From Destination Tokyo (1943) to The Battle of the Villa Fiorita
(1965), Delmer Daves was responsible for a unique body of work, but
few filmmakers have been as critically overlooked in existing
scholarly literature. Often regarded as an embodiment of the
self-effacing craftsmanship of classical and post-War Hollywood,
films such as Broken Arrow (1950) and 3:10 to Yuma (1957) reveal a
filmmaker concerned with style as much as sociocultural
significance. As the first comprehensive study of Daves's career,
this collection of essays seeks to deepen our understanding of his
work, and also to problematize existing conceptions of him as a
competent, conventional and even naive studio man.
General
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