<<

September 16, 2014 (Series 29:4) , RED RIVER (1948, 133 min)

National Film Registry, 1990

Directed by Howard Hawks Co-Directed by Arthur Rosson Music by Cinematography by

John Wayne ... Thomas Dunson ... Matt Garth Joanne Dru ... Tess Millay ... Nadine Groot Coleen Gray ... Fen ... Mr. Melville ... Cherry Valance Noah Beery Jr. ... Buster McGee Harry Carey Jr. ... Dan Latimer

Howard Hawks (director) (b. Howard Winchester Hawks, May 30, 1896 in Goshen, Indiana—d. December 26, 1977 (age 81) in Palm Springs, ) won an Honorary Academy Award in Arthur Rosson (co-director) (b. August 24, 1886 in London, 1975. He directed 47 films, including 1970 , 1966 El England—d. June 17, 1960 (age 73) in , California) Dorado, 1965 , 1962 Hatari!, 1959 Rio Bravo, directed 61 films, including 1948 Red River, 1932 Flaming Guns, 1955 , 1953 Gentlemen Prefer Blondes, 1932 Hidden Gold, 1932 Women Who Play, 1932 Ebb Tide, 1930 1952 The Big Sky, 1949 I Was a Male , 1948 A Song Is Trailin' Trouble, 1929 The Long, Long Trail, 1929 Points West, Born, 1948 Red River, 1946 The Big Sleep, 1944 To Have and 1929 The Winged Horseman, 1928 The Farmer's Daughter, 1927 Have Not, 1943 , 1943 Air Force, 1941 Sergeant Silk Legs, 1927 Set Free, 1926 Stranded in Paris, 1926 Wet York, 1940 , 1939 , 1938 Paint, 1925 The Fighting Demon, 1925 The Burning Trail, 1925 , 1936 Come and Get It, 1935 Barbary Coast, The Taming of the West, 1923 Condemned, 1921 Desert 1934 Twentieth Century, 1933 , 1932 Scarface, Blossoms, 1921 For Those We Love, 1919 Sahara, 1917 Cassidy, 1930 The Dawn Patrol, 1929 Trent's Last Case, 1928 A Girl in 1917 The Man Who Made Good, 1917 Her Father's Keeper, and Every Port, 1926 , and 1926 . He 1917 A Successful Failure. wrote 25 films, among them 1983 Scarface, 1971 The French Connection, 1951 The Thing from Another World, 1943 The Dimitri Tiomkin (composer) (b. Dimitri Zinovievich Tiomkin, Outlaw, 1938 Test Pilot, 1932 Scarface, 1930 The Dawn Patrol, May 10, 1894 in Kremenchuk, Poltava Governorate, Russian and 1927 Underworld. He also produced 22 films, including Empire [now Ukraine]—d. November 11, 1979 (age 85) in 1970 Rio Lobo, 1966 El Dorado, 1962 Hatari!, 1959 Rio Bravo, London, England) won 4 Academy Awards—1959 Best Music, 1955 Land of the Pharaohs, 1952 The Big Sky, 1951 The Thing Scoring of a Dramatic or Comedy Picture for The Old Man and from Another World, 1948 Red River, 1946 The Big Sleep, 1944 the Sea (1958), 1955 Best Music, Scoring of a Dramatic or To Have and Have Not, 1941 Sergeant York, 1940 His Girl Comedy Picture for The High and the Mighty (1954), 1953 Best Friday, 1939 Only Angels Have Wings, 1938 Bringing Up Baby, Music, Original Song for High Noon (1952) Shared with Ned 1934 Twentieth Century, 1933 Today We Live, 1932 Scarface, Washington (lyrics), and 1953 Best Music, Scoring of a 1931 , and 1923 Quicksands. Dramatic or Comedy Picture for High Noon (1952). He was Hawks—RED RIVER—2 conductor or musical director for 143 films and composer for Los Angeles, California) won the 1970 Academy Award for Best 124, among them 1968 Great Catherine, 1967 The War Wagon, Actor in a Leading Role for True Grit (1969). He appeared in 1964 The Fall of the Roman Empire, 1963 55 Days at Peking, 181 films and TV shows, including 1976 The Shootist, 1975 1961 The Guns of Navarone, 1961 Town Without Pity, 1960 The Rooster Cogburn, 1975 Brannigan, 1973 Cahill U.S. Marshal, Sundowners, 1960 The Alamo, 1960 The Unforgiven, 1959 Last 1972 The Cowboys, 1971 , 1970 Rio Lobo, 1970 Train from Gun Hill, 1959 Rio Bravo, 1958 The Old Man and the , 1969 True Grit, 1968 The Green Berets, 1965 The Sons Sea, 1957 Night Passage, 1957 Gunfight at the O.K. Corral, of Katie Elder, 1965 In Harm's Way, 1965 The Greatest Story 1956 Friendly Persuasion, 1956 Giant, 1955 The Court-Martial Ever Told, 1963 Donovan's Reef, 1962 How the West Was Won, of Billy Mitchell, 1955 Land of the Pharaohs, 1954 Dial M for 1962 The Longest Day, 1962 Hatari!, 1962 The Man Who Shot Murder, 1954 The High and the Mighty, 1953 I Confess, 1952 Liberty Valance, 1961 The Comancheros, 1960 The Alamo, 1959 Angel Face, 1952 The Four Rio Bravo, 1958 The Poster, 1952 The Big Sky, 1952 Barbarian and the Geisha, High Noon, 1952 Lady in the Iron 1957 , Mask, 1952 My Six Convicts, 1956 , 1956 1951 Peking Express, 1951 The Conqueror, 1954 The Strangers on a Train, 1951 The High and the Mighty, 1953 Thing from Another World, 1950 Hondo, 1952 Big Jim The Men, 1950 D.O.A., 1949 McLain, 1952 The Quiet Home of the Brave, 1949 Man, 1951 Flying Champion, 1948 Portrait of Leathernecks, 1950 Rio Jennie, 1948 Red River, 1948 Grande, 1949 Sands of Iwo Tarzan and