(William) Clark Gable was a towering figure in American motion pictures from their the birth of sound into the middle of the 20th century. But this film is proof that neither he, nor the studios that employed him, could figure out what to do with his talent(s) after WWII.
Most commentators on Band of Angles comment about the film's overall quality, and the work of emerging (Sidney Potier) and established (Yvonne DeCarlo) character actors who turn out professional, above average performances. In doing this they show kindness to the professional history of Mr. Gable and the studio(s); and in fairness to the memory of the beginnings of the careers of actors like Mr. Potier. But standing on its own, the poor quality of this film is striking, and its problems begin and continue with Mr. Gable and the failure of he and the film's produces to have any idea about what to do with him as a motion picture actor - Leading Man Type.
The studio faces this problem squarely by the very choice of its production. Of course Band of Angles is a re-play of the cinematic setting of "Gone With the Wind". The heaving bosoms; the passionate cavaliers; the hot-blooded creoles; and the angry Negroes, all lead to the conclusion that the studio was thinking backward not forward. And this film was not produced by MGM. It is inconceivable that a studio would have produced this film in 1957, if it did not already have Clark Gable under contract.
But what else could the studio do? Another Love triangle between Gable, Ava Gardner and Grace Kelly? Who are we kidding? Gable was no Cary Grant. Gable's screen sexuality was based upon overwhelming power. His prowess was not to charm his way into a women's heart; but to kick down the door, as he did in GWTW. Its so sad to watch; in GWTW era films, if Gable has a walking stick, its for swagger; to show his hands are idle, unless he's handling a woman. In Band of Angles he can be seen resting himself on his walking stick as a cane. It conveys a totally different impression.
When in the film Gable confronts a rival plantation owner, he is, in the scene, holding himself up by his cane; while he's talking to his rival. In his pre-war films Gable doesn't talk to a man who's confronting him; his fists do the talking. Or the threat of their use get's a Gable male plot rival to back down in advance of a physical confrontation.
It was combination
Most commentators on Band of Angles comment about the film's overall quality, and the work of emerging (Sidney Potier) and established (Yvonne DeCarlo) character actors who turn out professional, above average performances. In doing this they show kindness to the professional history of Mr. Gable and the studio(s); and in fairness to the memory of the beginnings of the careers of actors like Mr. Potier. But standing on its own, the poor quality of this film is striking, and its problems begin and continue with Mr. Gable and the failure of he and the film's produces to have any idea about what to do with him as a motion picture actor - Leading Man Type.
The studio faces this problem squarely by the very choice of its production. Of course Band of Angles is a re-play of the cinematic setting of "Gone With the Wind". The heaving bosoms; the passionate cavaliers; the hot-blooded creoles; and the angry Negroes, all lead to the conclusion that the studio was thinking backward not forward. And this film was not produced by MGM. It is inconceivable that a studio would have produced this film in 1957, if it did not already have Clark Gable under contract.
But what else could the studio do? Another Love triangle between Gable, Ava Gardner and Grace Kelly? Who are we kidding? Gable was no Cary Grant. Gable's screen sexuality was based upon overwhelming power. His prowess was not to charm his way into a women's heart; but to kick down the door, as he did in GWTW. Its so sad to watch; in GWTW era films, if Gable has a walking stick, its for swagger; to show his hands are idle, unless he's handling a woman. In Band of Angles he can be seen resting himself on his walking stick as a cane. It conveys a totally different impression.
When in the film Gable confronts a rival plantation owner, he is, in the scene, holding himself up by his cane; while he's talking to his rival. In his pre-war films Gable doesn't talk to a man who's confronting him; his fists do the talking. Or the threat of their use get's a Gable male plot rival to back down in advance of a physical confrontation.
It was combination