Breaking the Code: Baby Doll (1956) Article

Here is my entry in the booklet for Elia Kazan's Baby Doll. This one was by far the easiest to write.

Broken Code: Impure love must not be presented in such a way to arouse passion or morbid curiosity on the part of the audience.

Stories that take place in the deep South are wonderful exaggerated studies of the human condition, especially when its character's lives seem to fester in the sweltering heat. And nothing festers better than a good Tennessee William's story. Controversial to its very core, Elia Kazan's adaptaion of Baby Doll is true resistance against the code. The repressed and expressed passions in this film are as hot as the exposed light bulbs that hang from the ceilings. And when those two opposing passions collide the results are explosive. Nothing is hidden, nothing is coy, its all exposed and has either the effect of arousal or discomfort. Baby Doll is a woman-child, married too young to Archie Lee, whose frustration with his unconsummated marriage affects his cotton-gin business. Rival, the hot-blooded Mr. Vacero (literally Mr. Cowboy), sweeps into town stealing away Archie's business. In retaliation, Archie burns down Mr. Vacero's gin. But what he doesn't expect, is the hit below the belt when Mr. Vacero manages to seduce his previously frigid young wife.

The swing scene is by far the most infamous and passionate. It is difficult to watch it without experience a quickening of the heart and shortness of breath. With every touch and caress, Mr. Vacero brings out the hidden lust in Baby Doll and brings about her transition from child to woman on the eve of her 20th birthday. Such power that sizzled from the screen, terrified audiences and censors alike leading to a national boycott. Raw sexual energy like that had never been seen before in a film and people immediately resisted it. In 1956, a primary figure in the Catholic church, Cardinal Spellman , spoke out about the film telling all Catholics that if they dared watch this movie, they would commit a sin against God. It eventually got pulled from theatres. Yet, this low-budget film stood out as an legitimately amazing film and received 4 Academy Award nominations. It marked a turning point in how sexuality could be expressed on film and paved the way for the expression of passion in cinema.

Reactions to Splendor in the Grass (1961)

Though nothing can bring back the hour
Of splendour in the grass, of glory in the flower
We will grieve not, rather find
Strength in what remains behind

~ Ode on Intimations of Immortality from Recollections of Early Childhood ~

~ William Wordsworth ~

• Consequences of sexual repression affect both the female and male protagonist. A rarity amongst coming of age stories.
• I was both enraptured by the story but put off by the soundtrack. Violins screeching the same sentimental notes over and over again was too much.
• The title of the movie means something to the story and its characters. The fact that it comes from a line written by a well-known Romantic poet gives it even more credence.
• I could not have seen this same story taking place in a city. There is something about rural open space, small communities and isolation that exaggerates the human condition.
• A tolerable, even enjoyable Natalie Wood. That says a lot for me, I'm not a fan.

Sexiest Scenes in Film History: A Face in the Crowd (1957)

A Face in the Crowd (1957)

"THERE'S NOTHING AS TRUSTWORTHY

AS THE ORDINARY MIND - OF THE ORDINARY MAN"

~ Lonesome Rhodes

The collection of truly amazing classic films, that I have yet to see, is an ever-shrinking pool. And it just got smaller when I watched Budd Schulberg and Elia Kazan's film A Face in the Crowd (1957). I was captivated both by the film's over-arching message of the corruptiveness of power as well as its fantastic storytelling. This film is so well done that I feel it merits, not one but two entries, with this being the first.

The story is about Larry "Lonesome" Rhodes, a simple Arkansas country boy, whose charm catapults him from jail to radio to broadcast television. He becomes intoxicated by the power his growing audience gives him and this of course leads to his downfall. Its fascinating to see how dangerous it can be and how vulnerable we are when power is put into the wrong hands.

The film itself is exquisitely made. The pacing shifts as the story moves along. My favorite example of this is the Vitajex scene which starts slowly with the formation of the advertising plan and escalates when Lonesome Rhodes takes over. The following scenes are manic flashes of Rhodes' numerous Vitajex commercials. The flashes become faster and faster as the ratings of Rhodes' show rises as well as the sales of Vitajex.

Its also interesting how the two main characters are filmed. Andy Griffith ,as Lonesome Rhodes, is practically bursting out of the screen. Whereas Patricia Neal, as Marcia, is swathed in light in those early scenes when things are still innocent and pure and towards the end when things start to go downhill, she is drowned in shadows, with the exception of her face, which is framed in various ways by clever lighting.

This film encapsulates the film-debuts of Andy Griffith and Lee Remick and the pinnacle Walter Matthau and Anthony Franciosa's early careers. Walter Matthau is particularly exceptional as Marcia's love interest who is the single voice of reason because he sees through the fogs of illusion. And Lee Remick! I had been actively watching for her and was excited to see her as the 17-year old baton-twirling, cheerleader who seduces Lonesome Rhodes.

There are so many reasons to watch this film. Watch it for its political message of the abuse of power. Watch it to see several legends get their film start. Watch it to see cameos by Rip Torn, Mike Wallace and Bennett Cerf (I haven't found him yet!).Watch it for Elia Kazan's excellent direction. But most of all, watch it for Budd Schulberg's amazing story.