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Merry Christmas To You All

I just want to wish you all a very Merry Christmas. I hope you have a lovely day. I hope that the jolly man with the white beard, and the bright red suit, leaves you those special gifts which you’ve longed for all year. 🙂

I hope you enjoy spending time with family and friends. However you are celebrating Christmas this year, I sincerely hope that you have a fantastic time. 

We have quite a bit of snow here in the UK right now. We haven’t had it fall this deep for some years. It really is shaping up to be a white Christmas I think. 

I want to say a big thank you to you all for sticking with both me and my blog. Your comments, support, and likes mean a great deal to me. I hope I’ve introduced you to a few classics that you were not aware of before. 

I hope that 2018 brings you all health and happiness. I’m personally hoping that next year proves to be much better than this one has. I have a chronic health condition which impacts the quality of my daily life. This year (particularly the last few months)my symptoms have increased a bit which isn’t good.  I’m hoping things get better in the New Year. 

I have had an increase in followers, site visits, and post views over the last couple of months. This is incredible to me, as I never expected so many people to actually check out my blog when I started it back in February of this year. 

The following posts are a few that I’ve really enjoyed writing this year. Please click on any of the film titles if you would like to read one of the posts.

Taking A Walk Through The Dark Alley Of Film Noir

Forbidden Games

Odds Against Tomorrow 

Mr. Skeffington 

Appreciating Silent Films

Sunset Blvd 

Grand Hotel 

The Twilight Zone 

The Big Heat 

Fahrenheit 451

Stay tuned for news of an upcoming blogathon that I am co-hosting in February!

More reviews and film discussion on the way between now and Christmas.  🙂 

Merry Christmas and a very Happy New Year to you all. 

Maddy x 

 

 

 

 

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Unsung Classics

Unsung Classics In Need Of Watching: Part 1

Anyone who loves cinema will no doubt have their own list of films which they love, but which nobody else ever seems to have heard of.

I’m going to list a few of my unsung favourites for you. I invite you all to do the same. Please share those unsung titles. Let us help to spread the word about these unsung films.

The following classic era films are all ones that are not all that well known (if they are known at all in some cases). Some of these may be known to some fans of classic era cinema, but mention them to the average moviegoer and you will get a blank look in response.

All of these are excellent films. If you love classic era cinema, then you should really check them all out.

 

 

Photo0077   Shooting Stars (1928)

A little known British Silent film. This gives us a behind the scenes look at filmmaking. We are shown how the screen magic is created. We also see plenty of off screen drama as an actress has an affair with a co-star. Her affair breaks her husbands heart. This is a funny, tragic, and fascinating film. The performances are excellent. I love the bouncy score to this one as well. Well worth a look. You can read my full review of this film here.

 

 

Photo0052  Stray Dog (1949)

One of Akira Kurosawa’s best films is also sadly now one that is among the least well known of his films today. Audiences automatically tend to think of his Samurai flicks now, instead of his terrific dramas and thrillers from the 1940’s. This film follows a detectives mission to get back his stolen service gun. As the gun is passed from one person to another it becomes linked to crimes. You can read my full review here.

 

 

The Clock (1945)

Judy Garland and Robert Walker Sr star in this beautiful romantic drama. Walker plays a soldier on leave during WW2. He meets Garland’s character by chance in New York. They fall in love and are soon in a hurry to marry before he has to go back to fight in WW2.

The performances from Garland and Walker are extraordinary in this. They have such perfect chemistry and really convince as the couple falling in love. This was Judy’s first non musical role, and she more than proves her dramatic acting talents with this film. You can read my full review here.

 

 

 

Photo0154  Mandy (1952)

A powerful British drama about a young deaf girl. This film helps raise awareness of deafness and also about what living with someone with the condition can be like. The main performance by Mandy Miller is one of the best child performances I have ever seen. A moving and uplifting film. You can read my full review here.

 

 

 

Photo0071  The Edge Of The World (1937)

This early film from director Michael Powell focuses on life on a small island in the Hebrides. Strong performances, and being filmed on a real island add a great deal of authenticity to this film. John Laurie steals the show. You can read my full review here.

 

 

Photo0045  The Passionate Friends (1949)

This David Lean film could almost be viewed as a sequel to Brief Encounter. There are many similarities between the two films, and this shows what could have happened had there been a sequel with Alec and Laura meeting years later. Claude Rains plays the loving but distant older husband to Ann Todd’s lonely younger woman. When she meets Trevor Howard (whose character she used to love)an affair begins that changes everything. You can read my full review here.

 

What are some of your unsung classics? Share them with us on your own sites.

 

 

 

 

Drama, Films I Love, Noir

Sunset Blvd (1950)

“I am big. It’s the pictures that got small!” These words are spoken by Norma Desmond, a former screen queen who longs to be back in the era of Silent films.

Norma thinks longingly of a time when actors used their faces and emotions to convey the plot and the directors intent for a scene, and also of a time when dialogue and effects were not needed or relied upon on screen.

Silent films were big in every way, from how they looked, to the scope of the stories they showed. Once sound came in however, there were still many superb films made, but films had lost that epic and mesmerising look and style that the Silent films had. There were also so many films being made, and so many stories being recycled, that you could argue that films no longer became special events, they actually became very run of the mill. 

Sunset Blvd is one of my favourite classic era films. It was one of the first classics that I ever saw and it made quite an impression on me. I love the blend of drama and Noir, the stunning photography by John F. Seitz, and for the sad and tragic tale it depicts.

This is the film that made me aware of Silent films. I was quite young when I first saw this film ,and before seeing this I didn’t even know that there had once been Silent films, I’m well aware that sounds pretty dumb LOL. Before this I had no reason to imagine there had ever been a time when films were Silent.  I also love this film because it brought to my attention people like De Mille, Swanson, Wilder and Keaton.

Superbly directed by Billy Wilder, Sunset Blvd is a warts and all portrait of Hollywood.  Wilder wrote the screenplay along with Charles Brackett(regular collaborator on so many of Wilder’s films)and D.M Marshman Jr.

The films depiction of the darker and sadder side to the glamourous perceived image of the American film industry wasn’t very well received by Hollywood upon release. I guess some people didn’t like, or simply flat out refused to see the truth that Billy so boldly served up to them with this film.

Wilder’s film showed the Hollywood community the unpleasant truth about itself; the sad truth that once great stars get tossed aside like rubbish. That people think only of themselves at the expense of others. That people use others in order to further their careers and get to the top. That fame and stardom rarely lasts all that long (no matter how much you believe otherwise when you are enjoying it).

Wilder’s film is a sad film and is difficult to watch at times. His film is spot on though and that is what makes it so worth watching; the film deals with ruined lives, damaged people and also looks at mental illness.

This film is also a very good Noir film. Holden’s character is mistaken for someone else, this then brings him into contact with Norma, and he then gets sucked deeper and deeper into her world that he reaches a point where he is a doomed man incapable of getting out of this situation. Holden also narrates the film, I’m not a big fan of voiceover work but it fits this film and doesn’t occur too often.

The film features Gloria Swanson and William Holden delivering two of the finest performances in film history. I really like that their performances also highlight the different acting styles of both the Silent and Sound eras. 

Gloria Swanson steals the show as the damaged and deranged Norma. She cannot accept that her fame has gone, that she is all but forgotten about, and that everything she once held so dear has now vanished. Swanson was one of the biggest and most talented stars of the Silent era, she had one of the most expressive faces and uses that face to its full effect in this film.

