I’ve been investing a considerable amount of energy of late review the movies Stanley Cavell calls “comedies of remarriage” and his expositions on them in his book Quest for Satisfaction. We can leave aside whether this kind of film genuinely establishes a type in itself – there is by all accounts some discussion about it – yet continued review of these movies, Paul Wesley’s wife combined with cautious investigation of Cavell’s expositions on them, is positively a most productive exercise.
Something that strikes me is the manner by which little Cavell is keen on a film qua film; all through the greater part of his paper on Sturges’ brilliant satire featuring Stanwyck and Fonda he could well expound on a play, regardless of whether composed, arranged, or shot. Valid, right off the bat he examines a camera development (which is misidentified as ‘meandering’ – the scene being referred to is accomplished by a straight cut), the funny opening credit succession, and, later, he tends to GCU Student portal regarding the photo of the three card hawkers, just as expressing, in a conversation about the mirror Jean holds up to notice different travelers on the boat, that “… we are educated that this movie realizes itself to have been composed and coordinated and shot and altered.” Perhaps it does, possibly it doesn’t – yet on the off chance that it does, it does as such in a way clear just to a savant or a genuine film researcher. It doesn’t show this information on itself in the manner, state, the mouthpiece looming over an entertainer’s head is doubtlessly noticeable in a Godard film.
Yet, Ines De Ramon other than this, there is minimal in Cavell’s exposition that handles the film as an individual from an extraordinary imaginative medium. For instance it would be, I think, totally unusual for Cavell to remark on the change cut from the “smokestack” of the little boat Fonda and Demarest go through the Amazon to the smokestack of the journey transport (consider Kubrick slicing from the tossed unresolved issue spaceship) or on the utilization of stock film of a voyage transport cruising on the sea that Sturges utilizes here. There are additionally silly Hollywood shows that we need to endured here – for example, when Fonda and Demarest previously get on the voyage transport, how does Stanwyck simply end up having an apple helpful to bop him on the head with? Or then again this – the little boat that they have been up the Amazon with incidentally turns out to have the option to interface with the sea liner in the ocean? Obviously, I comprehend that Cavell’s interests lie in various zones – he says he isn’t professing to compose film analysis – yet in some cases as I read his expositions I keep thinking about whether he isn’t giving the realistic parts of film simply a little quick work.