Arthur Penn

 Arthur Penn




The Miracle Worker (1962)

Bonnie and Clyde (1966)


RANKED:


2. The Miracle Worker (1962)


After directing the stage production of "The Miracle Worker," Arthur Penn was granted the opportunity to adapt it for the screen. Based on the real events of Anne Sullivan teaching Helen Keller, Penn's 1962 film "The Miracle Worker" received both critical and commercial acclaim. What really jumps out of the screen is the sheer physicality between the two characters. The physical battles between them illustrate the battle of wills taking place underneath. This creates a consistent kinetic energy to the film. Penn's willingness to be completely engaged visually with his subjects places the viewer right in the middle of this battle of wills and of physical domination. This is what makes "The Miracle Worker" feel so alive. 




1. Bonnie and Clyde (1967)


Many film scholars and historians consider 1967's "Bonnie and Clyde" to be one of the first films of the New Hollywood movement. Centering on the real-life Texas bank robbers, the film sympathizes with its anti-heroes, a stark contrast to the observant yet condemning tone of prior Hollywood productions. Writers David Newman and Robert Benton wanted the film to feel like a French New Wave film - even going as far to ask Francois Truffaut and Jean-Luc Godard to direct. However, after ultimately settling on American Arthur Penn, the writers were in good hands. The resulting film echoes the New Wave sentiments with its dramatic shifts in tone, its choppy and noticeable editing, and its 'off-handed' depiction of sex and violence. The film even went as far as romanticizing its subjects - seeing their violence as a Robin Hood-esque rebellion and revenge against the failing American capitalist system. These extremities made studios reconsider the film's success, thinking no American public would be open to these kinds of films. On the contrary, "Bonnie and Clyde" was a sleeper hit, even going as far as securing nine Academy Award nominations. This open acceptance of the rejection of typical American filmmaking opened the doors to more films of this type and caliber, creating the new landscape of the "New Hollywood" era. 


Comments

Post a Comment

Popular posts from this blog

Two or Three Things I Know About Her (1967)

Image
  Jean-Luc Godard's "Two or Three Things I Know About Her" As with many other Jean-Luc Godard films, " Two or Three Things I Know About Her " packs lots of ideas into a single, short viewing experience. What's unique about it is the seemingly open metatextual format of the film. Meaning, Godard includes the viewer in on the process and ruminations on the arbitrary choices made in the film. Released in 1967, " Two or Three Things I Know About Her " acts more like an essay film, one that critiques modern consumerism and capitalism. The plot of the film centers on 24 hours in the sophisticated, but empty life of Juliette: a wife, a mother, and a prostitute. After dropping her children off with a man who watches prostitutes' children, she goes shopping for dresses, drink coffee in a cafe, has appointment with clients, and visits a beauty salon. All the while, Godard's metatextuality bleeds through with interspersed shots of construction work in...
Read more

The Fire Within (1963)

Image
  Louis Malle's "The Fire Within" The first thing I noticed while watching Louis Malle's 1963 film " The Fire Within " was it's lack of music or soundtrack. Aesthetic choice perhaps. After all, Malle is an engineer of the Nouvelle Vague movement. It's safe to assume that some creative liberties were to be used. However, " The Fire Within " was far from the typical style that Nouvelle Vague had become known for. The film centers on Alain, a rehabilitating alcoholic who vows to kill himself by the end of the week. He is separated from his wife, Dorothy, who is living in New York, while he rehabilitates in a clinic. After leaving the clinic, he meets up with various former friends and associates. None of them are able to convince him that life is worth living, however. To entrench our character's story with the malaise of his own emptiness, Malle really makes the atmosphere as dry as possible. The story plods along without any kinetic ener...
Read more

Humanity and Paper Balloons (1937)

Image
  Sadao Yamanaka's "Humanity and Paper Balloons" In his very brief career, Japanese director Sadao Yamanaka only made 3 feature length films. All 3 made an enormous impact in Japanese culture and are still praised by the film community today. The final of the 3 films he made, 1937's " Humanity and Paper Balloons " is perhaps the very reason his life was cut short. At the time of the film's release, the Japanese government had already invaded China and was exponentially building its militia. They felt as though Yamanka's film damaged the nationalistic and militaristic viewpoint they were trying to instill in the country. Because they were so displeased with the 'message' of the film, they sent Yamanaka to the Chinese front, where he died a year later in 1938. The reason for this retribution by the Japanese government was because the film focuses on a group of characters who actively display the worst attributes of Japanese society. Yamanaka...
Read more