By 1935 Kay Francis was at the peak of her film career and the highest paid actress on the Warner Bros. lot. While her image as a chic and stylishly dressed sophisticate eventually worked against her, obscuring her genuine talent as an actress, Francis was amazingly prolific in the early sound era, averaging four to five movies a year opposite such dashing leading men as Ronald Colman (Raffles, 1930), William Powell (Ladies’ Man, 1931), Joel McCrea (Girls About Town, 1931), Fredric March (Strangers in Love, 1932), and Herbert Marshall (Trouble in Paradise, 1932). Despite the often clichéd and formulaic scripts she was given by the studio, which were mostly soap operas, tearjerkers and romantic dramas, Francis still managed to display her versatility in a variety of films that deserve to be better known today such as the delightful caper comedy Jewel Robbery (1932), the exotic Pre-Code melodrama Mandalay (1934) and the offbeat espionage thriller British Agent (1934). But there are plenty of lesser known efforts in her filmography that deserve rediscovery and one of the most intriguing is Stranded (1935), a curious blend of romance, New Deal optimism, and crime drama directed by Frank Borzage and pairing Francis with George Brent, who first appeared with the actress in The Keyhole (1931). (Brent would soon become Bette Davis’s leading man of choice at Warner with that actress replacing Francis as the queen of the lot). Continue reading
With more than 100 feature films, shorts, video and TV work to his credit, Jean-Luc Godard is surely the most audacious, groundbreaking and prolific filmmaker from his generation. Even longtime admirers and film historians have probably not seen all of his work and some of it like the political cinema he made with Jean-Pierre Gorin under the collaborative name Groupe Dziga Vertov is tough going for even the most ardent Godard completist. Weekend (1967) is generally acknowledged as the last film Godard made before heading in a more experimental, decidedly non-commercial direction which roughly stretched from 1969 until 1980 when he reemerged from the wilderness with the unexpected art house success, Sauve qui peut (Every Man for Himself). But most of the work he made during that eleven year period prior to 1980 championed social and political change through ideological scenarios and leftist diatribes that were overly cerebral and static compared to earlier career milestones like Breathless (1960), Contempt (1963) and Pierrot le Fou (1965).
Of the films he made during the Groupe Dziga Vertov period, only Tout Va Bien (1972), which starred Jane Fonda and Yves Montand, attracted mainstream critical attention but most of the reviews at the time were indifferent or hostile to this Marxist, Bertolt Brecht-inflluenced polemic about a workers’ strike at a sausage factory. Much more interesting to me was the film he attempted to make in 1969, tentatively titled 1 AM (or One American Movie). A collaboration with cinema-verite pioneers D. A. Pennabaker and Richard Leacock, the project was abandoned after Godard lost interest during the editing phase but Pennebaker ended up completing his own version of the existing footage which he titled 1 PM (or One Parallel Movie). This is a brief history of the film’s journey from concept to screen. Continue reading