In 1975, Walter Hill’s austere “Hard Times” bucked the zoom-happy excesses of that chaotic decade with a combination of rock-solid mise-en-scene and a brilliantly laconic performance by Charles Bronson — one of the few times this major star appeared in a major film. Reissued in a fine new Blu-ray edition by Twilight Time, it’s the subject of my review this week in the New York Times.
I’m back from Bologna and “Il Cinema Ritrovato,” a bit late thanks to a bad transfer on Lufthansa that gave me the bonus experience of spending the night in a barracks-like hotel in a suburb of Frankfurt.
I’d like to express my deep appreciation to Antti Alanen for keeping me posted on what was happening on the blog when it proved to be impossible to get a sustained internet connection in my hotel in Bologna (Italy is a wonderful country but you don’t go there for the WiFi), and I was gratified to find that it took at least a week for the conversation to lumber back around to John Ford, as opposed to the usual 24 hours. The audiences in Bologna — a mixture of professionals, visiting cinephiles and students from the area’s many universities — are truly amazing; the Allan Dwan series I helped to organize attracted audiences of two to three hundred for even the most esoteric films on the program, and the atmosphere was one of respect and open-mindedness.
Even the difficult “Most Dangerous Man Alive” — Dwan’s last film (released in 1961) and saddled with its share of awkward lines and amateurish performances — played without a single bad laugh, something that would never happen in the United States. At the opposite end of the spectrum, there was the pleasure of seeing “Up in Mabel’s Room” unleash its impeccably timed waves of hilarity in a full house — the sort of experience seldom available in this age of isolated video viewings. Kevin Brownlow offered a program of clips and personal reminiscences of Dwan, as well as screenings of his personal prints of “Manhandled” (a new digitalization of Kevin’s unique 16-millimeter print), “The Iron Mask” and the one-reeler “The Mormons” from 1912. My profound thanks to Peter von Bagh and Guy Borlee for making it all possible.