The Explanation
(for those who require one)

And, of course, that is what all of this is -- all of this: the one song, ever changing, ever reincarnated, that speaks somehow from and to and for that which is ineffable within us and without us, that is both prayer and deliverance, folly and wisdom, that inspires us to dance or smile or simply to go on, senselessly, incomprehensibly, beatifically, in the face of mortality and the truth that our lives are more ill-writ, ill-rhymed and fleeting than any song, except perhaps those songs -- that song, endlesly reincarnated -- born of that truth, be it the moon and June of that truth, or the wordless blue moan, or the rotgut or the elegant poetry of it. That nameless black-hulled ship of Ulysses, that long black train, that Terraplane, that mystery train, that Rocket '88', that Buick 6 -- same journey, same miracle, same end and endlessness."
-- Nick Tosches, Where Dead Voices Gather

The Gunslinger Guide to Lee Garmes #3

from Duel in the Sun
(King Vidor; 1946)


Loyolalaw98 said...

I wonder if by the "red" in this scene from "Duel in the Sun" you are hinting at the "red" in the railroad yard/burning of Atlanta from GTW? Garmes reportedly filmed it too, though uncredited.

Tom Sutpen said...

You're correct that Garmes shot that sequence in 'Gone With the Wind'. He was, in fact, the official Cinematographer on that picture until David Selznick decided that his images were too dark and/or so painterly that setting them up was consuming quality time on the schedule (this was largely the reason he fired George Cukor as Director: he wasn't working fast enough, the pace was too leisurely, etc.

Selznick was taking Benzadrine like they were Tic-tacs at this point, it should be known.

That said . . .

I didn't have that in my head when I posted this. As far as connections go, I was thinking more in terms of the poster for King Vidor's 'The Champ' outside Sister Aimee's LA Soup Kitchen in 'I Like the Christian Life! #14.'