In Pursuit of Classic Hollywood Treasure

[B-side]

http://i188.photobucket.com/albums/z182/tripzone15/bright2-1.gif

*banner courtesy of TripZone

Most of you know me as that fat guy who complains a lot and watches movies you don't know or care about. That's a fair assessment, and a tempered one if anything. It's been many a moon since my last thread, and anyone who read it will understand why. I considered starting a thread where I could chart my cinematic progress through Eastern Europe and Central Asia, but nobody would read it, so I went with this idea. I'm taking my hunt for treasure to classic Hollywood. It never interested me all that much until recently when I adopted a more open-minded and intellectual approach to cinema. The original premise was to be limited solely to uncovering buried gems marginalized for whatever reason, but I left it a bit vague to allow for the occasional canon Hollywood film review should I feel the need. If you're reading this, then you're probably familiar with my brand of masturbatory, jumbled scribblings sometimes referred to as "film reviews" or "analysis" or whatever, so you know what you're in for and I don't feel bad for you. For me, classic Hollywood ends around 1960-65 when the American New Wave more or less began formulating, so that'll be the cutoff point. No guarantees on entry consistency; just whenever the notion strikes me. And if you're still reading this, I love you.

[elixir]

That banner is aaaaaawwwwwesome.

I'll definitely be reading this. I generally consider the cut-off point with Bonnie and Clyde in 1967, but yeah, it's a bit arbitrary of course. Looking forward to it as I'm looking to explore this era more as well.

[B-side]

That banner is aaaaaawwwwwesome.

I'll definitely be reading this. I generally consider the cut-off point with Bonnie and Clyde in 1967, but yeah, it's a bit arbitrary of course. Looking forward to it as I'm looking to explore this era more as well.

That's pretty much it, yeah. Bonnie and Clyde, The Graduate -- stuff like that. Ford had a few stragglers in the 60s, and he's pure classic Hollywood.

[soitgoes...]

I'll be reading this, but I won't enjoy a second of it. Not one second.

[B-side]

Reviews for Capra's American Madness and Cukor's A Double Life can be found here on my blog (http://cinematicinsecurity.wordpress. com/2011/04/20/american-madness-capra-1932-a-double-life-cukor-1947/). I won't make them official entries since I don't have banners made for them and I've already posted these reviews in the "Flick Discussion" thread.

[Raiders]

Do you already have a list of films you will be watching?

[B-side]

Do you already have a list of films you will be watching?

No, this'll be pretty open-ended.

[Qrazy]

I give it three pages.

[megladon8]

Such an awesome opening post!

Really looking forward to this.

[Spaceman Spiff]

I've also only recently developed an interest for Classical Hollywood, myself. Good thread idea. I'll definitely be reading this.

[B-side]

I give it three pages.

I gave your mom three pages last night after we engaged in sexual intercourse.

[B-side]

Hope to have my first entry up tonight at some point. In the meantime, you can read and re-read my blog. Some say if you read it enough, the writing becomes good. I haven't tested that theory, but it's safe to say it's bogus.

[B-side]

http://i54.tinypic.com/2viqakz.jpg

My third in a line of still-yet-unspectacular-but-entirely-solid Robert Siodmak films is The Dark Mirror, a psychological noir featuring Olivia de Havilland in a rather convincing dual role as twin sisters, surprisingly convincing given the limited technology of the era. The big gimmick of Havilland swapping character roles is harped on plenty, and taken to a rather intense endpoint in the finale. The title alludes to the oft-repeated fable of one twin being the exact opposite of the other; one evil, one good. Surprisingly few mirror shots, which is appreciated, but the ones used are effectively framed and managed. The primitiveness of the film's psychology occasionally peers through in wrongheaded fashion, though I'd hardly say this is much of an issue. I feel like Siodmak has an excellent film in him, but this one isn't it. The Spiral Staircase remains my favorite of his so far, and naturally I've got my eye on his canon classic, The Killers.

[soitgoes...]

The Spiral Staircase remains my favorite of his so far, and naturally I've got my eye on his canon classic, The Killers.I wasn't even hot on these two. They're his best, but still nothing great.

