The Claim takes shape from two sources. The plot is from Thomas Hardy’s The Mayor of Casterbridge, a great and beautiful novel that seems reasonably available for adaptation to the frozen California Gold Rush era. The style is taken from Robert Altman’s McCabe & Mrs. Miller, that gorgeous 1971 revisionist western shot in the Northwest rain and snow.
[Originally published in The Weekly, December 19, 1984]
In John Ford’s Young Mr. Lincoln, a film employed to throw a cultural frame around Wim Wenders’s Alice in the Cities, a character says to Abe, “Never saw a man look at a river the way you do.” No filmmaker has ever looked at a road the way Wim Wenders does. He sees it in all its purity and directness of line, its beauty as a brave and silent sign of man’s efforts to impose coherence and continuity on the awful indifference of landscape; sees above all, perhaps, the beauty of its effective invisibility. We don’t really look at roads, even as we rely upon them absolutely as the arterials of modern life, the reminders that, as sedentary beings who live out most of our lives in place, we never entirely shake free of the atavistic allure of being a nomadic race.
Ostensibly a remake of the 1942 classic by the same name, Paul Schrader’s 1982 Cat People is a cat of a different species entirely. At the time, it was accused of being garish and gory and literal in its exploration of sexuality as an animal impulse, in contrast to the shadowy psychological suggestions of the Jacques Tourneur-directed original. Schrader, who was a brilliant film critic before he turned to writing scripts and then directing films, had written Taxi Driver and Obsession and Raging Bull and came to Cat People after American Gigolo, his third film as a director but his first big success. Cat People was the first project he had not written himself, a script that had been developed by other directors, and while he had screenwriter Alan Ormsby significantly rework the script with his own ideas, Schrader took no screen credit for it. Yet Schrader himself remarked years later that “when I look back on it, I see Cat People as being almost the most personal film I’ve done.” He reunited much of the creative team from American Gigolo–director of photography John Bailey, composer Giorgio Moroder, and most importantly visual consultant Ferdinando Scarfiotti–and transformed a sleek, sexy horror remake into a Paul Schrader film.
The film opens on a dream-like scene in a desert of blowing amber sand where young women are sacrificed to leopards. It plays more like myth or metaphor than literal flashback, a beguiling, beautiful, terrible fantasy of sex and magic and flesh and fur in what could be the most magnificent cinematic snow globe ever shaken on screen.
Sunrise (Fox, Blu-ray) – A deliriously romantic fable on a magnificent scale, F.W. Murnau’s 1927 Sunrise is a story of reconciliation and renewal and a Utopian vision of paradise lost and regained. A strapping young farmer (George O’Brien) under the spell of a sexy vamp from the city plots to kill his innocent Madonna of a wife (Janet Gaynor), but just when it seems to be playing out An American Tragedy, fate sends them on a second courtship through the bright lights and busy culture of the big city. It’s subtitled “a song of two humans” and it plays as much like verse as it does a story.
German master Murnau was lured to America by William Fox to give his studio class (Fox had money but he wanted was a masterpiece) and the director let his imagination loose upon the machinery of Hollywood to create the most beautiful piece of cinematic poetry to come out of America. There may be no more beautiful shot in all of cinema than the creeping prowl through the swamp, the camera pushing through leaves and branches and breaking through the mist, subtly shifting perspective without ever breaking it’s measured pace or floating gaze. His big city is like Metropolis for the jazz age, but invested with a benevolence that American filmmakers save for their small town portraits, and his storytelling is as unabashedly romantic as it is sophisticated. Sunrise reminds us of the silent cinema dream worlds lost in the new realism and visual literalness of the sound revolution. Almost a century of sound filmmaking has never equaled its emotional power or the cinematic purity. If there is a single essential silent classic, this is it.
Though produced as a silent film, it was released at the dawn of the sound era with a synchronized score by Hugo Reisenfeld in the U.S. and the disc features the original Reisenfeld soundtrack (with sound effects but no dialogue) and a subsequent score composed and conducted by Timothy Brock for the home video release. The disc presents two editions of the film, the original American release and a European silent version discovered a decade ago, created from alternate takes and sometimes different shots (a common practice in the silent era). The European print has a stronger image while the American version, mastered from an archival print (the negative was lost in a studio fire decades ago), is as close to the director’s definitive version we’ll find. Both are mastered in HD and debut on Blu-ray in the U.S. (many American collectors picked a British Blu-ray release few years ago; this is produced from the same digital masters).
Also features commentary by respected ASC cinematographer and cinematography historian John Bailey, outtakes with commentary by Bailey, the original scenario by Carl Mayer with annotations by F.W. Murnau, the original screenplay, and note on the restoration.
Cat People: Collector’s Edition (Shout Factory, Blu-ray) is not the 1942 classic of shadow and suggestion and Freudian sexuality clawing its way out of a virginal young woman but the 1982 remake directed by Paul Schrader. Nastassja Kinski, in her second American film, is entrancing as Irena, who arrives in New Orleans to be reunited with her brother Paul (Malcolm McDowell) only to discover that she belongs to a race of shapeshifters who turn into leopards when they have sex. Unless, of course, they keep it in the family.
Calling this a remake isn’t really accurate, I confess, even with the homages to the original film. Alan Ormsby’s screenplay doesn’t just update the story, it reimagines it with a backstory mythology that is both more literal and more dreamlike than the original and Schrader paints it with a palette of old world atmosphere and modern, unreal colors.