William Friedkin, who was one of the young filmmakers during the American New Wave movement of the 1970's, responsible for moving the industry away from glossy, hyper-stylized productions and into more realistic narratives, has passed away. Never attending college nor studied film, Friedkin is probably best known for two groundbreaking movies: the gritty detective thriller, "The French Connection" from 1971 which won five Academy Awards (including Best Picture and Best Director) and the controversial 1973 supernatural drama, "The Exorcist". He had just completed a new feature film, a remake of "The Caine Mutiny Court-Martial" which had been selected to screen at this year's Venice Film Festival later this month but Friedkin had been in poor health recently and died from heart failure and pneumonia on August 7th at the age of eighty-seven.
Born and raised in Chicago, Friedkin initially had interest in becoming a professional baseball player while in high school but it would be the movies, a first viewing of the Orson Welles classic, "Citizen Kane" in particular, that would later truly capture his attention. After getting a job in the mail room at a local television station, he quickly worked his way up until he was directing live television shows and documentaries. A documentary, "The People vs. Paul Crump" he submitted to the San Francisco International Film Festival won him a prize in 1962 and giving Friedkin an opportunity to head West.
Friedkin's first major job in Hollywood was directing an episode of the television series, "The Alfred Hitchcock Hour" in 1965. The true sign in the changing of the guard was Hitchcock giving Friedkin a hard time for not wearing a tie on-set. This lead to the chance for him to direct his first feature two year later, the comedy-spoof, "Good Times" which starred the pop music duo, Sonny & Cher. The movie was savaged by critics and was a box-office flop and his following films, "The Birthday Party" and "The Night They Raided Minsky's" (co-written by Norman Lear) didn't fare much better yet Friedkin persevered. His next film was an unexpected and daring choice at the time: an adaptation of the Off-Broadway play, "The Boys in the Band". And while it was not a success at the box-office, largely due to it's subject matter involving a gathering of NYC gay men to celebrate the birthday of a friend, it did offer Friedkin the first taste of some positive critical reactions and this 1970 drama would become a milestone in the history of queer cinema.
This was followed by "The French Connection", shot in a style more suited for documentaries to create a sense of realism, with this low-budget film receiving almost universal critical raves, becoming a huge financial success and making unlikely movie stars out of Gene Hackman (who won the Best Actor Oscar for this role) and Roy Scheider. Then came, "The Exorcist", based on William Peter Blatty's best-selling novel, with the story involving the demonic possession of a young girl and her mother's attempt to save her through an exorcism by two priests that revolutionized the horror genre. Audiences waited for hours in long lines for a chance to see this disturbing, graphic film (many seeing it multiple times). Once in the theater, some viewers would have strong reactions to the film, ranging from people fainting, becoming violently ill to someone actually having to be carried out on a stretcher during a screening, helping to make "The Exorcist" one of the biggest hits of the year.
The rest of Friedkin's cinematic output had a few intriguing highlights ("To Live and Die in LA", "Sorcerer", "Cruising") yet most were poorly received and viewed as disappointments ("Deal of the Century", "The Guardian", "Jade", "Blue Chips" "Killer Joe"). Friedkin tended to gravitate towards themes involving the darker side of human nature in his movies, making them challenging and unsettling for some viewers. Yet regardless of the underwhelming receptions of these films during their inaugural release, the work of Friedkin, stimulating, provocative and highly influential, has been reevaluated over the years with some finding a greater appreciation from a new generation of movie audiences.
Friedkin was married four times: first in 1977 for three years to French actress, Jeanne Moreau, then to British actress, Lesley-Anne Down for four years. He married American journalist, Kelly Lange in 1987 before divorcing in 1990. Then Friedkin met Sherry Lansing, an actress turned producer and later became studio chief of Paramount Pictures for twelve years beginning in 1992. They wed in 1991 and remained together until his passing. Friedkin is survived by two children: a son, Cedric from a relationship with Australian choreographer, Jennifer Nairn-Smith and a son, Jack with his second wife, Down.
