There are some documentaries that may tell you that the real Hollywood filmmaking arts and techniques began in 1967. But in fact, by 1967, hundreds of talented directors in the studio had produced thousands of high-quality films.
But these old movies and today's audiences are always separated by a wall, not only because of the limited content available on online platforms, but also because of the widespread belief that classic Hollywood movies are not only outdated in terms of cultural content, they are not complicated enough in terms of technology, production and storytelling.
It's time to change that! Take a look at the following 12 classic Hollywood films, which are far beyond the pursuit of the times in terms of theme, narrative and photography.
Desert freaks
Johnny Guitar
(1954)
A classic by director Nicholas Ray. A Western movie with a female protagonist! Weynard, played by Joan Crawford, is a tough salon boss. Because of the construction of the railway and the old lover suspected of committing crimes, her fragile relationship with the townspeople was tested.
The plot of this movie is actually quite complex, but if you get lost in the cracks of detail or logic, you will miss its point. What really drives the conflict and the state of uneasiness in this film is the sexual psychology of the characters.
This gave Ray the opportunity to paint the boldest stroke of his career as Crawford calmly descended the stairs and headed to the salon playing the piano in her white dress (instead of the black suit she usually wore), just as an angry enemy was about to burn the place.
There's also Sterling Hayden, who plays Johnny Gutal, who always goes to his own pace, and the big star is more than happy to let Ray and Crawford change the gender of their characters to create this radical feminist work.
Desert Freaks
Washington, D.C
Advise & Consent
(1962)
It's the best American political film of all time. Otto Preminger is the best director at telling multi-character stories, and he applies "everyone has their own reasons" to the political game in Washington, D.C., forming a tension-filled combination.
The story revolves around a hearing on the soon-to-be-deceased secretary of state, who has been controversial over his appointment as president. The film incorporates the McCarthyism of the dominant era at the time, but in the end we see that it is not the ideological differences that cause this impasse, but the human flaws of the kind man.
The film gives viewers an insight behind the scenes of Washington politics, taking us into hotels, suburbs, the Senate, and high-class receptions... Real government management is done in these places.
Preminger also wanted to abolish the Hayes Code on his own, so in each of his films there were taboos against breaking the law.
In "A Thousand Autumns in Washington," not only do there are key plot points set around an unaccompanied gay senator, Preminger also boldly shows a gay bar in the film.
"A Thousand Autumns in Washington"
The birth of a star
A Star Is Born
The protagonist of "A Star Is Born", Esther Brogy (Judy Garland), is a rising star in Hollywood, and her love for her career and her husband's strong love have always tormented her.
Director George Cook's Hollywood career began at the end of the silent film period. The film combines musicals and sitcoms, and in these wonderful musical performances, Garland also unleashes her own painful and personal real Hollywood experiences.
James Mason's performance, on the other hand, is equally impressive, with his character (Esther's husband) discredited by alcoholism and a fragile male ego that eventually leads to self-destruction.
There is a very poetic treatment at the end of the film, and Mason's gradual descent into the sunset hints at the character's ending, which also symbolizes the end of an era. Because at that time, the studio system on the verge of collapse was experiencing its final struggle.
The Birth of a Star
The taste of success
Sweet Smell of Success
(1957)
It's hard to imagine a film noir that could burst out with such infectious energy. Bert Lancaster plays an all-round columnist like Walter Winchell, who can decide the success or failure of a Broadway show or a Politician in Washington. Tony Curtis plays a discreet news agent, but this time he has to fight his bottom line in order to get what he really wants.
With the help of photographer Huang Zongpei, the Broadway scene is full of vitality. The excellent screenplay was written by Clifford Odez and Ernst Lechmann (the author of the original novel), and director Alexander McKendrick's perspective is also pervaded by the fictional dialogues of the film's part, bringing to life a unique acting world, each expression presented in a unique rhythm and meaning.
The large number of supporting characters gives us a rich understanding of the world and culture, which is linked to this complex story and the clues that the omnipotent Lancaster has.
"The Taste of Success"
Spring wind and autumn rain
Imitation of Life
(1959)
"Spring Wind and Autumn Rain" is arguably the best racial theme film in Hollywood, and it is also the best film in director Douglas Seck's career. The film is about the family bond established between two mothers and daughters.
The white mother (Lana Turner) is a charismatic Broadway and movie star who struggles on her way to fame and prosperity while not having enough time to spend with her precocious daughter.
Black mother Anne (Juanita Moore) and her daughter then enter their lives, grieving and distressed by her daughter's refusal to admit that she is black. Seck's gorgeous visual style is like a golden cage forged for the characters, revealing the painful nature of the film.
"Spring Wind and Autumn Rain"
Beyond the whirlpool
Out of the Past
(1947)
In fact, most of the film noir of the 40s can be included in this list. Pessimistic, complex flashback narratives, combined with bold visual styles, have resulted in a large number of avant-garde films.
