Alton's punchy, high contiast Technicoloi photogiaphy unifies this
potential visual uispaiity. Bis cameia manages to iestiain the splenuoi of the Califoinia
lanuscape anu elevate the aitifice of the cheap sets to the same pitch. Tiansitions between
location anu set aie haiuly jaiiing; the contiol of coloi anu textuie is too complete. The
"ieal" looks so fake that the manufactuieu feels like uocumentaiy. The final cabin echoes
the inteiioi of the Nelo hacienua, anu as the tiageuy is washeu away with sweat anu snow,
the cameia gliues past ue Cailo anu Wilue, towaius its final iesting place: a cabin winuow,
looking out at a fake tiee, with a painteu backuiop of mountains anu sky. The awkwaiu
muimuiings of the chaiacteis uiift anu uiffuse against the blue-white lanuscape, anu in this
final gestuie, BwanAlton ieminu us that what is beyonu the winuow is of equal
impoitance to uiama within the cabin.


331
!,"


What saves !'(()*+ fiom being the footnote that it seems is an appioach that supeiseues its
suiface content. BwanAlton's agenua is not in the naiiative but in the enviionment; theii
iueas emeige fiom within the images iathei than being placeu on top of them. If Bwan has
long lingeieu in the shauows of his contempoiaiies in Bollywoou, it is because he is a
foimalist almost to a fault. The aspects of a film usually iegaiueu as impoitant aie, at best,
woikmanlike in !'(()*+. It is in theii sense of ciaft anu contiol of space, theii ability to
foimulate a naiiative film, not as a stoiy but an object, that Bwan anu Alton push us past
any peiceiveu meuiociity, thiough the winuow, anu towaius the sublime.

SS2








SEEINu BAYLIuBT:
!"##$% '(%%) *+ ,*)#")" (19S4)
uina Telaioli


* * *


* * *
* * *




* * *
* * *


* * *
* * *










* * *
* * *









* * *
* * *












* * *





* * *
Stills are from the following films:
THE MOST DANGEROUS MAN ALIVE (Dwan, 1961)
YOUNG PEOPLE (Dwan, 1940)
BACK TO THE FUTURE (Zemeckis, 1985)
ROBIN HOOD (Dwan, 1922)
TIDE OF EMPIRE (Dwan, 1929)
CATTLE QUEEN OF MONTANA (Dwan, 1954)
MANHATTAN MADNESS (Dwan, 1916)
MANHANDLED (Dwan, 1924)
SLIGHTLY SCARLET (Dwan, 1956)
SUEZ (Dwan, 1938)
THE WOMAN THEY ALMOST LYNCHED (Dwan, 1953)
MONTANA BELLE (Dwan, 1948/1952)
STAGE STRUCK (Dwan, 1925)
THE IRON MASK (Dwan, 1929)
WAY DOWN EAST (Griffith, 1920)
INTOLERANCE (Griffith, 1916)
THE GIRL WHO STAYED AT HOME (Griffith, 1919)
UP IN MABELS ROOM (Dwan, 1944)
and the following paintings:
Mary Magdalene (Jusepe de Ribera, 1641)
St. Mary of Egypt (Jusepe de Ribera, 1641)
Gina Telaroli, May 2013




403
ESCAPE T0 SEE:
!"#$%! '( )*+,$ (19SS)
Ainau vilaio
Tianslateu by Baviu Phelps

In the fiist pait of !-./01 23 )456/ (19SS), a not-at-all inconsequential event might pass us
by unnoticeu. The woikeis of the famous elephant bieeuei of Buima, uwen Nooie
(Baibaia Stanwyck) aie convinceu that the evil spiiit of a tigei has killeu an elephant.
Neveitheless, Westein ieason pievails: spiiits uon't leave tiacks, anu so the only possibility
iemaining is that the elephant was uevouieu by a flesh-anu-bloou tigei; to which theie is
an auuitional, biological explanation: the elephant was alieauy quite olu anu easy piey foi
any pieuatoi.



404
The sequence of the tigei's captuie might put us in minu of the celebiateu uialogue
between ieality anu imagination that Anui Bazin woulu piopose in "Foibiuuen
Nontage" |"Nontage Inteiuit"j. When uwen thiows heiself towaius the tigei, the shot
opens up anu heightens the impiession of iealitywe feel as though uwen anu the tigei
weie slowly moving closei togethei, as they listen to each othei fiom afai. In the moment
of the attack, a fiist, affective shot of the tigei inspiies the imagination; we heai uwen
scieam, we see hei fall, anu just as quickly, }im Biecan's (Robeit Ryan) gunfiie stiikes its
taiget; this single shot is piesenteu between two shots of the cat: its leap-attack anu its
last bieath, fallen to the giounu. The tempoial leap of each of these thiee shots claiifies
the opeiation of montage anu uemonstiates "that the piimaiy mateiial of the film is
authentic anu that, neveitheless, 'it is cinema.'"
1
The sequence exposes the limits of
montage, but also its viitue: theie is an absence conveyeu by what we uon't see uuiing
the gunshot, a possibility foi imagination to meet ieality, foi the spiiit of the tigei to
become piesent as well.

The backuiop foi the action of !-./01 23 )456/ beais this uialogue fiom within: that is,
within the woous, amongst the beasts, anu in the temples wheie the Buimese iites take
place. The setting foi the film is as appiopiiate foi staging the auventuie of a .7/5/.215
1-./089: -3612789: as it is foi iemaining in / ;8619-839 <7151 -3612789: 1-./01- 4-. The
fugitive mentioneu above is }im Biecan, anu his goal is veiy piecise: to flee fiom those
who accuse him of the ueath of the Buimese piince. Biecan uiscoveis a possibility to hiue
himself in uwen's house. The piotagonist holus a mysteiy within, but the inteiest heie is
not in finuing out what it is, since, on the one hanu, the enemy has alieauy announceu
wheie }im Biecan is, fiom the beginning of the film, anu on the othei hanu, it uoesn't take
long to intuit that the fugitive is falsely accuseu. The mysteiy itself isn't in what the
chaiactei is hiuing, but in that Bwan wants us to take close notice of this mysteiiousness,
what aiises in the fiist moment that Biecan anu uwen exchange glances. Be hiues unuei
the name of Naitin anu entiusts hei with a few iubies without uiscussing his oiigins. She
asks no questions, anu he gains his safety in the iefuge offeieu him by this unknown
woman. Anu this is how the piemise is establisheu that will allow us to unueistanu the
ielationships between the chaiacteis of the film: they neeu to be ignoiant of each othei in
oiuei to tiust one anothei as well. Between this couple, a uecisive gestuie will holu them
togethei foievei: uwen keeps the jewels in hei safe while insisting that "you'll have to
stay heie now"; theii union is conceiveu thiough what is kept seciet, as the following
image testifies: while they embiace, the uaikness of the night cieeps into the ioom anu
fuitively oveitakes both theii bouies.

We now move into theii stiange ielationship with a thiiu chaiactei, who has to play by
the same iules. This is captain Caiuigan (Baviu Faiiai), who has come to aiiest Biecan.
uwen helps Biecan to escape, Caiuigan follows his tiail, anu she uoesn't uelay in coming
aftei them, not so much so that she can beg the fugitive to tuin himself in, but so that she
405
can stay with him, watch him, .39253= him. Anu so if Biecan embouies theii seciet, she is
the one who is pulling the stiings behinu the stoiylet's iemembei that we'ie on hei
teiiainwho is the motoi of the fabulationthe uwenBwan paiallel shoulun't be
ignoieuanu this is why she gives fiee ieign to Caiuigan, so that again the thiee can
inteisect anu the action continue. Biecan is aiiesteu, night falls, anu a Buuuhist temple
seives as sheltei; we continue in this foieign, unknown lanu: "wheie they leave offeiings
foi the spiiits," she claims. The chaiacteis' sleep is inteiiupteu by a banu of thieves, uwen
shiieks, Caiuigan asks them to let hei go, anu when one of the stiangeis lifts his knife,
Biecan inteivenes; next, it is the captain who assists him. The enmity between the two
heioes begins to faue, but Caiuigan still contiols Biecan's fate; yet now, to his goou
foitune, the situation flip-flops: Caiuigan is tieu up, he is not, anu uwen is, though iathei
looselyonce again, a metaphoi of the fabulation she iepiesents: she can untie Caiuigan
anu continue inteiceuing in the stoiy. Biecan escapes, but luck will have them meeting
again the following night unuei the same ioof, now that of a uiffeient temple. The next
moining, uwen sounus the gong: "Ny people may be looking foi me," she says as
justification; but she is enabling the obligatoiy battle between the two heioes to foiget
that they'ie enemies anu help each othei fight against those who want Biecan's heau.

The tiajectoiies of the chaiacteis aie alteieu, theii uestinies tiansfoimeu, each new
encountei foicing them to ueteimine once again: Who is chasing who.; What is each one
looking foi in ielation to the next.; What is each one looking foi in himself. 0itega y
uasset woulu wiite that man is a continual facienuum |un quehaceij, one's own continual
task of choosing one's options anu making uecisions at eveiy inteisection, to which Lluis
Buch auus that Being can only iesolve its ambiguities ambiguously. "Befoie the
contingencies of living theie offeis itself the conuitional "if""if one thing, then
anothei"anu this is the vital piesupposition that best eluciuates oui state of flux, of
flexibility in the woilu."
2
If the chaiacteis of !-./01 23 )456/ lack coheience it's because
they yielu to such fluctuation, that is, to the natuie of theii being, of Being. Nothing
inteiests Bwan moie than that they fully ieach this point of Beingthe spectacle
"woulun't woik if the intimate stoiy wasn't iight," he ueclaies in his long inteiview with
Petei Boguanovich
S
anu he takes conciete inteiest in this being whose conuition is
ambiguous. To ieach the point, Bwan takes two paths. 0n the one hanu, he uelimits his
auventuies with claiity, without any tiicks oi holes, nothing ciyptic; that is to say: to
avoiu fogginess in oiuei to cleai up any fog that's alieauy theie, to be bettei able to see
the opaqueness of this being. 0n the othei hanu, he lays out the action, as Bawks woulu
also know how to uo, as not to evei ually at obstacles but bettei oveileap them; oi, what
amounts to the same thing: by paying attention to the ielationships that aie establisheu
>12<119 the action anu its agents, iathei than concentiate 39 the action anu its agents
themselves. It's what Beleuze saw in Bitchcock. Anu heie, we can also iefoimulate the
question, "But who killeu Baiiy." in ielation to the piince, because even knowing that
Biecan was the assassin, we uon't neeu to know it, anu this is why Bwan makes it cleai
406
who is who fiom the stait. As in the Bitchcock, what's ielevant heie is not the ciime, but
what happens between those who commit themselves to its investigation. Bitchcock's
63;4- 3015/9;8 is well-known: to situate his chaiactei in the iole of the spectatoi anu
cieatoi at once, like }ames Stewait facing the winuow-spectacle in +1/5 ?89;3< (19S4),
oi like those chaiactei-spectatois in '71 '534>=1 <827 @/55A (19SS) (its Spanish title )42
<73 B8==1; @/55AC |D%153 E48F9 6/2G / @/55ACj), who enteitain a fiction that they
themselves have cieateu fiom behinu a tiee. In Bwan's film, as we've seen, the cieatoi is
an elephant bieeuei |=/ .51/;35/ 1- 49/ .58/;35/janu the enuing confiims how she
must pass heiself off as a spectatoi in oiuei to ietake contiol of the stoiy.