"Beauty and the Beast (La Belle et la Bête)" (1946)
"Beauty and the Beast", from French director, Jean Cocteau, is far removed from the beloved Disney animated musical film most people are largely familiar with. Cocteau, who was better known as a writer and artist before turning to filmmaking, has crafted an enchanting yet dark visual masterpiece, a charming romance heightened with surrealist artistry. This first filmed version of the 1757 fairy tale by Jeanne-Marie Leprince de Beaumont tells the story of Belle (Josette Day) who cares for her family as they struggle financially due to Father (Marcel André) losing much of their wealth to the sinking of his cargo ships. Her horribly snobish sisters, Adélaïde (Nane Germon) and Félicie (Mila Parély) are not much help, putting on airs and treating Belle like a servant. But their situation is looking up as Father has another financial opportunity coming in from the sea. And because of this impending fortune, Belle's brother, Ludovic (Michel Auclair) gambles away what's left of the family's property.
When the ship comes in, however, there is nothing left after Father's debts have been paid. Forced to return home empty-handed, he becomes lost in the forest, coming across a seemingly empty castle with gates and doors opening magically by themselves. A loud roar frightens him but before he leaves, plucks a rose for his beloved daughter, Belle. The Beast (Jean Marais), a creature that is half-man and half-animal, suddenly appears, condemning Father to death for theft. But he will be spared only if one of his daughters takes his place.
When he returns home, Father explains the tragic events that has occurred to his family. Against his wishes, Belle decides to takes her father's place, returning to The Beast's castle. She is frightened and horrified by his appearance yet over time is captivated by his gentle soul. The Beast falls deeply in love with Belle, asking her to marry him but she refuses.
Many fairy tales were originally pretty morbid stories, filled with gore, brutality and dismemberment. But these tales were altered slightly over time through various cultures to make them simpler and easier for children to digest. This story sticks closer to the more commonly retold version by Beaumont but Cocteau has added his own bold dream-like elements to this tale. With spare dialogue, the director beautifully captures the wonderment of a classic romantic fantasy yet a sinister undercurrent is always near the surface. Actors are used as moving statues and candelabras for stunning impact, inventively pushing the boundaries of visual effects of the day. The look of The Beast is quite impressively elaborate, with claws, long teeth and moving ears, requiring many long hours for the costume to be applied to Marais (who also plays Belle's suitor, Avenant). If you are seeking an extraordinary magical experience, this "Beauty and The Beast" should not be missed.
"The Poseidon Adventure" (1972)
I recently re-watched, "The Poseidon Adventure" for the first time since I was a ten year-old kid when it was originally released in theaters. And the story of a luxury ocean liner that is overturned by a giant tsunami with some of the surviving passengers trying to reach the top of the flipped-over ship still managed to really stress me out. This action-thriller, directed by Ronald Neame and produced by Irwin Allen, was one of the early all-star disaster films that were popular in the 1970's where we would see movies involving a massive LA earthquake, damaged airplanes, a flame-engulfed skyscraper, bombs on rollercoasters and a swarm of killer bees.
Set on New Year's Eve, the S.S. Poseidon is in route to Athens and we meet some of our key passengers. Reverend Scott (Gene Hackman), a minister who questions his faith; a long-time married couple (Jack Albertson and Shelley Winters) who are going on to Israel to meet their first grandchild; a gruff police detective (Ernest Borgnine) and his wife (Stella Stevens), a former prostitute; a teenager (Pamela Sue Martin) and her younger brother (Eric Shea) who are going to join their parents; a health-conscious retailer (Red Buttons) on board looking for love and the singer (Carol Lynley) of the ship's band. An earthquake has set off a tsunami and the Captain (played by Leslie Nielsen who I still have a hard time taking seriously due to his role in the disaster-movie spoof, "Airplane") is unable to move the ship out of the path of a massive wave. After the Poseidon capsizes and floating upside-down, Reverend Scott tries to persuade the survivors to move up to the hull. Only a small number agree to go with him and with an injured waiter (Roddy McDowall), they begin their dangerous journey in an attempt to be rescued.
The less said about the formulaic script by Stirling Silliphant and Wendell Mayes the better. Yet despite this setback, these gifted actors are still able to deliver moving performances that make us care about these characters with Ms Winters even earning a Best Supporting Actress Oscar nomination. But let's be real; "The Poseidon Adventure" is all about the tension-filled adventure, enhanced by impressive visual effects. And these special effects (which would win a Special Achievement Academy Award since visual effects were not a regular category at the time) have held up very well, especially since they had to be created on set.
