Passages

[tryavna]

Ah, sad news, but it's good to know that Widmark lived to a ripe old age and knew that his work was appreciated. Everything I've read about Widmark indicates that he was a genuinely nice guy, too.

[Person]

Widmark was the "tough" director's gift from the gods. He was resoluteness personified. My personal favourite performance of his, is in The Bedford Incident (1965, James B. Harris). His Captain Finlander is one of the best "military" performances I have ever seen. It's a joy to watch the argument scenes with him and Poitier. He's very effective in William Wellman's 1948 Western, The Big Sky, too.

I have huge respect for Widmark. Did he ever appear on TV chat shows or stuff like that? Just like Paul Scofield, he was an artist who lived a interesting, dignified and authentic life and artists from that age and mind set are almost all gone now. Our age seems monsterously crude in comparison, but is accepted as the "way things are."

[Jeff]

I have huge respect for Widmark. Did he ever appear on TV chat shows or stuff like that?

Not during my lifetime. The guy was a class act all the way. His obit in today's NYT is really good. I like the part where he refers to Forrest Gump as "a hymn to stupidity." This BFI interview from a few years back is a great read too.

[domino harvey]

Isn't there an lecture-type interview with him on the Hell and High Water DVD? I sent it back to Netflix before I realized I'd forgotten to watch

[souvenir]

Isn't there an lecture-type interview with him on the Hell and High Water DVD? I sent it back to Netflix before I realized I'd forgotten to watch

It's an episode of A&E's Biography. The best Widmark-related DVD supplement I know of is on the BFI disc for Kiss of Death. It's a 2002 conversation on stage at the National Film Theatre that lasts nearly 20 minutes. It's a shame Criterion didn't use that on Pickup or Night and the City because he discusses his whole career and it's really fun to watch.

[domino harvey]

that's what I was thinking of, I got the supplements confused!

[Antares]

I like the part where he refers to Forrest Gump as "a hymn to stupidity."

That was my favorite part of the article too. I wrote a review of Forrest Gump for another website and basically said the same thing, and I was lambasted for it. =D>

[domino harvey]

Watched Cheyenne Autumn yesterday in Widmark's honor.

[essrog]

And I was just explaining to a class of blank, dead-eyed, uncompreheding faces why Richard Widmark is great (they perked up when I told 'em about the act that made Tommy Udo famous).

Coincidentally, we started our film noir unit today, which I kick off with the noir episode from American Cinema. It's narrated by Widmark, and the last of a montage of introductory clips is Tommy Udo's famous push. The kids can never believe what they've just seen.

[Mr Sausage]

And I was just explaining to a class of blank, dead-eyed, uncompreheding faces why Richard Widmark is great (they perked up when I told 'em about the act that made Tommy Udo famous).

Coincidentally, we started our film noir unit today, which I kick off with the noir episode from American Cinema. It's narrated by Widmark, and the last of a montage of introductory clips is Tommy Udo's famous push.

Lest I gave the wrong impression, I was actually telling this to a bunch of fellow students in a completely unfilm related class. Both Widmark and John Wayne happened to be alluded to in a book and I had to explain who the former was to everyone else. I think my post came off like I was running a class or something.

The kids can never believe what they've just seen.

What a great movie. I've always wanted to show it to a classroom full of kids.

[Belmondo]

Yes! "Madigan" is a gem and should be sought out by all Widmark fans for a fully revealed performance - unforced masculinity as a cop, emasculation at the hands of his frustrated wife (Inger Stevens), and everyman frustration at the hands of his superiors. It's all there on the screen, and the movie has been underrated for too many years.

[HerrSchreck]

What to say with a big broken heart? The dude was so central to the midcentury idea of Programmers That Transcended Themselves, Studio Quickies That Would Outlive Their A-List Big Brothers... lemonade from lemons. Like the fabulous midcentury British horror films-- where sterling talent with reams of stage/Shakespeare behind them did not regard horror as a step down and thereby helped to push small budget quickies into the Immortal Sublime-- Widmark was part of the crowd of Fox & Universal contract players (along w writers, cameramen & directors of course) that were such a crucial part of the pie that created immortal works from projects that the studio wouldnt have, in terms of longevity, even bet a nickel on when made.

I lament one thing in particular-- that he and Dassin never got to do Dassin's dream project: Hamlet, or somesuch. I believe its in the Night & The City disc where Das promulgates his enormous respect & admiration for Widmark, and speaks of the great amount of, onscreen at least, unutilized talent for classical material residing in this man, and how he would have loved to do Hamlet with him.

No matter. With dudes like Hathaway Fuller Preminger (hell I even adore Keighley's The Street With No Name) Dassin etc, the crime picture was elevated to victorious heights with an effect comparable to Shakes-P. As someone above mentioned, at least he, like Das, lived to see and fully understand the effect of these films, their importance, and how much they mean not only to academia but to regular human beings like us so affected by them.