the Mermaids, 1947 Jima, 1949 She Wore a The Long Night, 1946 Duel in the Yellow Ribbon, 1948 Wake of Sun, 1946 Let There Be Light the Red Witch, 1948 3 (Documentary), 1946 It's a Godfathers, 1948 Red River, Wonderful Life, 1946 Angel on 1948 Fort Apache, 1947 My Shoulder, 1946 Black Beauty, Angel and the Badman, 1945 1945 San Pietro (Documentary , 1945 short), 1945 Dillinger, 1945 Forever Yours, 1944 The Negro Back to Bataan, 1944 The Fighting Seabees, 1942 Flying Tigers, Soldier (Documentary short), 1944 The Bridge of San Luis Rey, 1942 The Spoilers, 1940 Three Faces West, 1939 Stagecoach, 1943 Report from the Aleutians (Documentary), 1943 Shadow of 1937 Idol of the Crowds, 1936 The Lonely Trail, 1936 The a Doubt, 1943 The Nazis Strike (Documentary short), 1942 The Oregon Trail, 1935 The New Frontier, 1934 The Lucky Texan, Moon and Sixpence, 1941 The Corsican Brothers, 1941 Meet 1933 The Three Musketeers, 1931 Girls Demand Excitement, John Doe, 1940 The Westerner, 1939 Mr. Smith Goes to 1930 Men Without Women, 1928 Noah's Ark, 1927 Annie Laurie, Washington, 1939 Only Angels Have Wings, 1938 You Can't and 1926 Brown of Harvard. Take It with You, 1937 Lost Horizon, 1933 Alice in Wonderland, and 1931 Resurrection. Montgomery Clift ... Matt Garth (b. Edward Montgomery Clift, October 17, 1920 in Omaha, Nebraska—d. July 23, 1966 (age 45) in , New York) appeared in 18 films and Russell Harlan (cinematographer) (b. September 16, 1903 in television shows, which are 1966 The Defector, 1962 Freud, Los Angeles, California—d. February 28, 1974 (age 70) in 1961 , 1961 The Misfits, 1960 Wild Newport Beach, California) was the cinematographer for 100 River, 1959 Suddenly, Last Summer, 1958 The Young Lions, films and television shows, including 1970 Darling Lili, 1967 1958 Lonelyhearts, 1957 Raintree County, 1953 From Here to Tobruk, 1966 Hawaii, 1965 The Great Race, 1964 Man's Eternity, 1953 Indiscretion of an American Wife, 1953 I Confess, Favorite Sport?, 1963 A Gathering of Eagles, 1962 To Kill a 1951 A Place in the Sun, 1950 The Big Lift, 1949 The Heiress, Mockingbird, 1962 Hatari!, 1960 Sunrise at Campobello, 1959 1948 Red River, 1948 The Search, and 1939 “Hay Fever” (TV Rio Bravo, 1958 King Creole, 1958 Run Silent Run Deep, 1957 Movie). Witness for the Prosecution, 1957 Something of Value, 1956 Lust for Life, 1955 Land of the Pharaohs, 1955 Blackboard Jungle, Joanne Dru ... Tess Millay (b. Joanne Letitia LaCock, January 1952 – 1954 “Schlitz Playhouse” (TV Series, 63 episodes), 1952 31, 1922 in Logan, West Virginia—d. September 10, 1996 (age Ruby Gentry, 1952 The Big Sky, 1951 The Thing from Another 74) in Beverly Hills, Los Angeles, California) appeared in 60 World, 1950 Tarzan and the Slave Girl, 1950 Gun Crazy, 1948 films and television shows, among them 1980 Super Fuzz, 1967 Red River, 1948 Four Faces West, 1945 A Walk in the Sun, 1943 “The Green Hornet” (TV Series), 1965 “The Long, Hot Tarzan's Desert Mystery, 1943 The Kansan, 1941 Riders of the Summer” (TV Series), 1960-1961 “Guestward Ho!” (TV Series, Timberline, 1941 In Old Colorado, 1940 Three Men from Texas, 38 episodes), 1957 “Wagon Train” (TV Series), 1957 Drango, 1937 Texas Trail, 1937 Hopalong Rides Again, 1937 Rustlers' 1955 Hell on Frisco Bay, 1955 Sincerely Yours, 1954 Day of Valley, and 1937 North of the Rio Grande. Triumph, 1954 Siege at Red River, 1954 Southwest Passage, 1954 Duffy of San Quentin, 1953 Thunder Bay, 1952 The Pride ... Thomas Dunson (b. Marion Robert Morrison, of St. Louis, 1950 , 1949 All the King's Men, 1949 May 26, 1907 in Winterset, —d. June 11, 1979 (age 72) in Hawks—RED RIVER—3

She Wore a Yellow Ribbon, 1948 Red River, 1946 Abie's Irish Harry Carey ... Mr. Melville (b. Henry DeWitt Carey II, Rose. January 16, 1878 in The Bronx, New York—d. September 21, 1947 (age 69) in Brentwood, California) appeared in 267 films, including 1948 So Dear to My Heart, 1948 Red River, 1947 Angel and the Badman, 1946 Duel in the Sun, 1943 Air Force, 1942 The Spoilers, 1940 Outside the Three-Mile Limit, 1939 Mr. Smith Goes to Washington, 1938 The Law West of Tombstone, 1938 King of Alcatraz, 1937 Kid Galahad, 1936 Aces Wild, 1936 Sutter's Gold, 1936 The Prisoner of Shark Island, 1935 Last of the Clintons, 1935 Barbary Coast, 1932 Law and Order, 1931 Bad Company, 1931 Trader Horn, 1924 The Man from Texas, 1919 Rider of the Law, 1919 , 1918 Three Mounted Men, 1916 The Three Godfathers, 1914 Her Hand (Short), 1914 , 1913 The Hero of Little Italy (Short), 1913 The Sheriff's Baby (Short), 1913 Near to Earth (Short), 1912 Brutality (Short), 1912 Friends (Short), 1910 Gentleman Joe, and 1909 Bill Sharkey's Last Game (Short).

