Gun Crazy Joseph H Lewis (USA 1950)

, 2011-11-14

Gun CrazyJoseph H Lewis (USA 1950)John Dall. Peggy Cummins

Viewed: Star and Shadow Cinema Newcastle UK; ticket: £5

Need another fix…?

Gun Crazy (GC) opens in a small town with a sequence set in torrential rain, a relentlessoutbursting of water drowning the streetsin a metaphoric flooding of despair.Amidst this emotional and aquatic torrentBrandon lurks in the shadows before smashing in the window of a store to steal a hand gun:a beautiful handgun.But the storm that made the crime possible also betrays him; trying to get away, he slips in the treacherous conditions and is caught.

 Joseph Lewis (JL) uses the opening rain sequence to introduce the main thematic concerns of his movie.The desperation of obsessive desire and the emotionally encompassing conditions in which such desire has to be satisfied.

 Viewing the tense superbly crafted film, the thought occurred that JL was not concerned with a couple on a criminal rampage.Rather GC was a film about addiction. All the way through this road movie probably inspired by the Barrow Gang, I felt as if it was foreshadowing the tidal wave of heroin addiction that was 30 or so years later to overwhelm the vulnerable strata of blue collar America.GC holds up the mirror to a shadow America, holding in the present a crystal image of celluloid, that portents the future awaiting realisation of a drug culture.

 This is blue collar land, economically and accurately sketched out by JL.Broken family, narrow vistas of vision, no future: a wasteland.A world of vulnerable people…Vulnerable to the apparition of a specific stimulus that seems to fulfil all the criteria of an individual’s needs and desires in the lost generations.

 Brandon’s answer to the problem of identity is the gun.The gun is a means.Not an end.An implement, not a goal.It’s tough in the rush of affirmation of sexuality and power to understand this.It affirms a means to identity, maleness and endows the one who has the gun with implied power in mastery of technique and willingness to exercise.

 But Brandon hooked up to Laurie, is unable to disentangle ends and means.Hebecomes implicated in her need for gestural deliverance, for the implicit to become explicit and for the gun to extend out of the confines of the demonstrable, into the real.For reality to become an ever diminishing high voltage circuit linking gun and desire.

 The movie’s script plays on the seductive role of Laurie’s in leading Brandon onto the road of crime.GC invokes the tired old story of a good man led astray by a bad lady.Although this causative mechanism can be read into GC, I think it does less than justice to JL’s movie.The opening sequence establishes Brandon’s need for the gun

(obvious Freudian/ Jungian sex /power symbolism)He cannot resist the allure of the fetish that he needs to resolve his identity.The logic of Brandon’s situation was that he was always vulnerable TO THE WAY OF THE GUN (OR THE WAY OF THE NEEDLE) because he needs a solution to the blue collar dilemma: emotional damageno hope a dead end society culture.For Brandon it was a natural progression from gun prowess to gun use; from marihuana to heroine.

 Brandon and Laurie’s progress the form of their criminal career is drawn by JL in avery different manner from Penn’s movie of Bonnie and Clyde.Penn emphasises the visual and emotional allure of the life, it’s a caper.Penn uses his material to peddle a romantically alluring aesthetic of death.Bonnie and Clyde are canonised as symbolic rebels.JLdepicts Brandon and Laurie’s path towards their final destiny in the swamp iasa vicious downward spiral of addiction.Their robberies and crimes are quickly seen not so much to have an economic rationale but rather to satisfy psychic andphysical need.The robberies yield very little money; what each of the crimes provide is the next fix.The rush and the high to which Laurie and Brandon are addicted to get them through time, the unendingpresents in which they are trapped…Living in the present, no past no future but living with the junkies dilemma of decreasing returns from each fix of action.The circuitry of gun and desire tightens round them like a noose and finally they acknowledge their dilemma, which of course leads to the well trodden road of the final idea: lets do one more heist and get out of the game and put our lives back on track. They are of courseso far off the tracks that their navigation systems have taken them out of space time coordinates.

 Much has been said about JL’s filmic rendering of the script.It is highly economic in construction, building scenes with attention to details rather than production values, in particular the bank robbery scene filmed in one shot from outside the car with the participants, Laurie, a little old lady and a small town cop positioned and manipulated by JL with the precision of a chess grand master. I thought his use of tracking shots was particularly strong, meeting Truffaut's dictum that the track should have moral purpose.The tracks in GC are not random mechanisms used to keep the picture moving. When JLtracks into he face of Brandon or Laurie the use of the movement powerfully evokes the perception, state of mind of the character or the fragility of situation. One track that was very powerful saw the camera pull back from Laurie and Brandon as he draws a plan of the last robbery.The camera movementfrom CU to WS reveals the nature of Brandon’splan which he hasdrawn on an old newspaper.The shot implicates not only the poverty of their resources but the couple caught in what we see in the fragile light caste from an ornate glass lampshade seems foretell the mayhem that isp to come, again to cast the shadow of the present into the future.

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