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JUDGE ROY BEAN - Mentale Sidespring har bragt filmens forskellige elementer ■ DET BLODRØDE BRYLLUP tage cykelturen i »Butch Cassidy and Les noces rouges. Frankrig/ltalien 1973. P-selskab: sammen i en høj enhed, der holder fra Les Films la Boetic (Paris)/Canaria Films (Rom) - the Sundance Kid«. først til sidst. Man er med hele tiden. Italian International Film (Rom). Ex-P: André Ge- Langt mere Hustonsk er de mange noves. P: Guy Azzi. P-leder: Pierre Gauchet. I- Og her er vi måske ved Chabrols ieder: Patrick Delauneux. Instr/Nlanus: Claude pudsige ’tall tales’, der hylder mand- egentlige styrke, der - i hvert fald i Chabrol. Instr-ass: Michel Dupuy, Alain Wermus. folkefornuften på idealismens bekost­ Foto: Jean Rabier. Kamera: Alain Douarinou/Ass: denne anmelders øjne - langt overskyg­ Raymond Menvielle, André Marquette. Farve: East- ning og ikke tager for tungt på et par ger, hvad der måtte være af tilløb til mancolor. Klip: Jacques Gaillard, Monique Gail- skurkes død. Der er en klart nostalgisk lard. Ark/Dekor: Guy Littaye. Kost: Karl Lager- filosofisk diskussion i historien: Evnen feld/Ass: Gi I les Dufour. Komp: Pierre Jansen. Dir: stemning omkring de gode gamle selv­ til at »lade« hvert eneste billede med en André Girard. Tone: Guy Chichignoud, Alex Pront/ tægtstider, som måske skal være svær Ass: Gérard Dacquay. Lyd-E: Louis Devaivre. knitrende, ildevarslende spænding, der Makeup: Alexandre Marcus. Frisurer: Simone at sluge: det er denne tvetydighed, som kalder på sin forløsning, men aldrig får Knapp. Medv: Michel Piccoli (Pierre Maury, vice­ jeg ikke synes Huston på nogen måde borgmester), Stéphane Audran (Lucienne Dela- gør rede for. Paul Newman vælger brø­ den helt. mare), Clotilde Joano (Clotilde Maury), Eliane de Selvfølgelig hænger det sammen med, Santis (Héléne, Luciennes datter), Daniel Lecour- sigt at gå ind på hyggeplanet i filmen tois (Politimand), Pippo Marisi (Berthier), Fran- og let hen over de paraleller, som let at man har visse forventninger om noget gois Robert (Auriol, Politimand), Claude Pieplu kriminelt, når man har set nogle stykker (Paul Delamare), Ermano Casanova (Embedsmand). kunne være trukket til nutidig ameri­ Længde: 90 min. Censur: Ingen. Udi: Warner & kansk selvtægt. Måske filmen er tænkt af Chabrol. Hvornår kommer det? Hvor­ Constantin. Prem: Alexandra 26.7.73. når sker det? Og hvad sker ? som et ’svar’ på de moderne ansvars­ Indspilningen startet den 17. oktober 1972 med tunge western med indbygget Vietnam- Men det er ikke kun det. Over »Slag­ eksteriøroptagelser i Vatengay. tematik? Holdningsmæssigt falder den teren«, som jeg så uden nogensinde før noget fjoget ud, god for en masse hur­ at have set nogetsomhelst af Chabrol tige grin og parat til et par små senti­ og uden i forvejen at vide noget om JUDGE ROY BEAN - mentale sidespring. filmen, rugede den samme let dystre VESTENS BLODIGE Sentimentaliteten, brutaliteten og den stemning af noget skæbnesvangert, der DOMMER nårsomhelst kunne gribe ind, slå ned. tematiske forvirring smelter sammen i En mærkelig genreubestemmelighed, om Der er ikke noget at sige til, at John filmens epilog som Nogen ganske be­ man må sige sådan. Trods det krimina­ Huston efter »Fat City« har villet lave stemt må have ment Noget med. Efter listiske er Chabrols film ikke garnerede en