safari ( 1940 film )
safari 1940 douglas fairbanks jr. , madeleine carroll uk... safari 1940 douglas fairbanks jr. , madeleine carroll uk ...
‎safari (1940) directed by edward h. griffith • reviews, film + cast • letterboxd
must be the most boring safari (1940) i' ve been on. unfortunately .
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what you won’t find is a tremendous amount of action in safari. though the premise is entirely about hunting, there animals appear insanely rarely on film here and what little actual hunting takes place happens with the animals off camera. mogambo this isn’t. look at safari as a drama with a bit of hunting in it as opposed to looking at it as a safari picture with a plot and you’ll have a good time with it .
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safari sounds pedantic and plodding, but it’s actually a pretty good film - though definitely not a great film. both fairbanks and carroll do well here, though no one watching ever buys that linda isn’t falling for logan. tullio carminati is a rather flat one trick pony as the baron but that’s exactly how delmer daves wrote it .
it’s a safari of love! burning sands... burning lips! it’s night - time on the glamorous nile !
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while hatari! came after a slew of other safari films, among them, king solomon’s mines (1950, mgm), the african queen (1951, united artists), the snows of kilimanjaro (1952, fox), and john ford’s mogambo (1953, mgm), hawks’ safari film is unlike any that came before. while early safari pictures utilized the spectacle of the african landscape to break from the film’s narrative, hatari! does the exact opposite by using the narrative to break up the spectacle, a result of that loosely scripted production. the spectacle was made possible both technologically, by the ability to film action scenes with mobile, car - mounted cameras, and stylistically, by filming on location in another continent, away from the influences of studio financiers .
a hedonist girl goes on safari with a count, hoping to impress him into marrying her, but ends up with the chief hunter instead .
it' s a safari of love! burning sands... burning lips! it' s night - time on the glamorous nile !
john wayne said, “the most fun i ever had on any picture was on hatari! ” after watching the film, a viewer will have no doubt in their mind that this is truly the case. hatari! , howard hawks’ 1962 safari film, is an adventure ride like none other. the film features wayne and red buttons, leading a team of animal capturers for zoos around the world, when they find themselves making room for the arrival of a beautiful wildlife photographer, “dalles, ” played by elsa martinelli .
as the film’s publicity told us, “hatari” means “danger, ” and danger is definitely the selling point. when wayne’s character wrangles a rhino in the film’s final scenes and the rhino escapes, requiring recapture, that is actually the actors performing the entire scene, not stunt doubles, even when the rhino takes a swipe at wayne. when hawk’s mounts an over - the - shoulder shot from inside one of the jeeps, over wayne’s shoulder in a seat mounted on the front of the car, while he ropes a giraffe, again, that’s actually john wayne. what is achieved in hawks’ film may have technologically been impossible only half a decade earlier in the 50’s safari films, since hatari! required mobile camera equipment to achieve many of the most adventurous and mesmerizing shots in the film .
with douglas fairbanks jr. and madeleine carroll. it’s again a good exercise to compare some of the marketing pitches against the actual film they are tied to .
safari is a pretty good if formulaic jungle film, but there is nothing torrid about it at all. if memory serves, there isn’t a single kiss in the entire film until the final, making the ‘burning lips’ tag a bit irrelevant. we are set on a river on a game hunt for most of the picture, far away from the vast seas of sand implied above. and there’s no need for a discussion on the glamorous life on the nile, as little could be further from the truth .
the film’s narrative can be found lacking by even the most casual of critical viewers, due in large part to a loosely scripted production. originally developed under jack warner with gary cooper starring, the film’s script had yet to be written when hawks announced cooper would be starring in his upcoming “africa” feature. shortly thereafter the film fell apart when cooper, who had signed on to the project conditionally with script approval, opted to drop out. jack warner subsequently dropped out as well, which resulted in the production going to paramount and the inclusion of star, john wayne. the lack of a script, however, was intentional on hawks part. the open - ended nature of the story allowed for the film to be built around the heart - thumping animal capture scenes that occupy the film, but adrenaline inducing scenes and settings were no strangers to hawks’ style .
indeed, spectacle is key to the experience of watching hatari! , filmed on location in taganyika (modern tanzania) to take full advantage of the african landscape, including live animals. while the typical safari movie that had dominated the early 50’s was marked largely by actors filmed against rear - projection scenes, intercut with documentary footage to lend credibility to the african setting, hatari! achieves an almost incomprehensible level of authenticity. hawks notably encouraged his actors to perform all the animal captures live, with wild, untrained animals. watching the film it is clear that the movie was made before the limitations of: “no animals were harmed in the making of this film, ” as none of what was filmed would be possible under contemporary rules and regulations. in fact, a contemporary film in the vein of hatari! would need to be nearly all cgi, which is what makes it so impressive in its own right .
