evanston_dad "Pylon" is one of the few William Faulkner novels I've not read, but I can't imagine that "The Tarnished Angels," Douglas Sirk's rather mediocre screen version of it, does it justice.Missing from the film are many of the hallmarks that make other Sirk movies so compulsively watchable: the saturated colors, the absorbing melodrama, the keen social criticism that manages to target the very people who would have made up the audiences for his films. Instead, "The Tarnished Angels" is a black and white wide-screen yarn about a reporter (Rock Hudson) who becomes involved with a family of daredevil airshow performers and tries to step in and save the wife and mother (Dorothy Malone) when her husband (Robert Stack) is killed in an accident. I wouldn't be at all surprised to find that the book made some points about the effects of World War I on the men who came back from it and had to resume pedestrian lives. There are one or two references to the war in the film, and Robert Stack is depicted as a restless maverick with a death wish. But the movie doesn't have much of a point at all to make, and other than the considerable eye candy of Dorothy Malone, didn't have much of anything else to keep me interested.Grade: C

krocheav Within this movie, we see 50s film making, showing it has little concept of time and era. This is Universal International (at the time, big in television) trying to cash in on the popularity of its earlier hit 'Written on the Wind'. Same stars, same Director, same screen writer, same heavy handedness. The use of the wide CinemaScope screen makes this unconvincing soap opera look even emptier. Film makers needed more than wide screens to get people away from their 50s TVs ~ they needed quality screen writers, with believable stories to tell, not just shows that left you wondering why you took the trouble of going out. With so many movies made using stretched material like this during the 50s and on...it was little wonder theaters were closing in big numbers.The shades of morality are admirable, but even the stars tend to look uncomfortable with their unlikable and unconvincing characters. The end monologue needed a performer of deeper conviction than Hudson. Soap specialist Director Douglas Sirk, had a leaden, turgid script to work with, and fails to inject any pace into the overall slow structure. At least with 'Angels' he's free of the influences of 'Mr Gloss'... producer Ross Hunter, known for his glittery but superficial, chick flicks. Composer Frank Skiner tries hard with his score but he too seems uninspired by the situations (at least Universal gave him a credit on this film, for dozens of earlier works he was un-credited). This film also gives capable Director of Photography Irving Glassberg a chance to get away from talking mules and cowboys ~ here, he turns in some fine flying scenes, but even they fail to lift this one off the ground. This is a pity, because within a year he would be dead at only 54.Viewers who grew up with this style of film --or on 50s and 60s TV-- won't expect much more, and will probably be content with this interpretation of Willam Falkner's novel. Those looking for more, beware. The DVD release is however good quality, with a fine B/W transfer.

jc-osms Great for me to see this rarely-scheduled Douglas Sirk melodrama from his rich, late 50's period and it didn't disappoint. Taking as its subject the uncommon lifestyles of the participants in the popular flying-circus entertainments of the 20's and 30's, it's not long before the familiar Sirk themes of conflicting passions, human weakness and sacrifice raise their heads above the parapet.For some reason shot in black and white, perhaps to better enhance the period setting, I still firmly believe that all Sirk's work should be seen in glorious colour, no one filled these CinemaScope screens better than he in the affluent 50's. Only just lasting 90 minutes, it crams a lot into its time-frame, drawing convincing character-sketches of the lead parties, Rock Hudson's maverick journalist, generous of spirit and loquacious but seeking love in the person of the beautiful, sexy Dorothy Malone parachutist extraordinaire, she frustrated by the lack of attention she and her son get from her obsessive pilot husband Robert Stack, who'd rather fly above the clouds than engage with earth-dwellers. Throw in his grease-monkey Jack Carson who may have had a fling with Malone in the past and hangs around as much for the scraps she throws him as his duty to Stack and a Mr Big aircraft-owner with designs of his own on Malone and you have an eternal quadrangle ripe for tragedy.Sure enough, it happens along and spectacularly too, straightening out the lives of the survivors, even if not, I suspect for the better. The acting is first rate, Hudson again showing the depth that Sirk always seemed to draw out of him, handling long-speeches and a drunken scene with ease. Stack again displays his facility for acting against type, playing another emotionally stunted individual masquerading behind his good looks and bravura outlook. Malone however is the epicentre of the movie, the action revolves all around her and it's no wonder with her sexiness and sense of vulnerability, a killer combination for the menfolk here.Sirk's direction is excellent, juxtaposing thrilling action sequences in the air with oddly contrasting backgrounds - it's no coincidence that the drama is played out in New Orleans at Mardi-Gras time, with the use of masks often showing up in foreground and background as a metaphor for the concealed passions on display here. There are several memorable scenes, like when Hudson and Malone's first illicit kiss is disturbed jarringly by a masked party-goer and Stack's adoring son trapped on a fairground airplane-ride just as his father loses control of his real-life plane.So there you have it, another engrossing examination of fallible individuals, expertly purveyed by the best Hollywood director of drama in the 50's. Not as soap-sudsy as some of Sirk's other movies of the period, perhaps due to the literary source of the story, but engrossing from take-off to landing.

grandpagbm Essentially, this is a depressing drama. No surprise, since it is based on a novel by William Faulkner. Filming it in black-and-white was appropriate, because it comes off as a low-class, dingy story. However, the performances by the four main actors are very good. It is interesting that Rock Hudson, Robert Stack, and Dorothy Malone also starred together in the movie Written on the Wind, in 1956, which was a better movie, but with very similar character-types. Another item to note is a small bit part played by Troy Donahue, soon to be a major star in his own right. It's the only time I recall seeing Jack Carson playing a dramatic part, although he still had some sarcastic lines that were apparently supposed to inject a bit of humor - inappropriate in this movie. I probably won't watch this film again very soon, because it's not my idea of entertainment.