Category Archives: 1001 Movies You Must See Before You Die

Reviews of movies included in the book 1001 Movies You Must See Before You Die

Grand Illusion (1937)

Grand Illusion (“La grande illusion”) (1937)
Directed by Jean Renoir
Written by Jean Renoir and Charles Spaak
1937/France
Réalisation d’art cinématographique (RAC)

Repeat viewing
#106 of 1001 Movies You Must See Before You Die
IMDb users say 8.1/10; I say 10/10

 

[box] Capt. von Rauffenstein: Boeldieu, I don’t know who will win this war, but whatever the outcome, it will mean the end of the Rauffensteins and the Boeldieus.[/box]

I consider Jean Renoir’s film about man’s humanity to man during World War I to be a masterpiece – full stop.  How lovely life would be if we could look at people in all their complexity the way Renoir does.

Aristocratic career officer Captain de Boeldieu (Pierre Fresnay) and working class hero Lt. Marechal (Jean Gabin) are shot down over Germany during an air reconnaissance run and taken to an officer’s prison camp.  There they bond with the officers quartered with them and work on a tunnel to escape.  The men enjoy many comforts thanks to food parcels shared with everyone by Lt. Rosenthal (Marcel Dalio) and put on an amateur theatrical. Just before they can put their escape plan into effect, the men are all transferred to another camp.

Months later, after the two have repeatedly been caught trying to escape from several different camps, they are taken to be held in a heavily fortified and guarded castle.  There they meet again with the pilot who originally shot them down, the aristocrat Capt. von Rauffenstein, who has been injured during the war and is now commandant of the prison, a role he evidently loathes.  Von Rauffenstein forms a special bond with de Boeldieu, with whom he shares a common class and profession.  The rest of the film tells the story of a final escape planned by de Boldieu, Marechal and Rosenthal from the supposedly escape-proof castle.  With Julien Carette as an ex-music hall performer prisoner and Dita Parlo as a kind German farm woman.

The story makes this sound something like The Great Escape.  This is only superficially true.  The real subject of the film is the brotherhood of man.  Renoir takes a deep look at the relationships between his characters and finds them, both French and German, to be basically good.  When enemies in war relate to each other on an individual level, they find they are the same and become friends.  The grand illusion is that borders divide us.  But Renoir knows that the illusion creates war.  He specifically points out in a couple of different places that characters are deluded when they believe the war will end quickly or that this war can prevent future wars.

I may be making this movie sound preachy.  Renoir avoids that entirely and treats his material with a lot of humor.  His interest is in the individual.  One of the most moving scenes in the film comes during the amateur theatrical at the first camp.  A group of English soldiers is performing in drag to an audience of French prisoners and their German guards.  Marechal bursts on to the stage to announce that the French have retaken one of their forts.  The audience spontaneously begins singing “La Marseillaise”, led by one of the British officers wearing a dress, his wig now removed.

There is quite a similar scene in Casablanca, when the French at Rick’s break out in “La Marseillaise.  In the Hollywood film, the scene is patriotic and theatrical.  Renoir’s scene is more moving to me, because he makes it so real and unexpected.

This film began my great love affair with Jean Gabin. His natural understated performance is a wonder in a uniformly outstanding cast.  Gabin’s performance is often contrasted with Pierre Fresnay as illustrating the difference between a screen actor and a more mannered stage actor. I think Fresnay does not get enough credit.  He perfectly captures the public manners of the aristocrat he is playing.  Eric von Stroheim’s German accent is execrable but his performance is very touching.  This time through I paid particular attention to Joseph Kosma’s fantastic score which only adds to the riches of the production.

Grand Illusion was the first foreign language film to be nominated for a Best Picture Oscar.

75th Anniversary Restoration Trailer

 

Adaptation. (2002)

Adaptation.
Directed by Spike Jonze
Written by Charlie Kaufman and Donald Kaufman
2002/USA
Beverly Detroit/Clinica Estetico/Good Machine/Intermedia/Magnet Productions/Propaganda Films
First viewing
#1044 of 1001 Movies You Must See Before You Die (Combined List – 2013 ver.)
IMDb users say 7.7/10; I say 8.0/10

[box] Donald Kaufman: I loved Sarah, Charles. It was mine, that love. I owned it. Even Sarah didn’t have the right to take it away. I can love whoever I want.

