When I originally watched it, I wasn't terribly impressed (maybe sleepy), but upon returning to it a couple nights ago, I can say without a doubt that Goulding's Razor's Edge will definitely go highly on my 40s list. It's apparently a common perception that the film leans towards Hesse's Siddhartha, but Gene Tierney is who really threw me for a loop in this film (Power and his search for truth was also compelling, of course). The cold evil she displays during her last scene with Anne Baxter (Sophie), when the camera looks up at her from Sophie's broken down POV, she's standing there in a sharp, well fit, black suit, unblinkingly and unconsciously doing an impersonation of her Uncle Elliot (Clifton Webb), saying a million unsaid things along with her caustic "advice".
I do have some problems with the film, as it's certainly a little overblown at parts (and the novelist probably wanted little left to the imagination), but all in all, it's a film for Goulding and the actors to play in. The Fox DVD looks great, and it has a great poster.
The Lists Project
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Michael
- Joined: Wed Nov 03, 2004 4:09 pm
And I have you, davidhare, to thank for personally recommending Humoresque to me. It continues to bloom in my mind since watching it a few months ago. Joan's most wistful, sad face still overwhelms me. I just love how she keeps changing her mind about wearing her glasses throughout the film. And also how she has no problem holding her bottomless glass of whiskey and supporting the young gay violinist, longing for some love in return. This very uncompromisingly chilly movie really hits home for me because I've known people like her and the violinist in my lifetime.
Now, Voyager. I don't know how well known it is. It is my mom's favorite movie and also one of mine. The most sweeping, romantic score by Max Steiner. Bette Davis' most ravishingly beautiful performance of her lifetime. Pure magic all the way. A revelation.
Now, Voyager. I don't know how well known it is. It is my mom's favorite movie and also one of mine. The most sweeping, romantic score by Max Steiner. Bette Davis' most ravishingly beautiful performance of her lifetime. Pure magic all the way. A revelation.
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zedz
- Joined: Sun Nov 07, 2004 11:24 pm
Is it time for Christmas recommendations already? Those unfamiliar with them should definitely try to check out Maya Deren's films - probably the most important body of avant-garde work from the 1940s.
Probably easier to track down, and definitely worthy of consideration: Force of Evil (my favourite noir of the decade), Pursued (favourite western), Curse of the Cat People (I don't know if anybody is able to definitively categorise this film), and T-Men - actually, it's probably worth trying to see anything at all by Mann / Alton. Even material as unpromising as Railroaded or Border Incident is transformed in their hands.
If, by some bizarre oversight, you've never seen A Canterbury Tale or I Know Where I'm Going!, treat yourself.
Moving on to the much more elusive: Gremillon's Pattes Blanches keeps inching up my list, Ozu's There Was a Father (don't let the awful state of the Panorama disc disguise the brilliance of the film), Melville's Le Silence de la mer, Jennings' Fires Were Started, Tatzleff's The Window.
And, once again, I'll put a word in for the astonishing Oskar Fischinger, who's currently occupying pole position on my provisional list.
Probably easier to track down, and definitely worthy of consideration: Force of Evil (my favourite noir of the decade), Pursued (favourite western), Curse of the Cat People (I don't know if anybody is able to definitively categorise this film), and T-Men - actually, it's probably worth trying to see anything at all by Mann / Alton. Even material as unpromising as Railroaded or Border Incident is transformed in their hands.
If, by some bizarre oversight, you've never seen A Canterbury Tale or I Know Where I'm Going!, treat yourself.
Moving on to the much more elusive: Gremillon's Pattes Blanches keeps inching up my list, Ozu's There Was a Father (don't let the awful state of the Panorama disc disguise the brilliance of the film), Melville's Le Silence de la mer, Jennings' Fires Were Started, Tatzleff's The Window.
And, once again, I'll put a word in for the astonishing Oskar Fischinger, who's currently occupying pole position on my provisional list.
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Brian Oblivious
- Joined: Sat Nov 06, 2004 8:38 pm
- Location: 'Frisco
- Contact:
Since others are stumping, I feel like joining in:
If anyone hasn't gotten all the films in the recently released Preston Sturges set under the belt yet, I hope they can fit in time to do so, as a couple of his greatest films (IMHO) are among those new to R1 via this set.
Too bad the new Hellzapoppin' disc won't be out in time for the vote.
Tex Avery made masterpiece after masterpiece during this decade. Though most of his MGM work is collected on a French DVD, you can also see some of his best pieces by watching the supplements to WHV R1 discs. the Screwball Squirrel and Slap Happy Lion are on the last two discs of the Thin Man set, while Bad Luck Blackie is on the Kitty Foyle disc.