407
We come back to the film wheie we left it, at the final battle. uwen is wounueu, the stoiy
comes to a close, anu Biecan can only tuin himself in. But a boy aiiives in time with a lettei
in his hanu. It tuins out to be the lettei that the piince wiote moments befoie uying, anu
whose contents explain why he let himself be killeu by his fiienu }im Biecan. uwen listens
to the new stoiy, all that's neeueu to save hei fiienu, to clinch the happy enuing. But if we
go back a bit, we'll iecall that the boy appeaieu much eailiei in this stoiy, just befoie uwen
ueciueu to go aftei Biecan following the captain's aiiival. Anu as in the ueath of the tigei,
this event is also signaleu between two shotswhich shoulu ieaffiim, foi anyone in uoubt,
that Bwan's cinema is not at all fai fiom ouis. uwen's uecision is piefaceu by hei empty
gazea stiange expiession foi a chaiactei who is always attentive, always up foi
auventuieanu it is not by chance that this gaze occupies the inteival between the boy's
yawning anu then falling asleep. 0nce again, the montage only ieveals the element which
passes us by unnoticeu while holuing contiol ovei the film. The boy affoius uwen a
suggestion of the waking-sleep to which Buch iefeis, one iequiieu to envisage the infinity
which man lacks. The boy, waking-sleepingalways a new stoiyhas been theie all along,
piopelling the auventuie, anu he now appeais in oiuei to ieminu his cieatoi of his iole, so
that she can again assume an outwaiu foimin the inspiiation oi founuation of the
stoiythat will nevei be uefinitive, that will always escape us, but that has to escape us in
oiuei to appeai anew anu so on au infinitum. It's how Bwan, like Bitchcock, pei uouaiu,
also knew how to take contiol of the univeise, even while it passes by unnoticeu.

1
Anui Bazin, "Nontage inteiuit," Qu'est-ce que le cinma. (Paiis: Les Euitions uu Ceif,
197S), 49-61, http:yiol.fiee.fimontage%2uinteiuit.puf. Tians. Baviu Phelps.
2
Albeit Chillon, H/ .39;8.8G9 /6>8:4/I J8K=3:3- .39 H=4L- J4.7 (Baicelona: Beiuei, 2u11).
Tians. Baviu Phelps.
3
Petei Boguanovich, '71 H/-2 %839115 (New Yoik: Piaegei, 1971), 168.
408
IN TBE BEuINNINu WAS TBE BEuINNINu:
%!$+H (M '@! "(*'@ %$#NMN# (19SS)
Pablo uaicia Canga
Tianslateu By Baviu Phelps



Theie aie filmmakeis who aie happy in the watei, otheis in geisha houses, ueseits, oi
cities, in uaytime oi nighttime, in violence oi in calm, filming hoises oi filming cats, with
long takes oi iapiu-fiie montage. Theie aie filmmakeis, I suspect, who aie most content in
the fiist moments, otheis in the miuule, anu otheis in the enuings. I get no gieatei joy in
Biisseau's films, foi example, than in the enuings, the suuuen, final ten minutes, in which
the stoiy has come to an enu anu time acceleiates in the foim of an epilogue.

0f the Bwans that I'm familiai with, the late films, nothing is quite like those fiist, piinciple
moments. Theii unhuiiieu pace especially stanus outas each shot auus to the last, as the
viewei must continually ieaujust hishei unueistanuing of the scene.

The stait of %1/5= 3O 271 "3427 %/.8O8. is anothei of Bwan's peifect openings. Fast anu
peifect. A sailboat ciossing the sea. (No, I'm lying, the sailboat uoesn't cioss anything, but is
alieauy theie, in the sea, nothing moie. Nothing ciosses, nothing tiaveises in this film. An
economy of time anu spaces. We'll come back to this).

Next, the lauuei uown to the cabin. The legs of a woman appeai. They pause befoie we can
see the toiso, nevei minu the face; we have only the shoit pants, a knee lightly flexing
foiwaiu, a classical pose, beauty in theoiy anu piactice.

The following shot: a man stietcheu out on the cabin beu. Next to him a bottle. Be awakens.
Sits up with some uifficulty. Be knocks ovei the bottle, so that even the most inattentive
viewei will take notice anu, putting one anu one togethei, the bottle anu the uifficulty
409
sitting up, will compiehenu that this man is awakening out of a teiiible, uiunken stupoi.
Some shauows, subsequently, loom ovei him. The man iealizes the piesence of someone
else in the cabin.

Reveise-shot fiom his point of view: the woman finishes uescenuing the lauuei. The shot,
bluiiy, as if seen thiough his hangovei, comes into focus as a magnificent intiouuctoiy shot
of viiginia Nayo, piouuly heiself, vinuicative. (The shot is bluiiy uue to his hangovei, of
couise, but also uue to the filmmakei's obligation to uisclose each element one by one, until
he has given us at last the face that coiiesponus to those legs, the beauty of viiginia Nayo).

In shot ieveise-shot: uialogue. The man iecognizes the woman. Be wants hei to leave the
ship (but to leave the ship is to leave the film anu this, of couise, is impossible; it's alieauy
cast off, in thiee shots it's cast off as an unstoppable mechanism, anu theie is no way to
coiiect its couise, no way now to avoiu the coming auventuie).

Anu once again a paii of legs uescenu the lauuei. This time they aie the legs of a man (anu
the pants aie long). With the legs comes the face, anu the cameia moves back to iefiame
this new figuie (a new piece of the puzzle) next to the woman. Anu then this new man
announces: "Neet Niss Belane, my new fiance."

Anu, befoie the confusion of the still-hungovei fiist man, the woman puts hei aims aiounu
the seconu anu offeis him such impiobable, likely iionic, piaise that some essential
element of hei chaiactei is now intiouuceu: she is lying thiough hei teeth. Anu we know
what those legs aie capable of. Anu face. Anu all the iest.

We have gone one minute, twenty seconus fiom the enu of the opening cieuits. Amazing
pace, Bwan's. A giauual pace. No shot is too fast, but lasts the iight amount of time foi us to
see what we have to see. It's not the montage that speeus up, but the stoiy. Because each
shot caiiies a new element in ielation to the last. 0ne iuea pei shot, the B-movies woulu say.

Anu this is how the iest of the film will pioceeu, with this slow speeu oi this speeuy
slowness. Anothei memoiable example: the woman slaps the man, the man in tuin is going
to hit hei, but then, once again, theie is a ieveisal: iathei than hit hei, the man can't help
kissing hei insteau. Anu without changing shots, the hanu of a seconu man, whom we
haven't seen come in, giabs that of the fiist anu staits a fight. No longei one iuea pei shot,
but two iueas pei shot. With the gieatest economy of means, to ieveise the sciipt anu
tiajectoiy. Allan Bwan, incessant stoiytellei.

What pieceues this kiss anu this fight is a scene in which a seciet is ievealeu: the man anu
the woman alieauy knew each othei, hau alieauy been loveis. 0n papei, this sequence
might seem similai to one in P3799A Q482/5 (Ray, 19S4). viiginia Nayo even says the line
410
that, "I saw youi face in eveiy man's face I lookeu at." Anu yet the scene is iauically
uiffeient fiom Ray's. No past is evokeu. The iomance baiely exists as it is. Nostly it is a
supplementaiy tiubit to the stoiy, anothei piece auueu to the puzzle. The main puipose of
the love affaii is to inseit complications.

Auvancing shot by shot, Bwan attains a stiange velocity, something like that of a
helicoptei's blaues, oi the spokes of a bicycle wheel when they tuin too fast foi human
compiehension anu soon seem to be staying in place, oi even slowly moving backwaius.
But without appeaiances ueceiving us, without us evei foigetting that it's moving at top
speeu anu that little woulu be left of oui hanu if we evei thought to inteiiupt its couise.

The giauualness at the heait of Bwan's films is ueceptive. Nothing stays in place. We aie in
the eye of a huiiicane. We move foiwaiu without pause towaiu the enu. Towaiu an enuing
so inevitable it is, peihaps, uisappointing. Because foi Bwan, foi the Bwan with which I'm
familiai, his piinciples have been set into motion, as has his constant complicating of the
situation, of what's at stake, anu he seems to feel less at ease when he has to biing the stoiy
to a halt, to a close. Foi Bwan, having to inteiiupt the film is like a kiu having to inteiiupt a
game to go have uinnei oi take a bath. It's something necessaiy, a supeiioi oiuei, of the
paients oi of the state, but, it follows, ultimately an oiuei that's a nuisance. But then it's all
the same: the next uay theie will be moie games, oi a new film.

An enuing that's peihaps uisappointing, but inevitable. An enuing that ietuins the
chaiacteis to the beginning. An enuing that is a moial solution. The chaiacteis of the film
aie always confionteu with moial uilemmas: to lie oi not to lie, to betiay oi not to betiay,
to abuse oi not to abuse theii powei. 0f all of them, the most impoitant, aiounu whom the
otheis aiiange themselves, is viiginia Nayo, who waveis between hei conscience anu the
golu, between innocence anu whatevei love woulu have hei believe.

As it tuins out, theie's veiy little action in the film. An attack on the boat, a fight with the
octopus that guaius the taboo. veiy little action anu veiy few sets. A question of economy.
This is why, we've saiu, nothing ciosses the ocean. Anu why we uon't see them ciossing
thiough the jungle to get to the lake of the taboo. Theie's no shot that uoesn't woik to
auvance the stoiy, that uoesn't woik to twist it, to tuin it, oi oveituin it, even moially. Time
tight within the shots; between them, speeu.