Charlie Kaufman: But she thought you were pathetic

Donald Kaufman: That was her business, not mine. You are what you love, not what loves you. That’s what I decided a long time ago.[/box]

Spike Jones and Charlie Kaufman have created a weird and wacky portal into the writer’s mind.  Unfortunately, this was not a place I wanted to go particularly.

Charlie Kaufman (Nicholas Cage) has an assignment to adapt Susan Orleans’s (Meryl Streep) sprawling novel  The Orchid Thief for the screen.  He has severe writer’s block compounded with depression and obsesses endlessly on his baldness, fatness, and lack of luck with the ladies.  Charlie’s twin brother Donald (also Cage) lives with him and is writing a screenplay about a serial killer with multiple personalities.  Donald is everything Charlie is not – cheerful, confident, and a  lady killer.

Much of the movie is made up of Charlie’s fantasies about the relationship of Susan Orleans with the book’s protagonist orchid hunter John LaRoche (Chris Cooper). Eventually, he puts himself into their story.

I must start by noting that I have not read The Orchid Thief and don’t really know where elements of that book and the script intersect.  I assume the film can be enjoyed without that information.  I also need to say that I could find no fault with the production itself.  The acting, in particular, is quite impressive.  I expect good things out of Meryl Streep and Chris Cooper but Nicholas Cage was a revelation here.  He nailed those twins.  Spike Jones directing style fits Kaufman’s vision perfectly.

This is a unique and wildly creative film but also a self-indulgent one with a kind of winking hipster sensibility.  It failed to engage me on an emotional or aesthetic level.  I can see how  folks that are interested in seeing the lengths to which a writer’s imagination can take him would love it.

Chris Cooper won the Academy Award for Best Supporting Actor.  The film also received nominations in the categories of Best Actor (Cage) and Best Supporting Actress (Streep) The nomination of Charlie and Donald Kaufman for Best Adapted Screenplay made Donald the first truly fictitious person nominated for an Oscar.

Trailer

 

Lone Star (1996)

Lone Star
Directed by John Sayles
Written by John Sayles
1996/USA
Columbia Pictures Corporation/Castle Rock Entertainment/Rio Dulce

First viewing
#1279 of 1001 Movies You Must See Before You Die (combined list – 2013 ver.)
IMDb users say 7.5/10; I say 8.0/10

[box] Otis Payne: It’s not like there’s a line between the good people and the bad people. It is not like you’re one or the other.[/box]

I enjoyed this haunting story about a man coming to terms with his past as he investigates a decades old murder near the Rio Grande.

Nobody in Rio County, Texas has a bad word to say about the late Buddy Deems (Matthew McConanaughey) (“what a real Texan ought to be”) or his wife (“a saint”).  Buddy’s son Sam (Chris Cooper) is not so sure.  When Sam returns to Rio County after a divorce, he is elected sheriff but few think he can fill Buddy’s shoes.

As the film begins, two Army surveyors find a human skull, sheriff’s badge, and Masonic ring on an old firing range.  Later they find a .45 caliber bullet.  Sam becomes convinced that these are remnants of the body of corrupt, vicious ex-sheriff Charlie Wade (Kris Kristofferson) who disappeared before his father became sheriff.  Wade was the prototypical redneck bully, particularly targeting blacks and Mexican-Americans.  Sam sets out to prove that Buddy murdered Wade.  His investigation takes him to Mexico and San Antonio. The true story is told during the course of the film in a series of flashbacks.

Lone Star 3

In the meantime, Sam is also pursuing his now-widowed high school sweetheart Pilar (Elizabeth Peña). Pilar has a complicated relationship with her mother Mercedes who owns a local cafe.  We also follow the story of Otis, who own a saloon catering to African-Americans on the nearby Army base.  Otis’s son, a colonel, has just been appointed commander of the base but has been estranged from his father for years.  Otis’s grandson feels domineered by his spit-and-polish father and longs for a connection with his grandfather.

All these threads are resolved in unexpected ways.

On one level this is a mystery in a Western setting but on a deeper level it is about the pernicious effects of secrets and about inter-generational, interracial and intercultural relations on the Texas-Mexico border.  John Sayles’s Oscar-nominated screenplay cuts deep into the hearts of his characters.  The acting is superb.  I have always been a fan of Chris Cooper and he is outstanding here.  This one snuck by my radar when it was out in theaters and I was very glad to catch up with it.