The irony of her playing this role can not have been lost on Swanson. Gloria had once been one of the biggest stars in American Silent films. Gloria’s career was over at this point, and she certainly no longer enjoyed the fame of her glory days. Unlike Norma though, Swanson (thankfully)found her change of situation easier to cope with. She was able to very successfully bring a blend of Silent and Sound acting techniques to her performance in this film. Gloria is phenomenal in this role and I consider it to be the best performance she ever gave.  Her performance is all in the eyes. Watch those eyes of hers because they speak volumes. She manages to be creepy, pathetic, pitiful, strong and fun.

Holden is both likeable and not so likeable as the down on his luck Joe Gillis, a man who seizes on an opportunity with Norma and uses her to get it. He starts out eager, outgoing, and also with some control over his life. As the film goes on Holden shows us Joe becoming desperate, on edge, depressed, a man with no control and no power. He is being used by Norma to bring her soul back to life (watch how she brightens up once he comes into her life)and even if he is unhappy he now can’t be allowed to leave this woman.

The film begins with a dead man floating in a swimming pool. The Police are gathered round the body trying to figure out what has happened. This opening shot is one of the most impressive and memorable in film history. We see the body from under the water looking up at it. The dead man is Joe Gillis, and the film that we are about to watch will show us how he came to meet his watery death.  Originally the film was to have opened in a morgue, with Gillis’s soul talking to other dead bodies, this was scrapped in favour of the opening we have now.

 

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Joe Gillis(William Holden) is a film scriptwriter who needs some money fast. By accident he meets former silent film star, Norma Desmond(Gloria Swanson). She has written the screenplay of a version of Salome, she wishes it to be directed by Cecil B. DeMille and to be her glorious return to the screen. Joe gets himself hired (to get some money)to work on her script for her. He works on it at Norma’s home(a fading luxury mansion, that I see as representing the luxury and excess of the 1920’s.)

As he spends more time with Norma, Joe soon realises that she is falling in love with him and also that she is completely detached from reality. Things get complicated when Joe falls in love with Betty(Nancy Olsen)an outgoing young studio writer. Betty offers Joe an escape from the possessive nature of Norma. Betty offers Joe love, fun, friendship, and above all some happiness. Joe’s desperation for a career opportunity and for money, means that he leaves Betty and returns to the wealth, glamour and supposed opportunity that Norma can offer him. He becomes her kept man, no different than the beloved monkey she once had as a pet. Norma dotes on him, splashes out money on him, and he can’t stand it.

Norma becomes suspicious of Joe and Betty and her anger and distress begins to steadily build up within her leading to one of the most tragic and unforgettable finales in film history.

The scenes between Norma and Joe play out like some sort of  horror film. Norma appears almost vampire like in certain scenes, and many of her hand gestures appear claw like and grotesque. Norma sucks Joe in with promises of fame and fortune, he gets caught up in her delusions and he can’t escape her, no matter how much he might try to do so.

Joe’s relationship with Norma becomes all consuming and it changes who he is as a person. He becomes bound to her and cannot escape her, he may try to, but when he does he cannot find any peace or happiness because her shadow looms large over any joy he may find.

Norma is also grotesque in as much as she is getting old, but she won’t accept it and still dresses and makes herself up to be young. Norma and her home(and it could also be said her acting style)are starting to fade away and crumble into non existence and relevance.

It’s also a look at two different acting styles the silent era(telling the story through expressions, emotion and gestures)and the sound era. Holden and Swanson both give great performances showing us these opposite acting styles and techniques.

Swanson and Holden get strong support from film director Eric Von Stronheim, who appears as Norma’s loyal butler Max.

Max was once married to Norma and he now works for her and cares for her. He fakes thousands of fan letters which he delivers to Norma so that she actually feels like she is still remembered and valued by fans. Stroheim is excellent as a proud man brought low, he too cannot have missed the irony of his casting. He was once a man of power and influence and was now playing a former director, turned servant/carer working for one of his former stars.

Von Stronheim was once of the greatest Silent era directors and famously made a film called Greed, which originally ran for nine or ten hours! His directorial career ended soon after he directed Gloria Swanson in Queen Kelly. That film is the film that Norma watches on her private cinema screen with Joe at her side.

Nancy Olsen is terrific as keen, pure, passionate and gentle Betty. She offers Joe an escape from Norma. Nancy’s character is a lifeline for Joe, and she lets us see that Betty is falling for Joe and that they would be good together. She isn’t on screen all that much, but when she is she sure makes a strong impression.

There are some terrific cameos from other famous Silent film figures: Buster Keaton, Cecil. B DeMille, H.B.Warner and Anna Q Nilsson. This film is an inside look at the glamour, pain, excess and madness of Hollywood and it also gives us glimpses of the different people involved in the film making process the writers, directors, actors, designers etc. 

I also like how real people and films are mentioned and shown throughout the film. Greta Garbo is mentioned by Norma as being a current actress (Garbo had been retired for about a decade by this time, so this shows how out of touch Norma is with current events)who had the same face and acting style of the Silent era. Interestingly Garbo was one of the few Silent stars who successfully made the transition to the sound era and retained the same level of fame from one era to the next. Director Cecil B. DeMille (who appears as himself) is another who successfully transitioned and retained fame and influence.

The scene with DeMille is one that I’m not ashamed to admit always makes me tear up a bit. Norma is warmly welcomed back by former colleagues, crew and studio staff. She sees that there are some who still hold her in affection and high regard.

This scene is also important because De Mille could easily have ignored Norma but he greets her with such tenderness and affection. He respects her and treats her as she deserves to be treated. De Mille also utters a line of dialogue that I think is quite interesting. When asked by an assistant if it was true that Norma was difficult to work with, he replies “only towards the end. A dozen press agents working overtime can do terrible things to the human spirit”.

To me those words indicate that something in Norma’s life had been seized on by the press and stories were being run. Press intrusion is another dark aspect of Hollywood, with careers and reputations being ruined and lost due to scandals and rumours being splashed over front pages. Maybe this intrusion is what began her descent into madness?

My favourite scenes are the following. Norma’s charades performance for Joe. The New Year’s Eve party with Joe and Norma being the only guests. Joe discovering what Norma has done to herself in her despair. The “I’m ready for my close up” scene. Joe at the crowded party in the apartment. Joe and Norma’s first meeting. Norma returning to the film studios and being warmly welcomed and getting to sit on the set of De Mille’s latest film.

Thanks to this film we hopefully come to understand how brutal Hollywood can be to its own, and how awful it must be when a big star falls from their pedestal and becomes yesterdays news.

The final shot is one that stays in the mind long after the film has finished. In this scene Norma gets the fame and attention she has been so long starved of. The trouble is it is the wrong kind of attention. We know that she only has an institution to look forward to (unless Max can pull some strings and keep her at home being looked after there)and that she will never be able to act again.

For one brief moment though, Norma shines again and the cameras roll to capture her emotions and every move. Her name will never be forgotten once this story makes the headlines. Is that a blessing or a curse? She will get her fame back, but her illness and despair will be milked to sell papers, and she will most likely be ridiculed too. A sad end and one that really makes you think. In the end this is a film all about victims, and about how they are used and how they suffer.