And Avery also made films for Warner this decade, some of which are found on various Golden Collection sets (my favorite 40s Avery available this way: the Heckling Hare, GC set 2-disc 1). But his Termite Terrace fellows were peaking as well during the forties and should not be overlooked. I hope Chuck Jones (the Dover Boys, GC2-2), Friz Freleng (You Oughta Be In Pictures GC2-4, High Diving Hare GC1-1) and especially Robert Clampett (Gruesome Twosome, GC3-4, the Great Piggybank Robbery, GC2-3) don't get ruled out when people compile their lists for this decade.
Back into features (after pausing to second prior suggestions for McLaren, Deren, Jennings and Fischinger):
The forties are considered the peak of a Golden Age of Mexican cinema, and though a paucity of English-subtitled DVDs makes exploring in this area difficult for Anglophones, I was able to find an English-subbed DVD of La Perla directed by Emilio Fernandez and photographed by Gabriel Figueroa at my local library, and it exceeded every expectation I had for it.
Another library find, though completely unsubbed but thanks to the sleuthing of Michael Kerpan that's not a major problem, was Fei Mu's Spring in a Small Town, which will almost certainly reside somewhere in the upper portion of my list.
That's enough from me, except for a parting suggestion: if any North Americans with subscriptions to TCM Tivo'd Frank Borzage's the Mortal Storm last weeked, do try to watch it before the voting deadline.
If anyone hasn't gotten all the films in the recently released Preston Sturges set under the belt yet, I hope they can fit in time to do so, as a couple of his greatest films (IMHO) are among those new to R1 via this set.
Too bad the new Hellzapoppin' disc won't be out in time for the vote.
Tex Avery made masterpiece after masterpiece during this decade. Though most of his MGM work is collected on a French DVD, you can also see some of his best pieces by watching the supplements to WHV R1 discs. the Screwball Squirrel and Slap Happy Lion are on the last two discs of the Thin Man set, while Bad Luck Blackie is on the Kitty Foyle disc.
And Avery also made films for Warner this decade, some of which are found on various Golden Collection sets (my favorite 40s Avery available this way: the Heckling Hare, GC set 2-disc 1). But his Termite Terrace fellows were peaking as well during the forties and should not be overlooked. I hope Chuck Jones (the Dover Boys, GC2-2), Friz Freleng (You Oughta Be In Pictures GC2-4, High Diving Hare GC1-1) and especially Robert Clampett (Gruesome Twosome, GC3-4, the Great Piggybank Robbery, GC2-3) don't get ruled out when people compile their lists for this decade.
Back into features (after pausing to second prior suggestions for McLaren, Deren, Jennings and Fischinger):
The forties are considered the peak of a Golden Age of Mexican cinema, and though a paucity of English-subtitled DVDs makes exploring in this area difficult for Anglophones, I was able to find an English-subbed DVD of La Perla directed by Emilio Fernandez and photographed by Gabriel Figueroa at my local library, and it exceeded every expectation I had for it.
Another library find, though completely unsubbed but thanks to the sleuthing of Michael Kerpan that's not a major problem, was Fei Mu's Spring in a Small Town, which will almost certainly reside somewhere in the upper portion of my list.
That's enough from me, except for a parting suggestion: if any North Americans with subscriptions to TCM Tivo'd Frank Borzage's the Mortal Storm last weeked, do try to watch it before the voting deadline.
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bufordsharkley
- Joined: Sat Nov 05, 2005 6:08 am
Preliminary recommendations?
I second the recommendation above for anything by Mann/Alton. My personal favorite is Raw Deal, which will certainly place very highly in my list.
Commonly overlooked non-Mann noirs include anything by Dassin (seeing Brute Force and The Naked City is imperative-- I'm hoping the Criterion acquirement of the latter, alongside my top-5 placement, will get it on the list), as well as Champion, the best boxing movie not named The Set-Up. Champion is about as beautiful and as clever as a noir can be, and never gets any mentions nowadays.
...I'm also pulling for some screwball classics that (absurdly) didn't make it in the past-- (The Palm Beach Story and Ball of Fire) -- Gregg Toland's cinematography in the latter may be the best ever in a comedy-- as well as lesser Welles works. (MacBeth and, if you want to give him credit, Journey into Fear, are within spitting range of the acknowledged masterworks.)
Finally, my list will be loaded with Clampett. "Book Revue" and "Buckaroo Bugs" are sure-fire top 10 material-- (the former is one of the two or three essential cartoons of all time)-- and I see at least several others making it, alongside Chuck Jones's "The Dover Boys."[/i]
I second the recommendation above for anything by Mann/Alton. My personal favorite is Raw Deal, which will certainly place very highly in my list.
Commonly overlooked non-Mann noirs include anything by Dassin (seeing Brute Force and The Naked City is imperative-- I'm hoping the Criterion acquirement of the latter, alongside my top-5 placement, will get it on the list), as well as Champion, the best boxing movie not named The Set-Up. Champion is about as beautiful and as clever as a noir can be, and never gets any mentions nowadays.
