Biette noted Allan Dwan's ability to transition from silent film to talkies to colour pictures completely naturally, and without losing his essence--- I recognize a similar trait to Blake Edwards in this film, which is about as close to what he accomplished in the 60s as I can imagine.
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Stanley and Livingstone 1939
"The filmmaking that interests us is haunted by writing. Writing implies a separation [éspacement, or spacing-out], a space between two words, two letters, a gap that allows for a proliferation of meaning. Writing doesn't imply immediacy, but rather an eternal movement of "boustrophedon".- Serge Daney interviewed by Bill Krohn
And writing haunts Stanley and Livingstone, specifically journalistic writing. The introduction of narration through Stanley's journal itself introduces a fluidity of time that makes the dialogue feel smaller, more trapped in its time. The communicative element of writing also arises in the dialogue, with mistakes arising from too much distinction as much as too little.
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Gideon's Day 1958
This review may contain spoilers. I can handle the truth.
Note: I wish I were able to rewatch the film in preparation for writing this piece, but I am not. As such, consider this review an extremely limited first draft that will later be either rewritten or disowned entirely depending on any new insight I gain on said rewatch.
"Gideon's Day (1958):"The freest, most direct, least fabricated film ever to sprout from one of Her Majesty's studios," was the verdict of the prestigious Cahiers du Cinéma". But when the picture…
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Child of Divorce 1946
Every other Fleischer I've seen has been plastic in a way that made it feel really flexible and smooth, but this one feels so much tougher and more geometric, almost like what I'd expect from Preminger. It's still distinctly a Fleischer film, though, and probably my favourite I've seen so far.
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