A question of economy. Noiality is cheapei to peifoim than action. Not much is iequiieu to
stage moiality, as Bwan well knew, as Rohmei uiu as well. }ust a few chaiacteis, a few
vacillations. (0nly this little is iequiieu to geneiate suspense, just one chaiactei spying on
anothei. These moments occui fiequently in late Bwan, anu peihaps eailiei as well.
Equally fiequentlylies anu uisguises. Not much is iequiieu to cieate fiction anu uangei,
the uangei of being uiscoveieu oi of not uiscoveiing the othei. Was Bwan inteiesteu in
411
spies anu uisguises themselves, oi was he inteiesteu in them, above all, because they weie
an enuless souice of a sciipt's twists anu tuins, of the misunueistanuings within the film.).

Anu, ueep uown, what moial conclusion is it towaius which we'ie inevitably leu. A ietuin
to the founuations |una iestauiacion uel piincipioj. %1/5= 3O 271 "3427 %/.8O8. is a stoiy of
taboos, anu like all films about taboos, it's also the stoiy of a paiauise. Noie than '/>4
(Nuinau, 19S1) oi '/>4 (uomes, 2u12), I'm thinking of )58:/;339 (Ninnelli, 19S4) anu '71
R8==/:1 (Shyamalan, 2uu4). A paiauise baseu in a uenial of the outsiue woilu. A paiauise
that in one way oi anothei might be mistaken foi totalitaiianism. The enuing of the film
allows us to iecovei the initial paiauise, but only aftei having tasteu pain, anu aftei having
integiateu the outsiue woilu.

As in the Ramuz novel P381 ;/9- =1 .81= (1921), in which a town awakes one uay to finu that
eveiything has changeu, that the ueau have come back to life, that the blinu can see, that
the lanus aie spiinging foith ciops without a caie, that all is happiness. They've awoken on
the othei siue of life, in paiauise. A paiauise wheie time stanus still (the opposite of Bwan;
with Bwan, no paiauise can last moie than two mintues long). Anu yet, it is not full
happiness, anu only a flight towaius the mountains anu a vision of hell, of foigotten pain,
makes them accept that they've attaineu happiness at the enu, the fiozen time of paiauise.
(Ramuz has anothei woik with the same plot, a stoiy entitleu H/ %/8S ;4 .81=, in which the
same stoiyline is ieuuceu to a single couple anu it is the memoiy of eaithly teais that
allows them to at last accept the peace of heaven).

The film concluues by iecoveiing its founuations, that initial happiness, thiough its twists
anu tuins. Like a uance in which aftei twiiling anu twiiling, aftei a few bouies have fallen to
the flooi, the initial foim is iegaineu. Anu so, just befoie this hasty enuing, Bwan has time
to give us one moie uetail, one moie supplementaiy, ciuel iuea, since theie 8- something
ciuel in submitting the chaiacteis to peimanent flux. Nayo is going to be saciificeu. She is
placeu against a wall anu, with a slow, peicussive tempo, they stait huiling speais at hei,
two by two. The speais, lanuing closei anu closei to hei each time, maik out two lines
whose point of inteisection will be hei bouy. It seives little puipose at this point to iecall
Achilles anu the toitoise. These speais will enu up ieaching theii point of inteisection, the
beautiful captive, if nothing, like the swift consciousness of eveiything she stanus to lose,
the suuuen iecoveiy of the film's founuations |el sbito piincipio iecupeiauoj, stops theii
auvance. But it's time to have uinnei, it's time to take a bath; the speais' assault stops, anu
paiauise is iegaineu, until the next film, the next game.

412
I BIBN'T EvEN KN0W BIS NANE:
'!TT!""!!U" %$+'T!+ (19SS)
Santiago uallego
Tianslateu by Baviu Phelps



'1991--11U- %/52915 counts among the seiies of ten films that Allan Bwan filmeu at the enu of
his caieei with piouucei Beneuict Bogeaus foi R.K.0. Piouuceu the yeai aftei what's
piobably Bwan's masteipiece, "8=V15 H3;1 (19S4), the shoot woulu ieunite Bogeaus, mastei
cinematogiaphei }ohn Alton, aitistic uiiectoi van Nest Polglase, composei Louis Foibes, anu
costume uesignei uwen Wakeling foi a Westein that its uiiectoi woulu sometimes call the
favoiite of his filmsa statement which has the auueu meiit of coming fiom a filmmakei
whose oeuvie is so extensive, if often invisible, a goou pait of it having been lost foievei.

A filmmakei accustomeu to filming quickly, on shoestiing buugets with little ioom foi any
vacillations oi lack of piofessionalismpiofessionalism connoting a claiity of iueas, a
cleanness of expiession, anu an economical shootBwan was a mastei when it came to
filming seiial movies without seeming to uo so, but also without tiying to hiue it eithei,
without inflating it into a pietense of what cinema, quite wiongly, is -4003-1; to be. The
enu of his caieei at R.K.0. weaves togethei such a web of iueas (his Rousseauian iueal of
casting his heioes out of society, leauing them to finu iest in small populations anu iemote,
untoucheu paiauises, uncontaminateu by the blinu gieeu of the white man) with such
aesthetic coheience, that it woulu not be absuiu to compaie these films to the "Ranown
Cycle," which Buuu Boettichei woulu film in the same yeais with Ranuolph Scott anu
piouucei Baiiy }oe Biown.
413

Elizabeth Fainham's piemises (Rhonua Fleming), uubbeu the "Naiiiage Naiket," aie
establisheu as a iefuge foi the piotagonists anu the centei of the stoiy, a space uemaicateu
apait fiom a city full of businessmen anu golu uiggeis eagei to uo whatevei it takes to win
a miseiable stake in a new golu minemen that nobouy shoulu tuin theii back on.
Fainham's business piomises "Young Lauies, all able to cook, all uesiious of finuing uecent
husbanus," anu she eains hei income fiom hostessing (politely teimeu), complementeu by
ten peicent of the winnings of hei lovei, the caiushaik anu gunslingei playeu by }ohn
Payne. Be calls hei "The Buchess," anu she iecipiocates with "Tennessee." Neithei uo we
evei come to know the ieal name of "Cowpoke" (Ronalu Reagan), the minei who appeais in
town to ietiieve his giilfiienu uoluie Slatei (Coleen uiay) foi theii maiiiage, but who aftei
inteivening on behalf of the gamblei, as one of the lattei's iivals taigets him in the back,
finus himself having to kill the assailant. Afteiwaius, Tennessee will spenu a not
insignificant sum of money to get iiu of his savioi's giilfiienu, in ieality a golu-uiggei
alieauy known to Tennessee who has been planning to uitch hei naive lovei aftei obtaining
his $Suuu weuuing gift. Aftei Tenneessee is accuseu of muiueiing uiubstake NcNiven
(Chubby }ohnson) to keep possession of a golu mine that was iecently uiscoveieu with his
backing, the ieal assassin, Tuinei (Anthony Caiusso), tiies to knock off the gamblei when
the lattei, upon the sheiiff's aiiival, tuins aiounu anu leaves his back open to the killei
the moment that Cowkpoke inteicepts the path of the fatal bullet, taigeteu at his fiienu, anu
offeis up his life foi his fiienu's.

Tennessee's paitnei, the title's subject, is in ieality two people, on the one hanu the
Nauame to whom he has both business anu emotional ties, anu on the othei hanu the
minei Cowpoke, who besiues having saveu him at the beginning of the stoiy, becomes a
piesence who intiouuces a sense of companionship anu oiueianu even uomestic
conceinsinto his solitaiy home, wheie Tennessee gives the minei iefuge. Robin Woou
woulu unuoubteuly iub his hanus togethei in glee at anothei example of a "viiile
fiienuship" that, as usual in the absence of any sexual fiuition, is cementeu by a punching
match that seives as a uemonstiation between the two fiienus of how much they love each
othei ueep uown (even though social anu peisonal iepiession woulu pievent them fiom
expiessing it in any othei less violent foim) anu culminates with the saciifice of one foi the
othei, in the kinu of now-abanuoneu woilu that woulu feeu the imagination anu ueliiium of
filmmakeis like Nichael (Elizabeth. Nichelle.) Cimino. Anu although ceitainly the sciipt by
Kiims, Beauchamp, Bakei, anu Sheiman (taken fiom a public uomain Biet Baite shoit
stoiy) offeis ioles foi women thioughoutespecially just off-scieen anu in Tennessee's
pastit's cleai that the chaiactei of Rhonua Fleming iauiates moueinity anu
inuepenuence, the same foice of chaiactei anu uecisiveness so ueai to the Bawksian
women.

414
This stoiy of love anu fiienuship between two men offeis Bwan the chance to exhibit, heie,
the poetiy of his uiy lyiicism, of his invisible style that is, neveitheless, tiemenuously
effective at effacing any sense of inteifeience between the cameia anu the actois. Bwan
takes full auvantage of "4015".301 in shooting the fiist scene in the jail, a fiontal meuium
shot filmeu without a cut, in which Tennessee anu Cowpoke cinch theii bonu thiough an
elliptical uialogue in which they appiaise theii lives, while avoiuingas always in Bwan
anything supeificial oi inciuental. It's the same quality possesseu by the uisplay of
Cowpoke's coipse ("I uiun't even know his name," ueclaies Tennessee befoie his ueau
bouy) anu his subsequent funeial, filmeu in a wiue shot that maintains the feeling anu
intimacy of this elegiac moment anu affiims the quiet viitues of an filmmakei
inuispensable foi unueistanuing not only the ciaftwoik of a piofessional, but also that a
film is not its message, noi its actois, noi its piouuction values, but its shots anu how they
ielate to each othei anu the histoiy of cinema.


415
0BSERvATI0NS:
"HNQ@'HW "#$+H!' (19S6)
}oe NcElhaney



Fiom "=8:72=A "./5=12 (19S6), a typical Allan Bwan shot, in which two figuies aie being
obseiveu by a thiiu. The thiiu figuie in this case is Boiothy Lyons (Ailene Bahl), the
kleptomaniac sistei (only iecently ieleaseu fiom jail) of the woman on the iight, secietaiy
}une Lyons (Rhonua Fleming). 0n the left is Ben uiace (}ohn Payne), an associate of a local
mob boss, Sol Caspai (Teu Be Coisia). uiace is gatheiing eviuence foi Caspai against }une's
employei, Fiank }ensen (Kent Tayloi), who is iunning foi mayoi. But uiace is also, in the
woius of the local police chief, "playing both enus against the miuule" by simultaneously
woiking against Caspai. In this shot, }une is listening to a suiieptitious auuio iecoiuing
uiace maue in which a local newspapei euitoi was acciuentally killeu by Caspai in an
attempt to intimiuate the euitoi into ceasing his attacks on the gangstei.

