I saw three movies in theaters this weekend.
Free State of Jones at the Elmwood
Being a history buff, and particularly one interested in the Civil War and reconstruction, I couldn’t help rushing out to see Gary Ross’ Free State of Jones. I caught it at the Elmwood.
Matthew McConaughey stars as an actual historical figure, Newton Knight, a Confederate Army deserter who led a band of escaped slaves and other discontents. They fought the Confederacy and successfully held considerable land. After the war, he supported reconstruction and tried to help the freedmen gain their rightful place in society.
It’s an interesting piece of history, and one that Americans should know something about. What’s more, it makes for an exciting movie. (I don’t know to what degree the movie is historically accurate. I suspect not much.) It can’t help being something of a white savior movie, but that flaw really couldn’t be avoided in a story that really needed to be told.
I give it a B.
I’ve been to the Elmwood many times, but always for something showing in the theater’s big, downstairs auditorium. This time, Jones played in one of the two small, upstairs auditoriums. It was horrible. The front row was way too far back, and there was no way to get close enough to the screen.
Even worse, a low wall in front of the front row was much too close for comfort. I had to tuck my legs under the seat. My back was sore at the end of the movie. Some low chairs, or even bing bang chairs, in the front would help.
Next time something I want to see is at the Elmwood, I’ll make sure it’s screening downstairs before I go.
Scarlet Letter at the Niles Essanay Silent Film Museum
Sunday was the last day of the Broncho Billy Silent Film Festival, and the 1926 version of The Scarlet Letter was the final movie of the day. I introduced the film, explaining how star Lillian Gish pushed to get the film made despite censorship issues.
In case you don’t remember reading Nathaniel Hawthorne’s 1850 novel in High School, it’s set in 17th century Puritan Massachusetts. Hester Prynne, whose husband disappeared years ago, has a baby out of wedlock and suffers from religious intolerance.
The film, which is very much the MGM version, emphasizes the romance between Hester and her lover, the church minister Arthur Dimmesdale. But unlike the universally reviled Demi Moore version, MGM kept the tragic ending. It’s a powerful story, well-told. I give it an A-.
The 16mm print screened was washed out and fuzzy. As I have never seen a good print of this film; I suspect that nothing better is available.
Bruce Loeb did a wonderful job on piano. His music enhanced the emotions onscreen and deepened the story.
The Lusty Men at the Pacific Film Archive
Nicholas Ray examines masculinity in this modern western drama set in the world of the rodeo. The lusty men of the title are irresponsible, bad with money, and courageous to the point of stupidity. The women who love them suffer for it.
The Lusty Men is not, as I had assumed, about a love triangle. At least not in the traditional sense. Yes, it’s about two men and one woman, but the men don’t compete for the woman. It’s the wife who must compete against her husband’s new bromance.
Robert Mitchum stars as Jeff McCloud, a former star of the rodeo circuit with one too many injuries. He latches onto the happily-married Wes and Louise (Arthur Kennedy and Susan Hayward). Wes is a cowhand, working for someone else, and badly wanting enough to buy his own place. The rodeo promises quick, easy, yet dangerous cash, and Jeff offers to mender him. Wes eagerly jumps into the world of constant travel, heavy drinking, poker, bar fights, and the adrenaline rush of riding a wild horse or (much worse) bull. Louise is pulled into it far more reluctantly.
The rodeo industry clearly approved of this film’s production–although I can’t help wondering if they had read the script. The film contains a good deal of actual rodeo footage. Much of this footage, accompanied by on- and off-screen announcers, celebrate the real cowboys on the real horses and bulls we’re looking at. One problem: This real-live footage didn’t match well with the footage shot for the film. It was grainier and slightly out of focus.
I give The Lusty Men an A-.
The PFA screened a brand-new 35mm print (I’m delighted to know that Warner Brothers is still making them). For the most part, it was beautiful, and did service to Lee Garmes’ moody black and white photography. The occasional scratches were, I assume, from the source material.