John Ireland ... Cherry Valance (b. John Benjamin Ireland, January 30, 1914 in Vancouver, British Columbia, Canada—d. March 21, 1992 (age 78) in Santa Barbara, California) appeared Walter Brennan ... Groot Nadine in 201 films and television shows, among them 1992 Hammer (b. Walter Andrew Brennan, July 25, 1894 in Lynn, Down, 1991 The Graveyard Story, 1988 “War of the Worlds” Massachusetts—d. September 21, 1974 (age 80) in Oxnard, (TV Series), 1986 Thunder Run, 1985 The Treasure of the California) won 3 Academy Awards: 1941 Best Actor in a Amazon, 1982 “Cassie & Co.” (TV Series, 13 episodes), 1981 Supporting Role for The Westerner (1940), 1939 Best Actor in a “” (TV Series), 1981 Bordello, 1978 Sex Diary, 1975 Supporting Role for Kentucky (1938), and 1937 Best Actor in a Farewell, My Lovely, 1975 “Police Story” (TV Series), 1972 Supporting Role for Come and Get It (1936). He appeared in 243 Escape to the Sun, 1968 Villa Rides, 1967 Fort Utah, 1960-1965 films and television shows, some of which are 1975 Smoke in the “Rawhide” (TV Series, 11 episodes), 1965 I Saw What You Did, Wind, 1970-1971 “To Rome with Love” (TV Series, 17 1964 The Fall of the Roman Empire, 1960 Spartacus, 1955 episodes), 1969 “The Over-the-Hill Gang” (TV Movie), 1967- Queen Bee, 1954 The Steel Cage, 1954 The Good Die Young, 1969 “The Guns of Will Sonnett” (TV Series, 50 episodes), 1966 1951 The Bushwhackers, 1951 Little Big Horn, 1949 All the The Oscar, 1964-1965 “The Tycoon” (TV Series, 32 episodes), King's Men, 1949 Anna Lucasta, 1949 The Doolins of Oklahoma, 1957-1963 “The Real McCoys” (TV Series, 224 episodes), 1962 1949 I Shot Jesse James, 1948 Joan of Arc, 1948 Red River, How the West Was Won, 1959 Rio Bravo, 1957 Tammy and the 1948 A Southern Yankee, 1948 I Love Trouble, 1946 Backfire, Bachelor, 1956 The Proud Ones, 1954 , 1954 1946 Wake Up and Dream, 1946 , and Drums Across the River, 1952 , 1951 The 1945 A Walk in the Sun. Wild Blue Yonder, 1950 Singing Guns, 1948 Blood on the Moon, 1948 Red River, 1946 My Darling Clementine, 1944 To Have Noah Beery Jr. ... Buster McGee (b. Noah Lindsey Beery, and Have Not, 1943 Hangmen Also Die!, 1942 The Pride of the August 10, 1913 in New York City, New York—d. November 1, Yankees, 1941 This Woman Is Mine, 1941 Sergeant York, 1941 1994 (age 81) in Tehachapi, California) appeared in 172 films Meet John Doe, 1940 The Westerner, 1940 Northwest Passage, and TV shows, including 1985 “Murder, She Wrote” (TV 1939 Stanley and Livingstone, 1938 The Cowboy and the Lady, Series), 1982 The Best Little Whorehouse in Texas, 1981 1936 Come and Get It, 1936 Three Godfathers, 1935 Seven Keys “” (TV Series), 1974-1980 “” to Baldpate, 1935 Barbary Coast, 1935 The Bride of (TV Series, 121 episodes), 1974 “The Streets of ” Frankenstein, 1935 Gold Diggers of 1935, 1934 There's Always (TV Series), 1974 “The Waltons” (TV Series), 1970 Little Fauss Tomorrow, 1934 Great Expectations, 1933 Phantom of the Air, and Big Halsy, 1964 7 Faces of Dr. Lao, 1960 Inherit the Wind, 1932 Hello Trouble, 1929 Flight, 1925 Webs of Steel, and 1925 1956-1957 “Circus Boy” (TV Series, 49 episodes), 1952 The Lorraine of the Lions. Story of Will Rogers, 1952 The Cimarron Kid, 1951 The Texas Coleen Gray ... Fen (b. Doris Bernice Jensen, October 23, 1922 Rangers, 1950 The Savage Horde, 1950 Davy Crockett, Indian in Staplehurst, Nebraska) appeared in 106 films and television Scout, 1949 The Doolins of Oklahoma, 1948 Red River, 1946 shows, among them 1986 “Tales from the Darkside” (TV Series), The Cat Creeps, 1945 The Daltons Ride Again, 1945 Under 1985 Cry from the Mountain, 1968 “” (TV Series), Skies, 1943 'Gung Ho!': The Story of Carlson's Makin 1966-1967 “The Virginian” (TV Series), 1965 “Days of Our Island Raiders, 1943 Corvette K-225, 1941 Sergeant York, 1941 Lives” (TV Series), 1962 “Rawhide” (TV Series), 1961 The , 1939 Of Mice and Men, 1939 Only Phantom Planet, 1961 “Have Gun - Will Travel” (TV Series), Angels Have Wings, 1936 , 1930 The Big House, 1956 Frontier Gambler, 1956 The Killing, 1953 Sabre Jet, 1951 1929 Gold Diggers of Broadway, 1920 The Mark of Zorro, and , 1948 Red River, 1947 Nightmare Alley, and 1947 1920 The Mutiny of the Elsinore. Kiss of Death. Hawks—RED RIVER—4

Harry Carey Jr. ... Dan Latimer (b. Henry George Carey, May In the early 1920s, Hawks shared a Hollywood house 16, 1921 in Saugus, California—d. December 27, 2012 (age 91) with several young men on the threshold of movie distinction— in Santa Barbara, California) appeared in 153 films and and Irving Thalberg among them. Thalberg television shows, including 1997 Last Stand at Saber River (TV recommended Hawks to Jesse Lasky, who in 1924 was looking Movie), 1996 The Sunchaser, 1994 Wyatt Earp: Return to for a bright young man to run the story department of famous Tombstone, 1993 Tombstone, 1990 The Exorcist III, 1990 Back players. For two years Hawks supervised the development and to the Future Part III, 1984 Gremlins, 1976 Nickelodeon, 1959- writing of every script for the company that was to become 1974 “” (TV Series, 12 episodes), 1973 Cahill U.S. Paramount, the most powerful studio in 1920s Hollywood. Marshal, 1971 Big Jake, 1970 , 1969 Death William Fox invited Hawks to join his company in 1926, of a Gunfighter, 1966 Versus Dracula, 1958-1963 offering him a chance to direct the scripts he had developed. The “Have Gun - Will Travel” (TV Series, 13 episodes), 1961 The Road to Glory was the first of eight films Hawks directed at Fox Great Impostor, 1958 From Hell to Texas, 1957 Kiss Them for in the next three years, all of them silent except Me, 1956 7th Cavalry, 1956 The Searchers, 1955 Mister Roberts, (1928) and Trent’s Last Case (1929), part-talkies in the years of 1954 The Outcast, 1953 Beneath the 12-Mile Reef, 1953 Island Hollywood’s transition between silence and sound. in the Sky, 1953 Gentlemen Prefer Blondes, 1953 Niagara, 1951 Of the Fox silents, only Fig Leaves (1926) and A Girl in Warpath, 1950 Wagon Master, 1949 She Wore a Yellow Ribbon, Every Port (1928) survive. The former is a comedy of gender, 1948 3 Godfathers, 1948 Blood on the Moon, 1948 Moonrise, tracing domestic warfare from Adam and Eve to their modern 1948 Red River, 1947 Pursued, and 1946 Rolling Home. descendants. A Girl in Every Port is “a love story between two men,” in Hawks’ words—two brawling sailor buddies who fall for the woman. The motif of two friends who share the same love would recur in many Hawks sound films, particularly in the 1930s (Tiger Shark, Today We Live, Barbary Coast, The Road to Glory). The motif of two wandering pals, enjoying the sexual benefits of travel, returns with a gender reversal in Gentlemen Prefer Blondes, with Marilyn Monroe and playing the two traveling buddies. More than anything else, A Girl in Every Port declared male friendship one of Hawks’ primary concerns. With the end of his Fox contract in 1929, Hawks would never again sign a long-term contract with a single studio.