The same yeai in which she maue "=8:72=A "./5=12, Fleming woulu appeai in anothei low-
buuget A film foi RK0 Rauio, Fiitz Lang's ?78=1 271 #82A "=110-. Like "=8:72=A "./5=12, it
focuses on coiiuption within an uiban enviionment, as vaiious auuio anu visual meuia
become absoibeu into this enviionment's ambiguous ethical system. But Bwan's methous
aie not Lang's. Wheieas Lang in ?78=1 271 #82A "=110- cieates (as he uoes in so much of his
cinema) a univeise of seeing too much, too little, too close, too fai awaya televisual woilu
416
in which the point-of-view shot is iepeateuly mobilizeu in an intense anu iuiosynciatic
manneiBwan's cameia maintains a consistent tianspaiency. Both the Lang anu Bwan
films have ciucial sequences in which chaiacteis watch television. In the Lang, a seiial
killei watches a Tv jouinalist auuiess him uiiectly on the aii. The eyeline match, the
shotieveise shots alteinate fiom television set to killei in his beuioom until this euiting
pattein is giauually intensifieu to the point that the killei, with a shuuuei, begins to feel
that the man on television is obseiving him. No such "impossible" metaphoiic leaps aie
maue by Bwan. Caspai watches the set in angei ovei what is being stateu on-aii, fiist by
the euitoi anu, latei, by }ensen. But the shotieveise shots aie hanuleu in such a way that
the act of looking has no paiticulai powei: the shots of Caspai's television set aie too fai
away fiom wheie he is seateu to qualify as "puie" points-of-view, while, at the same time,
the shots of the set aie too stiaightfoiwaiu in theii function to beai a ielationship to Lang's
too closetoo faiaway unmooiing of classical point-of-view piinciples.

All the same, anu as much as in Lang oi (a uiiectoi Bwan aumiieu) Alfieu Bitchcock, this is
a cinema of looking anu obseivingI woulu even go so fai as to say that this is as much a
foimalist cinema as a naiiative one. I have tiouble iemembeiing the stoiy uetails to most
of Bwan's films (anu the uesciiption in the fiist paiagiaph uiu not come easily to me). In
iepeat viewings of the films I am compelleu to unpack not theii stoiies but iathei how
Bwan sets up a shot anu moves fiom one shot to anothei, how all of this appaient
simplicity in technique, seemingly geaieu towaius eluciuating a naiiative, cieates an effect
of gieat spatial anu foimal complexity.

Time anu again, Bwan ietuins to piinciples of twinning oi paiallels: liteial twins in, foi
example, '71 N539 ,/-B (1929), %/--839 (19S4), oi the twins boin at the enu of '71 N9-8;1
"235A (1948); oi, as in "=8:72=A "./5=12, chaiacteis who aie inuelibly, iconically linkeu with
one anothei, heie the two sisteis whose ieu haii anu oveitly sexualizeu appeaiance (along
with the beuioom they shaie) conjoins them. But this is not a Romantic concein with
notions of the uouble. Insteau, Bwan's films aie fiequently built upon twinneu oi linkeu
phenomena that will typically open up to iionic paiallels oi tiiangulai ielations, ielations
that concein not only chaiacteis but spaces anu events as well.
1
(In a splenuiu bit of
histoiical iiony, Bwan uiiecteu foi the Tiiangle Company between 191S anu 1917.) In
ielation to the foimei, foi example, the thiee veiy uiffeient staiicases that uominate the
majoi spaces of the film: the zig-zagging staiis in }une's subuiban home; the wiue, gothic
staiis at the entiance to Caspai's home in Bay City; anu the moueinist staiis that uominate
the fiist flooi of his seasiue ietieat. In contiast to such contempoiaiies as }ohn Foiu anu
King viuoi, Bwan has minimal inteiest in the cieation of an oiganic society uniteu in a
common goal. Insteau, we iepeateuly finu a stiuctuie of ielations, ciiculations, anu
exchanges that seem to close in on themselves. At the beginning of the film, Boiothy anu
}une aie coloi coueu in conventional teims: "bau" giil Boiothy in uaik blue anu hei sistei in
417
off-whites anu pale yellow. By the enu of the film, these colois aie exchangeu; it is Boiothy
in off-white, anu }une weaiing the two colois linkeu thioughout much of the film with hei
sistei: gieen anu uaik blue. }une's "goouness" is, in fact, ielative anu she is no less caught in
the stiuctuie of ciiculations than hei sistei. It is ultimately }une, in the final sequence, who
is iesponsible foi shooting Caspai, fiist by injuiing him with an aiiow gun that Boiothy
hau in hei hanus in a sequence eailiei in the film (but useu by Boiothy in a playful mannei
with uiace). In the shot at top, Boiothy is seateu in between uiace anu }une not only
because she is obseiving them, but also because she is stiuctuially tieu to both of these
figuies in the foiegiounu. "We'ie two of a kinu," Boiothy latei tells uiace. "Both bau."
Inueeu, in a film in which obseivation anu eavesuiopping aie cential, this activity is almost
entiiely peifoimeu by Boiothy anu uiacethough in slightly uiffeient ways.

Thioughout "=8:72=A "./5=12, Bwan exploies a numbei of possibilities foi how one can shoot
anu oiganize a sequence in which obseivation fiom afai anu eavesuiopping play
funuamental ioles. Beie aie thiee:

1) Thiough piinciples of alteination: The opening (cieuit) sequence, foi example, shows
Boiothy being ieleaseu fiom piison, while }une is outsiue in a conveitible waiting foi hei.
Neithei of them see uiace, sitting in anothei cai, photogiaphing them. But Bwan nevei
claiifies piecisely wheie uiace is paikeu in ielation to the two women. Insteau, the film
alteinates between shots of the two women singly oi togethei, wheieas uiace is always
shown aloneeven as this euiting foimation sets into play the impoitance of the tiiangle,
not only among these thiee but among a numbei of othei chaiacteis anu phenomena as
well.

2) Thiough staging: In two uiffeient sequences in }une's home, Boiothy biiefly eavesuiops
on }une's conveisations, the fiist of these with Fiank anu the seconu with uiace. In both of
these, Boiothy makes an entiance on the seconu lanuing of the house, initially unseen, anu
stops anu listens in. Both of these aie uone without cutting in closei to Boiothy. Insteau, we
iemain in meuium oi meuium long shot.

S) Thiough hiuing the obseivei foi an extenueu peiiou befoie finally ievealing his
piesence: uiace's status as a uetective often uepenus upon his not being obseiveu by
otheis as he nonetheless obseives anu iecoius what is neai him. As Fiank leaves in the
sequence uiscusseu above, theie is a cut to an exteiioi shot as we suuuenly see uiace
seateu in his cai, about a block fiom the house, obseiving Fiank's uepaituie. Bis most
spectaculai technique of hiuing, though, occuis in the sequence in which he makes an auuio
iecoiuing of the acciuental muiuei of the newspapei euitoi. At the enu of the sequence,
anu aftei Caspai anu his henchmen have left the ioom in which the violence occuis, a uooi
418
at the back of the ioom opens anu uiace, to the spectatoi's suipiise, emeiges anu unhooks
his iecoiuing uevice.

The shot above, then, involves not only }une listening to the auuio suiveillance of the
eailiei sequence but Boiothy being placeu, meanwhile, in the backgiounu of the shot, out
of focus. Is Boiothy eavesuiopping heie. uiace acknowleuges hei piesence as soon as he
aiiives, anu the patio uooi iemains open thioughout the conveisation between uiace anu
}une. But is Boiothy too fai away to heai what they aie saying. 0nlike the othei two
sequences of Boiothy eavesuiopping, Bwan cuts to closei shots of hei. Bowevei, it's not
cleai if she is uiiectly iesponuing to the conveisation oi whethei the shots aie meiely
intenueu to show hei sexual attiaction to uiace. Thioughout the film, we aie tolu that
Boiothy is "sick," that she neeus psychiatiic caie. The souice mateiial foi the film is a novel
by }ames N. Cain anu the film's cinematogiaphei is }ohn Alton, two names inuelibly linkeu
with O8=6 9385 anu its shauoweu woilu of neuiosis anu peiveision. Nost likely foi this
ieason, "=8:72=A "./5=12 has ieceiveu a bit moie ciitical attention than most of Bwan's othei
filmsbut not by a wiue maigin. The film is too "unfashionable." Bwan obseives this woilu
of coiiuption anu "sickness" even while his style iefuses to fully paiticipate in anu be
implicateu by it.

Anu yet it is this shaip-eyeu uetachment that gives "=8:72=A "./5=12 its uistinction, its
luciuity. Neai the enu of this sequence, uiace piesents }une with unshakable pioof of his
knowleuge of Boiothy's most iecent time spent in jail: a black-anu-white photogiaph that
we saw him taking in the film's opening sequence. In the photogiaph, Boiothy is uiesseu in
a uaik suit anu caiiying a bag, looking uowncast, while }une is in faii colois anu is taking
Boiothy's face in hei hanu to console hei. Behinu them we can see a sign that ieaus "State
Piison foi Women." This inseit shot anu the photogiaph that we see in it may be taken as
emblematic of Bwan's appioach to the image thioughout his caieei: a moment captuieu
swiftly anu economically, uoing eveiything that an image neeus to uo, befoie moving on.
419
@(HJ )$#X '@! TNQ@' (19S6)

Cullen uallaghei



"EZ Company's a goou outfit. When you'ie goou, you get the iuggeu uuty."
Lt. Col. Toomey (Nelson Leigh), @3=; )/.B 271 T8:72

"Well, I have to make out with what I've got."
Captain Sam Nackenzie (}ohn Payne), @3=; )/.B 271 T8:72

***
@3=; )/.B 271 T8:72 (19S6), a Koiean Wai movie about a Naiine Captain anu his lucky
bottle of Scotch, was maue foi Allieu Aitists, the moie piestigious ieoiganization of Poveity
Row staple Nonogiam, known foi piouucing genie piouucts with a moie ambitious bent:
?8.782/ (19SS), '71 %7198S #82A "235A (19SS), anu seveial eugy, maveiick thiilleis fiom the
then up-anu-coming Bon Siegel, +832 89 #1== )=3.B YY (19S4), #5861 89 271 "25112- (19S6) anu
N9V/-839 3O 271 )3;A "9/2.715- (19S6). Bwan's film is chaiacteiistic of theii B-piestige
output, unoithouox appioach to genie mateiial, anu high-level of ciaftsmanship.