The film could almost be viewed as a warning about getting into the film industry. If you do you may get fame and fortune, but at what cost will these be achieved? Can you stand what happens once your star starts to fade?

I think this is one of Wilder’s best films and it’s certainly the best film about Hollywood I’ve ever seen.

What are your thoughts on Sunset Blvd?

 

Detective, Noir, Unsung Classics

Unsung Classics 8: Woman On The Run (1950)

I came across this Noir gem purely by chance a few days ago. It came up as a recommended purchase after I had bought another Noir film. I had never heard of this one before, but I really loved the sound of the story. I also really like Ann Sheridan(who is the star of the film) and so I just had to have it. Having watched this yesterday, I can report that this certainly was money well spent. 

Woman On The Run is quite a unique Noir film. Originally titled Man On The Run, the title was changed to what it is now, and the focus was taken off of the pursued man on the run, and shifted instead onto his wife.  I think this change really helps the film. Such stories would usually focus on the man who has gone into hiding, by shifting the focus away from him, the film becomes an out of the ordinary depiction of this type of story.

The film is also notable for having a female lead. It was pretty rare for a woman to have the main lead role in a Noir film; women certainly get big and interesting roles in these films, but the main character generally tends to be a male. I found it very interesting for the focus of the film to be on Sheridan’s character. Sheridan also co- produced the film. Her character is one tough and independent gal. I wish she had been given more roles like this.

I really like how the marriage depicted in this film is far from ideal, and it is also far from what marriage was expected to be during the 40’s. I also dig how Sherdian’s character doesn’t cook for her husband, when asked what they do for food, she coolly replies “we eat out.” This gal is not content to sit at home cooking a three course meal for her man.  Good on her, is what I say!

The two married characters have also fallen out of love, they tolerate one another, but have no interest in, or any desire for each other any more. The only thing keeping them together is their shared love for their pet dog, and the fact that their shared life is comfortable and tolerable.

Sadly this film isn’t one that is all that well known today, and there were quite a few years where it wasn’t known about at all. It is also a film that we recently came very close to losing forever. In 2008 a huge fire burned down part of the Universal Studios lot, in the process there were also a lot of films destroyed that were stored in the film vault there.

The print of Woman On The Run was among the films lost in this blaze. The interesting story of how a copy of the film came to be found and restored is included in a booklet with the Blu-ray release of the film. It is an amazing story, and I for one am very grateful that this film was able to be restored.

The film is shot out on location in San Francisco. The locations used focus on the less well known areas of the city, and don’t focus heavily on landmarks.

The film tells the story of Frank Johnson (Ross Elliott). He is out at night walking his dog. While doing so, he witnesses a gangland execution. The killer spots him, shoots at him, and then drives off.

Frank is unharmed and calls the Police. The cops ask him if he can identity the killer, he says that he can. The cops immediately want him in protective custody, but he doesn’t like the sound of that, so he makes off into the night to take a chance looking after his own back.

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Inspector Ferris (Robert Keith) persuades Frank’s wife, Eleanor (Ann Sheridan)to help them look for him. She is wary of leading them to him in case the gang should get to him if the Police get him to testify at the trial.

Teaming up with the charming and determined reporter Danny Legget(Dennis O’Keefe), Eleanor sets out to look for her husband. Legget will keep his silence as to Frank’s location in exchange for an exclusive interview with the couple. There are a couple surprising twists late in the story, which lead to a thrilling and suspenseful finale at an amusement park.

This is a very good film and it is one in which the characters and actors are the real stars. There is some very funny dialogue throughout the film. The wisecracks being thrown back and forth between O’Keefe and Sheridan are class. I also love the dialogue and scenes between Robert Keith and Sheridan, Eleanor and the Inspector rub each other up the wrong way, but they both come to develop a mutual respect for one another.

Sheridan is very good as the tough woman who discovers herself falling back in love with a man she thought she was over. Dennis O’Keefe is a highlight in the film, I think this is one of the best performances he ever gave. I really like how O’Keefe conveys his growing feelings for Eleanor to us. Robert Keith (father of Brian Keith)steals all the scenes he is in, I love his character and the way he delivers his lines.  

The film clocks in at 1 hour and 18 minutes, but boy does it manage to pack a lot in during such a short space of time. This one reminds me a bit of The Narrow Margin, with both films being compact Noir films that pack quite a punch, and have a gripping story.

My favourite scenes are the following. The skylight sequence between Leggett and Eleanor. The finale in the amusement park. Ferris speaking to Eleanor for the first time and looking around her apartment. Leggett and Eleanor escaping a Police officer tailing them.

This film also contains a very funny exchange between a drunk woman and Eleanor. It’s one that is funnier when you see it, rather than when you read the dialogue.

Woman -“Say, why don’t you wear a hat?”

Eleanor – “I look funny in hats”

Woman – “You’re not wrong!”  Haha.  🙂

Cracking little flick that deserves to be much better known. Do you love Film Noir? Then this is a film for you.

Second World War, Thriller, True Story

Hangmen Also Die! (1943)

On the 27th of May, 1942, the high ranking Nazi General, Reinhard Heydrich was severely injured during an assassination attempt on his life by members of the Czech resistance in Prague. Heydrich died from his wounds on the 4th of June that same year.

His death saw brutal reprisals brought against the Czech population; with thousands of people being killed, or being deported to camps where they would later die. Details of what happened to the brave resistance members who were responsible for his death can be found by searching for Operation Anthropoid on the internet(I must warn you that it does not make for easy reading).I admire their bravery, and I was very shocked at how brutal their end was.

I have only recently become aware of this vile man and his assassination thanks to the recent film, Operation Anthropoid(the code name given to Heydrich’s assassination plot). Reading up about this event, I have been really surprised that I was not aware of any of this before. Hedrich was one of the main architects of the Holocaust and he was an all round real nasty piece of work. Some of his nicknames included ‘The Butcher’ and ‘The Hangman’.  

The year after Heydrich’s assassination, the German director Fritz Lang (who became an American citizen in 1939) made a film about this event and its brutal aftermath. I only became aware of Lang’s film recently, and when I saw that it was being released on Blu-ray, I jumped at the chance of being able to watch this film. It arrived a few days ago, and I have to say that I am so impressed with the film, and also with the visual quality of the Blu-ray release.  

For a film made in the 1940’s, Hangmen Also Die! is a surprisingly violent, gritty, and very dark film. There are several scenes in this that I’m really surprised got past the censors; scenes such as the taxi driver who commits suicide before he can be taken for torture, the execution sequence near the end, the badly beaten man being dragged through Gestapo headquarters, and the murder of a main character near the end of the film. Of course it’s good these were included because they help to bring home the terrible reality of life under Nazi rule.

This film is also one of the best films about a resistance movement that I have ever seen. I love how the resistance live right under the noses of those who seek them, yet they move around freely in the city invisible to those who seek them. Their group seems to exist separately from everyone else; they communicate by looks and gestures in public that only they can understand. So under everyone’s noses these people are planning and carrying out operations without being noticed. They are like a ghost community living and working alongside the community that everyone sees and experiences every day.

 Lang’s film is suspenseful, tense, moving, and downright scary at times. It also captures mans inhumanity to man, and Lang also does a good job of showing us how much courage it takes to stand up to oppression and cruelty.

