cinemabon
09-24-2005, 01:30 AM
The month in classic cinema
I am saddened by the passing of Robert “Bob” Wise, an accomplished film director, producer and editor. He began his long career at RKO (hired by his brother as assistant editor), eventually editing such classics as “The Hunchback of Notre Dame” but especially known for his collaboration with Orson Welles on “Citizen Kane.” Known as “fix it” Bob, Wise was brought in on many projects after directors either were fired or refused projects; such was the case with his first film, “Curse of the Cat People,” and with some of his subsequent films. Jerome Robbins directed brilliant dance sequences but failed to make a cohesive film with “West Side Story.” Wise stepped in and turned the production around. William Wyler turned down Fox’s “The Sound of Music.” Wise came aboard, despite his protest a helicopter shot at the beginning would never work, and created one of the biggest money making films of all times, endearing his name to a generation of fans that loved this work. He relieved special effects wizard Douglas Trumbull at the helm of “Star Trek – the motion picture” trimming out the boring stuff and delivering a project that had spent 20 million dollars on special effects, none of which were ever used in the production. Wise’s own sci-fi film, “The Day the Earth Stood Still,” is considered a classic among genre fans. His editing skills and directing work for years on B-pictures honed his skills making a master craftsman out of the Hollywood veteran. He had a calm and steady way that made many crews and actors relaxed, enjoying the production process. President of both Directors Guild and the Academy of Motion Picture Arts and Sciences, Bob Wise was well liked in Hollywood. He will be missed.
The DVD “The Miracle of Morgan’s Creek” was released also last week. This Preston Sturges comedy builds like a fine symphonic work, with the first movement dedicated to introducing a hilarious cast of misfit characters sure to charm the most curmudgeon viewer. While Betty Hutton takes some getting used to with her stilted style of staring at a spot for reference; the other actors like the nervous Eddie Bracken or the overly stern William Demarest (he did all his own pratfalls at young age of 52!) fill in the dull spots with some great comic scenes. Almost a sequel to “The Great McGinty” (with Brian Donlevy doing an uncredited cameo); “Morgan’s Creek” is a bedroom farce with only an implied bedroom, due to the restrictive ‘Hayes Code’ that prevented artistic expression. At his own peril, Sturges thumbed his nose at the censors using innuendo and implied meanings. The final ten minutes of the movie is so funny as to defy description. Many of the antics go beyond cornball by today’s standards, but when seen in the light of the World War II generation, “Morgan’s Creek” was a nice break from the ravages and depressing times brought on by the war.
If you have not purchased “Ben-Hur” (1959), then this is the time to do so. The new four disc version also released last week contains some new documentaries on the subject (although the personal interview of William Wyler was dropped to my dismay), along with the silent version of the film (1925 with Wyler working as an assistant director). Unable to obtain the services of Cecil B DeMille (thank goodness), Wyler was brought in to complete the production, which went on to garner a record 11 Academy Awards including Best Pix and direction, Willie’s third Oscar (his fourteenth of fifteen nominations). The print is in excellent shape and those with hi-def televisions will appreciate the new digital print about as flawless as it gets for a film nearly fifty years old. While Heston’s character, Judah, is the main focus of the movie, Wyler is wise to skirt around the issue of conversion (something over emphasized in the book). Instead, Willie brought out Judah’s road to redemption through his final embrace of mercy and love, common themes in films that resolve with ‘happy’ endings. The best part being the chariot race, actually directed by well-known Native American stuntman Yakima Canutt, given a rare “second unit director” credit in the main title, something Wyler insisted on. Canutt gave us all the thrills, and left so many wondering if a stuntman was killed during the filming (unless you consider the dummy they used alive). Careful shot by shot examination reveals the secret of fast paced cutting with impressive visuals. Veteran Ralph Winters cut those scenes together picking up a second Oscar in the process.
I am saddened by the passing of Robert “Bob” Wise, an accomplished film director, producer and editor. He began his long career at RKO (hired by his brother as assistant editor), eventually editing such classics as “The Hunchback of Notre Dame” but especially known for his collaboration with Orson Welles on “Citizen Kane.” Known as “fix it” Bob, Wise was brought in on many projects after directors either were fired or refused projects; such was the case with his first film, “Curse of the Cat People,” and with some of his subsequent films. Jerome Robbins directed brilliant dance sequences but failed to make a cohesive film with “West Side Story.” Wise stepped in and turned the production around. William Wyler turned down Fox’s “The Sound of Music.” Wise came aboard, despite his protest a helicopter shot at the beginning would never work, and created one of the biggest money making films of all times, endearing his name to a generation of fans that loved this work. He relieved special effects wizard Douglas Trumbull at the helm of “Star Trek – the motion picture” trimming out the boring stuff and delivering a project that had spent 20 million dollars on special effects, none of which were ever used in the production. Wise’s own sci-fi film, “The Day the Earth Stood Still,” is considered a classic among genre fans. His editing skills and directing work for years on B-pictures honed his skills making a master craftsman out of the Hollywood veteran. He had a calm and steady way that made many crews and actors relaxed, enjoying the production process. President of both Directors Guild and the Academy of Motion Picture Arts and Sciences, Bob Wise was well liked in Hollywood. He will be missed.
The DVD “The Miracle of Morgan’s Creek” was released also last week. This Preston Sturges comedy builds like a fine symphonic work, with the first movement dedicated to introducing a hilarious cast of misfit characters sure to charm the most curmudgeon viewer. While Betty Hutton takes some getting used to with her stilted style of staring at a spot for reference; the other actors like the nervous Eddie Bracken or the overly stern William Demarest (he did all his own pratfalls at young age of 52!) fill in the dull spots with some great comic scenes. Almost a sequel to “The Great McGinty” (with Brian Donlevy doing an uncredited cameo); “Morgan’s Creek” is a bedroom farce with only an implied bedroom, due to the restrictive ‘Hayes Code’ that prevented artistic expression. At his own peril, Sturges thumbed his nose at the censors using innuendo and implied meanings. The final ten minutes of the movie is so funny as to defy description. Many of the antics go beyond cornball by today’s standards, but when seen in the light of the World War II generation, “Morgan’s Creek” was a nice break from the ravages and depressing times brought on by the war.
If you have not purchased “Ben-Hur” (1959), then this is the time to do so. The new four disc version also released last week contains some new documentaries on the subject (although the personal interview of William Wyler was dropped to my dismay), along with the silent version of the film (1925 with Wyler working as an assistant director). Unable to obtain the services of Cecil B DeMille (thank goodness), Wyler was brought in to complete the production, which went on to garner a record 11 Academy Awards including Best Pix and direction, Willie’s third Oscar (his fourteenth of fifteen nominations). The print is in excellent shape and those with hi-def televisions will appreciate the new digital print about as flawless as it gets for a film nearly fifty years old. While Heston’s character, Judah, is the main focus of the movie, Wyler is wise to skirt around the issue of conversion (something over emphasized in the book). Instead, Willie brought out Judah’s road to redemption through his final embrace of mercy and love, common themes in films that resolve with ‘happy’ endings. The best part being the chariot race, actually directed by well-known Native American stuntman Yakima Canutt, given a rare “second unit director” credit in the main title, something Wyler insisted on. Canutt gave us all the thrills, and left so many wondering if a stuntman was killed during the filming (unless you consider the dummy they used alive). Careful shot by shot examination reveals the secret of fast paced cutting with impressive visuals. Veteran Ralph Winters cut those scenes together picking up a second Oscar in the process.