"The Bride Wore Black (La Mariée était en noir)" (1968)
Two of the most important figures in French cinema, the filmmaker, François Truffaut and actress, Jeanne Moreau re-team for the stylish, revenge thriller, "The Bride Wore Black", the first time since their 1962 international sensation, "Jules et Jim". Moreau plays Julie Kohler, a distraught woman who sadly became a widow on her wedding day. After telling her mother she's going on a long trip, Julie actually has other plans. The next time we see her, she is dressed glamorously in white and looking for a man named Bliss (Claude Rich). He's a notorious womanizer yet plans to get married. Julie appears at his engagement party and Bliss can't resist this beautiful woman staring at him. Luring him alone out to the balcony, Julie reveals her name to him before pushing him off of his high rise building. Bliss was one of five men responsible for the death of her husband and she plans on tracking each one down, making them pay with their lives. The other hunted men are played by some first-rate French actors, Michel Bouquet, Michel Lonsdale, Daniel Boulanger and Charles Denner.
While there are plenty of holes in the plot, Truffaut has made an entertaining film; an intense and thrilling ride that successfully bridges French cinematic sensibilities and Hitchcockian intrigue. But it is Moreau who elevates this material with her graceful and self-assured performance. The actress, who made her name for her work in Louis Malle's, "Elevator to the Gallows", Michelangelo Antonioni's "La Notte" and Luis Buñuel's "Diary of a Chambermaid" (to name just a few), is force of nature, coolly and methodically taking down each man who has deeply wronged her, never reconsidering her task for one moment. Watching this film did make me think of Quentin Tarantino's action-thriller, "Kill Bill" which shares some similar plot points right down to the Bride carrying a little book with the names of her potential victims which she crosses off once she's completed her mission. And while I know there were many movies that inspired him in the creation of "Bill", Tarantino claims to have never seen "The Bride Wore Black" and it's just a coincidence (which I find seriously hard to believe).
What I loved about Jeanne Moreau, the French actress who passed away on July 31st at the age of eighty-nine, was her expressive, penetrating eyes which effortlessly conveyed everything she needed or wanted to say. While not well known to the average American movie-goer, I would say she would be comparable to the great Hollywood star, Bette Davis (although I'm sure many millennials would have no idea who she is either). Like Ms Davis, she did not possess a conventional look usually associated with actresses performing on the big screen and she is the polar opposite of the icy beauty of her French acting contemporaries like Catherine Deneuve and Brigitte Bardot yet Moreau had a commanding presence that was undeniably fascinating to watch.
Moreau began her career successfully on the stage and when she was given a chance to work before the camera, they tried to transform her in to a typical screen siren. But it was director Louis Malle (who would later become one of her admiring lovers) that saw her potential and presented her in a more natural state in his feature debut, the 1957 crime thriller, "Elevator To The Gallows (Ascenseur pour l'échafaud )". This film effectively launched both their careers and Moreau would go on to work with other great film makers like Roger Vadim ("Les liaisons dangereuses"), François Truffaut ("Jules et Jim"), Michelangelo Antonioni ("La Notte"), Luis Buñuel ("Diary of a Chambermaid"), Jacques Demy ("Bay of Angels"), John Frankenheimer ("The Train") and Orson Welles ("Chimes at Midnight"). She would even get behind the camera herself and directed three films including a semi-autobiographical 1976 feature, "Lumière" and a 1983 documentary on actress, Lillian Gish.
It's not surprising that this passionate actress attracted the attention of many suitors throughout her life and in addition to Malle, she had affairs with directors Truffaut and Tony Richardson, actor, Lee Marvin, musician, Miles Davis and fashion designer, Pierre Cardin. Moreau was married briefly twice; first to filmmaker, Jean-Louis Richard with whom she had a son, Jerome and later to American director, William Friedkin.
Jeanne Moreau came at a time when cinema was changing from the glossy, perfect images from Hollywood to the realism, experimentation and youthful rebellion of French New Wave in the '60's. As an important figure during this era, she gave us many inimitable performances that will continue to mesmerize and exhilarate audiences for many years to come. I have included a few trailers to highlight some of her memorable screen appearances:
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