In this film we see that members of the resistance are not only those who belong to a resistance group and carry weapons and carry out operations. Resistance members can include anyone who goes against the rules of the oppressors; this could be remaining friendly with people who everyone has been told not to associate with, or in refusing to name somebody to the authorities.

The film is a rather fictionalised version of the real events, but it certainly succeeds in capturing the horror, the violence, and the bravery that surrounded those events.  Lang lets the actors do the work in this film, they bring these characters to life (both the heroes and the villains)and they all get their chance to shine (even actors in very small roles)and they all succeed in conveying to us how the courage of ordinary people making a stand can have an impact. This story is a human story and Lang shows us the best and worst of humanity.

The film was written by Lang and the celebrated German playwright and screenwriter, Bertolt Brecht. This film would end up being Brecht’s only successful Hollywood film.

The cinematographer working on this film was the legendary James Wong Howe, and he uses his camera to create a mood and atmosphere that is reminiscent of Lang’s German expressionism films of the 1920’s. This film also serves as a good example of a film that is a mix of German Expressionism and American Film Noir.

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The film focuses on the search for Heydrich’s assassins, and also for the people who are hiding them from the Gestapo. Interestingly the assassination itself is not shown in the film. I think this was a good choice because it shifts attention away from Heydrich and focuses instead on the men and women who stood up against him, and against what he stood for and represented.

Dr. Svoboda (Brian Donlevy)is the assassin of Heydrich, he flees the scene of the crime and goes on the run. He is seen going into a building to hide by Masha Novotny (Anna Lee). Masha deliberately misleads the pursuing Nazi soldiers as to where he is. He remembers this kindness.

The Gestapo’s investigation into the assassination eventually lead them to Masha’s door. When hundreds of hostages, including Masha’s father, Professor Novotny (Walter Brennan) are taken prisoner by the Nazis and sentenced to death, Svoboda must wrestle with his conscience to decide if he turns himself in to spare the others, or lets them die.

Gestapo investigations are being run by the cunning Inspector Gruber (Alexander Granach)and he is fast closing in on Svoboda. He also has help in locating the Czech resistance, thanks to his double crossing informant Emil Czaka (Gene Lockhart).

The film becomes a cat and mouse game between the resistance and the Gestapo. Time is running out for the hostages, people are being murdered, tortured, and betrayed, and these horrible events show no sign of stopping. The resistance have a cunning plan up their sleeve, it is one that will paint someone else as being the assassin, rather than Svoboda.

If there is a downside to this superb film, I would say it lies with some of the casting. The casting is a somewhat mixed bag for sure. I think this film would have been better had they cast German or Czech actors in the lead roles, it would have added a great deal more authenticity for sure. Brecht had hoped that they would cast German speaking actors, but in the end it was decided they would go with a mix of American and German actors.

Brian Donlevy strikes me as an odd casting decision. He has never been an actor I’ve liked, and he often strikes me as being rather wooden in many of his roles. He isn’t too bad here, but he does come across as quite unemotional and calm, which I doubt would be the case for his character when he was on the run in fear of his life. As the film goes on I think his performance improves somewhat, but during the first part of the film he isn’t all that great.

Anna Lee also starts out as not being that impressive, but then she gets much better as the film goes on. She is very convincing as the frightened young woman who finds an inner strength, and the courage which enables her to do her bit in standing up against oppression.

When I saw Walter Brennan’s name on the opening credits, I thought to myself what a very strange casting choice for this film. Brennan is a very good actor, but his screen persona didn’t really strike me as one that was really going to fit this story. How wrong I was! He is excellent as the professor and I was pleasantly surprised to see him deliver one of the best performances in the film. His very famous voice sounds quite different here to how it usually sounded. He is excellent as the quiet, gentle, and dignified man who accepts whatever the Nazis do to him because he knows it will show them up as the monsters they are.

Lionel Stander has a small role and I’m afraid to say that his distinctive voice will take you right out of the film, he just sounds so bizarre and out of place here.

Jonathan Hale is excellent as Dedic, the highly experienced leader of the resistance movement. He steals all the scenes he is in. Hale makes his character strong, calm under pressure, and also someone who is a reassuring and strong presence.

Reinhold Schunzel is creepy, sadistic and completely over the top as the Gestapo chief who enjoys his job a little too much. He sits there playing with the people he is about to torture, cracking his knuckles and giggling, while adeptly tripping people up in their stories and catching them out in lies.

Hans Heinrich von Twardowski is very memorable in his small appearance as Heydrich. He conveys the power and arrogance of this man perfectly, and he makes us see why he was so hated and feared.

Dennis O’Keefe is very good as Jan, who is Masha’s boyfriend. He plays his character as someone we are never really sure about, can he be trusted, will he turn on his girl to save himself? This character is also quite heroic and likeable.

Gene Lockhart delivers a standout performance as Czaka, the man who pretends to be one thing and who is actually another.

Alexander Granach delivers the performance of the film for me. He steals every scene he is in as the watchful and tough inspector. He guzzles down beer after beer with seemingly few side effects. I think his haircut would not have looked out of place in 1980’s punk Britain.

My favourite scenes are the following. Masha and her father saying goodbye in the cell. The people in the cinema rebelling against the Nazi soldier. The hostages reading and memorising a poem about resisting. Masha cradling the beaten old woman in the torture cell, in silhouette we then see a Gestapo officer walk into the cell carrying a whip, we don’t need to see more to know what is about to happen to these two women. The betrayed resistance members giving their betrayer a piece of their mind. The lipstick mark scene and the fight that follows on from that. Svoboda and Masha acting out a conversation for the Gestapo bug hidden in the apartment.  Svoboda deliberately spilling red wine to cover up a bloodstain.

This is a cracking film. I think it is one that really does deserve to be much better known by classic film fans today. I’d say that this is one of Lang’s best films. He manages to capture the best and worst of humanity in this film, and he creates a dark and gloomy atmosphere that stays in the mind long after the film is over. This one is also very remarkable given the fact that it was made so soon after the real events, it is also very frank for the time in its depiction of the violence and horror of the Nazi regime.

It is a somewhat depressing film, but there is certainly a glimmer of hope and happiness at the end; I think that this ending was included to boost the morale of people watching this. This would hopefully have served as a lesson to ordinary people in how they could fight these monsters who were invading their homes, and who were trying to destroy cultures as they moved around Europe.

I’d recommend seeing this on Blu-ray, it’s been restored and looks so clear and sharp. There’s also an interesting commentary, plus there is a documentary about the real events and about Heydrich.

Anyone else seen this?

 

Blogathons, Drama, Oscars, Page To Screen, Romance

The Greta Garbo Blogathon: Grand Hotel (1932)

Greta Garbo blogathon

Crystal over at In The Good Old Days Of Classic Hollywood is hosting this blogathon all about Greta Garbo. Be sure to visit her site to read all of the entries. I can’t wait to read them all myself.

Greta Garbo, or just Garbo, as she was so often referred to as, was quite simply one of the most intriguing and talented film actresses that there has ever been. Her face spoke volumes. Greta was also an actress who really never needed any dialogue because  she could convey what the audience needed to know through looks and emotions alone.

Greta Garbo was perfectly suited to the Silent era style of acting, her face and eyes were her words; yet Greta was also something of a rarity in that her style of acting fit the talkie era too. Where many of her fellow Silent stars failed to make the transition to the Sound era, Garbo not only succeeded to successfully make that major transition, but she also retained the same level of fame and acclaim that she had enjoyed in the Silent era. That is a pretty remarkable achievement when you think about just how many stars from the Silent era saw their careers destroyed by the coming of the sound era.

