![]() ![]() Has she fled from a real hunt or, as she believes, the superstition of a Black Huntsman who spells death if you dare turn around? Hazel declares herself Foxy’s “mam”, since the animal lost her real mam to a hunt (as Hazel’s mam is lost), and now Hazel keeps it in a household with a rabbit and chickens. When Hazel enters her hobbit-like home, she’s framed in her father’s latest coffin. At long last, both versions are available on one Blu-ray from Kino Lorber, as one more gem from Powell and Pressburger emerges into the digital daylight.įrom the emblematic opening scene, Hazel is identified with her pet vixen, Foxy, whom she saves from a hunt at night. This is an impudently symbolic and stylized movie, every shot conceived for ravishing Technicolor, every scene constructed with glorious artifice, every line rich with meaning and foreboding. Selznick as The Wild Heart (1952), you can’t help being struck by the cold wind of foreshadowing. Whether you’re watching this scene in Michael Powell and Emeric Pressburger’s Gone to Earth (1950) or in its much shorter US version refashioned by David O. Nash.” The captions transcribe this as “nice” but I’m not so certain what he means. Her father looks after her and pronounces, “You’re too nash. ![]() “What came over me is I’ll die as well as the others,” says she, and he responds, “You only just found that out? What a queen of fools you be!”Īnd then, the very next moment, Hazel’s ear is caught by distant band music and she goes trotting off like it’s catnip. In a sudden seizure of emotion, she can’t bear to look at it. “Seems the world’s a big spring trap and us in it,” says Hazel (Jennifer Jones) to her father, the harpist and coffin-maker Abel Woodus (Esmond Knight), as they stand over an open mineshaft where once a cow and her calf plunged and were turned “all over jelly”. ![]()
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