' bad films': one - and - a - half - star (out of five) film ratings by' the motion picture guide' (jay robert nash and stanley ralph ross, cinebooks, inc. ; 1927 - 1983 )
hatari! is an adventure film unlike any other. at the time it was filmed it defied conventions and broke ground for action filming. however, none of that would have been possible without hawks, a man who could challenge the studios that produced his films, and brought his own personal desires into the stories he was creating. as an action / adventure film, as a technological marvel, and as one of the last few films hawks directed, hatari! is a unique and wild ride .
hatari! both fits into hawks’ traditional style and departs from them in a few significant ways, namely the avoidance of complex camera work. while the shots in the film are not necessarily complex in their composition or framing, the technological achievement and the resulting spectacle of the animal capture scenes is the marvel .
logan’s friend (think of something resembling an agent, perhaps) and local bartender (billy gilbert as mondehare) finds a wealthy couple willing to pay top dollar for a safari. logan’s reluctant at first but after a first flirtatious meeting with the couple he agrees. he’ll be the guide for the arrogant and self - important baron de courtland (tullio carminati) and his potential fiancé linda stewart (madeleine carroll) .
the spectacle of live animal interaction is the film’s highlight, which features scenes of giraffes and rhinos being chased and captured by the films actors, in jeeps, throughout the rough african landscape. hawks’ car - mounted cameras follow the cast in both wide and medium shots of action that clearly puts both the actors and wild animals in the same space, bringing authenticity and danger to levels previous films never achieved. but hawks’ style for hatari! set the bar for animal / human interaction in action / adventure films, many of the scenes obviously served as the template which could be seen again decades later in steven spielberg’s the lost world: jurassic park, though with the comfort of cgi, which didn’t put the actors in harm’s way .
i found this movie to be wonderful and not what i totally expected. i was looking for a movie about animals and was blessed with a film that fed all my senses. the scenery was breathtaking and clear. you even got an unexpected education from watching it. the actors were talented and did not take away from the scenery. it was a great blending of talent and location. this is not a documentary about animals but it could be used as a wonderful teaching tool on types of animals and how people relate to them. the movie had suspense and laughter throughout. even though was based on a time when women had a place to be and it was not in the bush country. i recommend this movie as a family movie .
finally downriver, they setup base camp. as logan preps his plane for a flight to locate big game in the area, linda decides to come along. though promising the baron that they’ll be back by dark, a combination of bad weather and poor time management cause logan and linda to stay the night by the plane. during their trip linda takes picture after picture of nearby game until logan catches on that she long ago ran out of film. assuming that her white lie is a ploy to spend more time with him, he’s flattered and moves a bit closer to her. only then does it become clear that she’s only interested in making the baron jealous. crestfallen, logan settles in for the night and they return to camp the next morning .
howard hawks developed over the course of his career a unique, yet commercially appealing and studio - friendly, style that can be traced through his illustrious and diverse set of films, featuring forty - seven official credits as director. hawks’ style has been widely influential and can be seen in films from directors including clint eastwood, martin scorsese, peter bogdonavich, robert altman, and robert zemeckis. common stylistic tropes and signatures of hawks’ work include overlapping dialogue and eye - level medium shots, and an avoidance of more complex camera - work, which hawks believed distracted from the film. beyond that, many of his films spoke to his personal lifestyle; as a man fond of risk he came to make films such as the air circus (1928), the dawn patrol (1930), air force (1943), crowd roars (1932) and red line 7000 (1965), that expressed his interests in aviation and auto - racing .
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millionaire baron de courland and his fiancée linda stewart employ jim logan as a guide for their hunting trip in the jungle. linda finds unplanned adventure in her sudden love for jim, ... see full summary »
jermaine fowler and omari hardwick of sorry to bother you take us back in time to the worst jobs of their careers .
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millionaire baron de courland and his fiancée linda stewart employ jim logan as a guide for their hunting trip in the jungle. linda finds unplanned adventure in her sudden love for jim, ultimately forsaking her future with the baron for the joys of true love .