Trailer, which does not begin to capture the texture of the film

The Awful Truth (1937)

The Awful Truthawful truth poster
Directed by Leo McCarey
Written by Vina Delmar based on a play by Arthur Richman
1937/USA
Columbia Pictures Corporation

Repeat viewing
#111 of 1001 Movies You Must See Before You Die

 

‘Dan’ Leeson: Glad to know you.
Jerry Warriner: Well, how can you be glad to know me? I know how I’d feel if I was sitting with a girl and her husband walked in.
Lucy Warriner: I’ll bet you do.

After having seen this film yesterday, and more times than I can count before that, I still laughed out loud when I scouted out the clip below.  If that doesn’t qualify something as a classic comedy, I don’t know what does.

As the movie opens, Jerry Warriner (Cary Grant) is at his club trying to get a Florida tan under a sun lamp since Florida is where he is supposed to have been for the last two weeks.  He brings a group of friends home expecting his wife Lucy (Irene Dunne) to greet them with open arms.  She is nowhere to be seen and has apparently been away since the previous day.  Lucy walks in with her handsome singing instructor and a story about having to spend the night in the country after a car breakdown.  Jerry is outraged and refuses to believe her.  In the meantime, the oranges in the Florida fruit basket he has given his wife are stamped “California.”  Lucy demands a divorce, not because she suspects Jerry of cheating, but because he no longer trusts her.

awful truth 2

Where did they get those hats???

They get an interlocutory divorce decree and the rest of the film follows their adventures while waiting for the decree to become final.  The principal occupation of each seems to be plotting to sabotage the romance of the other.  This can be gleefully accomplished as both have unerringly picked clearly unsuitable mates.  Lucy goes for hayseed Oklahoma oil tycoon Dan Leeson (Ralph Bellamy) who is tied to the apron strings of his possessive mother.  Jerry gets engaged to a stuffy high-society debutante.  Clearly the awful truth is that they still love each other.

awful truth 1

Much of the film was reportedly improvised by McCarey and the cast and it shows in the delightful naturalness of the piece.  Dunne and Grant have remarkable chemistry as the battling couple.  I really like the fact that this movie is not as frenetic as some of the other screwball comedies.  The audience is allowed to catch its breath between the big laughs. All the supporting cast from Dixie Belle to the hapless Leeson are perfect.  Skippy the terrier is every bit as good here as in the Thin Man series.  Every film lover should give this a try.

McCarey won an Oscar for Best Director for The Awful Truth.  The film was also nominated for Best Picture, Best Actress (Irene Dunne), Best Supporting Actor (Ralph Bellamy) and Best Writing (Adapted Screenplay).

 

Clip – both renditions of “My Dreams Are Gone With the Wind”

 

 

Captains Courageous (1937)

Captains Courageous
Directed by Victor Fleming
Written by John Lee Mahin, Marc Connelly, and Dale Van Every based on a novel by Rudyard Kipling
1937/USA
Metro-Goldwyn-Mayer
First viewing
#104 of 1001 Movies You Must See Before You Die

[box] Manuel Fidello: Wake up, Little Fish. Hey, wake up, wake up! Somebody think you dead, they have celebrations.[/box]

I thought this one was very moving, with some great performances.

Harvey Cheyne (Freddie Bartholomew) has been spoiled rotten by his wealthy widower father (Melvyn Douglas) and terrorizes the servants and his classmates at school.  He has developed bad habits such as bribery, threats, and bullying.  These eventually get him suspended from school.  So his father takes Harvey with him on a voyage to England on business where Harvey continues to be naughty.  As the result of one of his escapades, he is swept overboard.  He is rescued by Portuguese fisherman Manuel (Spencer Tracy) in a dory and taken back to his cod fishing vessel helmed by Captain Disko (Lionel Barrymore).  Harvey continues to try to lord it over the crew but finds it gets him nowhere. Harvey eventually develops a close bond with Manuel.