morsom underholdningsfilm. Men venindens barselsdød trækker den mere som sædvanlige kriminalfilm. man kan nok undre sig over den form og mere 'mystiske' Roy Bean sig tilbage og hans ærkerival bliver magtmennesket Men nogle enkle manøvrer benyttes for humor, han har valgt at satse på. i den lille by, hvor der findes olie. Men til at fremkalde fornemmelsen af, at Helt undtagelsesvis forekommer den da Roy Beans datter er tyve år gammel, drab, død og katastrofe lurer lige om danske titel rimeligere end den origi­ dukker Bean op en sidste gang og sæt­ hjørnet. En scene i begyndelsen af »Det nale: Vestens blodigste dommer. Nok ter ild på hele byen sammen med de fire blodrøde bryllup« viser de to elskende anvendes der ganske vist et minimum gamle marshaller og sin skydeglade dat­ mødes i smug ved en flodbred. Over­ af synligt blod i filmen. Men dommer ter, hvorpå Huston vender tilbage til fladen er lutter solskin og idyl. Pludselig Roy Bean er en nådesløs dommer, og den oprindelige dekoration for at af­ brydes den af en båd med lystfiskere. det er en del af spøgen. Historien be­ vikle en endnu mere definitiv epilog: I denne lille sekvens er der alene tre gynder som en hævnhistorie; midter­ Som Lily Langtry dukker Ava Gardner spændingsmomenter: 1. Kameraet kon­ partiet har mere idyllens karakter; men op, siger kønne mindeord og manife­ centrerer sig om noget budskads i nær­ i den sære 'epilog’ gentages hævnmoti­ sterer sig som den drøm om kvindelig heden. Det er dels et muligt tilflugts­ vet med en styrke, så man ikke er i poesi, som hele Beans lille mandssam­ sted, dels kan en evt. morder stå skjult tvivl om, at der er tale om en meget fund var bygget på. Meget kunne måske mellem buskene. 2. Fiskeren »kaster« en bevidst omend forvirrende motivisk af­ være reddet, hvis ikke denne epilog gang med sin stang, og krogen kommer runding. havde fået lov at stivne i sentimentalitet foruroligende nær på vore to forelske­ Roy Bean ankommer til en lovløs og ende i et frossent billede af den des tøj, der endnu ligger på strandbred­ flække, hvor han behandles så dårligt yderst selvtilfredse Gardner, mens Mau­ den. 3. Endelig er der naturligvis faren - i sin gavmildhed efter et vel gennem­ rice Jarres gennemførte klistrede musik for at blive opdaget og afsløret. ført bankkup - at han senere udrydder alle flækkens slyngler. Nok rammes de sætter ind for fuldt drøn. Men ingenting sker, og spillet går vi­ hovedsageligt i enden, men de dør. Filmen er ellers ganske smukt hånd­ dere og fortsættes. Bare en detalje, men Derpå opretter Roy Bean en kombineret værk, og vist er der her præserveret én af mange, der skærper spændingen. saloon og domstol, hvor han udøver sjove episoder fra et hjørne af Amerika Nej, det er ikke snakken om frihed loven, som han er i humør til. Det ud­ hvor pionertiden sluttede sent. Men som og skyld, der er så interessant - efter vikler sig til en sær idyl med jævnligt gennemført nostalgi er filmen svær at min mening - at Chabrols film bliver tilbagevendende hængninger, ublodige sluge - og måske skal det tjene Hu­ yderst seværdige, hører til de bedste og ikke-udpenslede, men hængninger er ston til ære, at han selv har følt sig for tiden. (»Slagteren«, »Dyret skal dø« nu en gang hængninger. tvunget til at give brutaliteten en vis og »Det blodrøde bryllup«). Det er helt Filmen falder i dette midterafsnit