[B-side]

I wasn't even hot on these two. They're his best, but still nothing great.

Disappointing. Word is Criss Cross is really good, though.

[Qrazy]

I wasn't even hot on these two. They're his best, but still nothing great.

The Killers is pretty great, top 20 classic noir.

[megladon8]

Wonderful write-up! I'll have to check this one out. I loved The Spiral Staircase very much.

[B-side]

http://i51.tinypic.com/2iurnyp.jpg

Rouben Mamoulian's first film, Applause is clearly the work of a budding visual artist. The narrative concerning an aging burlesque dancer seeking a new life for the daughter she sent to a convent for most of her childhood who returns to the big city is high tragic melodrama, and the main male foil is a fast-talking clown, not in the literal sense, but more because his performance is a bit goofy. Sound is employed with some ambivalence; occasionally used as an intrusive and suffocating horror for the daughter who is overwhelmed by the speedy and amoral chaos of metropolitan America. A walk and conversation with a chivalrous sailor is bombarded from every angle with the sound of barking dogs, cars and other people's activities. The mother speaks as if she's always choking back tears as she slowly assists and laments simultaneously her daughter's life. The ending is an incredible culmination of emotion and circumstance with an air of inevitability that reminds me of Fassbinder. Also similar to Fassbinder are the innumerable long takes. I'll qualify that by saying the ASL is remarkably high for a film from 1929. We're not talking minutes, but many shots are held for 20-30 seconds or more. I hope Mamoulian's brand of theatrical expressionism carries into his other work. I'd hardly call this a musical, though it's labeled as such. Regardless, this is quality stuff if you can forgive the superficial demonization of show business and the silliness of the male foils.

A few screenshots:

http://i814.photobucket.com/albums/zz70/SalvadorDali_2010/vlcsnap-2011-04-24-01h59m08s30.png

http://i814.photobucket.com/albums/zz70/SalvadorDali_2010/vlcsnap-2011-04-24-02h07m37s23.png

http://i814.photobucket.com/albums/zz70/SalvadorDali_2010/vlcsnap-2011-04-24-02h14m59s81.png

http://i814.photobucket.com/albums/zz70/SalvadorDali_2010/vlcsnap-2011-04-24-02h25m13s77.png

http://i814.photobucket.com/albums/zz70/SalvadorDali_2010/vlcsnap-2011-04-24-02h44m05s127.png

http://i814.photobucket.com/albums/zz70/SalvadorDali_2010/vlcsnap-2011-04-24-02h51m45s142.png

http://i814.photobucket.com/albums/zz70/SalvadorDali_2010/vlcsnap-2011-04-24-03h15m32s75.png

[soitgoes...]

I skipped that one during my last foray into silent film. If you go back one year further you'll run into one of Hollywood's strongest years. Looking at underseen films from that era, I highly recommend Lonesome.

[B-side]

I skipped that one during my last foray into silent film. If you go back one year further you'll run into one of Hollywood's strongest years. Looking at underseen films from that era, I highly recommend Lonesome.

I've seen that one pop up on the front page of KG quite a bit.

[soitgoes...]

I've seen that one pop up on the front page of KG quite a bit.It isn't the best quality print (still more than adequate), but with films from that era you take what you can get.

That bridge shot above is beautiful.

[B-side]

It isn't the best quality print (still more than adequate), but with films from that era you take what you can get.

Heh. Pretty much.

[soitgoes...]

I'll qualify that by saying the ASL is remarkably high for a film from 1929. We're not talking minutes, but many shots are held for 20-30 seconds or more.I think longer shots for very early talkies were more common than one would think. Because camera set ups were relegated to booths when diegetic sound is used, multiple cameras weren't deployed as often, and the breaking up and re-splicing of the soundtrack for multiple cuts wasn't enviable. The great films from this period were able to somehow skirt around this, but for me the quantity of quality films dropped off considerably from 1928 to 1929, with a gradual increase as new technologies were discovered. I've said it before here, but that seven or eight year period (1927 to about 1933) is one of the most fascinating times for film history. A system that was perfected, but was torn apart and forced to rebuild from near scratch.

