As it became known today, on September 27 in Topanga, California, 90-year life died, John Guillermin, the British director of the reference film catastrophe “Hell heavens “(1974), Recovery” King Kong “(1976), the last” dinosaur “of the galaxy of directors blockbusters 1960-1970.
If John Guillermin worked in auteur cinema, it would be Orson Welles. Perfectionist and megaloman loved unexpected angles and has been shooting for the producers, in the words of one of them, “real pain in the ass.” But he did not give producers descent. Due to the exorbitant, in their view, demands Guillermin – more airplanes, more than camels more destroyers – he was removed from the filming blockbusters “Midway” (1976) and “Sahara” (1983). Was not even a dream to remove the “Godfather-3″, the script of which he worked with Mario Puzo.
While his parents were French, Guillermin, who managed to war as part of the Royal Air Force, Briton seemed exaggerated. Thin and arrogant smoker tube, if not resort to physical abuse on the set, it is only because too despised crew. Editors “King Kong”, he thanked for the excellent work of just 23 years after the film’s release. However, for that to view the final version of the film, he smashed to pieces a couple of chairs, he apologized for not waiting for nearly a quarter century.
Taking into account the tradition of British cultural workers to indulge in espionage , should be taken seriously to the charges against Guillermin Soviet leadership. The group “The Bridge at Remagen” (1968), which Guillermin filmed in Czechoslovakia in the midst of the “Prague Spring,” which supposedly were professional intelligence: why not. It is strange that the Soviet rental movies Guillermin came only after this incident: the “King Kong” (1976), and the apparent, alas, parody “King Kong Lives” (1986), and the film adaptation of “Death on the Nile” (1978) Agatha Christie.
«Great and Terrible,” he began at once: in 1950 Guillermin filmed comedy and crime drama. Criticism allocated “Torment” (1950) of fellow writers of detective novels, one of which devised the perfect crime, and the “trial of the City” (1957): hardly any every inhabitant of a provincial town were the reason for the brutal murder of a flirty girl from the side.
But then Guillermin called the last and decisive battle, which gave cinema television. Trying to stop the exodus of viewers from cinemas, producers have relied on a spectacle that can only be appreciated on the big screen. Then Guillermin proved indispensable. Misadventures of a British garrison in Africa, caught between two fires, in the “gun in Batas” (1964). Air duel in the World “The Blue Max” (1966). Battle of the Rhine in March 1945 in “The Bridge at Remagen”. Drama on board the aircraft, captured Crazy veteran imagine that Moscow is waiting for him as a hero in the “hijackers” (1972).
But associates Guillermin with “Hell in the sky “(1974), inspired by the construction of New York’s” twins “a film about a fire in the 138-storey skyscraper. It was really a reference disaster film, special effects, which is not repeated on any computer, so even with a unique team of stars from Steve McQueen, Paul Newman and Faye Dunaway to William Holden, Fred Astaire and Jennifer Jones.
But the Guillermin considered his best film – and, perhaps, was right – “Rapture” of the 15-year-old daughter of a retired judge, fascinated by fugitive prisoners. Work on the blockbuster director gave intoxicating sense of power over the world, but his soul lay a very, very British drama.
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