RIP!

[miless]

Richard Widmark's obituary in The International Herald Tribune.

[domino harvey]

Screenwriter Abby Mann

[Polybius]

I like the part where he refers to Forrest Gump as "a hymn to stupidity."

I ran across that looking at his IMDB profile to refresh my memory of some of his more obscure roles. I wouldn't have thought it possible for my admiration and respect for the man to actually increase, but it did.

What can I write about this man? His generation and the one I grew up watching in the 70's always ran side by side in my personal regard, and Widmark was always a guy I thought of as being among the giants of his era, every bit as much as Douglas, Mitchum, Lancaster, Fonda, Stewart and Poitier. He and Sidney were always magic together, even in genre stuff like The Long Ships.

He had a wonderful ability to play nearly anything. Like Robert Ryan, he could be the nicest guys and then also some of the most worthless, spiteful pricks ever seen on the screen.

[Steven H]

Between his pickpocket scenes in Pickup on South Street and his howling mad turn in Kiss Of Death (particularly him tossing a wheelchair bound old lady down a flight of stairs) I can't think of any actor who's helped me turn more people on to noir. I'll have a drink to his name tonight as well.

[colinr0380]

I was very impressed by the way he was able to play such a manic, on edge role in Night and the City without it becoming so grating you couldn't sympathise with him! It is an exhausting performance, in the very best sense, maybe a way of him trying to diversify from the psychopaths and tough guys by showing the desperation and weakness under the bravado and just how fragile dreams of making it big really are?

David Thomson on tonight's BBC Radio 4 Film Programme recommended Saint Joan for Widmark's "extraordinarily sensitive performance as a weakling".

[domino harvey]

It's hardly sensitive but it is certainly his most fascinating performance. I don't think any words of warning can prepare a viewer for it.

[malcolm1980]

I've seen Pickup on South Street and Night and the City.

I just saw Panic in the Streets. Truly one of the best actors of his generation.

[domino harvey]

Widmark vs Tarkovsky

[Rufus T. Firefly]

Jules Dassin, just a week after Richard Widmark whom he directed in Night and the City.

[Barmy]

Jules Dassin, just a week after Richard Widmark whom he directed in Night and the City.

At least Dassin didn't die on Sunday.

[King Prendergast]

I'll watch Brute Force tonight in memory.

[Adam]

LA Times obit for Dassin:

Jules Dassin, 96; blacklisted director of film noir

By Claudia Luther

Jules Dassin 1911 - 2008

The director of 'Rififi' and 'Never on Sunday' was considered one of the leading American filmmakers of the postwar era. He moved to France after being blacklisted in the early 1950s.

Jules Dassin, the blacklisted American filmmaker who was a master of film noir, directing such classics as "Brute Force," "The Naked City" and "Rififi," died late today in an Athens hospital. He was 96.

The cause of death was not made public. The Associated Press reported that he had been in the hospital for a couple of weeks.

Jules Dassin | 1911 - 2008

Dassin, considered one of the leading American filmmakers of the postwar era, directed his most influential film, "Rififi," while living in France after being blacklisted in the early 1950s. "Rififi" earned him a best director award at the Cannes Film Festival in 1955.

"Rififi" is the "benchmark all succeeding heist films have been measured against," Los Angeles Times film critic Kenneth Turan wrote in 2000 when the movie was re-released in the United States. The film was widely considered the prototype for films like "Ocean's Eleven" and "Mission: Impossible." Even Dassin himself made another film based on "Rififi," the 1964 "Topkapi," which also starred Melina Mercouri, whom he had worked with in the better-known English-language film "Never on Sunday" and later married.

Dassin was born in Middletown, Conn., one of eight children of Russian Jewish immigrants. His father, a barber, moved the family to New York City, and Dassin graduated from high school in the Bronx.

He got into show business as an actor in New York's Yiddish theater in the mid-1930s. But upon discovering "that an actor I was not," he switched to directing, first on the New York stage and then in films.

In the early 1940s, Dassin went to Hollywood, eventually landing a contract with MGM. His first feature film for the studio was "Nazi Agent," which was released in 1942. He did several other films for MGM, including "The Canterville Ghost" (1944) and "A Letter for Evie" (1946), before directing "Brute Force" (1947), the violent prison film starring Burt Lancaster and Hume Cronyn.

That was followed by "Naked City" (1948), one of the first police dramas shot on location on the streets of New York; "Thieves' Highway" (1949), a gritty film about a World War II veteran who sets out to avenge his brother's death; and "Night and the City" (1950), a film noir starring Richard Widmark as a hustler in London who is caught up in his own schemes. Widmark died last week at 93.

But by the early 1950s, the hunt was on for Communist Party sympathizers in Hollywood and Dassin's name joined countless others on the blacklist.