...I'm also pulling for some screwball classics that (absurdly) didn't make it in the past-- (The Palm Beach Story and Ball of Fire) -- Gregg Toland's cinematography in the latter may be the best ever in a comedy-- as well as lesser Welles works. (MacBeth and, if you want to give him credit, Journey into Fear, are within spitting range of the acknowledged masterworks.)
Finally, my list will be loaded with Clampett. "Book Revue" and "Buckaroo Bugs" are sure-fire top 10 material-- (the former is one of the two or three essential cartoons of all time)-- and I see at least several others making it, alongside Chuck Jones's "The Dover Boys."[/i]
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scotty
- Joined: Tue Dec 14, 2004 12:04 am
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Scharphedin2
- Joined: Fri May 19, 2006 11:37 am
- Location: Denmark/Sweden
After the last round of the lists project, I decided to dedicate the time that I have available to watch films exclusively to the decade of the '40s during the next months. It has been the greatest film course that I (n)ever took.
Several of the films that I have already discovered and re-discoverd in the course of this personal film viewing project have already been mentioned above. Here are a few highlights that will very likely make it on to my list:
The works of Maya Deren (unfortunately I only own her work on an old laserdisc) never fail to completely surprise me in terms of visual splendor and originality.
The Dreyer shorts inlcuded on The Parson's Widow are also great, even if they probably will not make my final list. I would be curious to hear what Schreck makes of "They Reached The Ferry" -- Dreyer being nostalgic or tongue-in-cheek or both about silent film days?!
"Blood Of the Beasts" on Eyes Without A Face -- I will have to watch it again. To me it is a seminal film for its very topic, and the lyrical way that Franju goes about creating this document about something that essentially is horrifying is really interesting from a standpoint of film form. I am still thinking about this one.
Razor's Edge has become a new favorite; likewise The Ox-Bow Incident . Both are strong films made from excellent novels. I would like to see them again, but on first viewing they impressed beyond expectation.
Louisiana Story is wonderful, again possibly because I expected less. The disc from HVe looks great and is excellent value for the money.
So many great film noirs that it will be a nightmare to choose which ones to put on the list in the end... some of the ones that readily spring to mind are Criss Cross surprised me with its bleakness even for a film noir, and Dan Duryea (excellent in every film that I have seen him in) is the most charming psychopath; Out Of The Past I have seen several times, and to me it really is a touchstone of this sub-genre -- the small town setting and the interludes with Mitchum giving love a final chance are a true post-war dream, and then the past washes over him like a wave of ink; and Force Of Evil, if for no other reason, the scene in which the mob comes for Garfield's brother.
The two Sirk films from Kino -- Lured and Scandal In Paris were hugely enjoyable and completely not what I had expected, being only familiar with his bigger pictures of the fifties. The quality of the discs is quite acceptable.
Heaven Can Wait I have already praised in its designated thread -- what a lovely film.
With Preston Sturges the only problem is again going to be which ones to include and exclude. His films really are the most fun you can possibly have with your clothes on! I just saw the last of his forties films (that I had not seen before) tonight -- Hail the Conquering Hero -- and it completely delivered the goods as usual. The premise is insane, and the huge cast of quirky characters played by Sturges magnificent stock company is delightful (especially once you have seen a few of his films and become familiar with all these crazy people), with Demarest outdoing himself once more.
Then there are sentimental all-time favorites like I Remember Mama -- George Stevens first film after the war. It may be an acquired taste, but I love it so. And, in similar vein, the early Kazan picture A Tree Grows In Brooklyn, and Ford's How Green Was My Valley.
Viewing many films in a relatively short space of time chronologically also helps to bring into focus the styles of the various Hollywood studios and their star producers (a specific interest of mine at the moment). And it is interesting to note the changes in the themes and topics of films during these specific years -- from the period before America entered the war, to the years when the entire nation was engaged in the war effort, and on to the years immediately following it, with the parallel currents of celebration and hope running through many films mirrored by the long line of films with a much more disillusioned and pessimistic world view.
Several of the films that I have already discovered and re-discoverd in the course of this personal film viewing project have already been mentioned above. Here are a few highlights that will very likely make it on to my list:
The works of Maya Deren (unfortunately I only own her work on an old laserdisc) never fail to completely surprise me in terms of visual splendor and originality.
The Dreyer shorts inlcuded on The Parson's Widow are also great, even if they probably will not make my final list. I would be curious to hear what Schreck makes of "They Reached The Ferry" -- Dreyer being nostalgic or tongue-in-cheek or both about silent film days?!
"Blood Of the Beasts" on Eyes Without A Face -- I will have to watch it again. To me it is a seminal film for its very topic, and the lyrical way that Franju goes about creating this document about something that essentially is horrifying is really interesting from a standpoint of film form. I am still thinking about this one.
Razor's Edge has become a new favorite; likewise The Ox-Bow Incident . Both are strong films made from excellent novels. I would like to see them again, but on first viewing they impressed beyond expectation.
