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Review: Electra Glide in Blue

[Originally published in Movietone News 27, November 1973]

Film directors have come from many backgrounds, in the past more so than today; but with Electra Glide in Blue a new source has been tapped. James William Guercio is a prominent record producer. The influence of his background in the recording industry becomes immediately apparent when, in the first several minutes of the film, we witness a “suicide” while a weepy piano tune plays on a hand-cranked phonograph. Guercio has a feeling for music and film, and he blends both into an expressive statement. Certainly one of the most poetic of these expressions is a chase scene which begins slowly, the characters in floating telephoto shots seen through waves of heat rising from the pavement and the sands of the Arizona desert; with the addition of music to the soundtrack it becomes a ballet that moves inexorably toward its climax.

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Review: The Outlaw Josey Wales

[Originally published in Movietone News 52, October 1976]

It isn’t too likely that a U.S. Senator would arrange the mass murder of several bands of Confederate renegades after their postwar surrender; less likely still that he would himself be present at the grisly deed; and least likely of all that the ex-Confederate officer charged with rounding up and bringing in the guerrillas would, upon watching the massacre, have no more to say than “Dammit, Senator, you told me those men would be decently treated!” There are only two ways to take an outrageously implausible story and turn it into the Winning of the West; and if you don’t have the audacity of a Sergio Leone you might just get by with the humble, trusting naïveté of Clint Eastwood. Eastwood has demonstrated, over the past few years, a steadily decreasing tendency to imitate his mentors (most notably Siegel and Leone) as he continues to develop a style of his own. Not surprisingly, it reminds me of the directorial style of another western legend who got behind the camera, John Wayne, in its penchant for relying on explicit, often moralistic dialogue, on larger-than-life heroes and villains (often viewed from low angles), and on the instant, positive expressiveness of a powerful screen presence (Eastwood’s own) more than acting versatility or directorial imagination.

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