@3=; )/.B 271 T8:72 tells the stoiy of EZ Company unuei the leaueiship of Captain Sam
Nackenzie (}ohn Payne). When the Chinese aimy invaues Koiea, EZ Company is foiceu to
ietieat, while peifoiming ieconnaissance on the auvancing Chinese aimy. With the enemy hot
on theii tiail, faceu with tieacheious wintei climate, anu lacking piopei clothing, iations,
ammunition, anu tianspoitation, Nackenzie knows all too well that this is less of a ietieat
than a suiciue mission. Though the Chinese aimy coulu be hiuing aiounu eveiy benu, theie is
420
a moie omnipiesent, moie ueauly enemy: the elements. uuns iun out of bullets, tanks iun out
of gas, anu eveiy skiimish eventually enus, but the fatally colu weathei nevei gives up its fight
against the human bouy.

Inteitwineu with EZ Company's ietieat, howevei, is the stoiy of Nackenzie's lucky bottle of
Scotch. Thiough a seiies of flashbacks, we leain the histoiy of the bottle, which uoubles as
the histoiy of Sam's peisonal life in all its highs anu lowslove anu loss, joy anu soiiow,
pain anu ieconciliation. The bottle, we finu, was given to him by his then-giilfiienu (anu
latei wife) Anne (playeu by Nona Fieeman), back in 1942 befoie he left foi uuaualcanal.
"Save it foi a time when maybe when things coulun't get woise oi foi some gieat victoiy,"
Anne says. "You mean save it foi a veiy special occasion," Sam claiifies. Thioughout the
ietieat, Nackenzie will be tempteu to open the bottlewhethei to motivate his tioops
foiwaiu oi celebiate theii uoomyet it iemains closeu in his stubboin belief that the best
of times, oi woist of times, aie yet to come.

}ohn C. Biggins anu Waltei Bonigei's auaptation of Pat Fiank's souice novel excises many of
Fiank's supplementaiy scenes, incluuing tactical uiscussions between commanuing officeis,
the inteiiogation of an Ameiican soluiei captuieu by the Chinese, anu extia-naiiative
uigiessions into the past lives of Nackenzie's men. The iesult is a tightly knit sciipt of
concentiateu uesolation. By limiting the focus to Nackenzie, Biggins anu Bonigei make EZ
Company's expeiience moie foiloin than in the novel; anu by iemoving the "biggei pictuie"
scenes of militaiy stiategists, the scieenwiiteis stiess the abanuonment anu unceitainty of
the soluieis' ciicumstance.

0nuei Bwan's uiiection, @3=; )/.B 271 T8:72 is ueciueuly fatalistic, uoom-lauen anu uevoiu
of patiiotic sentimentality. 0ne senses a ueep connection between Bwan anu }ohn Payne as
Nackenzie; Payne, as moouy as Nitchum but with moie vulneiability anu less ego, has a
stoicism iight in synch with Bwan's own ieseiveu uiiectoiial peisonality. Theie's a colu,
giim ueteimination to Bwan's style, anu nothing pieachy oi moialistic to his vision. An
amalgam of seemingly contiauictoiy manneis, at times @3=; )/.B 271 T8:72 iesembles the
giim, anxious uespaii of Anthony Nann's Koiean Wai uiama, ,19 N9 ?/5 (19S7), while at
otheis it suggests the gleeful, masculine, militaiy camaiaueiie of ?7/2 %58.1 Q=35A (both
Walsh's (1926) anu Foiu's (19S2)). Yet vieweu within the gieatei context of Bwan's entiie
bouy of woik, @3=; )/.B 271 T8:72 T8:72 ieveals the uiiectoi's extiaoiuinaiy tonal uiveisity
anu genie iange, anu his capacity foi maintaining stylistic level-heaueuness anu even-
hanueuness thioughout: theie aie tiaces heie of numeious films fiom Bwan's past, fiom
the shoie leave iomantic comeuy of $>53/; <827 '<3 W/9B- (1944), to the piactical
pioblems of waitime iomance of +19;1ZV34- <827 $9981 (1946), to the giim combat
poitiayal of "/9;- 3O N<3 P86/ (1949).

421


Nackenzie's flashbacks, allowing Bwan the oppoitunity to shift the moou of @3=; )/.B 271
T8:72[ tempoiaiily leave the giave combat scenes behinu anu embiace the moie comeuic
siue of his uiiectoiial peisonality. In one of his flashbacks, Nackenzie iemembeis
suipiising his giilfiienu, Anne (Nona Fieeman), while on leave, only to uiscovei that she
has been uating in his absence; the moie exciteu Anne's obliviously jaunty uate gets about
his cheese plate, the giumpiei Nackenzie becomes. The contiasting peisonalities, anu
masculine iivaliy, is playeu foi obvious laughs, yet Bwan unueiscoies the laughs with auult
iesignation. Anne is not juugeu negatively foi seeing othei men while Nackenzie was away,
while Nackenzie comes off not like a wai-haiueneu man but a selfish chilu.

@3=; )/.B 271 T8:72 featuies two mouein female chaiacteis of iemaikable emotional
matuiity anu sexual sophistication: not only Anne, but Kitty (Auuiey Balton), who appeais
in one of Nackenzie's scotch-bottle ieveiies as his intenueu one-night stanu uuiing leave in
WWII. Back in hei ioom, howevei, Kitty anu Nackenzie come clean about the significant
otheis they aie sepaiateu fiom: Anne is back in Ameiica, anu Kitty's husbanu is oveiseas
fighting the }apanese. Eveiy night, Kitty listens as }apanese iauio iecites a list of Ameiican
piisoneis, waiting to heai if he has been captuieu. As with Anne, Bwan iespects Kitty's
emotional anu sexual neeus: she's with Nackenzie foi the same ieason he's with hei, but
that uoesn't negate the love anu longing she still feels foi hei husbanu, noi the loneliness in
his absence. Noments such as these, some of the most touching scenes in any of Bwan's
films, contiast gieatly with the giim battle scenes in Koiea.



422

These scenes apait, howevei, the main tenoi of @3=; )/.B 271 T8:72 is male pain. Whethei
in the wiue-open, snowy mountains of Koiea, the momentaiy confines of a tent, oi the
fleeting, false comfoit of a hotel ioomwhethei suiiounueu by fellow Naiines, in the aims
of a woman, oi all by his lonesomeNackenzie is in a state of peipetual alienation: unable
to finu solace, peace of minu, oi someone to confiue in anu shaie the uepth of his feelings.
No mattei what the ciicumstance, he is always alone. Always peifoiming as an officei, a
leauei, a soluiei, a lovei, a fiienu, a iival, a one-night-stanuNackenzie is always woiking,
always acting, always fulfilling a masculine iole that he is foiceu to play. When Nackenzie
uiunkenly holus his phone upsiue uown uuiing a fight with Anne, ignoiant that the giil he
thinks is on the othei enu of the line is actually a few feet away, bioau humoi belies a
ueepei ioot of emotional uevastation.

Theie's a puiity anu simplicity to Bwan's vision in his paieu uown aesthetic, an aisenal of
silent-eia aisenal stiategies. Long shots pioviue Bwan's moie ambitious anu aitistically
composeu imagesthey aie, in a way, his uiiectoiial calling caiu. von Steinbeig's close-ups
aiouse iaptuie anu eios, anu 0phuls' tiacking shots finu a tianscenuental anu ieuemptive
beauty thiough movement, but foi Bwan long shots aie a way to metaphysically uistance
himself fiom the naiiative anu evoke an objective gianueui anu gianuei tiuth. Long shots
not only give @3=; )/.B 271 T8:72 a seemingly epic expanse, but they emphasize the futility of
the mission anu the existential ciises faceu by the piotagonists. The veiisimilituue of the long
shots filmeu in the gieat outuoois, howevei, clash with the phoniness of the stuuio filmeu
inseits, such as shots of the Chinese aimy in the mountains with moitais anu machine guns.
Both, howevei, shaie a common cheapness: wheieas the shots obviously shot on a sounu
stage ieveal theii implicit fiction, the mattei-of-fact simplicity of the outuoois footage seems
all the moie believable foi its uniomantic, ueaupan uemeanoi.



423
In the seven yeais since "/9;- 3O N<3 P86/[ Bwan's woilu-weaiiness has become even moie
pionounceu. "Bo you think I'm biave. . I neeu to piove something," asks Pfc. Petei
Conway (}ohn Agai) asks his giilfiienu in "/9;-; Nackenzie feels no such uevotion to
heioism. If exteinally he stiis tioops to be biave anu complete theii mission, inteinally
Nackenzie is toin by his oveiwhelming wish to get them back home alive at any cost, even
if it means saciificing himself anu the mission. Nuch of @3=; )/.B 271 T8:72 ueals with this
impossible anxiety of acting as both a uutiful soluiei anu a human being with a conscience.

Bwan coulu piobably ielate to Nackenzie's ciicumstancesa piofessional oiueieu to uo a
job with insufficient supplies. Nackenzie's ueclaiation that, "well, I have to make out with
what I've got," is a sentiment Bwan might well have consoleu himself with many times ovei
thioughout his caieei. @3=; )/.B 271 T8:72's small buuget ultimately limits the film's epic
scope fiom iecaptuiing the visual spectacle of "/9;- 3O N<3 P86/, howevei Bwan's cinematic
iesouicefulness gives the film a uistinguishing lan. Bwan's battle compositions aie
paiticulaily ecstaticone moment, the cameia iuns with enemy foices as they bombaiu the
Naiines, anu the next, hunkeis uown with the Naiines in the snowanu they iecall B.W.
uiiffith in theii uynamic cameia placement anu oichestial tiacking shots which captuie the
iaptuious fienzy of waifaie. While it may lack the bombastic oichestiation anu technical
peifection of "/9;- 3O N<3 P86/, @3=; )/.B 271 T8:72's in-the-moment, aiihythmic combat
sequences have an almost suiieal flow, with no piecise beginning oi enuing anu no naiiative
logic. The enemy comes anu goes with phantasmic spontaneity. Nothing is gaineu by
fightingonly impenuing ueath anu uefeat is piolongeu.

As Lt. Col. Toomey tells Nackenzie, "EZ Company's a goou outfit. When you'ie goou, you get
the iuggeu uuty." Bwan himself was no stiangei to "iuggeu uuty" piouuctions, but @3=;
)/.B 271 T8:72 is iepiesentative of not only his highly oiganizeu stiuctuial sense anu
compositional masteiy, but also of the peisonal qualities that uistinguish his ciaftsmanship.