Louisiana Story is wonderful, again possibly because I expected less. The disc from HVe looks great and is excellent value for the money.
So many great film noirs that it will be a nightmare to choose which ones to put on the list in the end... some of the ones that readily spring to mind are Criss Cross surprised me with its bleakness even for a film noir, and Dan Duryea (excellent in every film that I have seen him in) is the most charming psychopath; Out Of The Past I have seen several times, and to me it really is a touchstone of this sub-genre -- the small town setting and the interludes with Mitchum giving love a final chance are a true post-war dream, and then the past washes over him like a wave of ink; and Force Of Evil, if for no other reason, the scene in which the mob comes for Garfield's brother.
The two Sirk films from Kino -- Lured and Scandal In Paris were hugely enjoyable and completely not what I had expected, being only familiar with his bigger pictures of the fifties. The quality of the discs is quite acceptable.
Heaven Can Wait I have already praised in its designated thread -- what a lovely film.
With Preston Sturges the only problem is again going to be which ones to include and exclude. His films really are the most fun you can possibly have with your clothes on! I just saw the last of his forties films (that I had not seen before) tonight -- Hail the Conquering Hero -- and it completely delivered the goods as usual. The premise is insane, and the huge cast of quirky characters played by Sturges magnificent stock company is delightful (especially once you have seen a few of his films and become familiar with all these crazy people), with Demarest outdoing himself once more.
Then there are sentimental all-time favorites like I Remember Mama -- George Stevens first film after the war. It may be an acquired taste, but I love it so. And, in similar vein, the early Kazan picture A Tree Grows In Brooklyn, and Ford's How Green Was My Valley.
Viewing many films in a relatively short space of time chronologically also helps to bring into focus the styles of the various Hollywood studios and their star producers (a specific interest of mine at the moment). And it is interesting to note the changes in the themes and topics of films during these specific years -- from the period before America entered the war, to the years when the entire nation was engaged in the war effort, and on to the years immediately following it, with the parallel currents of celebration and hope running through many films mirrored by the long line of films with a much more disillusioned and pessimistic world view.
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Gordon
- Joined: Thu Nov 11, 2004 12:03 pm
The Ox-Bow Incident is an amazing film. I saw it for the first time a few weeks ago and was surprised at how unflinching and powerful it is. Gorgeous cinematography by the legendary Arthur Miller. I can't belive that I don't have How Green Was My Valley in my collection! I really must get hold of Miller's book, One Reel a Week. There are only six cinematographers on the Hollywood Walk of Fame.
I think I'll watch The Night of the Hunter over the holidays and look for details I have previously missed. The same goes for Citizen Kane, which I always watch at Christmas. The Fearless Vampire Killers plays especially well in winter, also. McCabe & Mrs. Miller and The Long Goodbye will also be spun for the departed.
I haven't watched Sleuth in a long time and its a hugely entertaining film - perfect for these cold afternoons.
A Christmas Story is a must.
I'm off to stick my tongue to flagpole...
I think I'll watch The Night of the Hunter over the holidays and look for details I have previously missed. The same goes for Citizen Kane, which I always watch at Christmas. The Fearless Vampire Killers plays especially well in winter, also. McCabe & Mrs. Miller and The Long Goodbye will also be spun for the departed.
I haven't watched Sleuth in a long time and its a hugely entertaining film - perfect for these cold afternoons.
A Christmas Story is a must.
I'm off to stick my tongue to flagpole...
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colinr0380
- Joined: Mon Nov 08, 2004 8:30 pm
- Location: Chapel-en-le-Frith, Derbyshire, UK
Have you watched Hitchcock's Rope Scharphedin2? I just got round to watching it for the first time in ten years last night and I wasn't disappointed revisiting it. The ten-minute takes are amazing and cause some quite daring tricks to be attempted such as groups of people having different conversations at once (although no Altman-esque overlapping dialogue!), or moving characters from background to foreground, and especially the one moment where the camera pans away from the main characters discussing what happened to the guest who didn't arrive (who only the two leads and the audience know has been murdered and hidden in the chest that the food for the party has been set out on) to the maids comings and goings as she clears the food away, then the ornaments and the tablecloth all while bringing back books which she intends to put back in the chest!
I'm planning to finally get around to watching Tom Kalin's Swoon in the next couple of days, since that was the other major film based on the Leopold and Loeb murder case.
I'm planning to finally get around to watching Tom Kalin's Swoon in the next couple of days, since that was the other major film based on the Leopold and Loeb murder case.
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tryavna
- Joined: Wed Mar 30, 2005 8:38 pm
- Location: North Carolina
There was a third! Actually, Compulsion may be my favorite take on the murders. Although it downplays the sexuality of the defendants (unsurprisingly, for 1959), it stays remarkably true to the trial records, including Darrow's excellent -- and still quite moving -- summation as performed by Orson Welles. (Fleischer's direction ain't bad, either.)colinr0380 wrote:I'm planning to finally get around to watching Tom Kalin's Swoon in the next couple of days, since that was the other major film based on the Leopold and Loeb murder case.