The only other actress I can think of who compares with Garbo for being able to make audiences so completely feel their emotion through the screen is Ingrid Bergman. Both let their faces and emotion speak for them. When you watch their films you do so to see those extraordinary faces in action.

A very private and shy woman in real life, the Swedish born Greta Garbo retired from acting and public life in 1941. Her screen persona (often a strong and independent woman)is still famous today. Greta Garbo was one of the all time greats and she continues to fascinate today. I first saw her in the tragic romantic drama, Camille, she broke my heart in that and I have been a fan of hers ever since.

For this blogathon I’m writing about Grand Hotel. It is in this film that Garbo utters that famous line which has since become her catchphrase – “I want to be alone”. That line may as well have come from Greta herself, as she also wanted to be left alone to live her own life as a private citizen.

The film is directed by Edmund Golding, produced by Irving Thalberg, and it is based upon the 1929 novel by Vicki Baum. The novel was inspired by Baum’s time working as a maid in a hotel.

When I first saw Grand Hotel,it led me to feel very differently about both Greta Garbo and Joan Crawford. I thought that Greta overacted in her role, I also felt that there was something rather artificial about her performance. This reaction really surprised me. I had been so impressed with the other performances of Greta’s that I had seen up to this point. 

It took me a couple of more views to appreciate and actually understand Greta’s performance here. Her character in this film is a prima donna, her actions and gestures are completely exaggerated, everything that she does is done purely to attract the notice of others.  

Greta captures that sort of personality perfectly in her performance here. Her performance is over the top because that is exactly what her character is like. When you watch her with that in mind, I do think you really begin to appreciate just how good a performance it really is.   

I also found myself really liking Joan Crawford in this film. That was surprising to me because she wasn’t an actress who I had liked very much up to this point. This film made me appreciate her a great deal more as an actress, and while I still can’t say she is a favourite of mine; I have certainly developed a great deal of respect for her as an actress. I think she was at her best in films made during the 1930’s, and I think that she comes across to me as being much more natural in these early films.

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Grand Hotel was one of the first all star films. The actors who appeared in this were among the biggest names of 1930’s cinema. I can well imagine that audiences at the time must have been so excited to see all these big stars together in one film. Greta Garbo was probably the biggest star in the film, other big names in the cast include the Barrymore brothers (John and Lionel)and Joan Crawford.

Berlin, in the 1930’s. If you are after a swell place to stay when you’re in the city, you need look no further than The Grand Hotel. It’s luxurious, modern, and is a very popular establishment. You never know just who you will run into while you’re staying here.

Greta Garbo plays Grusinskaya, a shy and acclaimed ballerina who is staying at the hotel while she performs on stage in the city.

John Barrymore plays Baron von Geigern, a kind and good man, who has unfortunately squandered his fortune and now has to resort to playing cards and being an occasional thief in order to support himself. The Baron is planning on stealing Grusinskaya’s jewels, but he doesn’t plan on falling in love with her, or for her to return his feelings.

Lionel Barrymore is Mr. Kringelein, a loveable, weary, gentle and sick man, who is looking after himself for a change. He befriends the Baron and (possibly for the first time in his life)has a lot of fun.

Joan Crawford plays Miss. Flaemmchen, an outgoing and ambitious stenographer who has been hired to work for a guest in the hotel. She befriends the Baron and Mr. Kringelein, and she falls in love with the Baron. He has great affection for her, but his heart is with the ballerina. Mr. Kringelein also develops great affection for the young woman, and there is a possibility that he has fallen in love with her too.

Wallace Beery plays Director Preysing, a wealthy, tyrannical, and hard hearted industrialist, who hires Miss Flaemmchen to assist him as he closes an important deal at the hotel. He is also the employer of Mr. Kringelein.

Lewis Stone plays the hotels doctor, Otternschlag, a dignified man who was terribly disfigured during WW1.

Jean Hersholt plays the dedicated and overworked hotel manager, Senf. He is eagerly awaiting news of his wife, who is about to give birth to their child.

Rafaela Ottiano plays Suzette, the devoted and demure ladies maid to Grusinskaya.

These characters will all interact with one another during their stay at the hotel. Hearts will be won, hearts will be broken and lives will be forever changed. This will be one hotel stay that will never be forgotten by any of our characters.

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The Baron and the Ballerina.

It is the characters that give this film its heart and soul. We are made to feel for them deeply as the film goes on. We want the best for them, and we come to care about some of them very much indeed. I like that they all come across as believable and very real people, they are filled with flaws, quirks, and shades of light and dark. It is the characters that draw me back time and again to this film.

My favourite characters in this are the Baron, Miss Flaemmchen and Mr. Kringelein. I love the bond that slowly develops between their trio, and some of the funniest and most moving scenes in the whole film feature these three. 

I also have to say how much I love it when the Baron calls Flaemmchen “funny one”. The Barrymore brothers and Crawford all do such a terrific job of making their characters affection for one another seem completely genuine. We completely believe and feel their emotional connection.

The Baron in particular is the films heart. He is the character who connects the most with all the others. He brings happiness and also a sense of security into the lives of Flaemmchen, Grusinskaya and Kringelein. What happens to him later in the film is shocking, disturbing and heartbreaking. John Barrymore is certainly at his best in this role, conveying a weary, decent and gentle soul forced to do something morally wrong in order to survive. This performance has become my favourite from among Barrymore’s many films.

The characters I feel the most sorry for are Kringelein, the Baron and Grusinskaya, they are each a sad person in different ways, and they all suffer a great deal of pain and heartbreak as the film goes on.

My favourite scenes are the following. The Baron meeting Flaemmchen for the first time. The entire sequence in the bar. The scene between Flaemmchen and Mr. Kringelein where she says she will stay with him(this never fails to make me go teary). The Baron comforting a distraught Grusinskaya. The introduction sequence. The phone ringing in the Baron’s empty room and we see his dog waiting on the bed for him to return.  😦 Grusinskaya not being told the truth about the Baron at the end, but deep down inside herself we see that she appears to know something is very wrong.

This one is a real character piece and I think that the story gives all the actors their chance to shine at some stage of the film. The cast all deliver solid performances. I think the Barrymore brothers, Greta Garbo and Joan Crawford deliver the best performances in the film.

Despite the good story, the memorable characters, and the many stars which appear within it; I do think it is fair to say that it is Greta Garbo who has become the best remembered part of this film. 

Greta’s role in this film is the one that has become the most famous out of all of her screen work I’d say. As the decades have passed us by, the name of Garbo, and the title Grand Hotel have become forever linked to one another.

           Some facts about the film.

  • Buster Keaton was the first choice for the role of Kringelein. I would love to have seen him get the chance to play this more serious and tragic role. While it is intriguing to imagine Keaton in the role, I do think that in the end the right casting choice was made with Lionel Barrymore.

 

  • The film won the Academy Award for Best Picture. It wasn’t nominated for, and nor did it win, any other awards in any of the other categories.

 

  •  John Barrymore and Greta Garbo were very nervous about working alongside one another in this film. When they eventually met they both ended up getting along really well. 

 

  • Buster Keaton wanted to make a parody of this film with himself playing Kringelein. It would have been set in a New York flophouse, and it would have starred a number of other comedians in the key roles. I would so love to have seen this.