It was the coming of synchronized sound that allowed Hawks to become so independent a film stylist. The Dawn Patrol (1930) was a remarkable early in many respects. Its pacifism mirrored the reaction against the First World War in a period that produced such antiwar films as What Price Glory?. The Big Parade, and All Quiet on the Western Front. The flying sequences in The Dawn Patrol were as photographically brilliant Howard Hawks from World Film Directors v. I Ed John as they were aeronautically accurate. Flying and filming had Wakeman HW Wilson Co NY 1987 (entry by Gerald Mast) never before been so beautifully mated, and Hawks flavorful dialogue sounded as if it were uttered by human beings, not Director, producer and scenarist, Howard (Winchester) orating actors. The affected, stilted diction that marred so many Hawks,was born in Goshen, Indiana. A child of the American early talkies was entirely absent. Dialogue in Hawks’ films Midwest, like Thomas Edison. In the era of America’s romance would always suggest the feel and flavor of spontaneous with inventors and inventions, Hawks would travel on his love of conversation rather than scripted lines—he in fact not only machines to the art of machines, the motion picture. The son of a permitted his players to improvise but deliberately hired players wealthy paper manufacturer and grandson of a wealthy who would and could. lumberman, Hawks moved west with his family in 1906. They Scarface (1930-1932) brought this spontaneous quality settled in Pasadena, California, where the warmer and drier air from the wartime skies to the urban streets. Scarface remains was kinder to his mother’s asthma. themselves simultaneously one of the most brutal and most funny of gangster traveled west about the same time. The young Hawks moved films—“as vehement, vitriolic, and passionate a work as has between east and west for his education—prep school at Phillips been made about Prohibition,” in the opinion of Manny Farber. Exeter, graduation from Pasadena High School, and a degree in When Tony Camonte lets go with his new machine gun into a engineering from Cornell University He began to spend time rack of pool cues, or the O’Hara gang shoots a restaurant to with the new movie companies that were turning Hollywood into smithereens, they are murderous children having “fun,” one of a company town. In 1917 he worked as a prop boy for Famous the most important words in Hawks’ critical lexicon. Hawks’ Players-Lasky, assisting Marshall Neilan on antihero Tony, a fanciful portrait of Al Capone sketched by Paul films. Later that year he joined US Army Air Corps as a flying Muni, is not only a spiteful kid; he also nurses an unarticulated instructor. He would combine his two loves—for flying and and repressed sexual attraction to his own sister and guns down filming—in years to come. their best friend () who invades this Freudian turf. Hawks’ recurrent piece of physical business for Raft—the Hawks—RED RIVER—5 obsessive flipping of a coin—has survived ever after as the that has come to represent one of the period’s most revealing quintessential gangster’s tic. It introduced the familiar Hawks reflections of American aspirations. As the philosopher Stanley method of deflecting psychological revelation from explicit Cavell argued, the enacts the “myth of modern dialogue to the subtle handling of physical objects. As John marriage,” the basis of our culture’s idea of happiness. While Belton notes, “Hawks’ characterization is rooted in the physical. Hawks always added comic touches to serious stories—from Scarface also introduced Hawks to two important Scarface in 1930 to El Dorado in 1967—the pure comedy professional associates: , who produced the film provided much broader comic possibilities. Love and friendship and would weave through Hawks’ entire career as either ally or had always been closely intertwined in his films, and since enemy; and , the hard-drinking, wise-cracking writer Hawks friends fight as much as they talk, fight because they are who, like Hawks, wanted to make films that were “fun.” Hecht friends, each convinced of his own rightness, it was a very short and Hawks were kindred cynics who would work together for step from male friends to male-female lovers. The Hawks twenty years. Hughes, however, had his own war to win. A screwball comedy is distinctive in that the hero and heroine are lifetime foe of film industry censorship boards, Hughes resisted as much friends as lovers and as much fighting opponents as attempts to soften Scarface. He finally relented, not by toning spiritual kin; it is a comedy of ego in which two strong down its brutal humor but by inserting a drab lecture on the personalities fight because they love. social responsibility of voters. He also concluded the film with Hawks’ first work in this genre Twentieth Century the fallen mobster’s whining cowardice, to take the glamor out of (1934), was adapted from a stage play by Ben Hecht and Charles his defiance. But Hughes was so MacArthur. Along with Frank enraged at being pressured into Capra’s It Happened One these emendations that he Night, made in the same year withdrew the film from and at the same studio circulation for four decades. (Columbia), Twentieth Century Only his death returned it to was one of the films that American audiences. defined the screwball genre. Hawks traveled to The two warring egos of other studios and genres in the Twentieth Century are the 1930s. Columbia gave him a monomaniacal impresario prison movie, The Criminal Oscar Jaffe (played by the Code (1931). The Crowd Roars monomaniacal ham, John (1932) at Warner Brothers was Barrymore) and his actress his first picture about auto Galatea, Lily Garland (played racing, another Hawks hobby; by Hawks’ own cousin, Carole he designed the automobile that Lombard, in her first major won the 1936 Indianapolis 500. comic role). The film Tiger Shark (1932), for Warners’ subsidiary, First National, took demonstrated several Hawks traits, including breakneck dialogue hawks to sea with Edward G. Robinson and the fishing fleet. that refused to soften or sentimentalize the combat, and the Hawks depicted the professional business of tuna fishing in this revelation of internal psychological states through concrete film with the same documentary accuracy and regard for detail external objects—the visible, photographic means of making that he devoted to flying in The Dawn Patrol or driving in The clear inner feelings that his characters never verbally Crowd Roars. His earliest talkies established a key pattern: in the express….The film also set the two essential Hawks patterns words of Andrew Sarris, “The Hawksian hero is upheld by an with movie stars: making a familiar star into a comedic parody of instinctive professionalism.” his own persona (as Hawks would later do with , Hawks returned to wartime professionals in Today We Humphrey Bogart, John Wayne, and Marilyn Monroe); and Live (1933) and The Road to Glory (1936). The former was inventing the persona of a total unknown (future Hawks Galateas adapted from “Turn About,” a story by , and included Frances Farmer, , Jane Russell, Lauren began Hawks’ personal and professional association with the Bacall, Montgomery Clift, , and Angie Dickinson). writer. Like Hawks, Faulkner loved flying and, like Hawks, had Bringing Up Baby (1938) at RKO, “the screwiest of lost a brother in an air crash. Both men also liked drinking and screwball comedies” for Andrew Sarris, was also the first of storytelling. Hawks and Faulkner would drink, fly, and tell Hawks’ four screwball comedies with Cary Grant. In these films stories together over the next twenty years. Today We Live, made the smooth Grant not only becomes the alter ego of the