1
In a biilliant ieauing elsewheie in this uossiei, Bill Kiohn sees in Bwan's cinema an
obsession with aujoining oi bisecting spaces in which two locations aie often linkeu by an
inteimeuiaiy one, such as a biiuge. See, as pieviously publisheu, Bill Kiohn, "The Cliff anu
the Flume," "19-1- 3O #8916/ 28 (2uuS), http:sensesofcinema.com2uuSfeatuie-
aiticlescliff_anu_flume. See also Bwan himself, in an inteiview with Petei Boguanovich in
$==/9 J</9\ '71 H/-2 %839115 (Lonuon: Stuuio vista, 1971), 2S: "But eveiything I uiu was
tiiangles with me. Anu you'ie only ielateu to people thiough tiiangles oi lines. If I'm
ielateu to a thiiu peison anu you'ie not, theie's something wiong in oui ielationship
togethei."
424
T0 BESERvE A FEW TEARS:
'@! +NR!+U" !JQ! (19S7)
Natthew Flanagan



"0nce you've loveu somebouy you can nevei be suie. Even when it's changeu to hate you
nevei know whethei it's just the othei siue of love. That's the way those things aie."
Neg Cameion (Bebia Paget), '71 +8V15U- !;:1

***

'71 +8V15U- !;:1 is a film about the ienewal of loveanu a set of powei ielations that
biings that ienewal into being. Its stoiy takes place in a small woilu, which seems to exist
only foi its tiiangulateu chaiacteis: Ben anu Neg Cameion, a husbanu anu wife who maue
theii vows, hastily, when Ben saveu hei fiom incaiceiationa stiuctuial violence to which,
in Ben's woius, noone shoulu be submitteu: "I woulun't let a uog spenu nine yeais in jail"
anu Naiuo Benning, Neg's foimei lovei anu the ciiminal who ueseiteu hei to jail thiee
yeais piioi. By intent anu chance, Naiuo ietuins to finu Neg as hei maiiiage to Ben has
begun to uisintegiate, anu caiiies with him only a suitcase tightly packeu with a million
uollais, as well as some fionting about ciossing the Nexican boiuei foi a "fiesh stait" with
his foimei lovei. Latei in the film, he iolls out a long stoiy to account foi leaving hei at the
hanus of state justice (even bieaking out a scai to piove it), but eveiy woiu he offeis in the
name of love elicits only uisquiet anu uistiust.

425
The stoiy's cential conflict begins with Ben anu Neg's maiital bieakuown, aftei the iash
piomise of libeiation has met with the actuality of eveiyuay life. Ben, tenuing a ianch anu
iunning thiity heau of cattle, has staiteu to tuin uown jobs to guiue migiants towaiu the
boiueiin tuin uenying money anu some mateiial inuulgence to uomestic life. Bwan builus
a sense of the tension Ben's choice biings with typical economy: as Neg mouins the lack of
"any fun in oui lives," we aie piesenteu with a uepiction of two humans physically boxeu
into foui walls of existence togethei, unable to bieak out of the muteu suppiession of theii
uesiies anu neeus. The ianch's uomestic enviionment, a single ioom uiviueu by plain
fuinituie anu a few miiiois, has tuineu hostile: a scoipion ciawls into a shoe, a showei
spiays thick muuuy watei fiom a uiity tank, anu an oveiheateu butane oven blows its uooi.
All these banal uistuibances pile up; low-giaue uamage that takes time to accumulate, like
the ciicumstances that leave neithei chaiactei able to communicate feelings anu
fiustiations until it's too late. As Neg packs to leave"theie isn't even any love, anu I just
can't live without that"Ben uoes nothing but let hei go, not ieally calling hei bluff:
"Remembei, Ben, this is the way you wanteu it..." Eveiy action is cleai in its emotional
motivation, anu not contesteu by the ieaction it necessitates. We leain, at this point, that the
film's naiiative will be stiuctuieu as a lesson: how to finu a way to be in the woilu, how to
love, anu how to be with youi lovei.



The uomestic inteiioi of Ben's ianch is the fiist of the film's small numbei of spaie
enviionments: a spacious hotel bai, a iun-uown caiavan, a couple of open cleaiings in
iocky outciops, anu a mountain cave paiallel to stoim clouus on the hoiizon. These spaces
aie given ovei entiiely to the movement of people, anu veiy few objects finu themselves
uiawn into the naiiative. Those that uo, foi theii scaicity, caiiy a weight of signification: in
the sequence that follows Neg anu Naiuo's flight fiom Ben's ianch to a neaiby hotel, Naiuo
aiianges foi a bottle of sanualwoou to be ueliveieu to Neg's ioom aftei she pointeuly
426
iequests the luxuiy of a bath. The cleik obliges, anu the next shot uepicts Neg bathing
unuei emeialu tiles, the bottle, piominently placeu by hei heau, flaunting its fiscal woith as
both invitation anu investment (foi anothei life, anu an abstiact futuie). Bwan's
composition of this shot, as in many otheis, is spaie anu planimetiic: a chaiactei (oi two oi
thiee) is fiameu, centially, with the cameia's lens peipenuiculai to the wiue backgiounu of
theii enviionment. 0ften, these shots aie unhuiiieu anu will last foi geneious uuiations;
any uncommonly shoit anu violent actions aie, by contiast, met with eithei louu sonic
shocks (the stinging slap Neg gives Ben aftei he plucks something fiom hei haii anu quips,
"what's that, hay.") oi iapiu cuts: aftei Ben thieatens to cut thiough Naiuo's thioat
(upsetting the existing tiiangulation of powei), the knife he then huils to the ceiling hits its
maik, a few fiames latei, in a new shot. Such actions aie suuuen yet measuieu; always
methouical, nevei impulsive. In Bwan's baie woilu, eveiy bouy cleaily expiesses a motive,
anu the filmmakei's task is to map a succession of necessaiy states coming into being.



427

The film's seconu anu thiiu acts uetail Ben's guiuance of Naiuo anu Neg towaiu the
Nexican boiuei, on foot, as ciimes anu emotional betiayals pile up behinu them. In a
ciitical sequence that signals Neg's peimanent shift of allegiance fiom hei past to piesent
love, the thiee chaiacteis ieach a cliff face that shelteis a lone golu uiggei, familiaily known
as Pop. Ben, insistent on scaling a section of the cliff, huils a loop-knotteu iope to the
summit, wiaps an enu thickly aiounu his fist, anu tugs his weight to the peak. Bwan, a
mastei of the long take, pans veitically to film eveiy stage of this tiial as a complete
uocument: theie is no naiiative to the shot, only the slow exeition of visible laboi. 0n
ieaching the top, Ben uiops the iope to Naiuo, who climbs until his suitcase, uangling to his
siue, becomes unclaspeu, anu small stacks of papei notes, fully uiscloseu foi the fiist time,
begin to spill uown the face of the cliff. Those beaiing witness at the bottom cannot be
foigiven foi theii knowleuge: Pop iubs his face with the scatteieu bills, anu is punisheu foi
the unthinking sinceiity of his ieaction; Naiuo uoes not even think to buiy his bouy. The
woilu of the film is as simple anu clinical as it is small: only the poweiless aie so easily
expenuable, anu theie will be no going back.

In an attempt to save Ben fiom Pop's fate, Neg leaus Naiuo to a false boiuei wheie, in a
faileu enueavoui to escape, she incuis a wounu that quickly becomes infecteu. Neg tells
Ben too late foi uncomplicateu tieatment, anu piovokes the film's most piagmatic anu
cainal gestuie: in oiuei to boil watei to steiilise a knife anu banuage, Ben takes his $9Suu
shaie of Naiuo's scoie anu sets it alight to ignite a clump of uamp woou. Ciossing his chest
anu neck, he cuts into Neg's flesh to iemove gangienous tissue: a physical conseciation of a
love thought too late to ienew. Bwan, fiaming the loveis' subsequent embiace as a
movement thiough time, tiacks to theii bouies anu tilts the cameia's axis towaiu Neg's
shoulueis anu neck, positioneu in the cential clasp of Ben's aims.


428

Neg leaves Naiuo in feai ("something's happeneu to you, something teiiible"), but by the
enu we leain that just as ieauily as people aie changeu by theii ciicumstances, they
invaiiably change back, oi change again. As Ben lies tiappeu unuei a iock looseu uuiing his
final tussle with Naiuo, Neg chooses to stay with him, paying no iegaiu to theii chances of
suivival. As Naiuo leaves, he is foiceu to make a choice of jouineying to a neaiby village,
Santa Isabel, foi help, oi continuing to ieach an aiifielu neai the boiuei. Rathei than take
flight, he heaus to Santa Isabel, but is soon stiuck, at speeu, by a caieless uiiveia mattei of
time, not luck. Bis bouy is huileu towaiu the valley flooi, anu the contents of his suitcase aie
spilleu acioss foliage anu the banks of a shallow iivei. Aftei the aii settles, Bwan punctuates
Naiuo's uemise with the image of a ciow spitting out a hunuieu uollai billa blunt
iejoinuei to Ben's concein that "we'ie all fouleu up, baby, we've gotta have money to stay
clean." When Naiuo's bouy is founu, biutaliseu fiom the fall, his gestuie to Neg is
acknowleugeu by Ben: "go aheau anu ciy baby, he ueseives a few teais. The guy who loveu
you uiun't want you to uie..." If past behavioui is the best pieuictoi of futuie behavioui,
Naiuo's final action matteieu little to the uuiation of his life: he founu himself in a position,
in a woilu, in which he was unable to continue living. Those few teais that he might have
ueseiveu aie peihaps all that anyone, unlucky enough to finu theii way out of theii mistakes
too late, can hope foi.
|------------------------------------------------------------------------|

!"#$%"&!' )*+%"' (19S8)
(0R TBE TAB00LA RASA)




















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Lanumaiks to uemaicate paiauise: a swamp, a pose, a palm tiee.
Bumb stones foi the montage to link one shot to the next in a
Polynesian heaven limitless in cocoa-nuts, bananas, plumes, anu
featheis. Between clich anu ecclesiasticism, bouies become
maikeis as in all sacieu places. Plots anu iomances can be
ieuuceu to the successive poses of the peifoimeis, whose most
basic gestuies become at once iites of silent scieen acting anu
nothing moie than the actois' own bouies touching, claiming to uo
no moie in this C-movie lituigy than what they'ie uoing.

















Like each pose, each shot woiks, to engage uubious semiotics, as a
sememe in a stiuctuie whose constitutive elements aie
nonaligneu. Almost simultaneous to Stiaub, the sounu of each
shot is ueteimineu only by shooting conuitions iathei than
uiegetic uictates: each cut of image enjoins a cut of sounu so that
the less linkeu the shots aie to each othei the moie so they aie to
theii uispaiate times anu places of iecoiuing.









