Jour de Fete (1949)
“Let’s do it the American way!”
“Let’s do it the American way!”
“Your face, my lord, is as a book where men may read strange matters.”
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Response to Peary’s Review: … confirms that Welles wanted his Macbeth to be as out of control of his destiny as he’d be if he were in a dream.” Peary argues that while the “picture gets off to a marvelous start,” Welles “cannot sustain the early power,” and “for some reason, listening to the speeches becomes difficult.” (He adds, “I think it would have worked much better as a silent film.”) However, while he believes “this is not a great Welles film, it does allow him to play the mammoth personality from whom many of his other characterizations developed” — — “a man of conceit who achieves a lofty position, tremendous power, and (historical) significance by relinquishing his idealism and morality and committing ‘crimes’ (for which he feels guilt) against humanity.” Perhaps inevitably, Welles’ adaptation was roundly criticized upon its release, for myriad reasons — ranging from the attempted Scottish accents of his cast (which were dubbed in response, then restored again in 1980), to the low-budget, intentionally stylized sets and costumes, to the many shifts and cuts made to the original play itself. These days, however, it stands out as a typically ambitious outing by Welles, who made good use of limited shooting days and funding, and infused his film with atmospheric dread throughout: While it’s almost certainly not the “best” or most “authentic” Macbeth adaptation out there (I have yet to revisit Polanski’s 1971 version), I think film fanatics will appreciate seeing this iteration by one of America’s most innovative auteurs. Note: Look for Roddy McDowall as Malcolm: … Dan O’Herlihy (of Robinson Crusoe fame) as Macduff: … and Welles’ daughter Christopher as Macduff’s son: Notable Performances, Qualities, and Moments:
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“Fear for hunger haunts the fishermen.”
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Review: Anyone expecting a happy resolution will be disappointed; rather, one should go into this film knowing that Visconti meant to make a trilogy (with the final film ending on a more triumphant note), but stopped here. On the plus side, the non-professional cast is highly photogenic, and effective at simply playing a version of themselves (below is Antonio Arcidiacono as the oldest son in the Valastro family): There are a few moments of gentle poignancy and sweetness: … but for the most part, we are simply reminded by this movie that life in post-WWII Italy was hard-scrabble for most, and that it was nearly impossible to survive without relying on noblesse oblige and unquestioningly accepting one’s role in the class-based status quo. Notable Performances, Qualities, and Moments: Must See? Categories
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“Consider yourselves already dead. Once you accept that idea, it won’t be so tough.”
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Review: This intentionally shocking line is meant to show us how normalized horrific scenarios have become for these men — and we sympathize completely not only with the traumatized pilots but with their commander (Merrill), who wonders how much the boys can handle:
The remainder of the film pivots to Peck, whose approach is polar opposite to Merrill’s:
To the film’s credit, no artificial dramas or conflicts are created between individuals jockeying for power. Instead, we get the real sense that these leaders are trying to figure out precisely the best way to motivate their men to knowingly risk their lives for the sake of a bigger cause — even if this involves using harsh language to call out cowardice, as when Peck speaks bluntly to a legacy pilot (Hugh Marlowe) who has not been pulling his weight:
Yikes. Will this approach work? Eventually, we find out. By the time we finally see later fight sequences (including Peck himself up in the air): … we know that none of the choices that have been made are easy, and that all men eventually “break” at some point. What matters is the collective efficacy they’ve built together. Note: In case you’re wondering about the film’s title (I was), according to Wikipedia:
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“There are more things in heaven and earth, Horatio, than are dreamt of in your philosophy.”
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Review:
He concedes, “Hamlet isn’t without merits, of course — not with Olivier himself in the lead.” But he argues that “Olivier’s direction isn’t imaginative, he pretty much ignores the other actors, his visuals have little thematic relevance (it isn’t enough just to move the camera), and much of the production looks no better than a kinescope of some fifties American television drama.” Ouch! I disagree with each of these points. Olivier’s direction and visuals (aided by DP Desmond Dickinson) are highly atmospheric and innovative throughout: … and the supporting actors all do a fine job: Numerous scenes are quite haunting, including Hamlet seeing his father’s ghost: … and the discovery of the jester Yorick’s skull: (Complaints have been made over Olivier casting a woman 11 years younger than him as his mother in the film, but this age difference isn’t all that noticeable; we simply believe Queen Gertrude was a young-ish mother, and Hamlet may have aged a bit prematurely due to stress.) Peary further asserts that “until Hamlet’s swordfight with Laertes: … the picture drags,” and he notes that while “Olivier deleted almost two hours from the play,” “it still seems too long.” I’ll agree the film feels long at points, but it’s hard to determine how Olivier could have made too many more cuts given how much flack he already received over removing the supporting characters of Rosencrantz, Guildenstern, and Fortinbras, as well as a couple of key soliloquies. We see just enough here to get the strong gist of the tragic storyline, and are treated to the cast’s expressive handling of the dialogue throughout. Finally, Peary argues this film “doesn’t equal either [Olivier’s] earlier Henry V or his later Richard III.” I haven’t seen Richard III recently enough to comment, but I prefer this over Henry V, which is visually innovative but lack’s Hamlet’s narrative depth and inherent interest. This adaptation remains well worth a look. Notable Performances, Qualities, and Moments: Must See? Categories
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“I want to get out. I want to get out. I want to get out!”