icily at MGM, began another Hawks pattern—walking off the set smooth Howard Hawks behind the camera; he also becomes the when studio bosses interfered with his filming. Today We Live butt of jokes that the world longs to inflict on the icily smooth. was the only film Hawks completed under a three-picture “Whereas the dramas show the mastery of man over nature. . . ,” agreement with MGM. After tolerating Louis B. Mayer’s according to Peter Wollen, “the comedies show his humiliation, interference on this first film, mostly in the handling of star Joan his regression.” Hawks endlessly submits Grant to degrading Crawford, Hawks refused to finish two others (The Prizefighter attacks on his handsome masculinity, usually by removing his and the Lady, and Viva Villa!). He would never return to MGM. pants and putting him in a dress. In Bringing Up Baby Grant is a nearsighted zoologist who spends a midsummer night’s eve with Perhaps Hawks’ most interesting genre films in the Katherine Hepburn, apparently chasing leopards and lost 1930s were screwball comedies. Hawks was a master of a genre dinosaur bones. What he finds instead is his love and his Hawks—RED RIVER—6 eyesight—indeed his recognition that love is the secret of vision. and Rio Lobo (1970). They also traveled to the wilds of Africa in In His Girl Friday (1940), adapted from The Front Page, another Hatari! (1962), where Hawks’ extended sequences of tracking Hecht-MacArthur stage hit, Hawks changes the gender of the wild animals provide another masterly film document of original newspaper reporter from male to female (Rosalind courageous and knowledgeable professionals performing an Russell), initiating a contest with her editor (Grant) that is both exotically difficult job. As both Wayne and Hawks grew older, love and war. In the end, she too recovers her eyesight to their films together showed their age while defying it, settling discover love in their combative friendship…. into a comfortable social landscape with comfortable friends to Hawks spent the early 1940s with two personalities less perform tasks beyond the capacity of younger, less experienced slick, cool, and distant than Grant. made two films men…. for Hawks, both in 1941. Sergeant York, produced at Warners by Jesse Lasky, Hawks’ first boss, The final fifteen years features Cooper as the of Hawks’ life brought him homespun pacifist who became wider public recognition than a hero. Hawks’ he had ever known in his most honored film in his busiest years of studio activity. lifetime, Sergeant York brought Respected inside the industry as him his only Academy Award one of Hollywood’s sturdiest nomination for best directors of top stars in taut director….Another wartime stories, Hawks acquired little alternative to Cary Grant was fame outside it until the rise of Humphrey Bogart. The Bogart the theory in France, quality Hawks exploited—quite England, and America between the opposite of Cooper’s open 1953 and 1962. To some warmth—was a tendency to extent, it was the auteur theory hide the heart behind a tough that made Hawks a household mask of emotional indifference name and Hawks that made and vocal taciturnity. Hawks Hawkes with Faulkner and another screenwriter auteur theory a household idea. had always liked characters who In their campaign against both did and felt more than they said and Bogart became an especially European “art films” and solemn adaptations of literary classics, effective partner for Hawks’ newest find, .... articulators of the auteur view—François Truffaut, Jacques If the decade and a half from 1938 to 1952 marked Rivette, Peter Wollen, V.S. Perkins, Ian Cameron, Andrew Hawks’ Cary Grant period, split by the war years, the final two Sarris, John Belton, William Paul—looked for studio directors of decades of Hawks’ creative career marked his John Wayne genre films whose work displayed both a consistent cinematic period. Red River (1948) was both Hawks first Wayne film and style and consistent narrative motifs. his first Western apart from The Outlaw, a Billy the Kid film that Hawks was the model of such a director. He spent Hawks began in 1941 but quit on account of conflict with its fifteen years in interviews denying any serious artistic aspiration, producer, Howard Hughes. Hughes’ resulting resentment had claiming that all he wanted to do was tell a story. But a Hawks considerable impact on Red River, for he demanded that Hawks story had an unmistakable look, feel, and focus. His style, though delete footage resembling scenes in The Outlaw or face a lawsuit. never obtrusive, had always been built on certain basic elements: a careful attention to the basic qualities of light (the lamps that Red River was Hawks’ most epic film, the story of a cattle drive always hang in a Hawks frame); the counter-point of on-frame from Texas to Kansas, in which the wanderers travel thousands action and off-frame sound; the improvisationally casual sound of miles, facing both the external challenge of the physical of Hawks’ conversation; the reluctance of characters to articulate universe and the internal struggle against their own psychological their inner feelings, and the transference of emotional material defects. Wayne plays the older rancher, Thomas Dunson, a man from dialogue to physical objects; symmetrically balanced whose will, determination, and courage have built a cattle frames that produce a dialectic between opposite halves of the empire; Montgomery Clift, in his first film role, plays the frame. So too, Hawks’ films, no matter what the genre, handled younger partner, Matthew Garth, Duson’s adopted son, friend, consistent plot motifs: a small band of professionals committed and “lover.” When Dunson’s unswerving commitment to his own to doing their jobs as well as the could; pairs of friends who were values threatens the success of the drive, Matthew usurps also lovers and opponents; reversal of conventional gender Duson’s command in a Western Mutiny on the Bouny. Dunson expectations about manly men and womanly women. Dressed as swears to track Matthew down and kill him. He tracks him down, routine Hollywood genre pictures, Hawks’ films were but as father faces son and friend faces friend, Dunson learns that psychological studies of people in action, simultaneously trying a vow spoken in haste and anger is not worth defending. In Red to be true to themselves and faithful to the group. In his classic River Hawks shaped the essential John Wayne persona—the conflict of love and honor, Hawks was the American movie inflexible man of honor, courage, and will whom no adversary descendant of Corneille. can break but love can bend. He died at the age of eighty-one in Palm Springs, After Red River, Hawks and Wayne took three more California, from complications arising from a broken hip when trips to the Old West—in Rio Bravo (1959), El Dorado (1967), he tripped over one of his dogs. Even as he grew older he Hawks—RED RIVER—7 continued to ride his motorcycle and raise his martini. He was you make it. And Hawks made his worlds his way, was an married three times, and had four children—two of whom work amazingly modern picture maker—his work stays in tune with in the film industry. His primary legacies are his films and his changing times far more than most. He also had a sharp eye for persona as the modest professional in a bombastic business, a human archetypes, a nearly flawless sense of human nature’s man who could make the structures and the strictures of that contradictions in mythic form. He also had an almost infallible business work for him, so he could tell the stories he wanted to nose for movie mistakes: terrific advice I didn’t always heed and tell in the way he wanted to tell tem. regretted when I didn’t….