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colinr0380
- Joined: Mon Nov 08, 2004 8:30 pm
- Location: Chapel-en-le-Frith, Derbyshire, UK
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Scharphedin2
- Joined: Fri May 19, 2006 11:37 am
- Location: Denmark/Sweden
Yes, I saw Rope... quite a long time ago as well. And, of course I enjoyed the film. I felt he was playing a real double game, telling the story of two young eccentric intellectuals trying to pull off a murder under the noses of the guests at a dinner party, and then, himself playing the same game on his audience, trying to get away with shooting the entire picture essentially in one take, and, almost getting away with it... I enjoyed it, but I am not sure that I think it is one of Hitchcock's better films. To me, the excellence of Hitchcock's films in general lies in his complete mastery of the technique of film making, and how he would always use the exact right technical sleight of hand to achieve the emotional impact on his audience that he was after. In Rope, I felt he was a little bit like a magician, telling his audience the secret of his trick up front. It is still suspenseful, and I think he almost pulls it off. How about Under Capricorn? Did you see that? I have not, but I think that is supposed to be another experiment along the lines of Rope.
Not sure that I read your post correctly, Gordon, but looking at my own post from last night again, maybe I should go "stick my tongue to the flagpole." Sorry, if I was rambling. Mark it down to youthful enthusiasm, or, well, enthusiasm anyway...
Gordon wrote:I'm off to stick my tongue to flagpole...
Not sure that I read your post correctly, Gordon, but looking at my own post from last night again, maybe I should go "stick my tongue to the flagpole." Sorry, if I was rambling. Mark it down to youthful enthusiasm, or, well, enthusiasm anyway...-
colinr0380
- Joined: Mon Nov 08, 2004 8:30 pm
- Location: Chapel-en-le-Frith, Derbyshire, UK
Yes, but that was an even longer time ago than I saw Rope! I read an excellent article recently comparing Under Capricorn and The Paradine Case which got me interested in seeing them again soon! There was also a great article on Rope.Scharphedin2 wrote:How about Under Capricorn? Did you see that? I have not, but I think that is supposed to be another experiment along the lines of Rope.
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Gordon
- Joined: Thu Nov 11, 2004 12:03 pm
If you don't understand that reference, then you don't deserve any Christmas presents this year!Scharphedin2 wrote:Gordon wrote:I'm off to stick my tongue to flagpole...
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Scharphedin2
- Joined: Fri May 19, 2006 11:37 am
- Location: Denmark/Sweden
Thanks Gordon, I think Santy will not completely pass my house after all... Christmas Story is a (guilty) pleasure of mine as well (another one that I should have acquired on DVD a long time ago -- used to be cumpolsory viewing every Christmas when I was growing up).
Also, I realised that every film you listed is pretty much one that I long to revisit. How has McCabe fared on DVD? I adore this film, but it is a muddy mess on the LD that I own.
Another film that I would really like to see again, and where my LD also cries out for an upgrade is Red River. Anyone know if there is a good DVD out anywhere?
Also, I realised that every film you listed is pretty much one that I long to revisit. How has McCabe fared on DVD? I adore this film, but it is a muddy mess on the LD that I own.
Another film that I would really like to see again, and where my LD also cries out for an upgrade is Red River. Anyone know if there is a good DVD out anywhere?
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Michael
- Joined: Wed Nov 03, 2004 4:09 pm
Deren's films are way up high on my list. So are Kenneth Anger's Fireworks and Puce Moment (both can be seen on youtube). Since buying the bootleg of Anger's shorts a couple of months ago, I'm beginning to believe he must be the greatest and the most influential of all American filmmakers, at least of today.Those unfamiliar with them should definitely try to check out Maya Deren's films - probably the most important body of avant-garde work from the 1940s.
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Scharphedin2
- Joined: Fri May 19, 2006 11:37 am
- Location: Denmark/Sweden
I just saw another '40s Hitchcock film for the first time, which surprised me favorably -- Lifeboat. I have always steered around this particular film, because I thought the premise sounded very un-Hitchcockian. In that sense, my expectations were correct -- there are only few of Hitchcock's usual comedic asides, and the genereal tone is (befittingly for a film dealing with a group of victims of a u-boat attack during WWII) quite grim. On the other hand, I think the film fits nicely in with some of Hitch's other formal experiments of the '40s (Rope and Under Capricorn). In this film, he is not attempting to eliminate editing, but he is confining the entire plot to one set -- the lifeboat of the title. Having not delved into the extra materials that come with Fox's nice release of the film, I can only guess at the logistical challenges it must have posed to create a believable impression of the boat being stranded on the ocean. It is one of the successes of the film that there are very few moments in the film, where it is apparent that the boat is not actually on the sea. I was quite impressed with this. Also, the performances are very good, and there is more in the sense of character development here, than in most of Hitchcock's films (probably partly due to the influence of John Steinbeck on the production).colinr0380 wrote:Yes, but that was an even longer time ago than I saw Rope! I read an excellent article recently comparing Under Capricorn and The Paradine Case which got me interested in seeing them again soon! There was also a great article on Rope.Scharphedin2 wrote:How about Under Capricorn? Did you see that? I have not, but I think that is supposed to be another experiment along the lines of Rope.