[Boner M]

Wow Applause looks/sounds awesome. I'll have to check out that one.

Hope this thread is unpopular and makes you sad.

[Raiders]

By all accounts Mamoulian's Love Me Tonight is even better. I actually still haven't seen anything by him. I have also heard good things about City Streets and Queen Christina.

[Qrazy]

By all accounts Mamoulian's Love Me Tonight is even better. I actually still haven't seen anything by him. I have also heard good things about City Streets and Queen Christina.

Brightside does not watch the well reputed films of great directors. He watches their obscure films only. Please tailor your post to reflect this preference.

[B-side]

I think longer shots for very early talkies were more common than one would think. Because camera set ups were relegated to booths when diegetic sound is used, multiple cameras weren't deployed as often, and the breaking up and re-splicing of the soundtrack for multiple cuts wasn't enviable. The great films from this period were able to somehow skirt around this, but for me the quantity of quality films dropped off considerably from 1928 to 1929, with a gradual increase as new technologies were discovered. I've said it before here, but that seven or eight year period (1927 to about 1933) is one of the most fascinating times for film history. A system that was perfected, but was torn apart and forced to rebuild from near scratch.

You're probably right. I just found myself a bit surprised by how long Mamoulian kept a shot through all the zooming and tracking. I found myself kind of anticipating a cut when he'd go to attempt something more complicated and being refused one. For instance, the scene on the top of the skyscraper overlooking the city pictured in one of the caps I took. A few times Mamoulian picks up and slowly tracks the couple sideways from behind as they look out over the city all the while maintaining a nice view above their heads in the frame as well.

[Bosco B Thug]

I hope Mamoulian's brand of theatrical expressionism carries into his other work. Unfortunately I have not seen Applause to say anything truthfully constructive about the continuity of his style, but untruthfully, it gets even better! Dr. Jekyll and Mr. Hyde is crazy innovative.

[B-side]

Unfortunately I have not seen Applause to say anything truthfully constructive about the continuity of his style, but untruthfully, it gets even better! Dr. Jekyll and Mr. Hyde is crazy innovative.

Excellent. I'm excited to see more.

[soitgoes...]

You're probably right. I just found myself a bit surprised by how long Mamoulian kept a shot through all the zooming and tracking. I found myself kind of anticipating a cut when he'd go to attempt something more complicated and being refused one. For instance, the scene on the top of the skyscraper overlooking the city pictured in one of the caps I took. A few times Mamoulian picks up and slowly tracks the couple sideways from behind as they look out over the city all the while maintaining a nice view above their heads in the frame as well.Any scene where there isn't any diegetic sound, then I think the director had as much free reign to do whatever they did in the late silent era. Scenes can be as long (or short) as they wanted, without any technical constraints outside of the length of a reel of film. Clair was really good about mixing and matching his diegetic/non-diegetic scenes to give a good flow to his early talkies. Some directors couldn't figure it out, and their films seem stilted.

[B-side]

http://i52.tinypic.com/ofqamr.jpg

Reign of Terror, concerning the rule of Robespierre and his eventual downfall, was apparently censored a bit for the DVD rip I watched, which would explain some of the more jarring transitions. Nonetheless, it's a swift and energetic ride with towering and intense bookends that are never quite matched in formal dynamism or general appeal in its mid-section. That histrionic evil and that feeling of larger than life personalities is lost a bit when the proceedings become more conventionally staged. I won't rule out my mood being a contributing factor to my criticisms here as I was feeling a bit scatterbrained and distracted. A proper restoration, cut scenes included, would be excellent.

[B-side]

http://i54.tinypic.com/2pyudeb.jpg

Robert Ryan has never been better than he is in Act of Violence. Drenched in burning post-war remorse and palpable tension, the narrative observes the cat and mouse chase of two WWII veterans; Joe hunting Frank for striking a small deal with the Nazis during the war that unintentionally lead to several deaths and Joe's lame leg. Anyone who has seen A History of Violence will feel right at home here. Though relatively boilerplate on a technical front, Zinnemann's direction is tightly controlled and the dreaded rendezvous between the two men looms on the horizon like a thunderstorm. Scenes like Joe pacing the home near the beginning, the sound of his leg sweeping across the cement the only real sound you hear, are edge of your seat stuff, as lame and cliche a descriptor as that is. No rating just yet. I'm gonna sit on this one for a bit.

