1953-1957: The Swollen Story: World Cinema Bursting at the Seams

• • Rebel Without a Cause (1955) dir. Nicholas Ray
    • Widescreen and color
    • Bursting emotions, a common theme of the times.
  • Cairo Station (1958) dir. Youssef Chahine
    • A melodrama, the first great Arab film.
  • Paper Flowers (1959) dir. Guru Dutt
    • Beam of light opens to film studio.
    • Opposite lighting of Hollywood.
  • Raja Harishchandra (1913) dir. Dadasaheb Phalke
    • Mythological film, like many early Indian films.
  • Sant Tukaram (1936) dir. Vishnupant Govind Damle and Sheikh Fattelal
    • Extreme realism predating Italian realism.
  • Pather Panchali (1955) dir. Satyajit Ray
    • Extremely potent cinematography.
  • Devi (1960) dir. Satyajit Ray
    • Lighting was made to look like candle light.
  • Mother India (1957) dir. Mehboob Khan
    • A very emotional and melodramatic film.
    • Themes of struggle.
  • Two Stage Sisters (1964) dir. Xie Jin
    • The common melodramatic camera movements of quick pans and tilts
  • Ikiru (1952) dir. Akira Kurosawa
    • Cinematography shows downtrodden inner thoughts of the main character.
  • Stray Dog (1949) dir. Akira Kurosawa
    • Shows the “Staying power” of common Kurosawa heroes.
  • Seven Samurai (1954) (introduced in Episode 4) dir. Akira Kurosawa
    • Shows persistence but also tragedy of these heroes.
  • Throne of Blood (1957) dir. Akira Kurosawa
    • Trees shown intimidatingly by their movement
  • The Godfather (1972) dir. Francis Ford Coppola
    • Mimics death scene in Throne of Blood.
  • The Magnificent Seven (1960) dir. John Sturges
    • Remake of Seven Samurai.
  • Limite (1931) (introduced in Episode 4) dir. Mário Peixoto
    • Expressive camera.
  • Rio 40 Graus (a.k.a. Rio 100 Degrees F.) (1955) dir. Nelson Pereira dos Santos
    • Bold deep staging.
    • Influential Brazillian filmmaker.
  • The Life of General Villa (1914) dir. Christy Cabanne

 

• Shows how influenced by life Mexican films were.

 

• Doña Bárbara (1943) dir. Fernando de Fuentes and Miguel M. Delgado
  • Very influential on Mexican cinema.
• The Wild Bunch (1969) dir. Sam Peckinpah
  • Shows very influential filmmaker Emilio
• La perla (1947) dir. Emilio Fernández
  • Emilio often shows mixed race heroes commonly.
  • One of the greatest cinematographers of the time filmed this.
• Los Olvidados (1950) dir. Luis Buñuel
  • High contrast film.
  • Harrowing dream sequence.
• All That Heaven Allows (1955) dir. Douglas Sirk
  • The ideal version of America by Eisenhower’s standards.
  • Shows sickness of television in the scene where she is imprisoned by it.
• I’m a Stranger Here Myself (1975) dir. David Helpern
  • Shows argumentativeness of Nicholas
• Johnny Guitar (1954) dir. Nicholas Ray
  • Actress argues with him in this movie.
• Fireworks (1947) dir. Kenneth Anger
  • Anger beaten by sailors.
• Scorpio Rising (1964) dir. Kenneth Anger
  • Very inspired by Fireworks.
• Marty (television show) (1953) dir. Delbert Mann
  • TV Drama, shows a lowly butcher being rejected.
  • Not so much the gloss of Hollywood.
• Marty (1955) dir. Delbert Mann
• On the Waterfront (1954) dir. Elia Kazan
  • Powerful performance confronting union boss
• Red River (1948) dir. Howard Hawks and Arthur Rosson
  • Fight between old and new style cinema.
• Touch of Evil (1958) dir. Orson Welles
  • Cinematography and setting support character.
• The Searchers (1956) dir. John Ford
  • Also about obsession with a woman.
• Vertigo (1958) (introduced in Episode 4) dir. Alfred Hitchcock
  • Also about obsession with a woman.
• Rio Bravo (1959) (introduced in Episode 5) dir. Howard Hawks
  • The posse of lawmen are the closest thing to a normal functional family America saw in the 50’s.
• Great Expectations (1946) dir. David Lean
  • Clock shows how the upper class has been stopped in time.
• Lawrence of Arabia (1962) dir. David Lean
  • Famous shot from the match to the landscape of Arabia.
• O Dreamland (1953) dir. Lindsay Anderson
  • Anderson saw all as selfish and disappointing, and the people reflect that.
• Battleship Potemkin (1925) (introduced in Episode 3) dir. Sergei Eisenstein
  • The working class was portrayed as the most noble.

…And God Created Woman (1956) dir. Roger Vadim