Clark Gable

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440 CHAPTER 11 Film Theory and Criticism Carolina coast to the U.S. mainland. This was the first African-American film directed by a woman to go into general theatrical release. At a much higher level of box-office success are the comedies of Keenan Ivory Wayans. These include Scary Movie (2000), Scary Movte Il (2001), and a fond par- ody of 1970s-era "blaxploitation," I'm Gonna Git You Sucka (1988). ACTORS Among the present generation of African-American actors, the most prominent is Denzel Washington, who became one of the few actors to make a suc- cessful transition from television (the 1980s series St. Elsewhere) to the big screen. Washington has specialized in playing relatively noble characters in pictures such as Devil in a Blile Dress and Philadelphia (1993). He made a dramatic switch in Training Day (2001), where he played a ferociously bad cop, and the industry took notice. He won the Academy Award for Best Actor with that role. Washington has often teamed with director Tony Scott (Man on Fire, 2004; The Taking of Pelham 1 2 3, 2009; Unstoppable, 2010), and he has directed two films, Antwone Fisher (2002) and The Great Debaters (2007). In 2005, he returned to the New York stage, playing Brutus in Julius Ceasar, and his star charisma drew huge audiences and helped to make the play one of its season's hits. The same year Washington won his Oscar for Training Day, Halle Berry won as Best Actress for Monster's Ball. The twin victories were highly symbolic. No black actor had won the award since Sidney Poitier in 1963, and few had even been nomi- nated. The symbolism of the dual wins enabled the industry to announce the impor- tance of African-American films and audiences and to acknowledge that it had been slow to reach this point. Unfortunately, Berry followed her victory with some bad career moves, roles in the James Bond film, Die Another Day (2002), and Catwon:an (2004), which audiences avoided. Thus there are currently no African-American female stars of the magnitude of Denzel Washington or Will Smith. Angela Basset seemed poised for a major career after the hit How Stella Got Her Groove Back (1998), but she then suffered the same kind of career halt that afflicts many women working in film today (discussed in the subsequent section of this chapter). Like Washington, Will Smith successfully transitioned from television series to big-screen films while carrying with him his trademark wisecracking humor. Smith has made action thrillers (Enemy of the State, 1998) and straight drama (Malcolm, 2001; Hitch, 2005) but has found some of his biggest hits in science fiction. He bat- tled aliens in Men in Black (1997) and Independence Day (1996) and an army of ro- bots in I, Robot (2004). The latter film is especially interesting in the way that it uses Smith's persona to lend a racial subtheme to the film. Smith plays a black cop who is a bigot—he is prejudiced against the rob ...

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56 CINEASTE, Fall 2017 isn’t unreasonable to say this is a film about patriarchal law’s last gasp, especially since the killing of an older man is at the center of the narrative. Thomas shouts at his models, at one point grabbing one physically to push her into position. The image of James Stew- art holding a camera with an outsized lens (in Rear Window) became a much-used sym- bol for film studies of the impotent, voyeuristic male. Thomas takes this much further, using the camera as a phallus as he unconsciously mimes intercourse, complete with shouts of “Yes!, Yes!” as he photographs the leggy, then-trendy model Veruschka; as usual, the male achieves “orgasm” (Thomas collapses on a sofa) while the female is merely a receptacle left on her own. The moment, reproduced on virtually every poster for the film, might be a bit ripe, but the point is made. It is later repeated, with emphasis on Thomas’s sadism, in the famous nude romp with two giddy, aspiring teenage models (Jane Birkin and Gillian Hills), who end up as servants, dressing David as he stares at his mysterious photographs. As in Red Desert, the sex act is achieved, but it is poisoned, bringing no ful- fillment to male or female. The film opens with a car full of mimes, the famous Rag Week troupe, barreling around the drab urban citadel of The Econo- mist magazine. At the film’s end, Thomas spots them at a tennis court in Maryon Park, about which he continues to obsess. Two of the troupe’s members “play” tennis without rackets or balls. When they hit a “ball” over the fence, they beckon to Thomas, who joins in the mimed game, picking up the invisible ball, tossing it back. He enters the realm of metaphysics as he watches the game with a small smile—he even seems to hear the ball being struck. This object is invisible, yet it becomes the reason for unity—until Thomas’s smile turns to a frown. The mimes’ society is too marginal and bizarre to offer consolation. Thomas actually fades into the landscape as the camera pulls back, consciousness shutting down. When I first looked at the Criterion Blu- ray of this film, I was startled, thinking I had time-warped back to my initial viewing in 1966. Every print of the film since then has been inferior, my measure being the deathly greenness of Maryon Park. I find no fault with this magnificent 4K edition, yet another of Criterion’s sterling achievements. The supplements are rich and plentiful, includ- ing Garner’s substantial remarks as well as those of photo and art historians Walter Moser and David Alan Mellor. There is an intelligent 2016 documentary on the making of and legacy of Blow-Up, conversations with Antonioni (pretty slim), David Hem- mings, Jane Birkin, and a lengthy recent interview with Vanessa Redgrave. The pack- age also includes an essay by David Forgacs and Stig Björkman and the famous—but marginally relevant—short story by Julio Cortázar.—Christopher Sharrett His Girl Friday Produced and directed by Howard Hawks; wri ...

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