The Criterion channel is widely praised for having a large collection mainly focused on the "Art Cinema". But over time, this definition may change. Let's take the Oscar nominated film as an example. Currently, many of these movies are not entirely blockbuster or please the audience. I mean, Nomadland won last year, and most of it was watched by fans rather than "ordinary people". But this is not always the case. In the past, Oscars were sometimes more like a celebration of a studio system focused on money and star performances. This brings us perfectly to the focus of this column in The Bad and the Beautiful. This megawatt picture will be out of service at the end of this month, I hope it is definitely worth your time, so let's get started.
Like a movie like "Citizen Kane," this movie follows events and reveals them in flashbacks. Our leader Jonathan Shields (Kirk Douglas) was once a powerful filmmaker. He wanted to make a movie, but he couldn’t do it without the help of the few people he offended. arrive. Each of them; director Fred Emil (Barry Sullivan), screenwriter James Lee Battlow (Dick Powell), and rising star Georgia Lorrison (Lana Turner) have one The picky bones refused to talk to him altogether, even if he and Harry Pebbel (Walter Pidgeon). This led to a series of stories, connected by making a particularly large and awkward picture.
The bad and beautiful are big and bulky. It survived by the power of honest Makes, and we have rarely seen this kind of power. I find that I actually want it to be longer and have more breathing space. Douglas' performance in the Oscar nomination was breathtaking. When he finally appears on the screen in a flashback, you know he owns the screen. Director Vincente Minnelli also seems to know this very well, because he allows the camera to linger on him, even for a character that may be unflattering, minus the charm of a movie star. To give you an idea of the kind of performance we have on hand, this character was originally planned for Clark Gable, and we found ourselves being magnetically pulled towards the ultimate bad boy. Douglas has been good from start to finish, but his collaboration with the amazing Lana Turner (Lana Turner) is particularly noteworthy.
At this point, Turner is already a huge star, not only through co-starring roles with Clark Gable, but also because of her in "The Postman Always Rings the Bell twice" (previously appeared in this column) The transformation of femme fatale. Turner is an actor who seems to refuse to accept the pigeon nest. After Postman's amazing transformation, it is easy to focus on more black types of performances, but this is different. In her pathetic short arc (just don't have time for more), her portrayals of shyness, naivety, tragedy, romance, primitive anger and regret are all displayed, never feeling out of control or overly dramatic. In a movie full of excellent actors, she stands out, especially when she and Douglas are tit-for-tat.
Another favorite thing about "Bad and Beauty" is that it refuses to focus only on romance in all its generosity, which must be tempting for these two beautiful stars. But Shield's relationship with his director and close friend Fred Amiel may be more heartbreaking than the loss of love. At the beginning of the film, Shields and Bartlow were making a less inspiring film for Pebbel. They are successful, but the price is low. Finally, they came up with a bigger idea. Shields pitches, knowing that Emil will be the director. After all, Amiel helped the project make it 10 times as much as a movie, and this was just Shields' investment. But under the slightest provocation, greed creates a gap between the two. Shields let a more experienced director take his place and let his friends do more behind-the-scenes work. The pain and acceptance on Barry Sullivan's face quickly became apparent, but it was still heartbreaking.
"Bad and Beautiful" is a movie that cannot have a happy ending. If the opening three decide not to cooperate with Shields, then there is no good impression, mainly because Douglas is too attractive. If they really work with him, a very scary character will appear on it. One of the wonderful things about the script written by Charles Schnee (story work written by George Bradshaw) is that it allows both. All three of them refused to cooperate with Shields, but overheard the conversation about his next movie, and they were all eager. Will they return to the Shields network to gain more success and reputation, or will they remain authentic? The world continues to exist without us, and a film that is mainly anti-Hollywood can be read in many ways, which is much more interesting than any more specific ending.
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