Introduction by Lynda Myles.
Featuring the same principals as Sirk's celebrated "Written on the Wind", and adapted by the same writer (from William Faulkner's novel "Pylon"), "Tarnished Angels" plays out many of the earlier movie's themes—obsession, jealousy, self-destruction, defeat—but in a different key. Hysterical Technicolor affluence is replaced here by marginal Depression-era Americana, shot in lush, melancholy black-and-white. Rock Hudson gives one of his best performances as a New Orleans newspaperman who develops an unprofessional fascination with carnival flier Robert Stack and his wife Dorothy Malone, a blonde in a pure white dress who's made a profession of falling. Hudson's passivity is an effective counterpoint to Stack's characteristic desperation; although Hudson calls Malone a creature from another planet, the shadows under her eyes mark her as all too human. The film is best experienced on the big screen, where the sweep of CinemaScope gives visceral impact to the film's fatalistic circularity, the camera repeating the fliers' compulsive loop around the pylons, chasing oblivion.
Part of the Cinema Mon Amour series at the BAM/PFA.
Free gallery admission with same-day film ticket!
show less
Featuring the same principals as Sirk's celebrated "Written on the Wind", and adapted by the same writer (from William Faulkner's novel "Pylon"), "Tarnished Angels" plays out many of the earlier movie's themes—obsession, jealousy, self-destruction, defeat—but in a different key. Hysterical Technicolor affluence is replaced here by marginal Depression-era Americana, shot in lush, melancholy black-and-white. Rock Hudson gives one of his best performances as a New Orleans newspaperman who develops an unprofessional fascination with carnival flier Robert Stack and his wife Dorothy Malone, a blonde in a pure white dress who's made a profession of falling. Hudson's passivity is an effective counterpoint to Stack's characteristic desperation; although Hudson calls Malone a creature from another planet, the shadows under her eyes mark her as all too human. The film is best experienced on the big screen, where the sweep of CinemaScope gives visceral impact to the film's fatalistic circularity, the camera repeating the fliers' compulsive loop around the pylons, chasing oblivion.
Part of the Cinema Mon Amour series at the BAM/PFA.
Free gallery admission with same-day film ticket!
Introduction by Lynda Myles.
Featuring the same principals as Sirk's celebrated "Written on the Wind", and adapted by the same writer (from William Faulkner's novel "Pylon"), "Tarnished Angels" plays out many of the earlier movie's themes—obsession, jealousy, self-destruction, defeat—but in a different key. Hysterical Technicolor affluence is replaced here by marginal Depression-era Americana, shot in lush, melancholy black-and-white. Rock Hudson gives one of his best performances as a New Orleans newspaperman who develops an unprofessional fascination with carnival flier Robert Stack and his wife Dorothy Malone, a blonde in a pure white dress who's made a profession of falling. Hudson's passivity is an effective counterpoint to Stack's characteristic desperation; although Hudson calls Malone a creature from another planet, the shadows under her eyes mark her as all too human. The film is best experienced on the big screen, where the sweep of CinemaScope gives visceral impact to the film's fatalistic circularity, the camera repeating the fliers' compulsive loop around the pylons, chasing oblivion.
Part of the Cinema Mon Amour series at the BAM/PFA.
Free gallery admission with same-day film ticket!
read more
Featuring the same principals as Sirk's celebrated "Written on the Wind", and adapted by the same writer (from William Faulkner's novel "Pylon"), "Tarnished Angels" plays out many of the earlier movie's themes—obsession, jealousy, self-destruction, defeat—but in a different key. Hysterical Technicolor affluence is replaced here by marginal Depression-era Americana, shot in lush, melancholy black-and-white. Rock Hudson gives one of his best performances as a New Orleans newspaperman who develops an unprofessional fascination with carnival flier Robert Stack and his wife Dorothy Malone, a blonde in a pure white dress who's made a profession of falling. Hudson's passivity is an effective counterpoint to Stack's characteristic desperation; although Hudson calls Malone a creature from another planet, the shadows under her eyes mark her as all too human. The film is best experienced on the big screen, where the sweep of CinemaScope gives visceral impact to the film's fatalistic circularity, the camera repeating the fliers' compulsive loop around the pylons, chasing oblivion.
Part of the Cinema Mon Amour series at the BAM/PFA.
Free gallery admission with same-day film ticket!
show less
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Berkeley Art Museum and Pacific Film Archive (BAMPFA)
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2155 Center Street, Berkeley, CA 94720
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