| 词条 | Sergeant Madden |
| 释义 |
| name = Sergeant Madden | image = Sergeant-madden-1939.jpg| narrator = | starring = Wallace Beery Tom Brown Alan Curtis Laraine Day | music = William Axt | image_size = | caption = Film poster | director = Josef von Sternberg | producer = J. Walter Ruben | writer = | cinematography = John F. Seitz | editing = Conrad A. Nervig | distributor = | released = {{Film date|1939}} | runtime = 80 min. | country = United States | language = English | budget = }} Sergeant Madden is a 1939 film noir forerunner directed by Josef von Sternberg and starring Wallace Beery. The supporting cast in this dark police movie, noted for its imaginative and evocative cinematography, includes Laraine Day, Alan Curtis, and Marc Lawrence. Cast
Background{{double image|left||270||325|Left: Sergeant Shaun Madden (Wallace Berry), Eileen Daly (Laraine Day), Al Boylan, Jr. (Tom Brown) and Dennis Madden (Alan Curtis)Right: Mary Madden (Fay Holden) and Shaun Madden (Wallace Berry)}} In the winter of 1937, Josef von Sternberg was in Vienna assembling the cast for the film version of Émile Zola’s Germinal, with Hilde Krahl tapped to play Catherine and Jean-Louis Barrault as Etienne. The Austrian financed project collapsed when Germany invaded the nation in March 1938. Sternberg, ill in London at the time, returned to his California residence to convalesce for several months.[1] In October 1938, Sternberg returned to Metro-Goldwyn-Mayer under a single-movie contract to direct actress Hedy Lamarr in New York Cinderella (later entitled I Take This Woman). The filming required so many revisions that it was known on set as "I Re-take this Woman".[2] Unhappy with his lack of control over the direction, Sternberg quit the production after a week: the film was completed by director Willard Van Dyke and released in February 1940.[3][4] ProductionSternberg would fulfill his movie contract for Metro with a crime drama, Sergeant Madden, with character actor Wallace Berry in the lead role of New York City Patrolman Shawn Madden.[5][6] The film was already in production when Sternberg arrived on the set.[7] The Sergeant Madden screenplay, based on a story by William A. Ullman entitled “A Gun in His Hand” was an “over-plotted potboiler paying sentimental tribute to ‘the cop on the beat’...”[8][9] Wallace Berry, a “Metro institution”, provided a reliable source of revenue for the corporation, despite his “tiresome screen performance.”[10] When Sternberg attempted to elicit a more disciplined approach from Berry, the studio hierarchy instructed the director to cease his overly “demanding rehearsals.”[11][12] Despite the Metro's interference “Berry’s performance in Sergeant Madden is one of the least maudlin in his gallery of indistinguishable character roles” and “unusually controlled and believable” is attributable to Sternberg's influence.[13] The film was released on March 29, 1939 and “did quite well.” [14] Critical ResponseFilm critic Tom Supten writing for Bright Lights Film Journal argues that as a Wallace Berry vehicle, guided by the market-driven contingencies of MGM - compounded by the director's “sheer indifference” – produced “the worst film [that Sternberg] would ever put his name to.”[15] Elements of the film - most prominently the theme of the “troubled cop” - foreshadowed the Film Noir of the post-WWI era.[16] Film Historian Andrew Sarris points to “Sternberg’s distinctive framing and filters which give the movie a UFA look... one can almost see the ghost of Jannings in Berry’s unusually restrained performance.”[17][18] ThemeAndrew Sarris writes that “Sergeant Madden is of more sociological than aesthetic interest despite Sternberg’s visually striking direction.” The story concerns "a natural [biological] son" who goes bad, and ultimately atones for his sins: "the notion of a blood son being morally inferior to an adopted son is another movie cliché.” The moral of the tale is simply that "society transcends family" in the larger public interest.[19][20][21] References1. ^Baxter, 1971. P. 149-150 2. ^Supten, 2006. 3. ^Baxter, 1971. P. 150-151 4. ^Weinberg, 1967. p. 70: "called it quits over issue of directorial freedom." 5. ^Sutpen, 2006 6. ^Baxter, 1971. P. 151 7. ^Baxter, 1993. P. 177 8. ^Supten, 2006 9. ^Weinberg, 1967. p. 70: "...a roman policier type of film..." 10. ^Sutpen, 2006 11. ^Sutpen, 2006 12. ^Baxter, 1971. P. 151 13. ^Baxter, 1971. P. 151: Berry’s “eventual acceptance of Sternberg’s [directorial] system.” 14. ^Sutpen, 2006 15. ^Weinberg, 1967. p. 70: "[Sternberg's] heart wasn't in it - and that always shows." 16. ^Supten, 2006 17. ^Sarris, 1966. P. 47 18. ^Baxter, 1971. P. 153: Sternberg “recreate[s] as much as possible the distant greyness of Murnau. Even the minor characters are interchangeable with [those of] UFA films” of the 1920s. 19. ^Sarris, 1966. P. 47 20. ^Sarris, 1998. p. 232 21. ^Baxter, 1971. p. 153 Sources
External links
8 : 1939 films|American films|English-language films|Film noir|Films directed by Josef von Sternberg|Metro-Goldwyn-Mayer films|1930s crime films|American black-and-white films |
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