These are such fun to make:
Burt and Jean Peters in the kind of blackface no one seemed to have any problem with in 1954. His is the body on display throughout, and displayed as spectacle as you can see here, thought without the delightfully buffoonish obviousness of Schwarzenegger film of the mid 1980s. I understand Apache was shot in 1.37 and cropped to create a wide-screen image. I don’t think accommodating the sprawl of Burt’s body was the primary consideration.
Film was shot in 1.37 and cropped to create a 1.85 image.
Burt Lancaster. I was idly glancing at the TV when Apache (Robert Aldrich, 1954) came on, and there´s a love scene there with Jean Peters that´s as sensual and perhaps more deeply felt than the famous beach scene in From Here to Eternity (Fred Zinnemann, 1953). Then, I saw the beginning of Jim Thorpe: All American (Michael Curtiz, 1951) where again he plays a native person, a natural athlete, where his very grace in movement is a reproach to the system: ´when they win it´s a great battle, when we win it´s written up as a massacre’. Then the acrobatics in The Flame and The Arrow (Jacques Tourneur, 1950) are as joyous and exhilarating as any musical number. these bits made me think that whilst we tend to emblematise US culture through cinema as Brando or Marilyn or James Dean, Burt Lancaster is the star who best evoked how America was seen at home and abroad in the middle of the last century: the strength, dynamism, beauty, the plenitude expressed by his figure, the freedom in his movement, the chiclets teeth that gleamed like a new Cadillac and the shock of wavy hair that evoked the wildness of ranges and forests and beaches. And that he evoked all of that — and one only has to see what Anna Magnani says about him in Bellisima (Luchino Visconti, 1951) to know that he did, whilst still condensing a critique, truly makes him stand out for me, though perhaps others will say the same of Monroe, Taylor, Holden, Brando et al. A morning thought.