[Boner M]

I can't remember anything about Act of Violence apart from Ryan's steeliness. Zinneman is so bland.

[B-side]

Zinneman is so bland.

I've only seen this of his stuff, but I get the feeling he was a for hire director and not much more. His direction is entirely solid here, but it's pretty boring on a technical front.

[MadMan]

Zinneman made High Noon, which is one of the best westerns ever made, and the awesome 60s adaption of Day of the Jackal. I haven't seen anything else from him, though.

[Qrazy]

High Noon, From Here to Eternity and A Man for All Seasons are all very far from bland nor does Zinnemann really fit the bill of a director for hire. I didn't really care for Day of the Jackal though, but it's still substantially better than many films of it's type... I'm looking at you The American.

[B-side]

http://i53.tinypic.com/14ldsp.jpg

As blasphemous as it is, I've yet to be incredibly impressed by Murnau. Nosferatu was good, and Faust was OK. City Girl doesn't change this, though it is my favorite of the three I've seen so far. Set up to be a clash between the cold realism of the city and the fanciful whimsy of the country, Kate ends up finding herself doing much the same work in an even more hostile environment when she marries Lem on a whim and has to deal with aggressive farm workers and Lem's tyrannical father. It's pretty standard fare, but Murnau imbues the proceedings with plenty of charm and emotional traction. Lamps provide most of the lighting, which makes for some imposing shadows indoors and a warm glow outdoors. Wheat fields are always aesthetically pleasant.

[Raiders]

Well, it does hurt that you haven't seen his two best films.

[B-side]

Well, it does hurt that you haven't seen his two best films.

4 Devils and Desire?

[B-side]

I'd like to head off all the rest of the "lol you haven't even seen Sunrise!" comments right here. I know it's supposed to be his best.

[Raiders]

I'd like to head off all the rest of the "lol you haven't even seen Sunrise!" comments right here. I know it's supposed to be his best.

I'm just wondering if, given how relatively few have seen it, you might actually be the first person since 1930 to have watched City Girl before Sunrise.

[B-side]

I'm just wondering if, given how relatively few have seen it, you might actually be the first person since 1930 to have watched City Girl before Sunrise.

Heh. Fair enough. I guess I just never got around to it. Soon enough, definitely. I have a Blu rip of it, too.

[soitgoes...]

Lol you haven't even seen Sunrise! That's his best! Lololol...

I loved City Girl. Its only fault is that boy meets girl. They fall in love. They get married. All this spans what seems to be an hour of their time. Even still it's one of his best. Beautiful country scenes.

Murnau was the best director Germany produced in the silent era.

[B-side]

Lol you haven't even seen Sunrise! That's his best! Lololol...

One of these days, soitgoes. One of these days...

[Raiders]

Murnau is the best director Germany has produced still to this day.

[B-side]

Murnau is the best director Germany has produced still to this day.

Fassbinder.

[Raiders]

Fassbinder.

Is that German for "I agree?" If so, awesome.

[soitgoes...]

Murnau is the best director Germany has produced still to this day.I am given pause in claiming this because of the existence of Werner Herzog. Still I wouldn't argue with someone who did say Murnau was the best German director.

[dmk]

I haven't seen any of these and that won't change. But what about Jacques Tourneur, brightside? And André de Toth? And Val Lewton? Eh brightside? And Abraham Polonsky's film? These names.

[B-side]

I haven't seen any of these and that won't change. But what about Jacques Tourneur, brightside? And André de Toth? And Val Lewton? Eh brightside? And Abraham Polonsky's film? These names.

I'm sure I'll squeeze them in at some point. I watched Day of the Outlaw not very long ago. It was pretty good.

[Qrazy]

I'm just wondering if, given how relatively few have seen it, you might actually be the first person since 1930 to have watched City Girl before Sunrise.

