IN THE CINÉMA CLUB OF… WHIT STILLMAN
Born in Washington D.C. in 1952, Whit Stillman is known for his clever comedies about socialite America. His nineties trilogy — Metropolitan, Barcelona and The Last Days of Disco — explores the lavish and tumultuous lifestyle of the “urban haute bourgeoisie” in New York City and abroad. His follow-ups — the deft collegiate farce Damsels in Distress and the sharp Jane Austen adaptation Love & Friendship — reaffirm his status as one of today’s most perceptive social portraitists.
On the occasion of Fireflies Press’ new retrospective book on the treasured writer-director, Stillman shared five films he loves with us.
TOP HAT, Mark Sandrich, 1935
With The Gay Divorcee (1934), also directed by Mark Sandrich at RKO, Top Hat is peak Fred Astaire/Ginger Rogers romanticism — supreme dance, music and comedy in the world as it ought to be. In both films Erik Rhodes is delightfully funny playing absurd fops.
THE CHARGE OF THE LIGHT BRIGADE, Michael Curtiz, 1936
Warner Brothers British Empire was the best British Empire. The film is deliriously heroic, romantic and martial with a revenge plot, a dastardly villain and Errol Flynn's Light Brigade charging a Russian autocracy's gun batteries in Crimea. I haven't seen it since childhood, not wanting to spoil the memory. Director Michael Curtiz and studio exec Hal Wallis would later make Casablanca (1942).
WAGON MASTER, John Ford, 1950
John Ford's quintessential story of America in motion — religious pilgrims crossing the continent, helped by pragmatic opportunists who rise to the occasion. An inspiring and touching story enhanced by Ford's brilliant casting, compositions, humor and use of music.
HOW GREEN WAS MY VALLEY, John Ford, 1941
Some of the greatest films have been prepared by one director, taken over and completed by another. William Wyler began work on the film and cast Roddy McDowall, John Ford took over and completed it, infusing the film with majesty and overwhelming emotion.
THE PALM BEACH STORY, Preston Sturges, 1942
Preston Sturges knew better than anyone the crazy worlds of both the very rich and the very broke (idealists, inventors). Claudette Colbert, Joel McCrea and Rudy Vallee were the ideal vehicles for Sturges' comic fantasy — New York, Palm Beach and the sleeper train running between the right locomotion.