Mini-Review: Debra Paget, for Example

This film is available to stream on Fandor. For those of you who are not familiar with Fandor, it’s frequently referred to as Netflix for cinemaphile. In essence, what Netflix was and always should have been. Fandor is available for a free trial period and can be subscribed to on a discounted annual basis rather than a higher recurring monthly fee.

This Mark Rappaport documentary, as opposed to the previously reviewed Max & James & Danielle, is a bit longer and has one central focus: the intriguing career of Fox contract player Debra Paget.

At once it’s an interesting look into a C-list career and the common practice of not only keeping contract players but attempting to create homegrown stars out of them. Through this trip Rappaport not only indulges in a universal nostalgia for things and people experienced during childhood, which we can all agree to regardless of the details.

Once again there is some more speculation here with wondering if Paget ever really got her desire to play the bad girls Marilyn Monroe go to portray, and also imagined and interpreted voice over that is imagining Paget’s insights to pivotal moments as she was notoriously one who shunned the spotlight or retrospective interviews after her Hollywood days had passed her by.

Again there is some parenthetical fascination in this film, with this and Rappaport’s other recent short you’ll come away from this film fascinated, enlightened, and with a long list of movies to see.

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Mini-Review: Max & James & Danielle

This film is available to stream on Fandor. For those of you who are not familiar with Fandor, it’s frequently referred to as Netflix for cinemaphile. In essence, what Netflix was and always should have been. Fandor is available for a free trial period and can be subscribed to on a discounted annual basis rather than a higher recurring monthly fee.

This is a video essay by director Mark Rappaport who has made a name for himself through his cinema-loving feature and short docs. The marvelous thing about this particular title is that there is a significant dalliance in speculative fantasy true paramours of film engage in but can only adequately explore via video and picture editing.

In this film Rappaport discusses the phases of the career of Max Ophüls. In particular it examines his work with James Mason in the United States, and another favorite, Danielle Darrieux in France. The speculation comes in wherein Rappaport imagines the three collaborating in an imagined film.

With both this imagined past, that reflects Ophüls imagined Golden Age Vienna, and Rappaport’s parenthetical narration style, this is an enjoyable quick doc that should be a decent primer on his style.