Stars in My Crown (1950) Defining
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J'accuse (Short introduction to harmony)
director Jacques Tourneur is so underrated and unknown. He was appointed in passing and recite from memory the three movies ever. There is talk of series B, a craftsman (how much longer we'll be using the language of those class children right?) of sub-genres and other common places for theorists of the heap. Like Carpenter, Arnold and Ulmer, Tourneur film is part of a larger than his own legend, a way of thinking means over ends and a way of looking that has no time (or budget) to look into any navel.
I have faith I tell these people (filmmakers, footballers, advertisers or butchers) as I have not got any, and increasingly, the other guy. And I like his films (and their football and their announcements and their steaks.) Stars in my crown is the essential work of a filmmaker is not always made the films he wanted to do but wanted everything shot. And this was the most wanted and most wanted to do. And the shot
Love, love, love and expands the soul (Harmony to create)
Stars in my crown is a composite hymn stanzas that end up in a common refrain. At the same time is an ethical treatise on religion in the living several levels of discourse, some parallels and other cross. Despite the apparent complexity of his narrative is direct and linear crystal, we are going into a story that is actually a state of mind that as in Cars (John Lasseter, 2006) makes sense when it is clear that we remember only engine that drives its inhabitants to face the present. The scene in the strange Pixar production is made to wait longer than expected (one in which Sally Carrera Lightning McQueen discovers paradise lost hell shaped recoverable) here leaves no end to the credits: a voice, which remains that of a child , although having spent many years and his tone is more serious, we are introduced to all the characters as they exit the church that will change the course of any story that was to happen in Walesbug. We have located the time and space characters in a single shot. This makes it easier to narrate in horizontal (forward), especially if you are a master storyteller vertical (in each plane). Harmony is
in the inner music of vertebral level. In the power of a narrative that has all the force that gives the rules of the setting, the art of interpretation and logic of the assembly. In a conclusion, without breaks or drinking of any kind, the noble and sometimes, naive art that fits with precision all of the things that do not naturally fit. Tourneur knew is not the same building on the conviction that from the knowledge but also knew that both could join if they knew how to keep the conscience of the story and the tempo so that should be given. As in The Horse Soldiers (bold mission, John Ford, 1959) here repeats the duel between knowledge and convinced that the only difference that is opposed to medicine in the John Ford film master is faith in the songs of chivalry rather than deposited in the prayers of the clergy. Here
prayer does not cure the soul of Tourneur but serves as the soundtrack to highlight a main voice, that of Joel McCrea, an actor as the top of a dragon, which makes its entrance marking the notes with a personality worthy of best baritones. His arrival in the village and testifies. His entry into the bar features all the nuances that will be remembered throughout the narrative: faith, determination and speech.
Create and / or belief (faith)
Stars in my crown is a / the religious film unparalleled known, timeless, and mystical light. A kind of parable that mix, with luck, all of which oscillate between two worlds so different but so complementary as to believe and create. We will never know if faith can move mountains, but if we believe it makes great movies. Here in the middle, even temporary, of How Green Was My Valley and The Night of the Hunter, Tourneur gives us a story that combines the essential features of the "American" with the back of the western less mythological. The scene in which a typical cock mocked rounding second with his whip to a character out of the first (A magnetic Arthur Hunnicutt in the role of Chloroform Wiggins) is a good example of what Tourneur proposed. It is not the only scene I can remember breaking predetermined by the (alleged) logic of the story told, but it is the most spectacular leaving almost pictorial framing of a common aesthetic movement focusing camera forward the back of a character walking into a seamless wall. The wonder that within the overall results is the first notice of breach, as we said, almost generic (genetic "?) Of a story that creates conflicts as the belief is stabilized and strengthened by the miracle of reason. With the miracle expected as a fisherman (great Juan Hernandez) who both see the river has learned to feel like a fish that respects human. With the miracle of creating faith.
I Confess (Determination)
In the excellent The incident (The Happening, M Night Shyamalan, 2008) gives the character to face Mark Whalberg know you can create other scientific theories can compose poems or settle lawsuits and uses so unfortunate that he ever claimed to be scientific. Shyamalan knows that science and fiction are not as far as you can assume that the first and sometimes have more than the second that the second of the first (and also saw in his previous Lady in the water). What saves the scientist or writer is the determination to do what he does. And do it well, of course. The conflict between the doctor and the priest (or between science and literature to those who believe in the Bible as fiction bestseller) is marking the friction between the elements that coexist in harmony. Both the young doctor and the priest hardened over earthly war have to give in and confess one's sins rather than the virtues of others and put them together so that the adventure has a good port. The form that claims to the fund, the fund that is a fan of the way, is the way of a classic film that is how long ago it was.
Fire (The word)
this talk about balance and harmony, even as a guarantor of chaos, and then the films are remembered for their high points, and unexpected scenes or those images that could remember out of context. Stars in my crown is one where Elmer Gantry (Elmer Gantry without any fanaticism or religious or not) make display of what the cinema is capable. A scene is a fundamental part of the history of cinema for everyone who believes that love the film is not wearing a shirt from A Clockwork Orange but (usually) the opposite. Joel McCrea and Juan Hernandez have to face the Klux Klux Klan represents the opposite of religion and at the same time, the sublimation of the same reasons and for economic purposes. Like the Opus Dei in the magnificent and recent Camino Javier Fesser, the reasons for human sacrifice are as high as the remuneration received as a land where you are crossing a bridge or bridge paid and prohibitive customs guarantees us a paid vacation and eternal in a place that is as far as our imagination (or lack thereof) we want to take. The life of a black man is not as important as the land where he lives if he burns in a cross. In those moments we discover that these peaceful citizens who left the church in that memorable first scene are that after the dark side (And feared) night and the handling of a voice that is not to McCrea, can make the most of the aberrations imaginable. In this dichotomy between religion and religious fanaticism, between the knight and the dark knight of course represented by McCrea and Ed Begley, hide the knuckles of the hands of Robert Mitchum in Charles Laughton's masterpiece. Only the word and the letter from an illiterate that affects memory and faith can make it all falls apart (there are no words can save us, they say Vetusta Morla, to continue with the quotes of our time.) Only Tourneur planning a state of grace makes beauty and horror are combined in a sequence, nothing random beats sincere return to compose the melody of a hymn which, not being a national, can belong to everyone. Published
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