Patrice Chereau is Napoleon, out to conquer Egypt. Michel Piccoli is Cafarelli, one of Napoleon’s generals and a man of science. Cafarelli falls in love with Ali (Mohsen Mohieddin) AND his brother, Egyptian patriots who learn to love him but — Ali at least — not that way. It’s an anti-colonial, very queer film, not afraid of placing poetry in the midst of impressive spectacle. The first of Chahine’s France-Egyptian co-productions involving Humbert Balsan. It got bad reviews from both the French and the Egyptian press upon first release and has since become a classic, the only one of Chahine’s films we’ve been able to find released on blu-ray (and as a ‘Heritage’ film in France). The podcast touches on all of these subjects and, when scenes are discussed, clips are provided:
The version shown on Kuwaiti television with English sub-titles discussed by Richard at the beginning of the podcast:
and what follows are clips from scenes discussed in the podcast:
a: the beauty of the film itself and the uses of Egyptian landmarks.
b) the wonderful scene with Patrice Chereau as Napoleon dancing
c) the uses of poetry. A film that is not afraid to deploy it narratively nor nor create it visually.
d: Anti-colonial struggles
A lesson in love: power dynamics, desire, sex, affection. Chahine dramatises it with many colours and in various dimensions.
I had a fantastic cinephiliac moment at the Cinemateca Portuguesa – Museo do Cinema in Lisbon. As I was walking into the cafeteria with a friend, I noticed that as part of the permanent exhibition and hidden behind an old projector there was a poster for Johnny Guitar (Nicholas Ray, USA, 1954), but rather different than the one originally designed to advertise the movie upon first release in America.
There, as we can see above, what was advertised was Joan Crawford, billed above the title and in lettering that seems even larger than that of the title itself. The tagline at the top trumpets ‘Joan’s greatest triumph’. The image of Joan Crawford occupies almost all of the left hand side of the poster. She’s wearing trousers but the light emphasises her bust. Joan is imaged as a ‘pistol-packin’ mama’, but a glamorously made-up one, and with romance evident beneath and between her legs, against a backdrop of a canyon cliff rising towards her crotch.
Joan Crawford was not only instrumental in selling the film but the driving force behind it being made at all. In Nicholas Ray: The Glorious Failure of an American Director, Patrick McGilligan delineates how ‘Crawford was considered the picture’s de facto producer’ (p.244), how she not only owned the rights to the novel but had bought them before publication and may ‘indeed have commissioned it’(p.246) with Roy Chanslor first writing the novel as a lengthy treatment in the film.
In the bottom quarter of the poster we see a lot of other things the film promises: Sterling Hayden with a gun, a posse with Mercedes McCambridge, small but dead-centre in the lower section of the poster’s composition. We also see fire and explosions. Below the title are the other famous people in the film in order of importance and in relatively small print, amongst them Hayden and McCambridge but also Scott Brady. That the film is in ‘Trucolor’ is also advertised; as is the fact that the film is a Republic Picture, in yellow and on the bottom right. This might have been unwise as Republic was known as the cheapo studio even though this was one of its priciest products, ostensibly budgeted at $2 million. That Nicholas Ray directed is shown in half the size of the co-stars billed under the title and a mere fraction of the size of Joan Crawford’s own billing. This is significant because it is so unlike the poster at the Cinemateca Portuguesa.
If the original poster promised a ‘kiss-kiss, bang-bang’ western with Joan controlling the kissing and the banging, the later poster offered something else: a ‘Nicholas Ray Film’. As you can see in the poster above, Nicholas Ray is billed first, in lettering that seems the same size as the title but in a font that makes it seem less; the title of the film seems twice as large as the name of the director. Thus the poster conveys a particular message, which could be relayed as: the director, the film, the image; the dialogue or one of the most exchanges of dialogue in a superb scene from one of the most famous films by one of the greatest directors. The scene is of course, the famous ‘Lie to me’ scene; a gorgeous composition with Joan Crawford as Vienna, carefully framed and looking onto Hayden, occupies much of the centre of the poster. The image gives more importance to the stars than the billing in the poster does, in which Crawford is billed below the title and on the right, thus after Haydn: she might be rolling over in her grave now at the very thought.
Underneath is the dialogue (which I’ve taken from the film itself), some of the most famous in the history of cinema:
Johnny: ‘Lie to me. Tell me all these years you’ve waited. Tell me.