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one of over 700 paramount productions, filmed between 1929 and 1949, which were sold to mca / universal in 1958 for television distribution, and have been owned and controlled by mca ever since. its initial television broadcast took place in st. louis thursday 8 january 1959 on kmox (channel 4), followed by omaha 21 april 1959 on ketv (channel 7), by asheville 24 april 1959 on wlos (channel 13), by milwaukee 14 october 1959 on witi (channel 6), by minneapolis 18 october 1959 on wtcn (channel 11), by toledo 1 november 1959 on wtol (channel 11), by johnstown 20 november 1959 on wjac (channel 6) and by phoenix 31 january 1960 on kvar (channel 12) .
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with our rant on misleading advertising over, let’s look at the picture itself. to say it isn’t very popular is an overstatement as even an internet search reveals insanely little. douglas fairbanks jr. is logan, a tour guide who organizes safaris and hunts. but though he’s known as the best around he’s looking for a bit of a break, at least for a bit - though retirement doesn’t seem too far out of the question .
the baron is hoping to finally convince linda to marry him and hopes that in sharing the thrills of the hunt and his prowess in the jungle with her she will finally succumb to his desires. linda’s a bit of an odd duck at first glance. she flirts outrageously with logan and we can feel the tension build between them, but it doesn’t seem to lead to anything .
once on the river on the way to the jungle, the baron becomes more forceful and condescending in his demands of logan, which logan accepts as best he can. linda continues her flirtations with logan, who reciprocates to a certain extent. what we start to see is that linda is playing with logan only to make the baron jealous. with each flirtation comes a further agitated order from him to their guide .
while they’ve been away the baron’s gone off on his own in a bit of a jealous rage and shot a leopard. only injuring the animal, he leaves it to one of the manservants (named “happy”) to finish off the beast. only happy never returns and logan finds his body coiled with the now dead leopard. we can see that logan’s dander is now up but he continues the hunt .
along with linda and the baron, logan comes across a lion. logan cautions the baron to shoot him behind the ear, which a hunter of the baron’s skill should be able to do rather easily. the baron sneers at logan then proceeds to shoot the lion in the shoulder. now it’s logan’s turn to finish off the baron’s work and he disappears into the bush .
once out of sight we hear the lion roar and struggle. with each roar we cut to a shot of linda’s face, and it is now that we see that in spite of what she’s said in the past that she’s fallen in love with logan. with a gunshot we hear the struggle cease and logan finally emerges, badly bleeding from his arm. linda wants to run to him but restrains herself .
after lecturing the baron on intentionally botching the shot, logan cancels the hunt as he needs medical attention that’s only available back in town. one the way back linda calls things off with the baron for good, knowing that it is logan she desires. after a brief disappearance to convalesce linda finally finds him and all ends well .
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the poster is in very good folded condition. there is a piece cut diagonally off the top right
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furthermore, hawks’ films were known for showcasing atypical female protagonists who defied traditional femininity with their determination and confidence, and placed them against conventional, often hyper - masculine male characters. comfortable in a man’s world, hawks’ leading ladies were sophisticated and able to hold their own, that is until they fell for the right man. given a suitable mate, his female characters, despite their self - actualized nature, would ultimately surrender toward their male counterparts. still, it is his representations of female protagonists that made for his success in the screwball comedy genre, and hatari! draws upon these elements for its romance story .
director: howard hawks producer: howard hawks screenplay: leigh brackett (based on a story by harry kurnitz) cinematography: russell harlan and joseph brun editing: stuart gilmore principal cast: john wayne (sean mercer), elsa martinelli (dallas), hardy kruger (kurt), gerard blain (chips), red buttons (pockets), michele girardon (brandy), bruce cabot (indian), valentin de vargas (luis) .
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safari is a 1940 american adventure film directed by edward h. griffith and starring douglas fairbanks jr. , madeleine carroll and tullio carminati . the screenplay concerns an ambitious young woman who goes on a safari hunt with a millionaire in the hope of convincing him to marry her , but falls in love with the chief hunter instead . 
safari is a 1940 american adventure film directed by edward h. griffith and starring douglas fairbanks jr., madeleine carroll and tullio carminati. the screenplay concerns an ambitious young woman who goes on a safari hunt with a millionaire in the hope of convincing him to marry her, but falls in love with the chief hunter instead.
safari is a 1940 american adventure film directed by edward h. griffith and starring douglas fairbanks jr., madeleine carroll and tullio carminati. the screenplay concerns an ambitious young woman who goes on a safari hunt with a millionaire in the hope of convincing him to marry her, but falls in love with the chief hunter instead.