Sunrise came out before City Girl...?

[B-side]

http://i51.tinypic.com/2up45yf.jpg

Quite possibly the best film my treasure hunt has had me watch, The Little Foxes is a thematically rich and ambitious drama concerning a Southern family at the turn of the 20th century, more specifically the ailing husband, the greedy and monarchistic wife and the big investment deal contested throughout. Regina, the wife, rules with an iron fist over the entire family, casually tossing out declarations as if she'd never been questioned in her entire life, and the times when her demands and influence are ignored are supremely cathartic. Toland's deep focus cinematography wonderfully compliments Wyler's accomplished and suggestive mise en scène. Regina is often placed above other characters or closer to the camera to further signify her position of power. A very, very good film.

[Raiders]

Sunrise came out before City Girl...?

Right, I was just accounting for any souls who in 1930 when the latter was released watched it without seeing the former first. Since its release, I imagine Brightside has set a precedent.

B-side, I would like to offer a few pleasant recommendations that are slightly obscure enough you may want to try them:

Gregory La Cava:

Bed of Roses (1933)
Affairs of Cellini (1934)

I would also naturally very strongly recommend Stage Door, but it is far and away his most famous film.

Frank Borzage:

Street Angel (1928)
A Farewell to Arms (1932) [one of the best early-cinema examples of form dominating content]
History is Made at Night (1937)
The Mortal Storm (1940)
Moonrise (1948)

I haven't seen them, but Wyler has a few other well-regarded films from the 30s such as Counsellor at Law and The Good Fairy. There is of course the magnificent Dodsworth which you may have already seen.

There is also Jean Renoir's exquisite Hollywood offering, This Land is Mine which today is sadly not usually mentioned with his best films.

[Boner M]

Moonrise is a masterpiece & History is Made at Night is very good. B-Side, check'em'out.

[Spaceman Spiff]

The Little Foxes

I actually thought this flat-out sucked when I saw it a few years ago, but I hardly remember anything about it. I question your usages of "thematically rich" and "ambitious" though, as I'm pretty sure those aren't apt descriptors.

Good thread though.

[MadMan]

Sunrise and Nosferatu>Brightside :P

[NickGlass]

I actually thought this flat-out sucked when I saw it a few years ago, but I hardly remember anything about it. I question your usages of "thematically rich" and "ambitious" though, as I'm pretty sure those aren't apt descriptors.


Really? I haven't seen it, but it was written by Lillian Hellman and Dorothy Parker, and by that logic it has to be at least sharp and astute.

[Derek]

History is Made at Night is a masterpiece & Moonrise is very good. B-Side, check'em'out.

Fixed for correctness and additional ammo for Boner's anti-Derek campaign.

[soitgoes...]

I haven't seen The Little Foxes, but Wyler is one of my favorite studio directors from that era. He always seemed to make strong films, and he did it in almost every genre. A great, under-appreciated director.

For Borzage, I'll also back The Mortal Storm and Moonrise, but would like to toss 7th Heaven (the real masterpiece) into the mix.

[Qrazy]

I haven't seen The Little Foxes, but Wyler is one of my favorite studio directors from that era. He always seemed to make strong films, and he did it in almost every genre. A great, under-appreciated director.


Wouldn't really say he's underappreciated.

[soitgoes...]

Wouldn't really say he's underappreciated.Maybe underappreciated isn't the right word, but he gets lost behind a number of his peers. His name doesn't scream awesome like Huston, Hawks, Ford. Yet his body of work is comparable to all of them. Plus he's in the running for that best German director title that was coined the other day.

[B-side]

Right, I was just accounting for any souls who in 1930 when the latter was released watched it without seeing the former first. Since its release, I imagine Brightside has set a precedent.

B-side, I would like to offer a few pleasant recommendations that are slightly obscure enough you may want to try them:

Gregory La Cava:

Bed of Roses (1933)
Affairs of Cellini (1934)

I would also naturally very strongly recommend Stage Door, but it is far and away his most famous film.

