Robinson Crusoe (1950)
Picture: B- Sound: C Extras:
C- Film: B+
Very few directors have enjoyed an immense
amount of cinematic influence over a log period of time. The careers of Hitchcock, Kubrick, Kurosawa,
Scorsese, Spielberg, among relatively few others, have lasted (and in some
cases, still lasting) decades, producing countless masterpieces. However, Luis Bunuel, who may have them all
beat, produced a number of films that are all considered cinematic
triumphs. His first and last film, both
masterpieces, were produced nearly five decades apart. In 1929, Bunuel, a young Spanish filmmaker,
along with good friend, Salvador Dali, filmed what many consider a
tour-de-force of Surrealist silent cinema, Un
Chien Andalou. Bunuel followed with
another silent screen gem, L’Age D’Or. In the last decade of his filmmaking career,
he developed numerous films that are found in various top one hundred lists
(many of which are part of the Criterion Collection): Belle de Jour (1967), Discreet
Charm of the Bourgeoisie (1972), That
Obscure Object of Desire (1977).
While his earlier films were made in Europe, Bunuel found himself in
North America, making films in both the United States and Mexico. Although Bunuel only spoke Spanish, Robinson Crusoe marked his first foray
into producing an English language film.
Both written and shot in English while
directed in Spanish, Robinson Crusoe
marks an interesting experiment in blending international film styles. Obviously, it did not harm the final
product, in that Dan O’Herlihy received a Best Acting Oscar nomination for his
role as the castaway hero (a feat that is repeated some forty years later by
the ubiquitous Tom Hanks). Daniel
Defoe’s original work, which is a staple for junior high English classes, is
expectantly well-adapted by the anti-bourgeois Bunuel. The film quickly begins with Crusoe washing
ashore and recognizing his dilemma.
With little fuss over the lamenting his condition or extensively
exploring the island, the resourceful Crusoe quickly works to salvage all
serviceable items from his ship, including the cat (in a move that portends That Obscure Object of Desire, there
are two different cats playing the same role).
Crusoe, resigned to his fate, ostensibly recognizes his lot and turns
his attention to domesticating the island.
Although establishing shots seem to suggest the island is unbelievably
large, Crusoe spends time gazing across the ocean to distant island, hoping to
one day make it home to Mother England.
Despite building a large signal fire, no ship ships sail by suggesting
the slightest chance of rescue.
As days turn into weeks, weeks into months,
and months into years, Crusoe masters the innerworkings of the island. He has domesticated livestock, built an
oven, planted and harvested crops, and erected a nearly impregnable fortress
(to keep out the beasts and savages).
Despite the occasional dreams and hallucinations (which is signature
Bunuel), Crusoe approaches his situation with rational clarity. Naturally, he wishes to leave the island,
but that does not inhibit his ability to lead a civilized life, enjoying
nightly drinks and the bounty of his hunt (which leads one to question why he
has yet to run out of alcohol or gun powder after twenty years on the island;
and if he had that much explosive material on the boat, it is a wonder he did
not blow-up at sea). Nonetheless,
Crusoe keeps his sanity by conversing with his dog (surprisingly not named
Wilson), learning pottery, and reading the Bible. His desire for human companionship is realized when he rescues a
native from a cannibalistic sacrifice.
Although Crusoe had become quite self-reliant, he found occasion to
regress back to his servant owning days.
The native (Jaime Fernandez), who Crusoe names Friday, after the day of
his liberation, quickly becomes Crusoe’s worker. Crusoe’s old-world values and paranoia reawaken with the
discovery of Friday. Crusoe summarily
attempts to tame the savage by teaching him English, Christianity, and the
refinement of Continental living. Yet
the ethnocentric Crusoe often misinterprets Friday’s customs and gestures of
benevolence and loyalty. The distrust
reaches such a crescendo, that it leads to Crusoe binding Friday with leg
shackles formerly used in slave trading.
Crusoe finally realizes the error of his ways and accepts Friday as a
loyal friend, after he sees Friday’s actions as visitors come to the island.
It seems fitting Bunuel would chose a critique
of imperialism and old-world myopia to adapt into film. The result is a rather enjoyable yarn. Unlike Bunuel’s earlier and later works,
this narrative quite straightforward and accessible; and the O’Herlihy does a
fine acting job, especially as the lone figure on-screen for a majority of the
film. Although the film has the luminous,
surrealist tones often associated with a Bunuel picture, the DVD transfer is
only in serviceable shape (however, this film was once considered lost, so I am
just happy to have it). Some scratches
and dust, along with a little bit of shakiness, disrupt the film. The full frame 1.33 X 1 image has been
restored to the best of VCI’s ability, bringing back the color schemes of the
Pathé process as best they could. That
makes it a unique viewing experience, even when some of the colors are not up
to par. However, possibly the greatest
defect is found in the soundtrack, presented here in Dolby Digital 2.0
Mono. At about the 50th minute, there
is an intermittent clicking and hissing, suggesting that the original sound
element may have been damaged. As for
extras, the only one of note is a nearly hour long interview with
O’Herlihy. While the interview is
rather interesting, it is only in audio.
The visuals that accompany it are still from his various movies (and
each picture stays on screen for a rather long time). All told, it is a film made by one of the greatest directors
ever, and it was a film many thought lost, for those reasons alone, it is a
rather worthy investment.
- Ron
Von Burg
