The Fine Art of Tactical Retreat

10:03 am - Bride of Three Films Make A Post

House of Bugs (2005): Part of a series of short movies based on horror manga by the glorious Kazuo Umezu. This one was directed by Kiyoshi Kurosawa (whose tone is usually quite the opposite of Umezu's) and tells the story of a broken marriage that climaxes in a metaphorical or not so metaphorical bug transformation by way of Kafka and Rashomon. It is very much a Kurosawa film with his typical subtle aesthetic and the director's usual themes (alienation, the inability to empathize, broken families etc) and therefore quite excellent.

The Bounty Hunter (1954): The story of an infamous bounty hunter played by Randolph Scott coming to a small town to catch three robbers about whom he knows next to nothing and making the whole town more than a little nervous in the process feels a little slight, even though it has its share of darker flourishes. The plot just works out a little too pat, making this most certainly not the best cooperation between director Andre de Toth and actor Randolph Scott. Not that it would be a bad Western, it's just that de Toth and Scott seem to be coasting on their talents instead of straining them.

Dead & Breakfast (2004): A bunch of dweebs on the way to a wedding strand somewhere in Texas. "Comedy" ensues, until the locals get possessed by demons and zombified, which leads to the sort of gory "comedy" that would very much like to see itself standing in the tradition of early Peter Jackson or Sam Raimi, just with the minor drawback that it is about as funny as Bela Lugosi meets a Brooklyn Gorilla. At least I have a new example now when trying to explain the phrase "painfully unfunny". Oh, and the people who compare this to Shaun of the Dead will be taken care of soon, a dark and ancient power promised me.

02:07 pm - Day of the Outlaw (1959)

The film takes place at the beginning of winter in the Old West, in a very small frontier town in Wyoming, right at the End of Trails (I think the mythical qualities of the snowy landscape warrant the use of a mythical term the film itself also uses, although probably without the capitalization). For years, the place has been dominated by the rancher Blaise Starrett (Robert Ryan, mixing the mythical dimensions of his character and the way it feels being an actual human being in an incredible performance), who is mainly responsible for the relative peace and stability in the region - he "cleaned" the place with his own gun, more or less.

But in the last year or two, farmers have begun to settle in the place, bringing with them a different notion of civilization and law as well as fences that make Starrett's life more difficult (and in his worldview presumably less free) than it used to be.

Matters aren't helped by the fact Starrett had an affair with Helen Crane (Tina Louise), the wife of the farmers' spokesman Hal Crane (Alan Marshall). She ended the affair and decided to stay with her husband, but seems to love both men, if in different ways. Starrett definitely still loves her and knows he can't have her as long as her husband is alive, giving him one more reason to want to see Crane dead, even if he never would admit this to himself.

Everybody knows that Crane hasn't got a chance in hell in a gunfight against Starrett. The showdown between the rivals comes unexpectedly fast. Or would come, if a gang of bandits wouldn't ride into town right when the shooting is about to start and turn the film into something quite different from what the beginning made me expect.

The bandits have no trouble in disarming the surprised townies - after all, the few armed men around (and the town is so small one has trouble calling it one) were lining up in the saloon to kill each other.

These bandits are of the unpleasant type that would later become dominant in the Spaghetti Western, sadistic maniacs who are more interested in the maiming and raping, but less in the pillaging part of their jobs. Still, they only plan on staying for a day to rest and find treatment for their leader "Captain" Bruhn (Burl Ives, in another great performance, seeming at once sympathetic and the cruel bastard who can keep the kind of men he employs in check), who was wounded in their last business excursion.

Bruhn knows very well that his men are maniacs and keeps them in line by pure force of will. Unfortunately he's so badly wounded the town's only doctor - a veterinarian - doesn't give him much time anymore.

What follows are some of the things you might expect, yet played out with the emphasis not on the moments and concepts you might expect. Starrett and Crane, for example, are not slowly growing to be friends, instead some very subtly done scenes between Starrett and Helen let him take a look at his motives for hating her husband so much and, as the film puts it "not liking what I see".

As already mentioned, much praise has to go to the actors who, while Ryan and Ives are especially impressive, all do some excellent work in showing their inner life more through small gestures than through dialogue.

It is of course quite possible that none of those gestures had made it into the film without director Andre De Toth, whose Western are products of a technically very proficient director without the kind of showoffishness that puts itself before the movie. Day of the Outlaw is a very strictly composed film, full of quiet and slow beauty and a passion that shows itself especially when not much seems to be happening on screen. There is a method to show the psychological dimension of occurrences through the rhythms of editing and the way the camera moves or sometimes doesn't move and De Toth seems to me to be one of this method's main protagonists in the Western movie, showing a confidence in his approach that leaves me in something like awe.

Over the whole running time, I didn't see anything on screen that wasn't supposed to be as I saw it. I don't use the word "perfection", unless I describe something as "perfectly awful", but Day of the Outlaw puts me on the brink of using it.