Yearly Archives: 2013

Pygmalion (1938)

Pygmalion
Directed by Anthony Asquith
Written by George Bernard Shaw
1938/UK
Gabriel Pascal Productions
Repeat viewing

 

 

[box] Prof. Henry Higgins: Yes, you squashed cabbage leaf, you disgrace to the noble architecture of these columns, you incarnate insult to the English language, I could pass you off as the Queen of Sheba![/box]

This may be the best adaptation of George Bernard Shaw’s play.  I love this film!

Professor Henry Higgins (Leslie Howard) bets that he can pass Cockney flower seller Eliza Doolittle (Wendy Hiller) off as a duchess with six months of training in phonetics. With Wilfred Larson as Alfred P. Doolittle and Esme Percy as Count Aristid Kaparthy.

Leslie Howard makes a splendid Henry Higgins but the real revelation is Wendy Hiller in her second film.  With Hiller, Eliza is keeping her Cockney soul under check at all times whereas Audrey Hepburn always seems to me as a born princess struggling to escape her flower girl disguise.  The other performances are of a very high standard.  Asquith does an excellent job of opening up the story so it does not seem unnecessarily stagey.  I had a smile on my face throughout.  Very warmly recommended.

George Bernard Shaw and the adaptors of his play won the Academy Award for Best Screenplay, making Shaw the only Nobel Prize winner to also have an Oscar.  Shaw said “It’s an insult for them to offer me any honour, as if they had never heard of me before – and it’s very likely they never have. They might as well send some honour to George for being King of England.”  Pygmalion also received nominations in the categories of Best Picture, Best Actor (Howard) and Best Actress (Hiller).

http://www.youtube.com/watch?v=EADz07k_wXU

“Trailer” – Professor Higgins makes Eliza an offer she can’t refuse

Sweethearts (1938)

SweetheartsSweethearts poster
Directed by W.S. Van Dyke
Screenplay by Dorothy Parker and Alan Campbell based on a story by Fred De Grasac et al
1938/USA
Metro-Goldwyn-Mayer

First viewing

Sweetheart, today will never fade
Like an eternal serenade
For love will end the way it starts
Forever we’ll be sweethearts — lyric by Robert C. Wright & Chet Forrest

The singing is the high point of this movie.

Gwen Marlowe (Jeanette MacDonald) and Ernest Lane (Nelson Eddy) play sweethearts in the long-running Broadway show of that name and are happily married in real life.  A film studio is trying to lure them to Hollywood.  Stakeholders in the Broadway show resort to desperate measures to split up the team to prevent their departure.  With Frank Morgan as a Broadway producer, Mischa Auer as a playwright, and Ray Bolger as a dancer.

Sweethearts 1

Despite the sterling cast of character supporting actors, I thought the comedy fell flat.  The story also takes quite awhile to get going.  The first hour or so is filled with flimsy excuses for one musical number after another.  Ordinarily I would not object but here the tunes are not very catchy.  There is a nice number featuring Ray Bolger’s loose-limbed dancing at the very beginning.  MacDonald and her red hair look very good in color.

Sweethearts won an Honorary Academy Award for its Technicolor cinematography.  It was nominated in the categories of Best Sound Recording and Best Music, Scoring.

Jeanette goes clothes shopping for Hollywood (1938 fashion on parade)

 

Block-Heads (1938)

Block-Heads
Directed by John G. Blystone
Written by Charlie Rogers, Felix Adler, et al
1938/USA

Hal Roach Studios
First viewing

 

[box] Oliver: But, Toots, Stan is different.

Mrs. Hardy: I’ll say he’s different![/box]

For some reason, this just did not tickle my funny bone.

The story opens in the trenches of WWI France.  Ollie departs for combat with the rest of his battalion leaving Stan to guard the trench.  Twenty years later, Stan is still guarding it. When he shoots down a French pilot, he is sent home where he is reunited with Ollie. The two get in to many “fine messes”.

The film was announced as being the last Laurel & Hardy movie and it was the last Hal Roach production for Metro-Goldwyn-Mayer.  Laurel & Hardy went on to make many films at Hal Roach Studios.

Happy Thanksgiving to all celebrants!

Clip – first scene

Alexander Nevsky (1938)

Alexander Nevsky

Directed by Sergei M. Eisenstein and Dmitri Vasilyev
Written by Sergei M. Eisenstein and Pyotr Pavlenko
USSR/1938
Mosfilm

Repeat viewing

 

[box] Alexandr Nevsky: Go tell all in foreign lands that Russia lives! Those who come to us in peace will be welcome as a guest. But those who come to us sword in hand will die by the sword! On that Russia stands and forever will we stand![/box]

My appreciation of this film took a nose dive due to the substandard print and sound track on the rental DVD I received.  I rated it very highly when viewed in a restored print.