 

Any other fans of Grand Hotel? Please leave your comments below. What do you think of Greta Garbo in this film?

 

 

British Cinema, Drama, Noir

It Always Rains On Sunday (1947)

This film is one of the best screen portrayals of everyday life in post World War Two London that there has ever been.  We see the grime, the claustrophobia, the boredom, the frayed tempers and the nosy neighbors. Part Noir thriller, and part superb character study, this  flick came out of Ealing Studios during their grittier and darker period in the 40’s.

The film is interesting because Douglas Slocombe shot out on location in and around the streets of London. This choice certainly gives the film a great deal of realism, and it really helps to add atmosphere to the film. We see the cramped and busy city streets, and the somewhat calmer residential streets.

Rose Sandigate is a London housewife whose dull Sunday morning is turned on its head by the arrival of her former sweetheart Tommy Swann(John McCallum). Tommy has been in prison for years and has escaped; he is now on the run and is being searched for by the police in a manhunt led by the highly experienced, observant, pipe smoking Detective Fothergill (Jack Warner).

Rose hates Tommy for having left her, but she won’t turn him over to the cops, and she will try and offer him what little help she can (shelter, food and money). The trouble is Rose is now married to George (Edward Chapman)and is the mother to her own son, and to her two stepdaughters, Vi and Doris. Her family are in and out of the house and she must try and hide Tommy from them, her neighbours, and from the police.

The escape of Tommy isn’t the only story of the film though. There are several other stories being told, and the paths of some of the other characters in those stories end up connecting with Tommy Swann later in the film. There’s the three criminals who are trying to flog stolen rollerskates, the reporter who is also trying to find Tommy, and the crime boss who Doris’s boyfriend wrongly assumes fancies her.

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We also follow Rose’s two stepdaughters Vi (Susan Shaw)and Doris (Patricia Plunkett) and their love lives. We also see the antagonism they (more so Vi)have towards Rose. Interestingly Vi and Rose are both quite similar in that they are strong and determined women, and they both fall for a guy who breaks their heart; in Vi’s case it is the suave, married musician and music store owner Morry (Sydney Tafler). Vi and Rose have more in common with one another than they’d like to realise.

This film is thrilling, suspenseful, funny and realistic. There are strong characters and performances to enjoy throughout.

The standout performance is Googie Withers as Rose. She perfectly captures this woman’s boredom and her unleashed excitement when the situation with Tommy makes this Sunday one she’ll never forget. Rose is on edge throughout the film, struggling to control her temper when she argues with Vi, struggling to ignore her feelings for Tommy, and struggling to endure the dullness of her life as a housewife.

Susan Shaw is excellent as the glamourous Vi. Shaw shows us that this woman is tough and also easily hurt. Shaw had a tragic life, she married the popular actor Bonar Colleano, and became an alcoholic after he was killed in a car crash in 1958. A sad life and end for a very promising actress.

Sydney Tafler is excellent as Morry. He steals every scene he is in as the man who cheats on his wife, but who wrongly assumes she doesn’t know when she actually does. This leads to him rather amusingly finding out he is wrong in that. He breaks a lot of hearts, and doesn’t give it a second thought. What a cad!

I like how the film shows how the family have frayed tempers because they live in such a cramped environment and have little privacy from one another. This would have been the reality in many homes at the time. The film also reflects the dullness of everyday living and the excitement that beckons from living in the city, or from living your life outside of the norm.

The film also shows us the two sides of criminal life. There’s the money and nice times when the criminal succeeds, and there is also the imprisonment and heartbreak when they fail and are caught and punished. This is reflected in the exploits of the gang trying to flog their stolen skates, and in Tommy, who literally embodies what happens to a criminal when they are caught and punished. In the film Tommy is shown to have been severely flogged while in prison. He has come out a scared, broken and desperate man. Hopefully his situation may have served as a wakeup call to anyone in the audience who thought crime pays.

I think this film also highlights that it is women who so often are left to pick up the pieces, and to suffer great emotional pain when their men go and do something stupid (be it crime or cheating). The women take that pain and use it to make themselves stronger, as that is the only way they can go on after what has happened.

The film also makes Rose an interesting character, she is shown as a married woman who still has feelings for her ex, and there is a scene where it is pretty strongly hinted that they have sex in her bed! Also the rather shocking decision she makes near the very end of the film is also interesting; I think that it must surely have shocked quite a few people morally at the time of release.

This choice Rose makes adds even more darkness and despair to a film already swimming in both of those things. Interestingly though Rose does get some happiness at the end, which goes against what usually happened to characters like her, especially if they made the decision she did at the end.

Interestingly the rain itself becomes almost like a character in the film, and one part of the music by Georges Auric sounds just like the patter of raindrops as they fall, which I think is very clever and adds so much to the film.

This was one of Googie Withers best film roles, and sadly it was to be the last film that Googie would make for Ealing. She continued to make films elsewhere though. She and John McCallum fell in love while they made this film and they were married the following year. They moved to Australia in the 1950’s and stayed married until John died in 2010. Googie died the following year.

This is one of the best British films, and I think it does such a good job of portraying the post war life. It has become a great favourite of mine, and when I’m in the mood for a well acted British Noir this is one I turn to.

I like how many of the characters actions, gestures and words give the film its authenticity and realism. One of my favourite examples of this is the scene with Hermione Baddeley as a landlady interviewed by the police, she is disdainful and walks away from them yawning and scratching her bum. It’s the little moments like this that bring characters to life and make a film or series more realistic.

I also like how the people in this film are relatable and ordinary, they are not rich or doing things that most people at this time would never have been able to afford to do.

My favourite scenes are the following. Rose and Vi’s argument and fight about the bedroom door and the mirror. The entire sequence at the railway yard. The inspector speaking to the three men in the pub. The opening scene where Doris has to make breakfast, and the family all start to get up and get ready. Tommy and Rose’s first meeting in the air raid shelter. The flashback sequences showing us Tommy and Rose’s romance.  The two boys blackmailing Morry in return for their silence about seeing him with Vi. The ending.

Any other fans of this one?

 

Personal, Silent Film

Appreciating Silent Films

Regular readers of this blog will know that I love me some Silent cinema. I’m very sad to have to say that it was not always thus though. I saw my very first Silent film in my mid teens, it was shown in a film class at college. That film was Metropolis.

Before seeing this I was already a huge fan of classic era films, but I had never had any interest in seeing the Silent films in which nobody speaks. When this film started playing,there I was, still stubbornly convinced that there was no way this was going to be for me. Then something happened that I can’t really describe. I just became fascinated by the images I was seeing on the screen. I was so impressed by the scale of the sets, with the overall look of the film, and with its unforgettable depiction of the future. Before I knew what was happening there I was actually enjoying a Silent film.

I have to say that while Metropolis has never become a favourite of mine, I do admire it a great deal, and I do enjoy it when I watch it. It will always have a special place in my heart for being the film that made me a fan of Silent cinema.

From that point on I started to watch more Silent films. Then I started to laugh at myself for having held off seeing these films for so long. Silent films are incredible. Remember that all the stunts in these were done for real (no CGI here thank you very much), all the special effects were done by hand, even the editing was done by hand.

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I also think that many of these films are like art brought to life. Due to a combination of beautiful costumes, colour tinting, uniquely designed title cards, lavish sets etc, these films become like moving paintings. They look so different to sound films.

