Marcia (Patricia Neal) is all smiles in this dank jailhouse but for some reason, she looks at a drunk prisoner Lonesome Rhodes (Andy Griffith), both moved and saddened. I watched this movie cold and for the first time. This movie begins with bucolic acoustic guitar music, the first scene acted out in this room. Misinterpreting Elia Kazan’s reputation as a theatre director and ‘Budd Schulberg’ meaning this movie was probably based on a play. It would also be a challenge to the filmmakers to create cinema in such theatre-like spaces. Mix those Rube Goldberg tangents with how I liked the way these characters are in this scene, I was assuming that this movie’s gonna stay put in this room and in this small town. But nooooo…..
Kazan was the closest thing North America ever had to a Roberto Rossellini, or is he?
This is what I imagine every pre-1967 B-movie would feel like.
Then he became a sellout douche. The best comparison I can come up with for this director and movie is Richard Brooks’ Elmer Gantry. This movie’s also about the advent of television and celebrity politics, with the TV set within the frame.
But here is my best shot, even if it doesn’t encapsulate the film. None of my best shots yet are like that. It’s probably yours too, which makes it boring, but I hope my write-up seems more ‘original.’
I call this the Reverse Norma Desmond Shot. Marcia reminds me of Norma’s insane, destructive impulses. A member of Rhodes’ sound crew blurted out how he would like America to see what the real Lonesome Rhodes is really like, or more correctly, has become. This little wish turns into a sinister idea that possesses her, thus the obvious but probably one of the most effective noir-like close-ups ever put to film. There’s also a little of Joe Gillis in her in wanting to unmask the truth to and about a delusional person, yet what she does to him is more cruel that what Joe says to Norma in person. She destroys him, and in doing so has to both lament and defend that rash decision.