Another pair of at least very interesting, if not necessarily completely successful, films of the forties are Our Town and Bridge Of San Luis Rey. Both were based on literary works by Thornton Wilder, the former directed by Sam Wood; the latter by Rowland V. Lee.
I remember reading the play Our Town in high school many years ago. It was a play that broke conventions in not having a single prop on stage, and for spanning many decades (actually ending up with most of the characters being dead and particpating in the story from beyond the grave in the final act). Sam Wood made many excellent films in the '30s and '40s, however, of the half score of his films that I have seen, this is really the only one where he experiments with the form. There is actually a bit of cinema verite in his adaptation of the play, and his handling of the last act, even if did not completely work for me, is not the travesty that I had feared. It may not be everyone's cup of tea, but I really go for this type of small town americana, and my only grievance is that the DVD of this film (even by my fairly liberal standards) looks like porridge.
Bridge Of San Luis Rey is a more conventional film, and it looks reasonably good on DVD (the print is in quite excellent condition, but I think the transfer could have been better). I am unfortunately not familiar with Wilder's novel, which is supposed to be really good, but it is easy to imagine how well this story would work as a novel. The basic plot concerns a priest in Peru, who sets out to document the lives of five people, who fall to their death when a centuries-old rope bridge snaps beneath them in the mountains. His underlying purpose is of course to understand, why God has chosen these five specific people. In the course of the film, the circumstances of the lives of the five people are revealed through the interviews that the priest conducts. Lynn Bari's beauty and performance as a half-breed dancer, who is carried up in society first by a theatre promoter and then a Viceroy, made my heart melt at several points in the film; Akim Tamiroff's performance is also very entertaining. In the final analysis, I enjoyed the film as a good off-beat Hollywood production of the period, but I was waiting for the film to lift itself to some kind of metaphysical plateau that it just never really did.
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HerrSchreck
- Joined: Sun Sep 04, 2005 3:46 pm
Scharf:
Re THEY CAUGHT THE FERRY by Dreyer--
Two things:
1. I find it an incredibly sad short in the big picture as it shows how Dreyer was itching and chafing and chomping at the bit to Make A Real Film (by this time in his post-VAMPYR career he was down to making a feature film one-every-ten-years), and therefore embellishing Highway Safety Shorts with arthouse mise en scene. The man who made the greatest film ever made-- PASSION OF JOAN OF ARC-- making highway safety short films!
2. I find it very fascinating and rewarding, particularly the FRENCH CONNECTION style balls-to-the-wall pedal-to-the-metal spitting in the face of danger of location shooting at very high road speeds.You've heard of coourse of the infamous wipeout where his cinematographer skidded out with his motorcycle driver (he was in the sidecar with the camera filming the principals either front or back of them)... the bike went skidding & flipping at high speed into a grassy shoulder; Dreyer pulled over to the side of the road, trotted over anxious to make sure everything was alright with the camera... the dp was like "Hey what about me???"
Yes of course and I do like the mystical VAMPYR like ending with the dead riders crossing the mythical river Styx with it's notorious ferryman. Not quite Franju's achingly beautiful slaughterhouse BETES (may be the greatest short film ever made in the sound era?), but a creative short nonetheless.
Re THEY CAUGHT THE FERRY by Dreyer--
Two things:
1. I find it an incredibly sad short in the big picture as it shows how Dreyer was itching and chafing and chomping at the bit to Make A Real Film (by this time in his post-VAMPYR career he was down to making a feature film one-every-ten-years), and therefore embellishing Highway Safety Shorts with arthouse mise en scene. The man who made the greatest film ever made-- PASSION OF JOAN OF ARC-- making highway safety short films!
2. I find it very fascinating and rewarding, particularly the FRENCH CONNECTION style balls-to-the-wall pedal-to-the-metal spitting in the face of danger of location shooting at very high road speeds.You've heard of coourse of the infamous wipeout where his cinematographer skidded out with his motorcycle driver (he was in the sidecar with the camera filming the principals either front or back of them)... the bike went skidding & flipping at high speed into a grassy shoulder; Dreyer pulled over to the side of the road, trotted over anxious to make sure everything was alright with the camera... the dp was like "Hey what about me???"
Yes of course and I do like the mystical VAMPYR like ending with the dead riders crossing the mythical river Styx with it's notorious ferryman. Not quite Franju's achingly beautiful slaughterhouse BETES (may be the greatest short film ever made in the sound era?), but a creative short nonetheless.