Compared with low-budget B-grade films such as "Detour" and "Gun Crazy", "Beyond the Whirlpool" has more Hollywood characteristics. Jeffer (Robert Mitchum) wants to abandon the dangerous chaos of the past and return to a peaceful life. But because of his past betrayal, he could not really get rid of the past.
Jacques Turner is well versed in the art of B-movies, and the film easily moves from a small mountain town to a Lake Tagus mansion, to Apcat, and back to the black-style cityscape. The director creates a thick and hazy cinematic atmosphere, like the sleepy-eyed Robert Mitchum, we travel through wonderful twists and turns and complex stories into dream-like worlds. In this film, the graphics, photography, and music are presented in ways that no other film has ever done.
Beyond the Whirlpool
Girlfriend Friday
His Girl Friday
(1940)
One reason "Hawkes Girls" is controversial is that director Howard Hawkes has no idea what feminine traits or what it means to be feminine. In his clock-like film world, female characters are exactly the same as male characters, driven by their work and professional codes.
That's why he decided to adopt the scripts of Ben Hecht and Charles Ledler (they made it into the film City of Crime in 1931, in which both protagonists are male) and changed the protagonist Hildy Johnson to female (Rosalind Russell), but without much change.
Hildy is still Walter's (Gary Grant) best correspondent, and their relationship and conflict are professional, but in Hawkes's version, the two were once husband and wife, which also added some emotional color to the film, but it was the passion that drove the story forward.
Although the film is full of sexual innuendo, the attraction lies in its professionalism and the ball-like dialogue between Grant and Russell. Hawke's ability to create energy, rhythm, and timing dwarfs Quentin Tarantino.
Girlfriend Friday
Appalling
Outrage
(1950)
Director Ida Lupino directly evokes the character's anxious psychological state with concise, tense and tough shots. "Horrible" has a broader vision than Lupino's previous independent film noir. The heroine played by Mara Bowles was raped on her way home, and her life changed dramatically.
In the 1950s, rape was also a taboo topic, and Ida Lupino, with her usual approach to the social context of the situation, was characterized by urban and suburban landscapes. The film is far ahead of its time in the way it deals with the subject matter, the climactic scenes are even more unforgettable, and there is a wonderful chase scene, which proves that Lupino's ability is unlimited.
"Appalling"
Peach apartment
The Apartment
(1960)
Billy Wilder is probably the greatest screenwriter in the world. He was always able to effortlessly combine the keen eye and wisdom and humanity that turned to the contradictions of American society.
"Peach Apartment" focuses more on melancholy than humor, and it captures the loneliness of New York and the indifference of the company. The heroes and heroines played by Jack Lemon and Shirley McLean are two wounded souls floating in this world, and they look forward to a stable life in an emotional and authentic way.
"Peach Apartment"
The devil is a woman
The Devil Is a Woman
(1935)
The 7 films that director Joseph von Sternberg and actor Marlene Dietrich have made are far ahead of their time, and even say that we haven't caught up with them yet. "The Devil Is a Woman" is one of the lesser-known, more abstract works, and it is like a window into the end of the chaotic relationship between the director and the star.
Together, they created a unique image of Dietrich, but he could no longer control the seductive female star in the movie world. Von Sternberg portrays himself on screen as a weak, jealous man, because it is undeniable that the actor Lionel Atwell and von Sternberg himself are very similar.
In contrast to him, independent Marlene manipulates and exploits men with her charm and changing desires, revealing a more subtle feminism about survival behind the story (the ridiculous name "The Devil is a Woman" was imposed by the studio). The exotic Spanish Carnival scene in the film is one of von Sternberg's most engaging and wonderful scenes, and one of the greatest cinematic worlds created through studio lighting.
"The Devil Is a Woman"
Naked Spurs
The Naked Spur
(1953)
If you can only learn one thing from this list, it is: look at Anthony Mann's Westerns. No one can combine action scenes with intense psychological scenes like Mann, and show the inner state of the injured protagonist through the clever use of filming locations.
Naked Spurs is the most emotional of Mann's films, with James Stewart playing a resentful bounty hunter determined to capture an outlaw (Robert Ryan).
As they travel through rugged Colorado, the tension and relationship changes exhibited by these five awkward characters are a perfect combination of script, acting, and directing.
The Naked Spurs
Caravans
The Band Wagon
Finally, if you like "Song in the Rain," check out MGM's musical-themed film Caravan. Fred Astaire plays the role of himself in the film, and although he is retired, he hopes to make a comeback in his career. Pushing boundaries, self-referential, and having fun, the spirit of the film perfectly embodies the most famous phrase in it, "That's entertainment!" ", is the most outstanding work of Vincent Minnelli's career.
"Caravan"
This article was compiled by cinematographers from: indiewire.com
Original author: Chris O'Falt