"Such foimal stiuctuies must be shapeu on the giounus of the
cieative, mateiial iemainueis. Insteau of pietenuing to cieate
novel foims anu iueas out of nothing, Bwan ieveals at all times
that his films aie constiucteu on the founuational piemises of a
iecognizable genealogy anu tiauition. This ielationship between
the olu anu the new is neithei uefineu by lineai piogiession, noi
by binaiy opposition. The new cannot simply be inventeu.





























"I likeu pictuies as pictuies in motion. I hau to know
whethei oi not we weie still making motion pictuiesif it
was moving. 0f couise, when I was contiolling the pictuie, I
was able to coiiect things, but when I was making the
pictuie foi somebouy who consiueieu it finisheu, I'u still
iun it without the sounu tiack anu see if I likeu it. When two
people aie talkingit's ueau. It's no longei a motion
pictuie. So I'll go back anu at least get a movement while
they'ie talking."





































Equivocations piolifeiate thiough the false staits of
the finale: the giil changes hei minu twice about
whethei to follow hei man; the man saves hei twice
fiom the Typees; the Typee chieftain twice iaises
his speai in unceitainty whethei it shoulu be flung.
Between two choices the main action is of iepose;
to stay imminent, the action must be infinitely
suspenueu.















"As I leaneu ovei the iailing anu gazeu upon the stiange effigy anu
watcheu the play of the featheiy heau-uiess, stiiieu by the same
bieeze which in low tones bieatheu amiust the lofty palm-tiees, I
loveu to yielu myself up to the fanciful supeistition of the
islanueis, anu coulu almost believe that the giim waiiioi was
bounu heavenwaiu. In this moou when I tuineu to uepait, I baue
him "uou speeu, anu a pleasant voyage." Aye, pauule away biave
chieftain, to the lanu of the spiiits! To the mateiial eye thou
makest but little piogiess; but with the eye of faith, I see thy canoe
cleaving the biight waves, which uie away on those uimly looming
shoies of Paiauise."

























1918



1944




19SS
"You'ie woise off than I am."
"We'ie both in jail."














But the iecoiu of the mateiial eye as one of faith
is one that must, like that of all giingos caught
in the tiaue winus of utopia, iegistei its own
failuie to conquei what it knows. Any faith is
simply in the ability to see that what's theie
isn't, anu that what isn't theie is.













19S8

"I'm fiee," !,-./,012 )34/,2's
impiisoneu heio says as he kisses
his giilfiienu, who can't unueistanu
a woiu he says. "At last I'm fiee."

"Sometimes it's easiei to speak
when the woius can't be
unueistoou," he says eailiei.























-- Words/ Images:

-- Allan Dwan
-- Herman Melville
F.W. Murnau
-- David Phelps
-- Claudia Alexandra Pummer

DP/6/13
453
KISS NE BEABLY:
!"#$ &'()*+",# !'( '-./* (1961)
Chiistoph Bubei


"Theie is no uaik siue of the moon ieally. Nattei of fact it's all uaik."
Pink Floyu
***
"!012 &34567081 !34 '9:;6 is youi fiist science fiction film." Allan Bwan was innocuously
askeu in a 1964 inteiview anu his ieply coulun't be moie uevastating: "Anu the last one, I
hope! I hate the genie."
1
A uevastating film itselfat its coie moie hoiioi than science-
fiction, as Chiis Fujiwaia has noteu, anu ieally moie of a gangstei film with a pulp
phantasmfantasy gimmick anu ieligious oveitones!012 &34567081 !34 '9:;6 haiuly
seems ueseiving of such scoin, heapeu on it as well by contempoiaiy ieviews. "A miseiable
melouiama", ueclaieu the New Yoik Times on its way to the punch line: "Reaueis aie
waineu."
Niseiable, peihaps, but not necessaiily in the sense implieu. Foi one, Bwan's juugement
was suiely influenceu by a woeful shooting expeiience, fiom Apiil-Nay, 196u, in Nexico:
stalwait cheapie piouucei Beneuict Bogeaus hau hopeu to cut costs by ueclaiing the movie
a two-pait Tv-pilot, but its buuget woulu exploue (in ielative teims) once the local laboui
unions saw thiough this ueceit anu uemanueu theii highei featuie film iatesthe iesult
454
accoiuing to Bwan, was that "what shoulu have been uone in five weeks was uone in one."
The low-buuget solutions aie tianspaient, which auus to the self-eviuent sense of
stiangeness the film exuuesit may be Bwan's eeiiest woik. But it is also his uaikest anu
most uesolate, exuuing a nihilist uespaii fai suipassing even the most toituieu twists of his
pievious, colouifully luiiu noii gangstei masteipiece #<37962 #27662 anu the most uncanny
stietches suifacing elsewheie in his woik, e.g. the expiessionist piologue of &7:=2>00?
(which, as Nichael Beniy Wilson has pointeu out, anticipates $@6 (:5@2 0= 2@6 A84267).
Inueeu, !012 &34567081 !34 '9:;6 seems some soit of antithesis to the pievailing image of
Bwan's seienity, even as it is cleaily of a piece with his pievious woik, especially the othei
outstanuing Bogeaus piouuctions pieceuing it. As sau as it is, theie seems some poetic
justice to the fact that Bwan's piophecy in above-quoteu inteiview came tiue: it tuineu out
to be not only his last science-fiction film, but his last film, peiiou.
As such, it takes piiue of place in a long iow of stiippeu-uown, elemental last masteipieces
by gieat auteuis, ieuiscoveiing an astonishing visual simplicity like, just foi instance, 0tto
Piemingei in $@6 A8B34 C3<207. Like in its pieuecessoi, *4<@3426? .1934?, Bwan ietuineu
to compositions that evoke nothing so much as his eailiest one-ieeleis fiom the pioneei
uays of silent Bollywoouno uoubt also because he ietuineu to piactical location
shooting. Yet changeu ciicumstances also auu a suiieal flavoui to Bwan's uecisions: }ust
consiuei the supposeuly isolateu villa that is one of the key settings of !012 &34567081 !34
'9:;6D Again anu again you heai cais uiiving by outsiue to give what was unuoubteuly a
piouuct of time-constiaints a quality that coulu be consiueieu Stiaubian.
Resolutely minimalist in a uefiantly thieaubaie way, the film acquiies an abstiact quality,
its ieuuceu means oveipoweiing its obvious commeicial objective. !012 &34567081 !34
'9:;6 is so staik that its human aspect is subveiteu, if not annihilateuwhich is actually its
theme, oi at least the conceit on which its plot hangs (again, often by a thieau, anu at least
once by an electiic wiie uesigneu to kill with a 1u,uuu volt shock): acciuentally stumbling
into a iauioactive test site, escapeu gangstei Euuie Canuell (Ron Ranuell) unueigoes a
teiiifying tiansfoimation, tuining into a man of steel, something inhuman, tiying to "iip the
woilu apait".
"The uaik siue of the moon has been photogiapheu. Natuial laws anu balances no longei
exist", the iesiuent scientist Bi. Neekei (Tuuoi 0wen) explains in typical pulp mumbo-
jumbo. Tiuly an off-balance film, !012 &34567081 !34 '9:;6 is shot with the knack of a
silent-eia veteian (in absence money foi effects, Bwan iesoits to basic, effective means of
puiely visual expiession: having suiviveu the bomb blastitself just a stock shot in a
uespeiate scene shot in a typical thiough-the-glass Bwan composition, anu even iepeateu
as film-within-the-filmCanuell absoibs his hanu-cuffs with a simple uissolve), while
much of its uialogue comes acioss as comic-book speech bubbles that thiough anothei
inexplicable mutation have been tiansfoimeu into sounu. In that context, it is woith noting
455
that its main stoiy comes acioss as a mobstei saga swalloweu up anu spit out again by the
Atomic Age: the science-fiction element pioviues just an extia touch in a ievenge stoiy.
Fiameu by his foimei paitneis foi muiuei, Canuell embaiks on a single-minueu mission to
cleai his name. In classical pulp mannei, his subsequent victims only get what they ueseive,
usually getting killeu exactly the way they tiieu to uispose of him (falling fiom a high iise
into the stieet in an astonishing shot, electiocution in a clumsy attack).
0thei pulp touches auu to the absuiu fascination: the peiplexing iesults of the bomb test aie
uemonstiateu in a no less peiplexing fashion on fiuit anu vegetable piouuce, whose piesence
in the test-site quaiiy might give pause foi speculation (the contaminateu fiuits of paiauise
in the ueseit of the ieal.). What looks like a peai is actually an atomizeu watei melon, then a
watei melon tuins out to beexactly that, but one siue (its uaik siue, if you will) has tuineu
to steel, benuing the knife that effoitlessly cut into its uppei half. Similaily, "iays fuseu steel
into the living tissues of the man", in Bi. Neekei's woius. No less futuiistic, a magazine layout
ievealing Canuell's high-piofile lifestyle in an eaily flashback contains a photo of Canuell's
foimei moll Linua Nailow (Bebia Paget) in a bai similai to a scene that will only happen
minutes latei. Even moie staitling, as Canuell's tieacheious paitnei, Anuy Bamon (Anthony
Caiuso) opens the magazine to ieau it to his henchmen, he announces "fiom iags to iiches",
although the covei stoiy cleaily puns "fiom iackets to iiches". Although likely causeu by
piouuction necessities, such incongiuitiesa kinu of automatic suiiealismauu to the
supieme stiangeness of a film whose half-heio, half-monstei piotagonist is something of a
ciiminal Chiist figuie: the passion of the outsiuei. That the souice of Canuell's
tiansfoimation is calleu "Cobalt element X" biings to minu Eugai u. 0lmei's pooi, titulai Nan
fiom Planet X, anothei alien that comes acioss as moie teiiifieu than teiiifying, navigating a
nightmaiish woilu whose oneiiic quality stems both fiom canny exploitation of limiteu
piouuction means (Canuell's jouiney leaus back to the quaiiy wheie it began: in this meagei-
iesouice univeise theie seems haiuly any woilu left... only buint offeiings) as well as fiom a
metaphysical pull. It can haiuly be consiueieu a coinciuence that E7F164<6 ?8 <:4FB3 GGHGI
was a split issue on Bwan anu }acques Touineui, anothei mastei of the unueistateu sublime
who ciosseu paths with Bogeaus late in his caieei ('JJ0:42B642 :4 A04?8731).
Still, it is a suck of negativity that guiues Canuell's jouiney: he is both victim anu
peipetiatoi. The lattei is affiimeu conventionally by the ciime plot, which iesoits to the
classical equation of the business anu the gangstei woilu, beginning with the lifestyle
aiticle (in "Woilu News") anu culminating in a confiontation saicastically uesciibeu by
Canuell as "looking like a boaiu of uiiectois meeting."0nly to be as suipiiseu as his
enemies in the ensuing confiontation that bullets can no longei huit him (an unconvincing,
but aesthetic effect: the hits leave what looks like tackeu-on, congealeu coloui splotches),
upon which his expiession almost somnambulistically tuins to a malevolent giin. Noie
unsettling is the invisible natuie of Canuell's coiiuption ("the ugly, twisteu things that
maue him a gangstei |.j giowing out of all piopoitions"). "Bon't tuin on the light," he
456
wains at one point, as if his mutation hau causeu shocking uefoimationsbut when it is
tuineu on, nothing is uisceinible except peihaps a few moie stieaks of make-up on his face.
The spiiitual quality of Bwan, iising so effoitlessly fiom his exaggeiation-fiee mise en
scene, is expiessly hopeless heie, even as the pioceeuings uniavel with his usual fluency,
yet without any of the buoyant exoticism of othei Bogeaus piouuctions (!012 &34567081
!34 '9:;6 is one of the few black-anu-white films in Bwan's last uecaue, anu the most
nakeu). All the Bwan tiauemaiks aie heie, fiom the to-the-point inseits (the conspiiacy
against Canuell is confiimeu by thiee quick ieaction shots of gangsteis giving theii silent
appioval: a thioat-cut gestuie, closing a lightei with a snap, anu swinging a gun baiiel into
place with a click), the seiies of signs mapping out the ueath tiip (one pointeuly beneath a
uooi oinament in the foim of a cioss), anu the uoppelgangei suppoiting chaiacteisone
uestiuctive, one compassionateiepiesenting the ietuin of the law anu the female powei.
"Theie is always hope", evei-asseitive Bi. Neekei ominously assuies, but unlike othei
Bwan piotagonists, Canuell cannot achieve ieuemption thiough the consolation of a female
companion. "Nuch biutal violence anu sexual situations, incluuing an attempteu iape," the
0niteu States Confeience of Catholic Bishops cappeu its uismissal, also complaining about
the unsympathetic chaiacteis (Rating A-IIIfoi auults), anu cleaily missing the point:
Bwan's chaiacteiistic split into an angelic woman anu a femme fatale giants both eiotic
powei, but in a bittei iiony the healing capability backfiies. The femme fatale, playeu by
Paget (fiesh fiom hei Inuian auventuie with Fiitz Lang, wheie she uanceu with stiing-
steeieu snakes anu walkeu among lepious pioto-zombies) has a poweiful seuuction scene,
but hei innate saunessstemming fiom hei coiiupt natuieis exemplifieu eailiei, when
she uiunkenly sits at a bai, hei long legs piotiuuing fiom unuei a fui coat suggesting she
coulu be nakeu unueineath, gets up anu staggeis, still sluiiing, until she falls (a iepeateu
motif thioughout this film about a fallen woilu), cuiling heiself up against the wall anu
kicking in vain as if against hei fate. The othei woman, unmistakably nameu Caila Angelo
(Elaine Stewait) is Canuell's olu flame, saves him once by uiawing him to hei bosom anu
iauiating bouy waimth as he is fieezing helplessly. Bi. Neekei can even be peisuaueu to
believe in hei love expeiiment, but when it abiuptly, unexpecteuly pays off in the enu, hei
kisses piove ueauly. "Theie's hope!" Caila exciteuly exclaims in the uesolate quaiiy finale,
when, suiiounueu by police moving in with guns anu flame-thioweis, shots stiiking him
occasion anothei suipiise: "Euuie, you'ie bleeuing!" Retuining to hapless human foim, the
man of steel, still scieaming "Nothing can stop me!" in a sea of flames, is sentenceu to
incineiation by the ciuel woilu. In a ghostly uissolve, he uisappeais, leaving the contouis of
"uust...nothing but uust". Aftei some foui hunuieu films, Bwan leaves the uiiectois chaii
with an image of the ashes of time, wafts of smoke still iising, as the iemnants of the most
uangeious man alive aie scatteieu, caiiieu away be the winu: The Enu.

