Showing posts with label Robert Aldrich. Show all posts
Showing posts with label Robert Aldrich. Show all posts

Wednesday, 26 December 2018

Robert Aldrich | Four Decades, Four Movies

Over the past six months or so, I've been watching Robert Aldrich films. Aldrich has been on my radar since I read that Kiyoshi Kurosawa was a big fan of Emperor of the North, and that fact alone spurred me on to see them all. As a form of closure on this project, I thought it'd be a good idea to write briefly on one film from each decade he was working: the 50s to the 80s. Four films for four decades. With thanks to Dean Martin and Frank Sinatra, Ursula Andress and Anita Ekberg, it makes sense to call this whole endeavour 4 For Aldrich. It's nice how things work out.

Ten Seconds To Hell | 1959

Love in the ruins. Six men disarm bombs in the post-war rubble of Berlin, the scars of a city echoing the past in the present, to make an inhospitable place a city again. Blueprints line the walls of their office and they can precisely identify bombs from a distance, but these men can never be truly prepared. There are too many variables. Every day is a "gamble with death” — but men with something to rebuild have the most to live for. Architects and murderers. Morality and greed. “What will rise from these ashes?”

The Last Sunset | 1961

A Texan sheriff hunts a man accused of murder across the border into Mexico. He has no jurisdiction here, so the two men team up for a lucrative, mutually beneficial cattle drive back across the border, along with a disgraced Civil War deserter and his wife and daughter: a chance to escape, a chance for justice. Romances blossom and relationships fray as these men cagily push on to their inevitable endgame, prowling around each other in the post-war ruins of country fraught with danger. A yellow dress to reawaken ghosts, unverifiable revelations weaponised as punishment. "I've loved you all my life."

Hustle | 1975

"What the hell happened to justice?" The death of a young woman, ruled as a suicide but treated as a murder by her angry father, a veteran struggling to readjust to civilian life. There's too many murders in Los Angeles to reopen the case, so the girl's father, firm in his belief that the police are covering something up, investigates alone, while an embattled, whiskey-swigging homicide detective, planning a new life in Europe with his French lover, tries to help as much as he can out of a sense of moral obligation. A furious film about the ugliness of post-Korea, post-Vietnam America, how there's no escape from it, and how it may be too far gone to fix it. "We lost her a long time ago."

... All The Marbles | 1981

From darkness into light. A life on the road in a struggling industry, driving from town to town, motel to motel, to wrestle in dingy venues to small audiences for low pay. Smoke billows into the atmosphere from factory chimneys everywhere they go. "You think we've got it tough? How'd you like to work in there?" Pills and cigarettes to cope with the cold, the pain, the loneliness, but the struggle pays off in the ring. Out of it, a new set of problems: the higher the stakes, the higher the costs. Loaded dice and bribery, violence and sleaze, power games with powerful people. In Aldrich's America, wherever there's money there are people trying to steal it. But the determination to win, to right a wrong, to reclaim one's dignity, always shines through in the end. "Win or lose, I love you both. But we've come too far to lose". Work hard, win big. Maybe the future is yours, after all.

Friday, 21 September 2018

Too Late The Hero | Robert Aldrich, 1970




Too Late The Hero | Robert Aldrich, 1970

A reckless army captain quickly devises and actions a plan of attack, designed to emphasise his own bravery and intellect with no thought to strategy or his orders. His men protest to determinedly deaf ears. His plan is simple but fraught with danger: he walks alone into the radio hut of a Japanese military camp, nonchalantly to avoid suspicion ("if he does see me, he's likely to assume I'm one of his chaps"), and takes out the Japanese radio operator. Then, when the coast is clear, a British radio operator follows him in and sends a vital message of warning back to base. Once this message is sent, they all walk out undetected.

The captain arrives at the hut. Aldrich cuts quickly from a close up of the captain's eye in the crack of the door to a mid-shot of the hut's interior, before cutting back to a mid-shot of the captain as he walks inside to take out the operator. This all occurs in less than a second, yet in this time he has moved from outside to inside. The cut moves faster than time and the action seems rushed. Something suddenly feels inexplicably wrong, but everything is going according to plan. Time grinds to a halt as the captain stands alone in enemy territory. Doubt creeps in. Maybe this wasn't such a good idea after all.

Monday, 6 August 2018

Attack | Robert Aldrich, 1956


Attack | Robert Aldrich, 1956

Division and unity. Two lieutenants, a captain and a colonel play a tense game of cards near the end of the war. One of the lieutenants recently led a dangerous attack against the Nazis, ordered by the captain with the promise of military support if required. The attack failed and, due to the captain's reluctance to send in the promised back-up, several men died in the battle. The colonel, an old friend of the captain’s and in need of his support for his future political ambitions, yet fully aware of his inability to lead men into war, allows him to remain in command, against both lieutenants’ wishes. During the card game, Aldrich separates the four men in the frame across a table with a pillar in the background: on one side, the colonel and the captain; on the other, the two lieutenants. No trust in their superiors, no middle ground to find, constantly at odds with gamblers. They try in vain to convince the colonel to take the captain off the frontline and put him behind a desk. “Then our worries are over, all we’ve got to do is fight the war”. But they fail. And so they return to the front, together with their men. Out in the open air there’s nothing to separate them, the dividing pillar replaced by a uniting lieutenant to rally around. They have a job to do, a duty to both their fellow soldiers and their country. They have no choice but to follow the captain’s poorly thought out plan of attack, designed to prove his own bravery to the colonel while his men risk their lives. They march blindly into the unknown. An act of self-advancement and an egregious failure of leadership, all at the expense of men in no position to say no to orders. There’s nowhere to hide on the battlefield. Useless, the captain stays inside.