Frank Borzage:

Street Angel (1928)
A Farewell to Arms (1932) [one of the best early-cinema examples of form dominating content]
History is Made at Night (1937)
The Mortal Storm (1940)
Moonrise (1948)

I haven't seen them, but Wyler has a few other well-regarded films from the 30s such as Counsellor at Law and The Good Fairy. There is of course the magnificent Dodsworth which you may have already seen.

There is also Jean Renoir's exquisite Hollywood offering, This Land is Mine which today is sadly not usually mentioned with his best films.

I don't wanna discourage recommendations of popular films simply because the original (and since more or less abandoned) aim of the thread was to uncover buried gems. I left the premise deliberately vague so I could make the transition back and forth between popular and obscure without betraying the point of the thread. I've enjoyed the two Borzage's I've seen so far, and I actually have History is Made at Night on my hard drive already. I'll look into the rest. Thanks.

[B-side]

http://i56.tinypic.com/ortu6r.jpg

I'm drawing a bit of a blank for this one. Interesting that they mention taking the Hindenburg when the disaster took place a mere two months after its American premiere. I liked the incorporation of that and the boat crash parallel to the Titanic. Kinda made the romance feel more broadly reaching and important. Shame about the crap quality of the DVD. Good film, though.

[Qrazy]

Maybe underappreciated isn't the right word, but he gets lost behind a number of his peers. His name doesn't scream awesome like Huston, Hawks, Ford. Yet his body of work is comparable to all of them. Plus he's in the running for that best German director title that was coined the other day.

I suppose in our circles. He is the most academy award nominated director of all time though.

[soitgoes...]

I remember when this thread wasn't dead.

[Qrazy]

I give it three pages.

.

[B-side]

I've got a few lined up. Possibly tonight. No guarantees.

[megladon8]

I'm really interested in seeing The Little Foxes.

[Yxklyx]

Moonrise is a masterpiece & History is Made at Night is very good. B-Side, check'em'out.

Not much of a fan of Borzage from what I've seen. I found Street Angel and Seventh Heaven to be super-syrupy Hollywood concoctions. I just noticed Moonrise is on Instant Play though - should check that one out.

Wyler on the other hand is one of the most consistently good directors with three decades of quality films.

[Raiders]

Not much of a fan of Borzage from what I've seen. I found Street Angel and Seventh Heaven to be super-syrupy Hollywood concoctions.

Borzage certainly worked in melodrama, but to dismiss the gorgeousness and pure romanticism of Street Angel as syrup seems a little unfair. It's pretty unabashedly sentimental, but Borzage through channeling Murnau finds a very delicate and expressive style (his tracking shots even more impressive). His films always feel like lush fairy-tale versions of Hollywood romances.

[TripZone]

Banner is too big for this forum, let me resize it. Could also change production company.

Someone mentioned Lonesome, possibly someone awesome. I have not seen it, because ewwquality, but I heard that Eureka might be putting it on its MoC line...blu.

[soitgoes...]

Someone mentioned Lonesome, possibly someone awesome. I have not seen it, because ewwquality, but I heard that Eureka might be putting it on its MoC line...blu.On the Criterion forums there's talk of it being released through them by the beginning of next year at the latest. Of course Criterion isn't the most reliable when they announce a planned future release.

Apparently there's three versions of the film out there, and it's mentioned that the Criterion will be the one with a few color scenes, as well as three dialogue scenes which according to Rosenbaum are "awkwardly staged and played." I'd like to see all three available, but after reading the synopses of all three the one on KG seems to be the best. Of course a cleaned up version of it would be very much appreciated.

[TripZone]

Stuff Criterion, apparently it will actually be #20:

http://eurekavideo.co.uk/moc/bluray/

That's next month.

[soitgoes...]

Stuff Criterion, apparently it will actually be #20:

http://eurekavideo.co.uk/moc/bluray/

That's next month.Your link doesn't provide any info on what #20 is.

[TripZone]

Your link doesn't provide any info on what #20 is.

Exactly. You'll see.

[soitgoes...]

Exactly. You'll see.MoC's tweet (http://twitter.com/#!/mastersofcinema) on April 13 claims you're wrong. I wish you weren't though.

