What’s more, its portrait of a thrusting, occasionally demagogic tycoon and the hollowness at the heart of his success remains as relevant as it ever was, and the suggestion that America might be susceptible to media manipulation is all too believable. Forget that: beyond all the technical dazzle and ground-breaking filmmaking Orson Welles’s masterpiece has red blood in its veins and a huge beating heart. The problem with calling something “the greatest film ever made” is that it begins to sound like homework. Nestor Almendros’s astounding magic-hour photography rightly won an Oscar, and Linda Manz supplies heartbreaking, plainspoken narration as Gere’s younger sister. Richard Gere and Brooke Adams are the lovers who pose as brother and sister to fool a rich, dying farmer (Sam Shepard). Terrence Malick’s second, and for many, greatest film is a mesmerising, gorgeous love triangle set in the Texas Panhandle in 1916, loosely based on an Old Testament parable. The scheme gives way to a riveting stew of suspicion and paranoia, with Stanwyck’s ruthless determination warping MacMurray’s out of all recognition as director Billy Wilder tightens the screws. That’s certainly the lesson when Fred MacMurray’s infatuated salesman offers life insurance to Barbara Stanwyck’s femme fatale Phyllis against the will of her unloved husband.
If we have learned anything from film noir, it is that murder pacts never work out well for both parties.
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