When you see these films today and you know that what you see was all done by hand, it just blows you away. The stunning, jaw dropping visuals in these films are leaps and bounds beyond anything CGI gives us today. The directors and film crew working at this time were so innovative, and their fearlessness in exploring new and exciting ways of making films, or in creating film effects is admirable.

I also like the different acting style. Yes, when viewed by us today it looks theatrical and can be strange to get used to if you’re new to it; however the acting in these films is all about the actors conveying emotion, and in doing so making us feel their pain or joy. These actors do not need dialogue because they have the ability to convey to us what’s going on through expression alone.

Music is important in these films. You see despite there being no dialogue, these films are not actually totally silent. There is music playing throughout these films, and the scores are amazing, they capture the mood and atmosphere of the films and become almost like another character in them.  I would love to go to a silent screening that has a live orchestra accompanying the film. Has anyone ever attended one of these? What was it like?

New To Silent Cinema?

Have you yet to dip your toe into the ocean of Silent cinema? What are you waiting for? Please don’t be afraid of these films. Pick one to watch and give this different film style a chance. Don’t simply dismiss these films as being old,outdated, or weird when you have never actually watched one.

If you don’t try these films you will not only miss out on stunning visuals, powerful stories, and memorable characters, but also on some terrific actors. People like Lon Chaney Sr, Douglas Fairbanks Sr, Lillian Gish, Louise Brooks, Rudolph Valentino, Buster Keaton, Clara Bow and so many others. You’ll also miss out on directors like F.W Murnau, Charles Chaplin, Buster Keaton, D.W Griffith and Cecil B. De Mille. 

Where To Begin?

So, you are going to watch your first Silent film. I would say pick something that is from your favourite genre. Don’t immediately try one of the very long feature films like Metropolis for example. You may get lucky as I did, and really enjoy your first Silent if it is a long feature, but on the other hand you may just get bored and will be more likely to continue avoiding these films, so maybe try something that appeals to your tastes before checking out other types of Silent films.

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A good place to start is to try a comedy short. If your going to do that I would heartily recommend the films of the legend that is Buster Keaton (seen on the DVD cover above). This comic genius made both comedy film shorts and feature films. He was the master of physical comedy, and had perfect timing. He also performed some of the most jaw dropping film stunts ever captured on film. If you like comedy you can’t go wrong with Buster’s work. Charles Chaplin, Fatty Arbuckle, and Harold Lloyd’s films are also highly recommended to comedy fans.

If you are interested in seeing the famous stunning visuals, epic running time, or visual trickery of Silent films, then I these are just of the films that I would highly recommend that you see: The Phantom Carriage (1921), Battleship Potemkin (1925)The Thief Of Bagdad(1924), Orphans Of The Storm (1921),Ghosts Before Breakfast (1928), A Trip To The Moon (1902), The Cabinet Of Dr. Caligari (1920), Metropolis (1927),The General (1926),Nosferatu(1922) and The Man With The Movie Camera (documentary, from 1929).

The following are three feature films that I love a great deal. I think they are all lovely films that are very easy to get into. I’d recommend them all as good starting places for people new to Silent cinema.

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1- Shooting Stars (1928) This British Silent is a behind the scenes look at filmmaking. It follows three actors, and is funny, suspenseful and very moving. I think this film was the first to show audiences what goes on behind the scenes and how shots are achieved. We see how the screen fiction is achieved and made believable. You can read my full review of this film here.

2The Artist (2011) This film has introduced a new generation to Silent films. It is a charming, funny, and very moving look at the fleeting nature of film stardom. This is a beautiful homage not only to the Silent era, but also to films such as A Star Is Born and Singin’ In The Rain.

3- It (1927) No killer clowns to be found here. This is an enchanting story about a shop girl who falls for her wealthy boss. This is the film that showed the world the star quality of the great Clara Bow. Clara is a great favourite of mine, and she is notable because her acting style still feels modern and very natural when viewed today.

I could go on and on about Silent cinema, but I don’t want to bore you all.  🙂  I hope that I have piqued your interest in these films if you have yet to check out Silent films. Let me know how you get on if you decide to check out Silent films for the first time.

If you are already a fan I would love to hear from you. How did you become a fan, what are your favourites? Did you put off seeing them for ages?(like me). I sometimes feel like an oddity because I’m 29 and don’t know anyone else my age who loves these wonderful films. Is there anyone else out there of a similar age who loves Silent films?

 

 

 

Coming Of Age, Second World War

Forbidden Games (1952)

The innocence of our childhood is something that we sadly never retain as we grow older. We often look back to our childhood years and yearn for that time again. I think we have this yearning because our early years were simpler, and we were not aware of the horror and pain of the adult world.

Rene Clement’s haunting, beautiful, and deeply moving coming of age story, captures this childhood innocence perfectly. His film also captures this idyllic time being shattered. He does a good job of depicting a moment (that must come to us all)in which the children lose their childhood innocence and finally see and enter the adult world. The film reminds me quite a bit of Whistle Down The Wind, and if you enjoyed that film then I think you’ll enjoy this one too.

This film is a war film that is notable for focusing not on the soldiers and battles, but on the ordinary people caught up in the war who have to carry on living in a war zone. It is rare for war films to focus on the toll on civilians during wartime, so it’s nice to see this one focusing on that a bit. The opening sequence of an air strike shows how quickly and randomly people are killed in war. Showing all of this from a child’s perspective gives it even more power as the horror and confusion is heightened.

Brigitte Fossey and Georges Poujouly give two of the most moving performances in film history. The fact that they were both so young when they starred in this really makes their performances all the more remarkable. I think they both really deserved some kind of award for their work here. They both make your heart break as we watch what they go through, especially during the last few scenes of the film.

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The film is set in France, in 1940. The Second World War is raging and people are being killed. Paulette (Brigitte Fossey)is a young girl who is fleeing into the countryside with her parents, and her pet dog, Jock. A German air strike kills her parent and injures Jock who soon dies. Confused and traumatised, Paulette wanders along a riverbank carrying her dead dog, and she ventures deeper into the countryside. She is found by Michel (Georges Poujouly)a slightly older child who is the son of a poor farmer. His family take in Paulette and try and care for her. Paulette has no concept of death and doesn’t understand what has happened to her parents and dog. We see her try to make sense of world without them in it.

Paulette and Michel develop a strong bond and become inseparable. Paulette is obsessed with death and she and Michel try and leave the reality of their world behind. They retreat deeper and deeper into their own little world, and they build a graveyard in which to bury the bodies of dead animals (including Paulette’s beloved dog)that they come across.

The pair steal and make crosses to use as headstones. Michel doesn’t fully understand that stealing is wrong, but you can see he sort of knows he shouldn’t be doing it; Paulette on the other hand has no idea that what they are doing is wrong and she doesn’t understand the anger and annoyance of the adults when they discover the children are to blame.

I like how the children see all life, not only human, but animal too as being sacred and meaningful. They feel that animals should have graves and be remembered too. I also like how kind and compassionate the children are shown to be, whereas the adults are mostly depicted as being angry and selfish. Michel’s parents have moments where they are kind and tender but they are few and far between.

I always think this film is telling us that we take life more slowly and feel things more deeply when we are children. Quite why we lose that nobody knows, but it is a sad fact of life that we end up becoming hardened and less inclined to see the wonder in our surroundings as we age.

