Gabriel Axel’s The Red Mantle

The name Gabriel Axel might not be familiar to most American moviegoers but many are familiar with his 1987 film Babette’s Feast which became a surprise art house hit and won the Oscar for Best Foreign Language Film, beating out Louis Malle’s Au Renoir les Enfants. Ironically, Axel was almost 70 and at the end of his filmmaking career when he experienced a career resurgence. But the film that is considered his first international art house breakthrough is Den Rode Kappe (1967), which was released in Europe as Hagbard and Signe and is best known under the title The Red Mantle in the U.S. The poster above with the awkwardly edited quote – and movie spoiler – from Time magazine also includes the reference “From the producers of Dear John” which means nothing to anyone today but that film was a slightly risque art film in its day (due to the nudity) and a nominee for Best Foreign Language Film of 1965 (It lost to Elmar Klosand and Jan Kadar’s The Shop on Main Street). Continue reading

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Audie Murphy: Role Model

Audie Murphy plays an angel of death in the semi-allegorical western western, No Name on the Bullet (1959), directed by Jack Arnold

Clint Eastwood certainly carved out his own genre niche as “The Man With No Name” gunslinger of Sergio Leone’s spaghetti western trilogy but he wasn’t the first to craft his screen persona as an archetype of the tight-lipped, deadly frontier drifter. Audie Murphy had already perfected the prototype in No Name on the Bullet (1959), a much darker variation on the heroic lawmen the actor usually played in westerns. Continue reading

Eurotrash or Subversive Satire?

ann and eveIs it possible to make a movie that works as both art house fare and exploitation cinema? Arne Mattsson’s Ann och Eve – de erotiska (1970), which was released in the U.S. in an English dubbed version as Ann and Eve, certainly comes close but still manages to frustrate both intended audiences with a bait-and-switch narrative that moves freely from sexual titillation to Swedish angst a la Bergman to surreal flights of fancy and back again, never revealing whether it should be taken seriously or as a put-on until the final frames. Continue reading