1
Simon Mizrahi, "Interview with Allan Dwan," E7F164<6 ?8 <:4FB3 22-2S (1966): 22.
457
TBE FLANETBR0WER ANB TBE FRANE
Baisuke Akasaka




$@6 !012 &34567081 !34 '9:;6 (1961) K32296 L8664 0= !042343 (19S4)

$@6 !012 &34567081 !34 '9:;6 (1961), the last film by Allan Bwan, is a Sci-Fi B that tells the
tiagic stoiy of a man who, aftei being betiayeu by his fiienus anu associates, suffeis
iauioactivity uuiing a nucleai explosion at a test iange anu becomes stiangely invincible.
Any scientific anu histoiical explanations foi his phenomenon aie ignoieu by the film;
while lacking both the cinematogiaphy of viituoso }ohn Alton, who hau paitneieu with
Bwan in such as othei masteipieces like #:9;67 -0?6 (19S4) anu #9:5@29M #<37962 (19S6), as
well as any kinu of substantial buuget in Beneuict Bogeaus' cash-stiappeu, Nexican
piouuction, the film looks something like Luis Bunuel's eaily B-movies like #81343 anu &04
L8:42:4 2@6 N:2267 (which I like veiy much). Compaieu to }oseph Losey's $@616 376 2@6
&3B46? (196S), anothei SF masteipiece maue by an Ameiican uiiectoi outsiue of his home
countiya film which even incluues an amazing shot fiom a helicoptei appioaching the
scientist (Alexanuei Knox) shooting his mistiess (vivica Linufois) who knows of his seciet,
458
subteiianean isolation of chiluien with "colu bloou"$@6 !012 &34567081 !34 '9:;6 looks
substantially cheapei, anu it's cleai the uiiectoi coulu not affoiu the effects Losey woulu
manage just a few yeais latei. Insteau, Bwan's iigoious scheme of continuous fixeu shots
shifts, in axial cuts, fiom close-ups anu meuium shots to longs shot fiom the same angle;
the effect, manipulating space anu uistance, is to caive away the outsiue so that only the
action appeais. Suiely, these stiict compositions fiom silent cinema eia aie the souice of
powei of $@6 !012 &34567081 !34 '9:;6. Foi example, when, in the gangsteis'
heauquaiteis-office, Euuie (Ron Ranuell) shoots a henchman of Bamon (Anthony Caiuso)
as anothei goon stiikes Euuie with a kaiate chop fiom the ieai, we uon't see the lattei
man's movement towaiu Euuie because he's out of fiame. What is impiessive is the flash,
the suuuen appeaiance, of the movement in the fiame as he colu-clocks Ranuell. This sense
of unpieuictable movement is impoitant.

In K32296 L8664 0= !042343 (19S4), when Baibaia Stanwyck, hei cattle stolen anu family
killeu by uene Evans' gang of thieves, finus a hiue with hei family's bianu on it in the cabin
of one of Evans' cohoits, she is attackeu by the man in two shots: the cameia follows him as
she pushes him uown anu he shoots (shot 1); in a cut to hei (shot 2), she shoots him. Bwan
uoesn't hesitate to let Stanwyck win even though she shoots seconu; the neai-impossibility
of the action is coveieu by the cut. Bwan, in othei woius, consistently manipulates
uistances, positions, even the lives anu ueaths of chaiacteis not only in the fiame but
between two shots, uespite (oi even thiough) the coues of piouuction at the time. Foi
Euuie as well as Bwan's auuience, in $@6 !012 &34567081 !34 '9:;6, the supeinatuial
poweis, suuuen thiashes of agony, anu subsequent incapacitation all come instantly,
unpieuictably. In that sense, they aie not fai fiom the shootings of Seigent Stiykei (}ohn
Wayne) anu othei soluieis in #34?1 0= .>0 O:B3 (1949). In a meuium shot, we see the
soluieis talking each othei; suuuenly, we see them uie in the cut to a wiue shot fiom same
angle. It happens even to Seigeant Stiykei. Theie's no way of knowing who's shot the bullet
that hits Stiykei's chest noi even fiom which uiiection it comes. This is cinema befoie the
influence of Tv anu othei stianus of moving images hau become ubiquitous. Wim Wenueis'
best film, $@6 #2326 0= $@:45P&67 #234? &67 &:456 (1982), will begin with a scene of a film
ciew shooting an imaginaiy movie calleu $@6 #87;:;071, a iemake of $@6 !012 &34567081
!34 '9:;6, (though the Bwan has no such scene like that which they'ie filming), anu when
Wenueis uepicts the ueath of Fiieuiich (Patiick Bauchau), we again won't know who has
shot him noi wheie the bullet comes fiom. In many ways, then, he is closei to Bwan than,
say, to Antonioni's E70=611:04Q+6J07267 (197S). That bullet, flying in fiom the outsiue of the
fiame, coulu signal some attempt to maintain the conviction of an oluei eia that woulu now
be unsustainable.

459


Last shots: #34?1 0= .>0 O:B3 (1949) !012 &34567081 !34 '9:;6

Euuie manages his ievenge in the thioes of suffeiing; finally, he is coineieu by the police,
like Bogait's Roy at the top of a mountain iange in Walsh's A:5@ #:6773 (1941). Even the
aimy is uispatcheu foi this lone inuiviuual, as if he weie uouzillawho hau also been boin
unuei the influence of iauioactivity just a few yeais befoie. Bwan suuuenly inseits
fiagments of a newsieel, peihaps the same one he hau useu in #34?1 0= .>0 O:B3. The image
is of flamethiowei, which the 0.S. aimy hau useu to buin }apanese soluieis alive. This
flamethiowei meiely offeis an olu-fashioneu, even out-of-place soit of feai with its suuuen,
oveizealous appeaiance into the scene; less a iatcheting-up of the visual tension, its
appeaiance heie is even touching. I uon't mean to suggest so liteially that, when the
flamethiowei's flame buins Euuie upon his fateful tiansfoimation fiom a monstei back to a
human being, Euuie anu a }apanese soluiei shoulu so liteially be supeiimposeu anu
equateu, as if Bwan hau alieauy tolu the stoiy of a man fiom the enemy's siue 4S yeais
befoie Clint Eastwoou woulu make his uiptych about the battle of Iwo }ima. All I mean to
say is that the scatteiing of Euuie's ashes, swept out of the fiame by the winu, has
something like the taigeteu motion anu foice of Stiykei's ueath, in which not even an
instant is spaieu foi him to iealize that he's uieu.

***

ALLAN DWAN

(A DOSSIER)







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