Bogdanovich: What was Clift like to work with—was he difficult Who the Devil Made It Conversations with Legendary Film in any way? Directors. . Ballantine Books NY 1997 HH: Oh, nobody’ that’s that good is difficult. All you have to do is get some ideas out of his head. You see, when he started in . . .I liked almost anybody that made you realize who in the devil he was going to be tough, but Wayne blows people like that right was making the picture. . .Because the director’s the storyteller off the screen. So, I stopped him and said, “Now look, Monty, and should have his own method of telling it. Howard Hawks the best thing is to do it exactly the opposite. Otherwise, you’re not going to end up anywhere. Take a coffee cup and be drinking Among American directors, referred to it and we’ll just see your eyes. They won’t know whether you’re Hawks as “certainly the most talented.” French critic Henri Agel smiling or what’s happening. Just be entirely unconcerned about wrote: “Hawks is one of the rare it.” He did that and when the patricians of the screen and his scene was over Wayne came ethic is of human nobility.” up to me and said, “Hey, that Offbeat critic Manny Farber kid’s gonna be OK—he’s said: “Howard Hawks is the key gonna be good.” I said, figure in the male action film “You’re darned right he’s because he shows a maximum gonna be good.” Then he speed, inner life, and view, with would see another chance to the least amount of flat feet. His do a dramatic scene—he best films have the swallowed- wanted to get angry at one up intricacy of a good softshoe fellow—but I wanted him to dance.” But French director do the thing where his hand is Jacques Rivette nailed it: “If shaking and he just says, Hawks incarnates the classic “You’re lucky. That’s how American cinema, if he has close you came.” Well, after brought nobility to every genre, he saw how well these things then it is because, in each case, worked, he became easier and he has found that particular easier to work with. genre’s essential quality and grandeur, and blended his personal themes with those the American tradition had already enriched Geoffrey O’Brien, “Red River: The Longest Drive,” and made profound.” The great variety of Hawks’ pictures— Criterion notes there really isn’t any kind of movie he didn’t make—speaks for a Many westerns have been self-consciously conceived on an restless desire to challenge oneself, perhaps almost as a kind of epicscale, but Howard Hawks’s Red River (1948), in its deepest renewal. His characters do that—it is a part of their channels, actually feels like an ancient epic. It is measured in professionalism as well as of their bravery. Hawks put it simply: long breaths and offers up scenes eroded to their fundamentals. “For me the best drama is the one that deals with a man in Yet for all the hundreds of cattle that fill the screen, this saga of danger.” the first great cattle drive along the Chisholm Trail, dramatized through the struggle between cattle rancher Thomas Dunson (John Wayne) and his adopted son, Matthew Garth (Montgomery [Bogdanovich of Hawks] He said to me once—and I Clift), is never cumbersome. In fact, the monotony of inexorable remembered it quite often on every picture I’ve made: “Always slow progression provides something like an energizing bass cut on movement, and the audience won’t notice the cut.” pattern for the movie, with accents provided by moments of flavorful banter by an assortment of trail hands, including Walter Comedy and drama were often interchangeable with Brennan, John Ireland, Noah Beery Jr., and . Hawks: he said that when he read a story, he first tried to see if a There’s a steadiness of emphasis through the film’s long central comedy could be made of it and if not, he made a drama. movement, a sense of emotions held in check in order to get on with what has to be done, so that when violence and something So many things Howard said to me echo in my head, like madness do finally emerge, the effect is all the more and did on every film I made. In 1965, on the set of El Dorado, jolting. Red River has from the first imposed itself by its iconic he told me: “An audience doesn’t know the geography of a place visual force and the sheer logistics of what unfolds on-screen. unless you show it to them. If you don’t show them, it can be Manny Farber—while characteristically qualifying its themes of anything you want it to be.” In other words: a movie is the world loyalty and leadership as “romantic, simpleminded mush”— Hawks—RED RIVER—8 admired the film as “a feat of pragmatic engineering, working Twentieth Century, Cary Grant’s unflappable mail pilot in 1939’s with weather, space, and physiognomy.” James Agee, reviewing Only Angels Have Wings, and the ultimate freelancers Harry it for Time, wrote: “There is a constant illusion that you are Morgan (To Have and Have Not, 1944) and Philip Marlowe (The watching an extraordinary effort to get cattle across a certain Big Sleep, 1946), played by Humphrey Bogart. As embodied by immense expanse of difficult and threatening country, that you John Wayne, Tom Dunson is perhaps the most relentlessly driven are learning a lot about how such a job feels and gets done, and of them all. He aspires to build a cattle empire in Texas and that the perpetually wrangling players brooks no obstacles. He takes leave of are important not so much of the woman he loves, Fen (Coleen themselves but because the whole Gray), who then falls victim to an success or failure of the attempt Indian massacre. He kills anyone who depends on these people.” It is an contests his right to the land he settles epic made by a director on, starting with an agent of its constitutionally averse to grandiosity ostensible and faraway Mexican and inclined more toward owner. With his sidekick Groot unsentimental comedy than soul- (Brennan) and young Matthew Garth, stirring melodrama. If that comic the orphaned survivor of the massacre sense led him to an ending that many that killed Fen, he creates something have found unexpected and like his own polity south of the Red disconcerting, it also imparted a River. All this is prologue. Fourteen restraining tartness. The spatial years later, in 1865, he finds himself sprawl and empire-building theme of economically devastated by the Red River surely owe something to collapse of the Southern economy in the fact that it was the first, and as it the Civil War and must initiate a cattle turned out only, film made by drive through dangerous territory to Hawks’s independent company, Missouri. The drive becomes the Monterey Productions. The director movie. In the course of it, Dunson, was approaching fifty when he transforming into a figure of Ahab-like bought the rights to Borden Chase’s implacability, will push his men Saturday Evening Post serial novel beyond endurance, until Matthew, The Chisholm Trail, a suitably whom Dunson has raised as a son, ambitious project to launch his new venture. Hawks had been reluctantly takes charge, leaves him in the wilderness, and