Vienna: ‘All these years I’ve waited’
Johnny: Tell me you’d have died if I hadn’t returned
Vienna: I would had died if you hadn’t come back’.
Jonny: Tell me you still love me like I love you
Vienna: I still love you as you love me
Johnny: Thanks. Thanks a lot.
One could say that comparing the two posters indicate a shift in the appreciation of the importance of the director versus that of the stars. However, as we know from the tortuous billing of The Towering Inferno in the 1970s right down to the discussions of how much money James Toback can raise on the names of Alec Baldwin and Neve Campbell in 2013’s Seduced and Abandoned (only 4-5 milion) stars remain central to the whole commercial cinematic apparatus. It would perhaps be more true to say that the posters for Johnny Guitar are addressing two different types of audience, one commercial, contemporaneous with the film and seeking to highlight what might attract it; the other, a later cinephile audience seeking art and film history. Does this shift over time and in terms of audience address not carry within it a soupçon of sexism? It’s almost like Joan Crawford and all she once meant has to be buried so that ‘Nicholas Ray’ can acquire its own set of meanings; auteurism, so founded on particular sets of specialised knowledges, as a kind of unwitting and socially unaware sexist erasure.
What incurred that moment of Cinephilia at the Cinemateca Portuguesa was not just the reference to the film, although that is potent in itself: I admire what David Thomson called its ‘bold incursion into camp’ and even remembered Truffaut’s assessment: ‘a string of preciosity, truer than truth…The bold, violent color (by TruColor) contributes to the sense of strangeness; the hues are vivid, sometimes very beautiful, always unexpected.’ However, at the Cinemateca there were also posters for so many other films that had meant as much to me just next to it (see the lovely one for the Astaire and Rogers Top Hat below).
What thrilled me at the Cinemateca was the memory of how Almodóvar had deployed the exact dialogue displayed in the poster in one of the most famous scenes in Women on the Verge of a Nervous Breakdown. Pepa (Carmen Maura) is on the verge of a nervous breakdown. Her lover has just left her. She’s got something important to tell him and he won’t let himself be found. They’re both actors who dub films. She’s at the studio dubbing Joan Crawford’s part in Johnny Guitar, her absent lover has already over-dubbed Sterling Hayden’s voice with his own.
As you can see above, Almodóvar starts with the mechanics of the film projector, cuts to an over-head shot that places the light thrown by the projector in the very middle of the frame, amidst the darkness of dimming lights, and creates a dream-like tone of feeling, of sadness and longing, that Pepa ads her voice to, that she voices but that also speaks her (and by turn Almodóvar and many of us).
In a stimulating round table on Cinephilia and the work of Jacques Rancière, Erika Balsom cites Serge Daney’s notion that ‘Cinephilia is not only a love for cinema. It’s a relation to the world through cinema’. That’s what we see in Almodóvars integration of the ‘Lie to me’ scene into the very narrative of Women on the Verge of a Nervous Breakdown. As her absent lover whispers in her earphones what Johnny (Hayden) is telling Vienna (Crawford), ‘Lie to me. Tell me something nice’, the camera resting on Carmen Maura’s face, lined, lived-in, so much more human than the architectonic iconicity Crawford’s conveys. But we do not see Crawford. Indeed, as you can see in the clip, we do not see Johnny Guitar in this moment of the film. It’s only the dialogue, the dialogue from the Johnny Guitar poster at the Cinemateca Portuguesa, overdubbed so that it’s what Pepa and her lover, who cannot say this to each other in ‘life’, may do so through film. Johnny Guitar speaks Pepa’s relation to the world through cinema, and indeed, I would argue, as we can see through so many of his films, Almodóvar’s.
Later in the Rancière round-table, Balsom cites Raymond Bellour’s notion that the film body is a body that flees from us and we’re always left trying to recapture it through different kinds of practices. Not just a love of cinema but a set of practices that happen after and that try to recapture this lost experience. Perhaps that is what Almodóvar is doing in Women on the Verge. For me, the sight of the poster ignited a concatenation of old memories and new questions: What did the poster advertise? Who was it made for? Did Almodóvar see it? Were those bits of dialogue generally famous with a cinephile audience? Were they also part of a shared queer culture of the moment? My cinephile moment was not just an attempt to recapture the feeling of seeing this moment in Johnny Guitar, or in Women on the Verge, or in the relation between the two, though it was all of that; it was also a spark to action: to realise there’s more to discover and to know; a moment of trying to recapture something lost that simultaneously leads to the accretion — perhaps creation — of something new.