This is by far the most nuanced performance I have seen Freddie Bartholomew give.  It was really great seeing him be a rotter – but a thinking rotter if you know what I mean.  This made the more vulnerable parts near the end twice as poignant.  Spencer Tracy was also splendid as the happy-go-lucky Manuel.  The scenes at sea are quite good and the music by Franz Waxman is rousing.  This is heart-tugging material and it worked on my heart exactly as intended.

Spencer Tracy won the first of his two Best Actor Oscars for his work on this film. Captains Courageous was also nominated for Academy Awards for Best Picture, Best Writing (Screenplay), and Best Film Editing.

Re-release trailer

 

Pépé Le Moko (1936)

Pépé Le Mokopepe le moko poster
Directed by Julien Duvivier
Written by Henri Le Barthe, Julien Duvivier et al based on a novel by Henri Le Barthe
1937/France
Paris Film

Repeat viewing
112 of 1001 Movies You Must See Before You Die

Pépé le Moko: Blame it on the Casbah.

Jean Gabin made two must-see movies in 1937.  This is one of them.

The French authorities are baffled by the inability of the provincial police to capture master criminal and jewel thief Pépé Le Moko (Gabin) in Algiers.  The police explain that while Pépé remains within the walls of the Casbah where he lives with his Algerian mistress, he is perfectly safe.  Algerian detective Slimane prefers to wait for just the right moment to pounce but the French insist on moving right away.  They hatch a play to entrap Pépé using informer Régis (the superb Fernand Charpín) but he is too smart for them.  In the meantime, sensing his moment is near, Slimane introduces Pépé to the beautiful bejeweled Gaby.  With Dalio in a small but choice part as an Arab informer.

Pepe Le Moko 1

Jean Gabin is on screen for 95% of this film, virtually guaranteeing that I would adore it. He’s not just there, though.  He is very effective as the suave criminal whose haven in the Casbah is becoming a prison, including in a most convincing drunk scene.  Director Duvivier masterfully stages the action.  I love the scene where Pépé and his gang are holding and playing with the terrified Regis while they wait for the return of another character.

This was the first time I noticed how really beautiful those diamonds were.  You can see the clips Gaby is wearing on her silk blouse in the photo above.

This film was remade in 1938 by Walter Wanger as Algiers with Heddy Lammar and Charles Boyer.

Photo Slideshow with song from film

Snow White and the Seven Dwarfs (1936)

Snow White and the Seven DwarfsSnow White Poster
Directed by David Hand et al
Written by Ted Sears et al based on a story collected by the Brothers Grimm
1936/USA
Walt Disney Productions
Repeat viewing

#110 of 1001 Movies You Must See Before You Die

 

Doc: Why, the whole place is clean.
Grumpy: There’s dirty work afoot.

Disney spent an unheard of $1.8 million dollars on his first animated feature and every penny of it shows on the screen.

Everyone should know the fairy tale about the evil queen who tries to kill the beautiful little princess because she is the fairest in the land and how the princess escapes to live with some kindly dwarfs in the woods.

1937 - Snow White And The Seven Dwarfs - Moviestills

My affection for this film is unbounded.  This time I noticed all the little details – the faces in the furniture, for example.  One can see the overflowing creativity and joy with which this project was approached.  I also loved the cinematic thinking behind the film – all  those close-ups, tracking shots, and interesting angles.  It may just be my favorite of the Disney cartoons, though Fantasia is way up there.

Does Dopey remind anybody else of Mad Magazine’s Alfred E. Newman?

Clip – “Heigh-Ho”

The Story of a Cheat (1936)

The Story of a Cheat (“Le roman d’un tricheur”)
Directed by Sacha Guitry
Written by Sacha Guitry
1936/France
Cinéas

First viewing
#103 of 1001 Movies You Must See Before You Die

[box] “You can pretend to be serious; but you can’t pretend to be witty.” — Sacha Guitry [/box]

I enjoyed the witty story without becoming immersed in it.

This film is an exercise more in style than in plot.  The story goes something like this.  The anonymous narrator sits in a Parisian café writing his memoirs.  He was born a peasant in a village.  As a boy he lived in an extended family of twelve people.  Because he stole money from the till of their store, he was forbidden to eat from a dish of wild mushrooms at dinner. Thus, he becomes the only one of his family not to die from eating the deadly batch.  An orphan, he is taken by his conniving aunt and uncle who cheat him of his inheritance.  One day, his aunt intentionally leaves a few francs on the table.  He resists the temptation to take them and the aunt surreptitiously leaves him an ad for employment as a doorman at a fancy hotel.  He takes the cue to run away. So begins a series of jobs ending as a croupier in Monte Carlo and a number of amorous adventures as a sometime gambling cheat and thief.