directing movies since 1926 and over the years had worked for changes course toward the more desirable destination of Abilene, every major studio—Columbia, MGM, RKO, Twentieth Kansas, where a new rail line has opened. Dunson follows in Century-Fox, and, above all, Warner Bros., for which he had vengeful pursuit. Everything at this point suggests that we are recently directed such hits as Sergeant York, Air Force, To Have heading toward something like the fatal climax that figures in and Have Not, and The Big Sleep—but he had never fallen easily Chase’s original story. Hawks, however, had determined that into the role of company man. In the event, Red River went over Dunson would not die. The director, as Todd McCarthy notes in budget and Hawks (along with his partner, Charles Feldman) his definitive biography, Howard Hawks: The Grey Fox of went into debt financing it, and so found himself shut out of most Hollywood, “increasingly refrained from killing off remotely of the profit from what turned out to be an enormously successful sympathetic characters.” The final conflict is resolved through film. Red River stands roughly in the middle of a singular career the intervention of a late-emerging character, Tess (Joanne Dru), that in its own day was taken very much for granted. Not until a young woman Matthew has rescued from yet another Indian the Cahiers du cinéma critics, notably Jacques Rivette and Eric attack and who in separate encounters with Matthew and Dunson Rohmer, began to make extraordinary claims for Hawks’s art in pieces together the story of their relationship. Storming into the the mid-1950s did anyone appear to notice that this seeming midst of their showdown, she delivers a tirade that more or less paradigm of the Hollywood professional, deftly switching from shames them into acknowledging their love for each other. It’s a gangster movie (Scarface, 1932) to screwball comedy (Bringing jolting transition, like emerging from one era into another. Dru’s Up Baby, 1938) to war picture (Air Force, 1943), might be a very line readings echo those of in Only Angels Have deeply, indeed obsessively, personal creator. Hawks’s films were Wings, a masterpiece about stoic aviators in which Hawks had the epitome of apparently unostentatious, unpretentious crystallized the elements of his personal universe, and anticipate Hollywood product, and it was only in retrospect that the those of Angie Dickinson in Rio Bravo, the hugely successful persistent underlying motifs came into clear view: the stoic 1959 western that many regard as the great summing-up of his resistance to every appeal to tear-jerking grandiosity, the hard- work. Tess seems far removed from the dark and tortuous trek boiled sparring that was the preferred mode of courtship, the cult we have been on until this moment. The mood all at once is pure of professional skill as something to hang on to in a world that Hawksian comedy: salty and combative and thoroughly of the might otherwise prove meaningless. In Red River, Hawks had late 1940s. If the ending can feel like a letdown—and this chosen a story centered around an archetypal independent remains a subject of contention for everyone who sees the film— operator, another entry in a gallery of self-willed types, including it is perhaps because it wrenches the story away from the more Paul Muni’s world-devouring gangster in Scarface, John devastating ending it seemed to be preparing. Red River—not Barrymore’s maniacally egotistical stage director in 1934’s least because of the fifteen hundred or so head of cattle in the Hawks—RED RIVER—9 supporting cast—was the biggest collective enterprise Hawks different as they could be. Montgomery Clift, in his first film had supervised, and he relied on a team of exceptional role, radiates a charm he never quite recaptured, while at the collaborators: Charles Schnee, a young screenwriter who would same time projecting a detached intelligence that is central to the go on to write They Live by Night and The Bad and the Beautiful; film: he is the son who has come home knowing more than his cinema-tographer Russell Harlan, who would shoot five more father, and who must gradually shift from affectionate loyalty to films for Hawks; Christian Nyby, who had edited To Have and an open rebellion rooted not in animosity but a pragmatic sense Have Not and The Big Sleep and was here, taking over from two of what is best for the situation. Clift is so different from John other editors, given quite a free hand in putting together the Wayne that there is never any question of his character’s vying to pieces of an immense and scattered story; Dimitri Tiomkin, become Dunson. Matthew represents something new, an whose commanding score, a template for those of many future abandonment of Dunson’s benevolent despotism in favor of westerns, infuses the film so thoroughly that it is not surprising to discussion and consensus, values altogether alien to the qualities see him given a title credit with which Dunson carved out almost as prominent as the his cattle kingdom. Wayne had director’s; and second unit made many films before Red director Arthur Rosson River, but here we see the full (credited as codirector), a power of his presence for the longtime friend of Hawks’s first time, an event who took charge of much of the memorialized in ’s large-scale action, including the often-quoted reaction: “I never stampede that is one of the knew the son of a bitch could film’s most memorable act.” At thirty-nine, he was sequences. Even though shot playing, for most of the film, only partly in the natural an older man, and in doing so settings of a vast ranch in created the actor he would be southern Arizona—many for the rest of his career. Tom campfire scenes were staged in Dunson remained a singular the studio, and liberal use was role in that career. If the film made of rear projection—Red River manages to sustain an almost at moments suggests a note of archaic tragedy, it is largely due to Platonic sense of the outdoors. When Matthew and Buster the way Wayne projects Dunson’s hubris without melodramatic McGee (Beery) become startled at finding themselves under a exaggeration. The hubris is there from the start; if he seems to roof for the first time in weeks, the spectator for an instant shares change in the course of the film, it is because the circumstances the sensation. The finished product was inflected by a variety of change around him and he refuses to recognize that. Embodying offscreen maneuverings. The carefully set-up rivalry between a granitic force that cannot deviate from its determined course, Matthew and the sharpshooter Cherry Valance (John Ireland), he keeps uncovering different aspects of that force, and hints of which clearly points toward an inevitable duel, comes to nothing every contrary impulse he has had to bury, even as he seems to because Hawks had a falling-out with Ireland (various reasons wear down before our eyes. The only blurring comes at the very have been given) and pretty