BY DARREN ALLISON
Alexander
“Sandy†Mackendrick had enjoyed a succession of triumphs in England. Working
out of Ealing studios, he directed such memorable comedies as The Man in the
White Suit, Whiskey Galore and the deliciously dark The Ladykillers. As the
Ealing factory system began to dry up, Mackendrick made an arguably unlikely
move to America. It was through a number of mishaps, unfulfilled projects and
(one could argue) a degree of ‘fate’ that Sweet smell of success eventually
fell into the lap of Mackendrick.
Whilst
there was little doubt of Mackendrick’s immense ability as a director, there
was perhaps an element of doubt whether he could actually undertake a film such
as Sweet Smell of Success. After all, those subtle British films were about as
far removed as one could possibly imagine when compared to the media dynamics
and fuelled corruption of this screenplay. However, Mackendrick had a good eye;
a very good eye in fact. Given time to observe the city he knew how to capture
it at its best. Through the camera lens, Mackendrick presented Manhattan better
than any other contemporary film had done and as a result, undoubtedly
influenced esteemed future directors such as Woody Allen.
The
film’s ‘master and dog’ relationship between newspaper columnist J.J. Hunsecker
(Burt Lancaster, playing a thinly-disguised Walter Winchell) and the Machiavellian press publicist Sidney Falco (Tony
Curtis) is the only one of importance. Lancaster was never more imposing as
Hunsecker, whilst Curtis displays a slimy charm and a sickening depravity as
Falco. As the relationship unfolds, it becomes a battle of wits and power - Falco
believes himself to be in a symbiotic relationship with J.J. — he provides him with
the stories he needs - but, by the close, the power imbalance is made
depressingly obvious. Feeding off the crumbs left by Hunsecker, Sidney is always
destined to be consumed by J.J.’s domineering dictatorship. Whilst Sweet Smell
of Success remains a stunning piece of work, it is also not without its flaws -
specifically in the romantic relationship between Hunsecker’s sister Susan (Susan
Harrison) and Steve (Martin Milner) an aspiring young a jazz musician. Not that
there is anything wrong with this coiling plot- the story of Susan’s sinisterly
over-protective brother and his scheming through Falco to dishonour Steve’s
reputation provides the film’s central narrative. All of it works perfectly. However,
it is sadly the performances from the inexperienced Harrison and Milner that hamper
the film’s vibrant energy and pace – they are both limp and damp. In contrast,
such powerhouse performances from both Lancaster and Curtis, and the provision
of a razor sharp script by Ernest Lehman and Clifford Odets – still cements Sweet
Smell of Success as one of the greatest films of its kind. Combined with James
Wong Howe’s sumptuous deep-focus cinematography and Elmer Bernstein’s brassy musical
score and you are left with something damn near close to a perfect movie.
Arrow’s
newly restored High Definition (1080p) presentation is a 4K digital transfer
from the original 35mm camera negative – and frankly it looks incredible. As Sweet
Smell of Success is such a personal favourite of mine, I have followed its
evolution on home video - through VHS, laserdisc, DVD and now Blu-ray. it’s
been an interesting journey but I feel confident that I have finally arrived at
my destination. The film has never looked so crisp and clean. It is spotless and
always deserved to look this good. There are a couple of location scenes that
look a little ‘too’ real for my liking. I’ve always considered there may be a few
lengths of stock footage involved here, but I can’t be sure. Regardless, these
random shots fall seamlessly in line with the general atmosphere and harsh
realism of the urban setting. Wong Howe’s photography is defined by deep dark
blacks, varying arrays of grey shade and subtle use of intelligent lighting. Pin-
striped suites and intense close ups are all solid and reveal sharply defined
detail. Lancaster’s face and glasses (permanently lit from above) creates a
near ‘skull like’ shadow upon his cold gaze, the results of which look rather
spectacular in this new Blu-ray edition.
Arrow
continue to supply the audio in an original untampered and uncompressed PCM
mono 1.0, which is clean and free from any distortion. Extras consist of an appreciation
by critic and film historian Philip Kemp, author of Lethal Innocence: The
Cinema of Alexander Mackendrick. Kemp
appears in the top left of screen presenting a detailed analysis of the film
while several scenes are presented. He also provides a selected scene commentary,
taking several key and expanding on detail. It does nevertheless raise the question – why didn’t Kemp provide a full
commentary track? The man is obviously an expert on the movie and his knowledge
would have been very welcome (and valuable) throughout.
The
bonus highlight for me is Mackendrick: The Man Who Walked Away – Dermot
McQuarrie’s 1986 Scottish Television documentary which features extensive interviews
with Mackendrick, Burt Lancaster, producer James Hill, Gordon Jackson and many
others. It’s a great example of how documentaries of this kind use to be made –
rather than the quick, cross cutting MTV style of documentary making today.
It’s certainly one to take time over and enjoy fully.
The
film’s original theatrical trailer is also included.
Arrow
has again spared no expense in terms of packaging. They have provided a
reversible sleeve featuring both an original poster and newly commissioned
artwork by Chris Walker. The collector’s booklet (40 pages) includes new
writing on the film by Michael Brooke and Mackendrick’s own analysis of various
script drafts. It is also illustrated throughout with original stills and
posters. It all makes for a wonderful package and one that should be savoured –
‘I love this dirty town!’
CLICK LINK BELOW TO ORDER:
http://www.arrowfilms.co.uk/