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Steven H
- Joined: Tue Nov 02, 2004 7:30 pm
- Location: NC
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HerrSchreck
- Joined: Sun Sep 04, 2005 3:46 pm
Aside from being criminally underdiscussed in auteurist circles, Walsh may be the most astoundingly versatile filmmaker the planet has ever seen. From REGENERATION thru THEIF OF BAGDHAD on thru SADIE THOMPSON into all the sound era classics including THE BOWERY (Wallace Beery for weeks, christ I love this film) ROARING TWENTIES, WHITE HEAT, THEY DRIVE BY NIGHT & HIGH SIERRA... all those other countless genre programmers, this was an unpretentious craftsman who could turn his art-ego/ambition on and off as the situation required, and churn out tight, functional throwaways right after timeless classics, and keep alternating. What a long, hyperprolific career.
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Scharphedin2
- Joined: Fri May 19, 2006 11:37 am
- Location: Denmark/Sweden
Of course I can only agree with you concerning the sadness of Dreyer's inability to find funding for his projects. It may be presumptuous of me, not knowing that much about Dreyer's career really, and the circumstances of his inactivity in particular, but I think he burned many bridges due to his eccentric behavior that you hint at below, and then he was for many years insisting on an epic on the life of Jesus, and to some extent I can understand the reluctance of financiers to come forward. Remember, these were the years immediately following the war, and it was a time (at least in Denmark) when somethin like a banana boat arriving in Copenhagen was something very exotic and considered a leap forward. I think the fact that he was offered to make these short subjects (he made about a dozen of them between TvÃ¥ Människer and Ordet) was probably seen as a goodwill by people in the Danish Government and Cultural establishment, and an attempt to keep this world class director in work. For Dreyer's part (and I have only seen the two shorts mentioned above), I think these shorts were almost like studies for the larger projects that he was working on. At least, I think it is interesting, the way that he spends a lot of time in Thorvaldsen caressing the sculpture of Christ with his camera -- then, the first image of Johannes in Ordet seems to me a direct visual reference to Thorvaldsen's sculpture (it is also one of the more poignant moments in the entire film).HerrSchreck wrote:1. I find it an incredibly sad short in the big picture as it shows how Dreyer was itching and chafing and chomping at the bit to Make A Real Film (by this time in his post-VAMPYR career he was down to making a feature film one-every-ten-years), and therefore embellishing Highway Safety Shorts with arthouse mise en scene. The man who made the greatest film ever made-- PASSION OF JOAN OF ARC-- making highway safety short films!
HerrSchreck wrote:2. I find it very fascinating and rewarding, particularly the FRENCH CONNECTION style balls-to-the-wall pedal-to-the-metal spitting in the face of danger of location shooting at very high road speeds.You've heard of coourse of the infamous wipeout where his cinematographer skidded out with his motorcycle driver (he was in the sidecar with the camera filming the principals either front or back of them)... the bike went skidding & flipping at high speed into a grassy shoulder; Dreyer pulled over to the side of the road, trotted over anxious to make sure everything was alright with the camera... the dp was like "Hey what about me???"
You always get to the point with such colorful gusto. I find the film really odd and remarkable, especially considering Dreyer's disposition and wearing his soft hat and long overcoat, coming out guns blazing and "pedal-to-the-metal" as you put it, and then the length and scope of the film for a Government promo to caution the nation's children to be prudent in observing the speed limits?! At a time, when the greatest wet dream of the nation was to have any kind of motorized vehicle at all, and people actually signed up on waiting lists to acquire one. I have heard the anecdote that you reference (is it on the CC set?); there are a lot of wonderful anecdotes included in the interviews, especially with Preben Lerdorff Rye -- not sure if it translates well, but I do not think that I have been compelled to laugh that much at the extra material of any other DVD.When I saw it this time around (probably prompted by all the focus on silent films in recent months), I kept thinking of things like Nosferatu and Destiny and stills I have seen from The Phantom Carriage. I was trying to make up my mind, if this was just Dreyer in a nutshell, or, if he was referencing (even parodying) the depiction of death in these silent films, both with respect to his carriage/car and the make-up. It is certainly a fanciful little film, and a strange entry in Dreyer's credit sheet.HerrSchreck wrote:Yes of course and I do like the mystical VAMPYR like ending with the dead riders crossing the mythical river Styx with it's notorious ferryman. Not quite Franju's achingly beautiful slaughterhouse BETES (may be the greatest short film ever made in the sound era?), but a creative short nonetheless.