[TripZone]

MoC's tweet (http://twitter.com/#!/mastersofcinema) on April 13 claims you're wrong. I wish you weren't though.

I don't see anything.

EDIT: Oh, 14th. Dayam. Die.

[soitgoes...]

I don't see anything.

EDIT: Oh, 14th. Dayam. Die.I've gone and ruined your day. Sorry.

[TripZone]

I've gone and ruined your day. Sorry.
You ruin any day with your mere presence; I'm used to it.

[soitgoes...]

You ruin any day with your mere presence; I'm used to it.:pritch:

[TripZone]

:pritch:

<3

[B-side]

http://img10.imageshack.us/img10/9063/femalefinal.png

Oh, what distress. This somewhat brief, concise film concerning the life and loves of Alison Drake, the executive of an automobile factory, toys with Catherine the Great parallels. Alison takes home various lovers to satisfy her sexual appetite, throwing them aside when she no longer needs them, but somewhat patronizingly always ensuring their safe landing. Essentially, she is the quintessential morally dubious male protagonist. It is that subversion, her dominant sexuality, quality dialogue and some nice framing that make most of the film engaging. Unfortunately, nearing the end, the film takes a big nosedive into rueful misogyny, whittling her characterization down to a mask of sorts; "trying to compete with the boys" type of nonsense. Her strength and sexuality a simple front for a woman trying to prove she's above her place. I'm really trying hard to convince myself the film didn't completely die toward the end, and I suppose there are a few hints that she's still herself at her core, but the evidence isn't looking fruitful.

[Yxklyx]

http://img10.imageshack.us/img10/9063/femalefinal.png

... I'm really trying hard to convince myself the film didn't completely die toward the end, and I suppose there are a few hints that she's still herself at her core, but the evidence isn't looking fruitful.

It died - a horrible death.

[Yxklyx]

Of those mentioned here, Applause is easily my favorite. Looking forward to seeing that one again. Have not seen The Dark Mirror.

[TripZone]

Your link doesn't provide any info on what #20 is.

Better than predicted.

http://i133.photobucket.com/albums/q79/swo17/harakiri-1.png

[soitgoes...]

Better than predicted.

One of the best.

[B-side]

Capsule Reviews:

The Letter (Wyler, 1940) - Bette Davis is cold, calculating and beautiful. The bookends are great, but the middle drags under the overbearing weight of mechanical plot progression. Some nice tracking shots, especially in the beginning.

Strange Illusion (Ulmer, 1945) - Stands on the precipice of serious advancement in the realm of psychology. Ulmer embraces the potential horrors of an exposed mind. Overly palatable, almost satirical, old school demeanor juxtaposed with the brutality and raw emotion buried underneath. Print quality is crap, so it was difficult to truly remain engaged with the narrative.

Judge Priest (Ford, 1934) - Warm, funny and highly enjoyable character piece becomes a court drama, possibly to its detriment. Ford espouses the South's adoration for military service with a seemingly too simplistic turn-around. I'm trying to convince myself Ford wasn't embracing this mentality and rather just observing, but I'm not having much luck there.

Wichita (Tourneur, 1955) - Entirely solid, boringly shot western that nonetheless engages by maintaining a solid, leisurely pace.

Devil's Doorway (Mann, 1950) - Noirish Mann western is quite good and features Robert Taylor in brownface. Sensitive to the plight of the Natives in an almost reverential fashion.

Four Men and a Prayer (Ford, 1938) - Hardly registers as a Ford film. Feels relatively anonymous. Nothing special here. Kinda tedious.

The Prisoner of Shark Island (Ford, 1936) - Politically intriguing, but nonetheless still kinda flat. Feels more Fordian than Four Men and a Prayer.

Arrowsmith (Ford, 1931) - Again, nothing remarkable here. Perfectly decent, but should definitely be among the last Ford anyone bothers with.

[Qrazy]

Judge Priest (Ford, 1934) - Warm, funny and highly enjoyable character piece becomes a court drama, possibly to its detriment. Ford espouses the South's adoration for military service with a seemingly too simplistic turn-around. I'm trying to convince myself Ford wasn't embracing this mentality and rather just observing, but I'm not having much luck there.