The story is based on the historical Prince Alexander (1220-1263) who defeated an army of Teutonic Knights of the Holy Roman Empire who were invading Novgorod.

Most of Russia, save Novgorod, has fallen to the Mongol Horde.  The people call on Alexander, who had previously defeated a Swedish invasion, to free Russia of the Mongol yoke.  Alexander declines, saying that the real threat will come from Germany.  Soon enough, the Teutonic Knights have defeated the city of Pskov, massacring its civilian population (and throwing babies into bonfires).

The people beg Alexander to lead them against the foe and he arrives in Novgorod, where the nobility and merchants desert the town.  The common people, including woman warrior Vasilisa, bravely fight the Huns on frozen Lake Peipus.  The Germans are roundly defeated and their clergy crushed.  The people take pity on captured German foot soldiers but have no mercy for Russian traitors.

The main attractions of Eisenstein’s film are the magnificent Prokofiev score and the masterfully edited and shot battle sequences.  These were obscured by a blurry print and a  tinny, static-fillied soundtrack in the version I watched.  In addition, the subtitles made the characters sound like medieval Yodas.  I can recommend the Criterion Collection version and I am sure there are other good restored prints out there.

The film was a great success on its 1938 release.  In 1939, it was withdrawn from circulation when Stalin entered the Ribbentrop-Molotov pact with Hitler.  Following the Nazi invasion of the USSR in 1941, it was rapidly returned to Soviet screens.  Eisenstein was awarded the Stalin Prize for the film the same year.

http://www.youtube.com/watch?v=vKZPgGbUuX0

Clip – Battle on the Ice (beautiful sound)

La Bête Humaine (1938)

La Bête Humaine 
Directed by Jean Renoir
Written by Jean Renoir and Denise Leblond (both uncredited) from the novel by Emile Zola
1938/France
Paris Film

Repeat viewing

 

[box] Jacques Lantier: I can’t go on. I can’t go on.[/box]

This adaptation of Emile Zola’s novel may be my least favorite of Jean Renoir’s films.  It is great filmmaking nonetheless.

Jacques Lantier (Jean Gabin) is a highly competent train driver, who is a little in love with the steam engine that he has named “Lison”.  He travels the rails with a down-to-earth stoker, Pecquex (Julien Carette).  Poor Jacques suffers mightily from terrifying blackouts ending in homicidal fits. These he attributes to hereditary “alcohol poisoning” with which he has been cursed by generations of his alcoholic ancestors.

Roubaud (the excellent Fernand Ledoux) is the stationmaster at one of the stops on Jacques’ route.  He dotes on his young beautiful wife Séverine (Simone Simon) but is pathologically jealous and abusive toward her.  He gets the idea (probably well-founded) that Séverine has had an affair with railroad boss Grandmorin and decides to make his wife an accomplice in his murder to “bind her to him”.

The two execute the plan on a train and Jacques witnesses them returning to their compartment.  Séverine uses her feminine charms to secure Jacques’ silence and their relationship rapidly develops into something more, ending in tragedy for all concerned. With Renoir as a fall guy.

While I find that La Bête Humaine lacks the humanism I love in Renoir’s films, it grew on me quite a bit on this viewing.  Previously I thought that the entire plot hinged on the “alcohol poisoning” construct which kind of lets everyone off the hook.  This time I saw the film as more of a Double Indemnity-type story, something I doubt Zola intended but could have been on Renoir’s mind.  Certainly Séverine is a classic femme fatale.  Simone Simon, already looking like a kitten well before Cat People, portrays her to perfection.

Gabin brought Zola’s novel to Renoir because he wanted to drive a train, and the railroad scenes are the true glory of the picture.   They are dynamic and beautifully shot.  Needless to say, for me Gabin can do no wrong as an actor.

La Bête Humaine was reportedly the most financially successful of Renoir’s 1930’s films. Fritz Lang modernized and remade the story in 1954 as Human Desire with Glenn Ford and Gloria Grahame.

http://www.youtube.com/watch?v=fsv1hECXClo

Trailer

Olympia Part Two: Festival of Beauty (1938)

Olympia Part Two: Festival of Beauty (“Olympia 2. Teil – Fest der Schönheit”)Olympia Part II Poster
Directed by Leni Riefenstahl
Written by Leni Riefenstahl
1938/Germany
Olympia Film GmbH

Repeat viewing
#126 of 1001 Films You Must See Before You Die

 

I am fascinated by what is beautiful, strong, healthy, what is living. I seek harmony. — Leni Riefenstahl

 

The second part of Riefenstahl’s documentary features the decathalon plus all the sports not on the track and field Olympic lineup.  Once again, we begin with a prologue – this time featuring nude male atheletes swimming in a natural setting and finishing up with a hearty sauna.  All of the sports coverage is quite lovely, with even some funny moments during the steeplechase event as officers and horses repeatedly get dunked.  My very favorite part of the film was an Olympic diving sequence right at the end (see clip below).  It was mesmerizing to watch the dives without narration and without nationality or winners. Riefenstahl demonstrates her brilliance as an editor here and throughout Olympia. Recommended.