Dassin never denied that he had been a member of the Communist Party. As part of the New York theater scene in the 1930s while the Depression still deeply affected millions of Americans, he was among many who saw the Communist Party as a force of good for working people. He left the party in the late 1930s over its position on the Soviet alliance with Hitler and the party's downplaying of the outbreak of World War II.

In 1951, fellow directors Edward Dmytryk and Frank Tuttle offered Dassin's name to the House Un-American Activities Committee, saying Dassin was part of the Hollywood "Communist faction." Although Dassin was never called to testify before HUAC, he could not find employment after their testimony, and in 1953 he moved his family to France.

His life wasn't easy in Europe. Initially, Dassin was unable to find work, but he was finally asked to write the screenplay for and direct "Rififi," based on a novel by Auguste le Breton. It concerns a group of jewel thieves who in the end have more to fear from one another than from the police. Dassin plays one of the thieves, Cesar, under the pseudonym Perlo Vita.

Dassin told National Public Radio's David D'Arcy in 2000, on the occasion of the U.S. re-release of "Rififi," that when making the film he remembered advice that Alfred Hitchcock once gave him: "Tell them what you're gonna do, and then make them worry about how you're going to do it."

The centerpiece of the film is the now-famous half-hour burglary sequence, which is done without music or dialogue -- only the sound of hammers and drills, plaster being chiseled, an occasional muffled cough. The scene is permeated with breathless tension.

"Few avant-garde films have demonstrated so skillfully how time and pace affect perception," film critic Michael Sragow wrote in 2000.

The late Francois Truffaut called "Rififi" "the best film noir I have ever seen" and said Dassin's luminous on-location shots on the cold and rainy streets of Paris revealed that city in a way that was new even to Frenchmen. Film critic Leonard Maltin labeled the film "the granddaddy of all caper/heist movies."

Much of "Rififi" feels familiar today because many filmmakers -- including Dassin himself -- have imitated it. His "Topkapi," about the theft of a jeweled dagger from an Istanbul museum, also proved influential.

The "Rififi"/"Topkapi"-style band of thieves, each with a specialty that is needed to pull off the big heist, is so closely "quoted" in Brian De Palma's 1996 "Mission: Impossible" that Dassin told the New York Times he felt "shocked."

"I think it was just too literal, the same thing," he said. "I said, 'Is this allowed?' Apparently it was."

Although he received the highest directing honor for the film at Cannes in 1955, Dassin still felt shunned by his peers because of his blacklist status. In an interview with The Times' Susan King on the occasion of an April 2004 retrospective of his films at the Los Angeles County Museum of Art, Dassin said people at the festival looked at him "as if a bug was crawling somewhere, or they would hide their faces. It was tough."

Even more awful, he said, was having the French flag raised above him when his director's prize was announced.

"I'm an American. It should have been an American flag," he said.

Dassin met his second wife, Mercouri, that same year at Cannes; they married in 1966 after each had been divorced. Mercouri died of lung cancer in 1994.

The director made several films in Mercouri's home country, including "He Who Must Die" (1958), an adaptation of Nikos Kazantzakis' novel "The Greek Passion," which is a modern retelling of the story of Christ.

But Dassin is probably better known for the film that made Mercouri an international star: "Never on Sunday." The 1960 film, in which he played a role as an American tourist trying to pull her away from her profession as a good-hearted prostitute, was a hit both in Europe and the United States. It earned Dassin Academy Award nominations for his direction and its screenplay, and its theme song became ubiquitous for a time. The film also drew tourists to Greece in droves.

A few years later, Dassin was nominated for a Tony Award for best director and best book of a musical for the musical version of "Never on Sunday," titled "Ilya, Darling."

In 1962, Mercouri starred with Anthony Perkins in Dassin's intense "Phaedra." Mercouri also starred in "Topkapi," which co-starred Robert Morley and Peter Ustinov.

Dassin's other films included "Up Tight! (1968), a misconceived remake of John Ford's "The Informer" with an all-black cast, and the forgettable "Circle of Two" (1980), which starred Richard Burton and Tatum O'Neal. Dassin himself good-humoredly called each "a disaster."

Dassin told Patrick Gilligan in an interview for "Tender Comrades," a 1997 book about the blacklist, that after "Circle of Two," "that was kind of it" for his film career. As he had throughout his life, Dassin returned to the theater to direct plays, including many productions in the Greek theater.

Of the blacklist period, Dassin often said that he was one of the lucky ones: He found work again after five years.

"I'm not bitter," the upbeat Dassin told LA Weekly when he was 90. "But there's an unhappiness for so many lives destroyed and for the effect it had on movies that were made, for a long time."

[HerrSchreck]

The bedrock of the world is crumbling. Dammit-- I always meant to get up off my ass and pay him a visit before this happened, just to say I did (to myself, because I admired him so much). Now I'll kick myself forever.

Man did I love this dude.