uhy­ realitet i historien. Idyllens tvetydighed enkelt det specielle atmosfærefyldte re episodisk ud, man aner romanforlæg­ er dog et tema han nøjes med at spøge univers, som det i disse titler er lykke­ get kapitel for kapitel. Der er episoden med, og på det punkt undervurderer des Chabrol så formfuldendt at bygge om slynglerne, der forvandles til mar- han både sin egen evne - og et nutidigt op. Nogen egentlig opbyggelighed eller shall’er; luderne der forvandles til deres publikums evne - til at engagere sig i nogen særlig varme er der ikke at hen­ glade koner; og den sagnomspundne en problematik som må glemmes hver te, omend der er forsonlige humoristi­ ’bad man’ som Roy Bean er så fornuftig gang, der skal være skæg i gaden. ske træk. Skuespillerne er brikker mere at plaffe ned bagfra. Og der er den Anders Bodelsen end troværdige personer. Men selvom ultra-tuttenuttede episode, hvor instruk­ den udenforstående satanisk iagttagen­ tøren selv forærer Roy Bean og hans ■ JUDGE ROY BEAN - VESTENS BLODIGE de holdning til livets skæbnespil fore­ meksikanske veninde en bjørn, som de DOMMER kommer temmelig primitiv, så er der hygger sig med i en montage med ser­ The Life and Times of Judge Roy Bean. Altern.- dog noget besnærende i at se Chabrol titel: The Hanging Judge. USA 1972. Dist: National vering af filmens indlagte sang: Tele- General Pictures. P-selskab: First Artists Produc- få sit puslespil til at gå op. tions. P: John Foreman. As-P: Frank Caffey. Instr: billeder af ung lykke plus sød bjørn, der John Huston. Instr-ass: Mickey McCardle. Manus: Det, der altså skal anskueliggøre spil­ vipper med hinanden i den uberørte John Milius. Foto: Richard Moore. Farve: Techni- let, der aldrig går op. color. Format: Panavision. Sp-foto-E: Butler-Glou- texas-natur, et meget lidt vellykket og ner. Klip: Hugh S. Fowler. Ark: Tambi Larsen. Kristen Bjørnkjær meget lidt Hustonsk forsøg på at gen­ Dekor: Robert Benton. Musik: Maurice Jarre. Sang: 300 »Marmelade, Molasses and Honey« af Maurice Undervejs fortæller hun Henry om sit elsker. Den sorte Lou Gossett forener Jarre (musik), Marilyn & Alan Bergman (tekst). Sunget af: Andy Williams. Tone: Larry Jost, Ri­ liv som rejsende demimonde og kunst­ uden malice og uden at nogens stolthed chard Portman, Keith Stafford. Medv: Paul New- nermodel. I flash-backs ser vi hende krænkes, de to ufuldkomne figurer i én man (Dommer Roy Bean), Jacqueline Bisset (Rose Bean), Ava Gardner (Lily Langtry), Tab Hunter (den nu mere flatterende sminkede fuldt belyst charmerende slyngel, der (Sam Dodd), John Huston (Grizzly Adams), Stacy Maggie Smith) kaste sig ud i det første antyder, hvad hele filmkomedien kunne Keach (»Bad Bob«), Roddy McDowall (Frank Gass), Anthony Perkins (Præsten LaSalle), Vic­ eventyr med Visconti. Vi ser hende som have rummet. toria Principal (Maria Elena), Ned Beatty (Tector veltilfreds luder på et luksus-bordel i Fortællerytmen er i begyndelsen af Crites), Anthony Zerbe (Svindler), Jim Burk (Bart Jackson), Matt Clark (Nick the Grub), Dolores kontinental-victoriansk stil. Vi oplever filmen mærkværdigt usikker. I den første Clark (Mrs. Whorehouse Jim), Steve Kanaly (Who- hende som en parisisk forretningsmands sekvens, hvor Henry og tante Augusta rehouse Jim), Bill McKinney (Fermel Parlee), Francesca Jarvis (Mrs.
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