FILM  reviewS

Stowe, Harris, unlikely characters in John Bailey's 'China Moon'

By Lauren Nelson
On-line Forty-Niner

"China Moon," starring Ed Harris, Madeleine Stowe and Benicio Del Toro was introduced by director, John Bailey, who spoke to a small audience, answering questions of aspiring film students.

Viewers kept their eyes open for any simple moment that must have taken days to shoot, such as the rookie cop who put ice in his beer, the spinning tire rim or the soft appearance of the classic heroine whose hair flows perfectly in the wind.

The film was more than expected with the dramatic flare, the love story, murder, sex, scandal and tension.

The twists and turns begin with Kyle (Harris) falling desperately in love with Rachel (Stowe), who frames him for the murder of her husband, which she committed. The characters' involvement kept you guessing the whole time.

"China Moon" was not only entertainment, it is an exercise of the moral battle inside the human psyche. The music in the film had a built-in rhythmic tension with an undertone of lushness and romanticism.

As if the movie was not brilliant on its own, Bailey sat in front of the audience to discuss the joys and frustrations of filmmaking in a forum preceding the film. Masochism is the drive to become a director, Bailey said jokingly.

"I didn't even want Ed for the film," he said, "but when he came to me the sixth time my casting director talked me into hiring him."

He went on to explain that producers did not think women could see Harris as a romantic.  Benecio Del Toro was also not a favorite choice of Bailey's during casting.

"He was always doing goofy things. I was scared of him," Bailey said, meaning that he was afraid he would not be able to calm Del Toro down. He said Del Torro would add lines to the movie and did strange things that he thought were "cool."

Viewing a great film with its director only seats away, and being able to hear him laugh at a line that must have some significant meaning, is something few people get to enjoy in their lifetime.

"Films are about happy accidents," Bailey said. "You have to take all of your plans, carry them with you.  But you have to let them go when something else works better."
 
 
 
 

"The Wages of Fear"

 

By Jack Schneider
On-line Forty-Niner

"The Wages of Fear," was acclaimed as one of the most gripping films of all time. John Bailey, the artist-in-residence for the film festival said this film was presented as part of a series Saturday, to show the theme of conflicts with a world full of men.

"In 'The Wages of Fear,' women are almost completely absent," Bailey said. "This film represents a post-war like existentialism."

Directed in 1953 by Henri-Georges Clouzot, "The Wages of Fear" (Le Salaire de la Peur) is an epic film of danger and intrigue, revolving around the transportation of two trucks full of nitro, heading into the Andes.

Set in an impoverished South American village, Mario (Yves Montand) is a suave gentleman who is looking for some extra cash to settle in the village. He later meets up with his friend Jo (Charles Vanel), a pudgy man who dresses dapper, but like Mario needs the extra money due to an absence of jobs in the village.

The opportunity comes for Mario and Jo when truck baron Bill O'Brian, played briefly, but excellently by William Tubbs hires some men to deliver the nitro. Mario and Jo obtain the responsibility, along with Mario's friend Luigi, (Falco Lulli) and the vain Bimba (Peter Van Eyck).

The possibility of having the nitro explode, drove the characters into conflict with each other. Mario got in huge arguments with Jo, while Luigi and Bamba never saw eye-to-eye.

The suspense in "The Wages of Fear" was so powerful, it felt as if the audience was locked into the beautiful direction of Clouzot's vision. Explosions and physicality were main attractions in this black and white adventure, while conflicts among the four characters added a tremendous story line.

Critics have seen this film as an instant classic, and audiences at the film festival had a chance to see the film 15 minutes longer that its original American release.
 
 
 
 
 

"Contempt"

By Sean Orfila
On-line Forty-Niner

"Contempt," directed by Jean-Luc Godard, was shown at noon on Sunday. The film was chosen by John Bailey artist-in-residence, mainly because for its 1960s European art-house feel.
Although the film was shot on the commercial level, the director was able to twist the scenes and remain true to his artistry in the filmmaking while struggling with the big Hollywood studios.

The film was shot in Italy, and involves two lovers, Camille and Paul, played by Brigitte Bardot and Michael Piccoli.

The lovers endure the exhausting downward spiral of a marriage thrown on the rocks by a crazed Hollywood producer played by Fritz Lang. Lang's character is a laughable egomaniac, and money hungry Hollywood player that woos Camille into his grip and sends her home questioning her love for her husband.

"Contempt" was an interesting film for aficionados of the 1960s art-house genre.