much wrote him out of the second end, when there is simply not enough room for him to turn half of the picture. Additional tinkering led to the existence of around in to register the profound and abrupt change of two distinct versions of the film, the shorter of which adds perception that the script requires. It is Wayne who in the narration by Brennan to replace the book pages that link the opening scenes makes plausible the idea that we are present at a episodes. (Hawks preferred the shorter version, which is the one foundational moment, when a single person, by deciding to move that was released in theaters at the time; some have found the in one direction rather than another, changes the world. Although extended finale of the longer one to be more satisfying.) The the film tells us the story is drawn from a fictitious chronicle concluding confrontation between Dunson and Matthew had to called Early Tales of Texas, the mood is more of wary awe than be reedited, to choppy effect, because of a threatened lawsuit by of reverent glorification. Dunson walks away from his beloved— Howard Hughes, who claimed persuasively that the ending had telling her he will send for her later—and leaves her to be been lifted from The Outlaw (1943), on which Hawks had been massacred, even though there have been ample warnings of an director before Hughes took over. Additionally, Todd McCarthy Indian attack. He shoots down anyone who challenges his land relates how a whole layer of sexual realism was scraped away by rights and then reads from the Bible over their bodies, words that the Breen Office before the film got under way: “The original do much to set the tone from the start: “We brought nothing into script was spilling over with . . . very frank and natural remarks this world, and it’s certain we can take nothing out of it.” An from men without women—dreams, fantasies, braggadocio alternation of killings and burials is established as part of the way expressed in terms unlike anything ever heard in a Hollywood of things, a harsh musical structure: “Fill ’em full of lead, stick western.” A taste of the intended erotic tone remains in the brief ’em in the ground, and then read words at ’em,” as one of the but unusually passionate last embrace of Dunson and Fen and, trail hands sums it up. There is an austere grandeur about these more subtly, in the implied sexual affair between Matthew and early scenes. The immense cattle herd springs up out of isolation Tess. (In another key, we are left with the phallic one- and emptiness. Dunson’s kingdom is established by the crossing -upmanship of Matthew and Cherry comparing guns: “That’s a of a river and the shedding of blood. What he has sacrificed is good-looking gun . . . Can I see it?” “Maybe you’d like to see symbolized by a serpentine bracelet that binds together the whole mine.”) For the central pair, Hawks decided on two actors as film: Dunson received it from his mother; he gives it to Fen and Hawks—RED RIVER—10 then retrieves it from the dead body of the Indian who killed her; Dunson—by now hobbling from a leg wound and dosing himself he passes it on to Matthew; Tess (by her account) steals it from with whiskey—of his punishment for the recaptured deserters: Matthew after they have spent the night together; she wears it “I’m gonna hang them.” Wayne’s uninflected reading of the line when she meets with Dunson to persuade him not to kill is the vocal sound of a stone wall, the sound of a degenerated Matthew. The urgent intimacy of the last embrace of Dunson and authority in the moment when it passes beyond what is tolerable. Fen is the farewell to pleasure, the necessary sacrifice enabling This is the Dunson we remember, even after Hawks has found a Dunson to become conqueror and nation founder. In close-up, it way to save him by bringing him back at the last possible has a sexual force, emphasized by Fen’s impassioned dialogue, moment into a comedic world. In another sense, it doesn’t that shuts out the rest of the world. In long shot, it becomes a matter. After the cattle have reached their destination, the hieroglyphic representation of parting. All this recurring humans can revert to a more comfortable mode; the drama is imagery—river, grave, serpent bracelet—has a done. What persists beyond all else is the movement folkloric quality, all the more impressive for being of the herd itself, that slow and weighty progression introduced in such an apparently natural way. Things that threads the film together, those interminable just happen, as in the most ancient narratives: linking shots of cattle herded across plains and abruptly, and sometimes with inexplicable gaps in down slopes and through dense rain. All the high between. When Dunson shoots down the Mexican passion of human conflict is subverted by the rider who attempts to evict him, it feels like a line elemental immediacy of the cattle crossing the Red from a primeval chronicle, a bare notation devoid of River, the almost tangible presence of their bodies rhetorical flights about moral ascendancy or the in the water resonating unexpectedly with the Italian mission of civilization. The killings, when they neorealism that was also of this moment. A few come, are sharp and swift, as Hawks always years later, Luchino Visconti would incorporate the preferred. The gunning down by Dunson of three scene into Bellissima, as Anna Magnani, watching malcontents takes only a second. The effect is at the film with other denizens of a Roman slum, goes once shockingly brutal and perversely elegant. But into ecstasies at how “the cows are all getting wet!” even more shocking are two acts of violence that do The cattle drive is not the movie’s background but not come to pass: the threatened horsewhipping of its essence, and no ending could be more satisfying Bunk Kennelly (Ivan Parry) for having accidentally than the exhilarating moment when the cattle pour precipitated a stampede, and the announcement by at last into the streets of Abilene

COMING UP IN THE FALL 2014 BUFFALO FILM SEMINARS Sep 23 Robert Bresson, PICKPOCKET, 1959 Sep 30 Luis Buñuel, VIRIDIANA, 1961 Oct 7 Agnès Varda, CLEO FROM 5 TO 7, 1962 Oct 14 Akira Kurosawa, REDBEARD, 1965 Oct 21 Nicolas Roeg, PERFORMANCE, 1970 Oct 28 Víctor Erice, THE SPIRIT OF THE BEEHIVE, 1973 Nov 4 Roman Polanski, TESS, 1979 Nov 11 Sydney Pollack, TOOTSIE, 1982 Nov 18 Joel and Ethan Coen, FARGO, 1996 Nov 25 Erik Skjoldbjaerg, INSOMNIA, 1997 Dec 2 Mike Nichols, CHARLIE WILSON’S WAR, 2007

CONTACTS: ...email Diane Christian: [email protected] …email Bruce Jackson [email protected] ...for the series schedule, annotations, links and updates: http://buffalofilmseminars.com ...to subscribe to the weekly email informational notes, send an email to addto [email protected] ....for cast and crew info on any film: http://imdb.com/

The Buffalo Film Seminars are presented by the State University of New York at Buffalo And the Dipson Amherst Theatre with support from the Robert and Patricia Colby Foundation and the Buffalo News