One of the few films to emerge from Britain’s punk rock movement of the mid-seventies that succinctly expressed the anger and anarchic spirit of the times, Jubilee (1978) is possibly director Derek Jarman’s most accessible film though its irreverent mixture of history, fantasy and agitprop shot, guerilla-style, on the back streets of London is not for everyone. The loosely structured film has a framing device that is set in the year 1578 as Queen Elizabeth I ponders the future of her country. Along with her court magician, Dr. John Dee, and lady-in-waiting, she is transported to contemporary England by the angel Ariel. There she finds a mirror image of herself as Bod, the leader of an outlaw band of deviants, who struggles for dominance in a post-Margaret Thatcher wasteland controlled by the fascist media mogul Borgia Ginz. Continue reading
When Reveille with Beverly was first released in 1943, it was viewed as little more than a snappy little B musical programmer that showcased a star on the rise (Ann Miller) along with some of the top musical acts of the day. It was also a reflection of the type of assembly line escapist fare being released by Hollywood for war weary audiences and servicemen who needed a distraction from the harsh realities of a global conflict.
The plays of William Shakespeare have provided a bottomless well of material for filmmakers as either faithful adaptations or unacknowledged inspirations since the birth of cinema. Yet, the western genre seems under-represented in this regard with only a few examples coming to mind such as a thinly disguised version of Othello (Delmar Daves’ Jubal,1956) or a re-imagining of The Tempest (William A. Wellman’s Yellow Sky, 1948) or a gender twist on King Lear (Edward Dmytryk’s Broken Lance, 1954). Continue reading