His name was Woodrow Wilson Woolwine Strode and he was a football star, a professional wrestler, a WWII veteran and a famous Hollywood character actor who should have become a star. But the closest Woody Strode ever got to playing the leading role in an American film was Sergeant Rutledge (1960), in which he portrayed the title character but was fourth billed after Jeffrey Hunter, Constance Tower and Billie Burke. In an ironic twist that makes sense in a Pre-Civil Rights Hollywood, Strode had to travel to Italy to finally receive top billing and the only genuine leading role of his career in Black Jesus (1968) aka Seated at his Right (the Italian title is Seduto alla sua Destra). It is probably one of his least known films but easily his biggest role and possibly his best performance.
When did alienation in modern society become a favorite thematic concern in the culture and the arts, particularly in the cinema? Certainly the films of Michelangelo Antonioni addressed the inability of people to connect, feel or relate to each other in a post-industrial age world as early as 1957 in Il Grido. But by the early sixties, it seemed as if every major film director in the world was addressing the topic on some level. A general sense of malaise was in the air as if the modern world was having a counterproductive effect on humanity, creating a sense of futility, amorality or complete apathy. You could see aspects of this reflected in Federico Fellini’s La Dolce Vita (1960), Ingmar Bergman’s Through a Glass Darkly (1961), Alain Resnais’s Last Year at Marienbad (1961), Luis Bunuel’s The Exterminating Angel (1961) and Jean-Luc Godard’s My Life to Live (1962). All of these are considered cinematic masterworks of the 20th century but there are also many worthy and lesser-known contributions to the pantheon of alienation cinema and one of the most strikingly is Il Mare (The Sea), the 1963 directorial debut of Giuseppe Patroni Griffi. Continue reading