Olympia II

Clip – diving

 

Olympia Part I: Festival of the Nations (1938)

Olympia Part I:  Festival of the Nations (“Olympia 1. Teil – Fest der Völker”)
Directed by Leni Riefenstahl
Written by Leni Riefenstahl
1938/Germany
Olympia Film GmbH

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

 

[box] Through my optimism I naturally prefer and capture the beauty in life — Leni Riefenstahl[/box]

Riefenstahl’s film begins with a long arty prologue starting with the ancient Greek games and including a long sequence of nude male and female athletes practicing their sports. It’s sort of an exploration of the beauty of the human body. While this is captivating stuff, I was not looking forward to an hour and a half of the same. As soon as I could tire of it, we were into the Berlin Olympic Games. I ended up really enjoying the film and even rooting for my favorite athletes.

This part of Olympia covers the track and field events. There is no narration per se, just the voice of the German sports commentator. There is surprisingly little nationalism, perhaps inevitable since Germany won so few medals. There are several shots of Hitler but mostly he just looks disappointed. Jesse Owens runs like a rocket compared to his competitors. The music is magnificent.  Recommended.


Fan trailer set to selections from Vangelis (non-sexualized nudity)

Jezebel (1938)

Jezebel
Directed by William Wyler
Written by Clements Ripley, Abem Finkel and John Huston from the play by Owen Davis
1938/USA
Warner Bros

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

 

[box] Aunt Belle: Child, you’re out of your mind. You know you can’t wear red to the Olympus Ball.

Julie Marsden: Can’t I? I’m goin’ to. This is 1852, dumplin’. 1852, not the Dark Ages.[/box]

William Wyler was some director and this is a polished well-acted drama.

Neither her aunt (Faye Bainter) nor her guardian can make headstrong Julie Marsden (Bette Davis) behave according to the rules of antebellum New Orleans society.  Julie is determined to win the same battle with her fiance Pres Dillard..  In a fit of pique after Pres refuses to leave an important business meeting to go to a fitting with her, Julie decides to wear a red dress to a ball.  This is simply something not done by unmarried girls, who traditionally dress in virginal white.  Julie loses the battle of the sexes and the story follows the many bad consequences of her stubbornness.  With George Brent as a rival beau, Donald Crisp as a doctor, and Spring Byington as a society matron.

This role suited Bette Davis perfectly.  She is magnificent as the haughty, catty Julie. William Wyler, with whom she was having an affair at the time, made her look radiantly lovely as well.  The rest of the cast is excellent, with the possible exception of Margaret Lindsay who gets on my nerves for some reason.  The production was lavish and expensive and Wyler sets off the beautiful surroundings with a fluid moving camera.  The ball scene is particularly notable.

I never can make sense of the ending.  Why would anyone trust Julie to return her husband?  I certainly wouldn’t.

Bette Davis and Faye Bainter were awarded with Best Actress and Best Supporting Actress Oscars.  Jezebel was nominated in the categories of Best Picture, Best Cinematography, and Best Music (Scoring).

http://www.youtube.com/watch?v=UQ_amZoT7HE

Trailer

 

 

Vivacious Lady (1938)

Vivacious Lady
Directed by George Stevens
Written by P.J. Wolfson and Ernest Pagano based on a story by I.A.R. Wylie
1938/USA
RKO Radio Pictures

First viewing

[box] Helen: I’m going to give you a piece of my mind…

Francey: Oh, I couldn’t take the last piece![/box]

If it weren’t for the preposterous story, this could have been one of the most delightful romantic comedies of the 1930’s.  It has everything else going for it.

Professor Peter Morgan (James Stewart) travels to New York to bring his cousin Keith back to the university town they live in.  He finds Keith waiting in the nightclub for a girl he lusts after to come out.  Peter waits while Keith gets his coat and, when he spots nightclub singer Francey (Ginger Rogers), it is love at first sight.  Sans Keith, he takes Francey on the town and they are married by the time the train leaves the next day.

Peter plans to introduce Francey to his parents right away but his father, the stuffy president of the university (Charles Coburn), meets them at the station with Peter’s fiancée in tow.  Dad assumes Francey is Keith’s girl and immediately labels her a hussy. For various reasons – his mother (Beulah Bondi) has a weak heart, Francey slugs the father accidentally during a cat fight with the fiancée – Peter delays revealing his marriage.

