Rouben Mamoulian
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And in one of the most exotic scenes, Isabelle imitates Greta Garbo in Queen Christina caressing the furniture while remembering a special night of love.
I loved watching the various homages (including a lovely bit where Eva Green blends into the "Queen Christina"-era Greta Garbo) and I even discovered, after a while, a bit of affection for that questionable finale.
Likewise, it's positively dreamy when Isabelle reenacts a scene from "Queen Christina," starring Greta Garbo, that's spliced in with her homage, and fairly engages in a back-and-forth exchange with Jean Seberg in "Breathless."
Both Rouben Mamoulian’s Queen Christina (1933) and next week’s Asheville Film Society showing of Josef von Sternberg’s Blonde Venus (1932)—both fine in their own right—were deliberately placed as lead-ins to Bernardo Bertolucci’s The Dreamers (2003).
The Grand Budapest Hotel (2014)
Directed by Wes Anderson
influenced by Love Me Tonight (1932)
Visuals
Zubrowka, the film tells us, was "once the seat of an empire," and so "The Grand Budapest Hotel" harks to the first decade or so of sound cinema, an era of Hollywood comedies, romances and musicals set in quaint and elaborate mythical or Americanized European countries; sample titles include Rouben Mamoulian's "Love Me Tonight" (1932), "Swiss Miss" (1938) with Laurel and Hardy, and such operetta-inspired Ernst Lubitsch productions as "The Smiling Lieutenant" and "The Merry Widow."
Moments like these are exactly what fans of these films come to see, as it reminds of the all-time greatest cinema sword fights, namely in The Mark of Zorro between Tyrone Power and Basil Rathbone, where the way the camera moves is perfectly asymmetrical to the zig zagging movement of the actors doing battle.
This decision gives "Jackie Brown" a poignant feeling at times, especially in a closing close-up of Grier's face that is in an unnerving way reminiscent of the celebrated shot of Garbo at the end of "Queen Christina."
Looking back at the earliest years of the genre, we can see how Count Orlok in F.W. Murnau’s groundbreaking Nosferatu (1922) was a caricature of the perceived Jewish threat in Weimer Germany; the titular count in Todd Browning’s Dracula (1931) can be similarly viewed as an exotic menace to western culture; monstrosities from the manmade monster in Frankenstein (1931), to the ape-like Hyde in Rouben Mamoulian’s version of Dr. Jekyll and Mr. Hyde (1931), to the giant ape himself in King Kong (1933), have been read as metaphors for the supposed threat posed by black men to white women and a culture of racial purity.
Blue Is the Warmest Color (2013)
Directed by Abdellatif Kechiche
influenced by Queen Christina (1934)
Visuals
(For once, you wouldn’t mind a sequel here, as that final, intriguing shot of her has a modern resonance to match that of the famous last frame of Garbo's Queen Christina.)
Several things hold the film together, the most notable being Claude-Michel Schönberg's music and the English lyrics by Herbert Kretzmer, which like Rouben Mamoulian's 1932 Love Me Tonight and Jacques Demy's Les Parapluies de Cherbourg and Les Demoiselles de Rochefort are sung through using rhyming couplets at all times.
Batman v Superman: Dawn of Justice (2016)
Directed by Zack Snyder
influenced by The Mark of Zorro (1940)
Not only are these time-shifts audacious (movie marquees announce the 1940 The Mark of Zorro and the 1981 Excalibur — implying the evolution of history), but so is Snyder’s proposition about the nature of heroism and vengeance: Both stem from the way individuals react to and comprehend their experiences.
Indiana Jones and the Kingdom of the Crystal Skull (2008)
Directed by Steven Spielberg
influenced by Silk Stockings (1957)
Characters
But it wouldn't be the '50s without Commies, in the chic person of Irina Spalko (played by Blanchett with the severe demeanor of Cyd Charisse's Ninotchka in the 1957 MGM musical Silk Stockings and the black bob Charisse sports in The Band Wagon).
The Phantom of the Opera (2004)
Directed by Joel Schumacher
influenced by Love Me Tonight (1932)
Visuals
I don’t mean just the elaborate transformation from black-and-white, cobwebbed decay to gilt and red freshness, but also brilliant moments like when the camera tracks past the gas footlights bursting into flame in time with the music (a scene reminiscent of the rhythmic chimney smoke in Rouben Mamoulian’s Love Me Tonight).
With an Oscar-winning actress, a critically acclaimed director, a Dr. Jekyll and Mr. Hyde story about inner demons and ghosts from the past, a hefty bankroll, and a pop culture icon that so many remember from childhood, The Hulk had just about all the ingredients it needed to be a great superhero flick.
Though the immediate generic ancestor of Ang Lee's brainiac monster movie is the comic book, whose heroes have duked it out with all manner of bad dads for generations, The Hulk bends the knee before an illustrious lineage of male crisis, from King Kong back through Frankenstein, Dr. Jekyll and Mr. Hyde, and even to the ultimate fire-breathing father figures, the Greek gods.
Aguirre, the Wrath of God (1972)
Directed by Werner Herzog
influenced by Dr. Jekyll and Mr. Hyde (1931)
Characters
Kinski plays the role with a terrifying precision -- as a kind of canny animal in human form (at times he resembles John Barrymore's spider-like Mr. Hyde in Dr. Jekyll and Mr. Hyde).
Her older brother Darian ( Everybody Wants Some ’s Blake Jenner, downgraded from a college freshman to a high school senior) was always a subject of resentment for what Nadine perceives to be his perfect, “Golden Boy” life.
And despite speeches about Hope’s graduation from the School of Hard Knocks, he doesn’t function as a bristling working-class hero or antihero, like the fictional protagonists of Golden Boy , Body and Soul , The Set-Up , and Champion.