filmbuff-31

It is easy to dismiss this film as a cheap remake of the original Fredric March vehicle, but there is so much more here than simple recapitulation!

The story is timeless. It takes a very definite philosophical stance on a subject which will always be relevant to all of us. Namely, how shall we cope with our own deaths when the reality confronts us?

What impressed me most about this production was the way in which death was presented. Death appears here as a gentle, benign presence. This presentation is a far cry from the monstrous horror we have come to expect from death. Death in this film is not a Grim Reaper wishing to engulf us in his inevitability. He wishes only to present himself as a fact of life. To understand himself and be understood by others as an experience which has a unique time and place for everyone. Occurring not one moment sooner nor later than necessary, and then as something not to be feared, but rather embraced in its turn.

There are other reasons to watch this rare production of the story. The fine cast: the beautiful Yvette Mimieux is in her prime here and perfect for the title role. I say "title role" because there is actually a dual title role here. It is the interaction between Yvette Mimieux's character and Monte Markham as Death that sets up the central dilemma that drives the picture. Myrna Loy and Melvyn Douglas are fine in supporting roles. Laurindo Almeida's haunting score creates an atmosphere of romantic suspense even while it facilitates contemplation.

So why doesn't this production have a better reputation? I suspect it's because, while the actors fulfill their roles admirably, they do so in a nuts and bolts manner which lacks drama. This production of the story is therefore out of step with the prevailing value in Hollywood: entertainment. For maximum entertainment value, a picture with greater dramatic impact is preferable.

Nevertheless, it is testimony to the dramatic impact and eternal relevance of this story that it has been remade several times since with great success, most notably in "Meet Joe Black." "Death Takes A Holiday" is a fine, underrated film which I give three stars!

For those who would trash this film as so much convoluted garbage--Freudian or otherwise--I have only these words: The Very Thought of You. The scene in which this song is included is the only thing which makes this film worth watching. Of course, the inclusion of the song, good as it is, cannot save this film from the trash heap.

The concept is imaginative enough. The story concerns what appears prima facie to be a familiar theme, but which incorporates the kind of surrealistic realism that was characteristic of John Collier. His characters are dreamers with noble ideals and high expectations. Only to find that the real thing, once encountered, is nowhere near what they had imagined. Another story by Collier in this same mold, by the bye, is "The Chaser," which did become a Twilight Zone episode.

The well-read viewer will probably be able to overlook the bizarre elements which clutter this film for just a moment and appreciate its sublime theme. In the end, however, the bizarre elements drown out any attempt at profundity. The viewer, like the characters in the film, is left feeling vaguely disillusioned, if not outright cheated.

The song deserves mention immediately because I believe that the sentimental romanticism of The Very Thought of You expresses very well the intention of the film's director. As envisioned by him, the song lingers in memory. Unfortunately, the director's intention is out of step with the writer Collier's original intention and it shows. The whole production is out of sync with its purpose. This is not a good film. I'd give it one and a half stars, and that's for the song.

Shadow of the Hawk is a film that can be viewed on many levels. It is at once a parable about the use of power and a young man's conflicted response to his vocation. I am speaking of power as it is defined in various North American Indian traditions. Power in such traditions is neither good nor evil in itself. It is the person using it who is good or evil and uses it to those ends. It is in the portrayal of black vs. white magic that the film has serious flaws, introducing non-Native American elements for dramatic effect. Nevertheless, the essential understanding that power has the potential for personal enlightenment or self-destruction manages to come through. There is also the drama of the vision quest operating here. The vision quest, found in the traditions of many North American Indian tribes, is a experience through which one conquers one's fears in a journey which culminates in a crucial aspect of self-knowledge. All of these elements, aided by the entrancing scenery throughout, combine to make this film well worthwhile viewing.