 

This movie is a lot of fun.  There is almost no dialogue other than the voice-over recounting the memoir.  The setting is highly theatrical in that the audience is distanced from the action, which feels artificial.  Everything is kept very light.  The credits are presented in the most original way I have yet seen!  This was the first film I have seen by Guitry.  I look forward to seeing others.  Recommended.

Trailer (no subtitles, unfortunately)

A Day in the Country (1936)

A Day in the Country (“Partie de campagne”) 
Directed by Jean Renoir
Written by Jean Renoir based on a short story by Guy de Maupassant
1936/France
Panthéon Productions

First viewing
#94 of 1001 Movies You Must See Before You Die

 

[box] “The kiss itself is immortal. It travels from lip to lip, century to century, from age to age. Men and women garner these kisses, offer them to others and then die in turn.” ― Guy de Maupassant, The Complete Short Stories of Guy de Maupassant, Part One[/box]

Jean Renoir’s third film of 1936 is an unfinished jewel that makes up in atmosphere and emotion what it lacks in characterization and story.

The Dufours are Parisian dairy owners.  Father, mother, daughter and shop boy take an annual trip to the country one Sunday where they stop at a riverside inn for lunch. Henrietta, the daughter, is enchanted by the beauty of the setting, which awakens in her an inexpressible tenderness.  Two young men are also dining at the inn.  After lunch, they provide the father and shop assistant with fishing poles and offer to take the ladies rowing.  Henri takes Henrietta to his secret grove of trees where they kiss.  With Jean Renoir in a small part as the owner of the inn.

Renoir evokes the essence of a lazy summer day with his camerawork, which is just gorgeous.  The music, too, reflects the fullness in Henrietta’s heart.  In fact, the whole ambience has the feeling of Renoir’s father the impressionist painter.  I imagine it was for this reason that the film was selected for The List.  Otherwise, I don’t understand why one of the other two excellent 1936 films, The Crime of Monsieur Lange or The Lower Depths were not chosen.  Those reflect completed work and are far more substantial than this one, which is a little farcical in the early parts for my taste.

Clip

Sabotage (1936)

Sabotage
Directed by Alfred Hitchcock
Written by Charles Bennett from the novel “Secret Agent” by Joseph Conrad
1936/UK
Gaumont British Picture Corporation

Repeat viewing
#100 of 1001 Movies You Must See Before You Die

Title Card: [camera zooms in on definition] sa-botage sà-bo-tarj. Wilful destruction of buildings or machinery with the object of alarming a group of persons or inspiring public uneasiness.

For some reason, this film fizzled for me on the second viewing despite excellent performances by some of the actors and a rather prescient treatment of urban terrorism.

Karl Verloc (Oskar Homolca), of Continental but undefined nationality, runs a cinema in London with his wife (Sylvia Sidney).  Mr. Verloc is considerably older than his wife who seems to have married him to provide security for her much younger brother Stevie (Desmond Tester).  The film opens with a general blackout that results from Mr. Verloc sabotaging a power station.  A friendly fruit seller (John Loden) keeps an eye on the cinema and befriends Mrs. Verloc and Stevie.  It turns out that he works for Scotland Yard.  Verloc’s employers are not happy with the blackout and instruct him to plant a bomb in an underground station.  Family happiness is threatened when the only person Verloc can think of to deliver the bomb is Stevie.

Sabotage 1

I remember loving this film the first time around but now the infamous “bomb on the bus” set piece seems uncharacteristically heavy-handed to me. The use of the montage of ticking clocks, etc. seems much too obvious.  I still adore Sylvia Sidney’s performance particularly in the “knife” scene and thereafter.  I think it is one of the best portrayals of grief on record.  Homolka, Loden and Tester are also very good.  The poor quality of the public domain print I watched didn’t help at all.

Hitchcock himself regretted the “bomb” sequence later in life as it violated his general method of suspense whereby tension eventually had to be relieved.

Clip – Alfred Hitchcock at the AFI on the difference between “mystery” and “suspense”