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Gordon
- Joined: Thu Nov 11, 2004 12:03 pm
I have not seen Pursued, but as it was shot by James Wong Howe, it is on my list. Reviews of the DVD weren't that great at the time. The LD had a commentary by Bruce Eder. Looking at the reviews again, I'm beginning to wonder if they were harsh regarding the picture quality. I was hoping that Paramount would issue a superior edition when the acquired the Republic library, but that seems to have stalled or have been misunderstood, as Paramount now say that they don't have full control of the library!Steven H wrote:Anyone sitting around with a copy of Walsh's Pursued, that hasn't watched it yet in anticipation of the 40s list, should pop it in the player. I was totally floored by the noir lighting in this film (the whole look of the film reminded me much of New Mexico at night under a full moon.)
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Steven H
- Joined: Tue Nov 02, 2004 7:30 pm
- Location: NC
I'm doing my best to catch up with him, and using this upcoming 40s list as a springboard. He has a number of noirs, light comedies, and small war films that I want to see from that decade alone.HerrSchreck wrote:Aside from being criminally underdiscussed in auteurist circles, Walsh may be the most astoundingly versatile filmmaker the planet has ever seen.
I don't own the DVD, so I can't comment specifically on its quality, but you can pick up the disc used on amazon.com for about six bucks, which kind of makes it a moot. I enjoyed the hell out of the film, and thought it looked amazing, even though I saw it in a taped from TV version which wasn't in the best shape (it looked a step or two better than VHS.) Fantastic film. I'm just getting started on the Mitchum westerns but, if this is the sort of thing I have to look forward to, I'm excited.Gordon wrote:I have not seen Pursued, but as it was shot by James Wong Howe, it is on my list. Reviews of the DVD weren't that great at the time. The LD had a commentary by Bruce Eder. Looking at the reviews again, I'm beginning to wonder if they were harsh regarding the picture quality.
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Scharphedin2
- Joined: Fri May 19, 2006 11:37 am
- Location: Denmark/Sweden
I could not find discussion of it anywhere else, but in the context of the '40s lists project, John Huston's The Battle of San Pietro (included on Treasures from American film Archives) is certainly of interest.
The first two thirds of this documentary depicts the seize and eventual capture by the American forces of this strategic Italian mountain city during World War II. However, this in itself, while interesting, would not really cause me to recommend the film. It is the last part of the film, showing the American forces moving into the city, which has been all but completely levelled to the ground that makes the film something special.
In a few brief scenes we see the soldiers going about clearing the town of mines and booby-traps; we see them excavate the bodies of the dead; and we see the survivors of the town returning. Specifically, Huston shows us the Italian children, and it is here that the real sadness and ugliness of war is driven home. We see these children, carrying or holding their younger siblings by their hands, wearing rags and boots several sizes too big, and we know that very likely these children are orphans. A small film that I find it difficult to watch, but it definitely has its rewards.
The first two thirds of this documentary depicts the seize and eventual capture by the American forces of this strategic Italian mountain city during World War II. However, this in itself, while interesting, would not really cause me to recommend the film. It is the last part of the film, showing the American forces moving into the city, which has been all but completely levelled to the ground that makes the film something special.
In a few brief scenes we see the soldiers going about clearing the town of mines and booby-traps; we see them excavate the bodies of the dead; and we see the survivors of the town returning. Specifically, Huston shows us the Italian children, and it is here that the real sadness and ugliness of war is driven home. We see these children, carrying or holding their younger siblings by their hands, wearing rags and boots several sizes too big, and we know that very likely these children are orphans. A small film that I find it difficult to watch, but it definitely has its rewards.
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zedz
- Joined: Sun Nov 07, 2004 11:24 pm
I commented on this disc in the Raoul Walsh thread, which I've been lax about keeping alive. It's a far from great DVD, but it's cheap, and the film is stunning. If you're a Howe fan, you need to see this film RIGHT NOW!Gordon wrote:I have not seen Pursued, but as it was shot by James Wong Howe, it is on my list. Reviews of the DVD weren't that great at the time. The LD had a commentary by Bruce Eder. Looking at the reviews again, I'm beginning to wonder if they were harsh regarding the picture quality. I was hoping that Paramount would issue a superior edition when the acquired the Republic library, but that seems to have stalled or have been misunderstood, as Paramount now say that they don't have full control of the library!
With the 40s list approaching, I knew I'd have to make some serious inroads into Walsh's filmography. So far, all of his films that I've seen have been worthwhile (though I get a bit bored by Thief of Bagdad) and, more importantly, the best ones tend to get better and better on subsequent viewings. He's got such pitch-perfect pacing that the stories just rattle along, sucking you in completely, on a first encounter. It's only later on that you get to enjoy the deft, subtle camera moves and the ingenious use of three dimensional space (psychological use of landscape; balance of foreground and background action). And he consistently extracts superb performances from just about anybody. I watched They Drive by Night the other night. Although the narrative falls to bits at the end, the performances keep it aloft. Raft and Lupino are the star turns - he's more nuanced than ever; she's a sustained crescendo of psychosis - but I couldn't take my eyes of Ann Sheridan, in what, on paper, is a nothing role.