This is a film that stays with me long after it’s finished. This is a film that gets into my heart and soul, I feel with and for these two children and I get angry and upset every time I watch because of what happens at the end. If ever there was a film that I wish had a different ending it would be this one. Having said that though, this ending is certainly realistic and shows that something has to happen to us all to spur us into our adulthood. If only in this case that something didn’t have to be quite so sad and cruel. 😦  The ending to this film makes me cry each time I watch.

Interestingly the Blu-ray I own includes an alternative opening and ending. These sequences show Brigitte and Georges sitting by a river reading a story (the book that appears in the opening credits)and we understand that Paulette and Michel are just fictional characters. These sequences have a dreamlike or fantasy look about them, and I guess they serve to make the film less upsetting. I think not featuring them was the correct choice though as the emotional impact of the ending is what makes this film both powerful and unforgettable. It’s nice to see these sequences though.

My favourite scenes are the following. Michel and the owl at the end of the film. Paulette’s first night in her new home. Michel helping Paulette not to be afraid of the dark. The fight in the graveyard. Paulette walking through the country carrying Jock. The first time we see the completed animal grave. Michel trying to catch the escaped cow.

I consider this to be one of the best coming of age films there has ever been. The acting is excellent, the music is beautiful and the film is one you don’t forget in a hurry. I’d say this is one of the best French films ever made. What are your thoughts on this film?

Thriller, Tributes To Classic Stars

The Third Wonderful Grace Kelly Blogathon: To Catch A Thief (1955)

Grace Kelly blogathon

Virginie over at The Wonderful World of Cinema is hosting this blogathon about Grace Kelly. Be sure to visit her site to read all of the entries. I can’t wait to read them all myself.

Grace Kelly was many things in her life, and she has come to mean different things to different people. She has become a fashion and beauty icon over the years. She also famously went from being a fairly ordinary American woman to becoming a real life Princess in 1956, when she got married to Prince Rainier of Monaco. Many people have since come to know Grace through her work and life as a Princess.

Most of us have come to know Grace and are fans of her through her work as a film actress. Grace was a very good actress, and while I personally think that she perhaps wasn’t the best actress of her generation, she was without a doubt certainly a very good one. 

Besides being talented, Grace also had that magical star quality so necessary for a successful screen career. Grace shone when she was on screen, she has that effect which means you can’t take your eyes off her when she is on the screen.

I like how Grace often portrayed a vulnerability in many of her characters. Her characters would often put up a tough façade, but in reality they were women who could be easily hurt, or were women who felt things deeply. Grace portrayed all this so well through her eyes and expressions.

Alfred Hitchcock was the director who gave Grace the film roles which brought her great fame, and forever cemented her screen image in the minds of audiences. Hitchcock knew how to use Grace to best effect on screen. Through her collaboration with Hitch, Grace’s screen image changed from cool, demure, vulnerable and gentle love interest, to strong, sexy, elegant and confident leading lady.

Hitch also played around with Grace’s aloof and cool persona. He gave her roles that played up that image, but then showed us that underneath that perceived image she was very different, and she could be warm, feisty, sensual, sexy and very human too.

I’m writing about the third and final film that Grace made with Hitchcock. That film is To Catch A Thief. The film was made in 1955, and it was shot out on location in the South of France and in Monaco (soon to be Grace’s future home).

This film may lack the suspense of the majority of other Hitchcock films, but it certainly features some interesting characters, lots of innuendo (just how did some of this make it past the censors!)beautiful costumes (especially those worn by Grace)and the photography of the stunning locations is truly a pleasure to look at. 

This is a film that I love quite a bit. It isn’t a traditional Hitchcock film in terms of its content and visual style, but the sexual innuendo and the developing relationship between Grace and Cary Grant’s characters is classic Hitch for sure.

Grace looks truly stunning in this film. She is at the height of her beauty here, and she gets to wear some of the most beautiful and elegant gowns I’ve ever seen. I especially love the pale blue evening gown she wears in the hotel restaurant. Edith Head truly outdid herself with her costume designs for this film.

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I love how Grace plays her character Francie. This woman is in control of everything she does and she very well knows it. She is strong, sexy and really oozes confidence and determination. She can also be wild and uncontrollable which really gives her an air of danger at times.

I love the car chase sequence, where Francie’s fast driving really scares John as he ends up becoming a helpless passenger. Francie also plays with John(like a cat would with a mouse)but he gets wise to her games and he plays with her right back (cue some classic banter between the two).

A series of jewel robberies are taking place across the French Riviera. The robberies bear a strong resemblance to the work of a notorious jewel thief known as The Cat. This man is John Robie (Cary Grant)and he knows very well that he is not the current thief. Once he is alerted that someone else is thieving using his signature style, he sets out to catch the culprit himself and to clear his own name.

John soon begins to receive threats on his life. John also has to deal with the beautiful American heiress, Francie (Grace Kelly)and her mother Jessie (Jessie Royce Landis)who are on holiday in Cannes and befriend him. John and Francie have an instant attraction, but John grows suspicious of her when she asks too many questions about thieving, and especially when she claims to know he is the famous cat burglar.

John also has issues with some former friends/colleagues from the French Resistance. He also has to deal with Danielle (Brigitte Auber)who is a local girl he has known for years, who has a huge crush on him.

John enlists the help of an insurance man (John Williams)to set a trap for the thief. Together they create a list of the most wealthy jewel owners in the Riviera. Who can John trust? Just who is The Cat?

This film is less about its plot, and instead is more about the beautiful locations, and also the sexual tension and desire between Francie and John. Cary and Grace have incredible chemistry with one another, their innuendo laced dialogue is truly shocking in places, just how did some of those lines( especially the one about a week at Niagara Falls) even get past the censor?

I didn’t see the identity of the copycat thief coming until it was revealed. Having said that though this revelation just lacked a big shock for me. I think the film would have been more exciting if Francie had been revealed to be the burglar. It would have placed John in a predicament as to whether he should hand her in, or if he could attack her back if she attacked him.

When I first saw this film I was convinced that it would be Francie who would be revealed as the copycat thief.  Having said all that I think that reveal would have been too obvious given how Francie acts earlier in the film.

An enjoyable film that is beautiful to look at. In this film we get to see the wealthy and the beautiful having fun in a beautiful place. It makes us dream that we could have such a life too. Be sure to see this film on Blu-ray to see it looking clear and to see the colour photography at its most stunning.

Grace and Cary are both superb here and the rest of the cast all deliver solid performances too. Jessie Royce Landis is hysterical as Francie’s mother who develops a crush on John herself.

The beach sequences always make me want to visit the beach, and I envy Grace every single time I watch this because of the gorgeous outfits she gets to wear throughout the film.

This one is certainly worth a look for fans of Grace, Hitchcock and Cary. It’s not the best Hitchcock film, but it’s certainly not the worst either.

My favourite scenes are the following. John and Francie sharing a kiss at her hotel room door. The fireworks and jewels scene between John and Francie. Francie and Danielle’s rather catty conversation out on the sea float (I love Cary’s facial expressions during this scene, it is so funny).

Any other fans of this film? What are your thoughts on Grace’s performance here?

    Here are my five favourite Grace Kelly films.

1- High Society

2- To Catch A Thief

3- Rear Window

                                                                   4-The Country Girl

                                                                  5-The Swan