This has such an offensively awful final act. Getting a bunch of caricatures of black folks to go play dixie in the street in order to sway the opinion of a courtroom. Sweet Jesus.

[B-side]

This has such an offensively awful final act. Getting a bunch of caricatures of black folks to go play dixie in the street in order to sway the opinion of a courtroom. Sweet Jesus.

Ha. I never gave it much thought. I expect a little casual racism in films of that era.

[Qrazy]

Ha. I never gave it much thought. I expect a little casual racism in films of that era.

That's like pro-active racism.

[B-side]

That's like pro-active racism.

But he made Sergeant Rutledge, so I forgive him.

[soitgoes...]

The Prisoner of Shark Island (Ford, 1936) - Politically intriguing, but nonetheless still kinda flat. Feels more Fordian than Four Men and a Prayer.I thought the history behind the actual events on which the film is based were very interesting, but yeah, the film itself left me with little. Check out The Hurricane for the best Ford of that era (pre-Stagecoach post-silent).

[soitgoes...]

I try very hard not to let the overt racism of that era drag down my opinion of the films. It's either there or the characters in the film are all white, which is almost as annoying. I can't think of (m)any Hollywood films that touch on race with grace from the 30's.

[Russ]

The Lost One (Lorre 51) ***
Awesome.

Memorable final shot, eh?

[soitgoes...]

Awesome.

Memorable final shot, eh?Many memorable shots. It's a shame Lorre got the Laughton treatment (well, vice versa I suppose) and never directed another film again, though part of it probably had to do with his failing health.

[B-side]

I thought the history behind the actual events on which the film is based were very interesting, but yeah, the film itself left me with little. Check out The Hurricane for the best Ford of that era (pre-Stagecoach post-silent).

Will do. Only hesitation is the less than stellar print. When I have such a vast array of films to see, like with Ford, I tend to save the poor prints for later, unlike with Ruiz, where a number of his films have mediocre-to-poor prints and about a quarter or so of them aren't available at all or they're without subs.

[soitgoes...]

Will do. Only hesitation is the less than stellar print. When I have such a vast array of films to see, like with Ford, I tend to save the poor prints for later, unlike with Ruiz, where a number of his films have mediocre-to-poor prints and about a quarter or so of them aren't available at all or they're without subs.I don't know how I saw it (probably TCM), but I don't remember it being an issue for me, but looking at the copy on KG, you're right, it doesn't look that great.

[Qrazy]

I try very hard not to let the overt racism of that era drag down my opinion of the films. It's either there or the characters in the film are all white, which is almost as annoying. I can't think of (m)any Hollywood films that touch on race with grace from the 30's.

Well there's black face general racism and then there's a film who's entire content is predicated on a racist political sentiment and much of the thrust of the film is dedicated to that core attitude. I think it's fair to shun the latter.

Just as I would do so with a novel who's core values I found reprehensible.

[Russ]

Well there's black face general racism and then there's a film who's entire content is predicated on a racist political sentiment and much of the thrust of the film is dedicated to that core attitude. I think it's fair to shun the latter.
How do you feel about Disney's Song of the South?

[Qrazy]

How do you feel about Disney's Song of the South?

I haven't seen it.

[soitgoes...]

How do you feel about Disney's Song of the South?
I actually just recently watched this for the first time. A quick side note, it's weird, when I was a kid I had all the Disney soundtracks on tapes or records or something, and I also read all the Disney Golden Books, so now when I watch one of those films for the first time, it actually feels like I've seen them before. Anyways, I didn't think the racism was as bad as with many films of that era. What makes it bad is that it's a movie made for children. Worse than the racism is the kid playing the lead. Oh man is he awful.

[Russ]

Worse than the racism is the kid playing the lead. Oh man is he awful.
Yeah but, James Baskett ftw, tho.


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[soitgoes...]

Yeah but, James Baskett ftw, tho.Oh he was great, as were the animated sequences. I can't believe he was 42 when he made that.