Ginger Rogers is adorable and Jimmy Stewart is almost sexy in this movie.  My favorite from the film was Beulah Bondi, who is very funny as the seemingly frail mother with a wicked streak.  This was one of Charles Coburn’s earliest films after a very successful stage career and he is good as always.  As always, George Stevens gets the best out of his actors and the story.  Even the dialogue has its high points.  But it is one of the stories that would have been over in a minute if anyone acted like an ordinary person and my eye-rolling got in the way a bit.

Vivacious Lady was nominated for Oscars for its cinematography and sound recording.

http://www.youtube.com/watch?v=lG4IRC8MgiA

Trailer

http://www.youtube.com/watch?v=L-I7DkDuiu0

Teaching Beulah Bondi “The Big Apple” — love this!

 

Lawrence of Arabia (1962)

Lawrence of ArabiaLawrence of Arabia poster
Directed by David Lean
Written by Robert Bolt and Michael Wilson based on the writings of T.E. Lawrence
1962/UK/USA
Columbia Pictures/Horizon Pictures

Repeat viewing
#404 of 1001 Movies You Must See Before You Die
IMdB users say 8.4/10; I say 9/10

 

Jackson Bentley: What is it, Major Lawrence, that attracts you personally to the desert?T.E. Lawrence: It’s clean.

Although epics are not my cup of tea, I make a giant exception for Lawrence of Arabia.

This is the dramatized story of T.E. Lawrence, who served in the British army as a liaison with the Arabs during the Sinai and Palestine Campaign and the Arab Revolt against Ottoman Turkish rule of 1916–18.

Lawrence (Peter O’Toole) is an undisciplined and slightly off-kilter officer who is selected by Mr. Dryden (Claude Rains) of the Foreign Office to gather intelligence from Prince Faisal (Alec Guinness) , the leader of a prominent Bedouin tribe, due to his prior travels in the Middle East and knowledge of Arabic.  He almost immediately goes native, advising Faisal contrary to the orders and conventional wisdom of his British military superiors. Through his understanding and love of the Arabs, Lawrence wins their trust despite some initial friction with Faisal’s son, Ali (Omar Sharif).

lawrence-of-arabia 2

Lawrence devises a daring plan to take the Turkish-held stronghold of Aqaba with a small contingent of Faisal’s men.  In the desert, he manages to attract the support of Auda abu Tayi (Anthony Quinn) and his tribe against the Turks.  The victory at Aqaba makes Lawrence a hero to the Arabs.  Already almost mystically over-confident, Lawrence begins to believe his own P.R.  Then, he is forced to execute a man to mediate a dispute between tribes and returns to Cairo to inform the British of the victory.  On the way, one of his young servants dies horribly in quicksand.  Both these deaths are huge blows to Lawrence.

lawrence_of_arabia 3

In Cairo, Lawrence asks to be relieved of his role but General Allenby (Jack Hawkins) will have none of it.  Lawrence asks Allenby for assurance that the British have no imperial ambitions in Arabia and Allenby falsely gives them.  Lawrence returns to the desert to lead the Arab armies in support of British troops.  After a series of successful skirmishes with the Turks, Lawrence is captured in Daara and severely beaten.  He manages to disguise his identity so is eventually released.  The trauma of this encounter sends him right over the edge and from then on Arab battles with the Turks become increasingly savage.

Eventually, the Arabs manage to take Damascus before the British can and Lawrence helps them set up an Arab Council to rule the city.  This results in chaos, however, because the Arabs are ill-equipped to cope with the necessities of modern life such as electricity, water, telephones, etc.  The practical Prince Faisal arrives to take charge in cooperation with the British and Lawrence is sent packing.  (Faisal goes on to found the Hashemite dynasty, which still reigns in Jordan.)

Lawrence of Arabia 4

Lawrence of Arabia has all the splendor of an epic with its magnificent score, gorgeous desert vistas, and thousands of extras marching into battle.  It is much more than that because of the complex portrayal of Lawrence by the screenwriters, director, and newcomer Peter O’Toole.  Those hypnotic blue eyes perfectly capture the blend of messianic lunacy and steely determination that was Lawrence.  The rest of the distinguished British cast also excels.  This is genuinely a film that should not be missed.

The film is filled with second choices in the casting of the roles.  How lucky we are that Lean settled on the cast we see.  Lawrence of Arabia won seven Academy Awards: Best Picture, Best Director, Best Color Cinematography (Freddie Young), Best Color Art Direction, Best Sound, Best Film Editing and Best Score (Maurice Jarre).  It was nominated for an additional three Oscars: Best Actor (O’Toole), Best Supporting Actor (Sharif) and Best Adapted Screenplay.

http://www.youtube.com/watch?v=RQA_ldX0VI0

Trailer