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Review: It’s impossible to see this marriage-of-convenience going in a positive direction — though surprisingly enough, Vitale is a mostly decent guy who simply wants to live a quiet life with Bergman on his island, and it’s Bergman who reveals herself to be a classist prig: When she tells Vitale, “I’m different. I’m very different from you. I belong to another class” (and maintains he’ll never earn enough money to deserve her), we struggle to maintain our compassion for her plight. Sure, it’s ridiculous to see local villagers criticizing Bergman for being so artistic and independent, but this is their home town, after all — she’s the newcomer. The bulk of the film consists of Bergman simply wandering the island and trying to pass the days, including accompanying her husband and other men on an energetic fishing trip: … and appealing to a kind local priest (Renzo Cesana) for help, confessing her “sinful” past and even seeming to awkwardly come on to him at one point. Clearly, there isn’t much room for anything to happen in this loosely improvised storyline other than for Bergman and Vitale to acknowledge they’re not compatible — but getting Bergman off the island turns out to be an insurmountable challenge, given lack of funds and the presence of a pesky active volcano. It was interesting reading the following anecdote in TCM’s article:
Poor Bergman — and yet, she invited herself into the situation by writing a fan letter to Rossellini and offering her acting services to him. The rest, as film lovers know, is cinematic and romantic history, with the couple making three children and five more films together — including Voyage to Italy (1954). Notable Performances, Qualities, and Moments: Must See? Links: |
“Tell me: do you believe in the survival of the human personality after death?”
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Review: The idea of a pilot-in-crisis being able to reach a beautiful operator on the ground and connect with her romantically: … then survive a fall without a parachute: … plays into the ultimate fantasy so many must have held about their sons, brothers, and partners during the war: they’re only missing, not deceased; they will reconnect with their loved ones; they can fight back against death. It’s a lovely wishful vision, richly portrayed here through Jack Cardiff’s lush cinematography (Technicolor on Earth, b&w for heaven): … Alfred Junge’s other-worldly sets: … and a storyline that repeatedly goes in unexpected directions. We wonder — what role will Livesey’s motorcycle-riding neurosurgeon play in the drama? Will effete Goring be successful in his ploys to bring Niven over to the heavenly side? What function will Raymond Massey play in the “courtroom” proceedings — and why does it seem like the storyline has suddenly become a referendum on British-American relations? While I’m not a huge fan of the final “movement” of this cinematic symphony (i.e., the heavenly courtroom scenes), this doesn’t really matter given that it’s the visuals and sentiments that count the most, and those are on ample display throughout. This unique film should be seen by all film fanatics as a fine example of creative, romantic expression at its most liberated. Notable Performances, Qualities, and Moments: Must See? Categories
(Listed in 1001 Movies You Must See Before You Die) Links: |
“What do they expect us to do? We’re entirely surrounded by Germans!”
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Review: In the second episode (“Naples”), a Black G.I. (Dots Johnson) befriends an orphaned street urchin (Alfonsino Pasca): … and at first is disturbed to have his shoes stolen, but then learns how truly poverty-stricken Pasca is. In Episode 3 (“Rome”), a prostitute (Maria Michi) — the same actress playing the drug-addicted femme fatale in Open City — solicits a date with a passing G.I. (Gar Moore), only to find he is morbidly fixated on how much things have changed for the worse since the city was liberated six months earlier. The fourth episode (“Florence”) brings us to the frontlines of street violence, as an American nurse (Harriet Medin) and an Italian partisan (Renzo Avanzo) risk their lives to cross the Arno River so Medin can learn the fate of her lover, and Avanzo can check on his wife and child. Episode five (“Bologna”) seems at first to offer some literal respite from the war, as a trio of American chaplains (William Tubbs, Newell Jones, and Elmer Feldman) are allowed to stay in a Roman Catholic monastery — but the monks react with genuine dismay when they learn that only Tubbs is Catholic (Jones is Protestant and Feldman is Jewish). Finally, Episode 6 (“Po Delta”) brings us back to straight-up wartime aggression, as American O.S.S. members fight alongside Italian partisans in the delta. Rossellini’s neo-realist approach throughout each episode of this film brings with it numerous moments of heart-wrenching grief and insight. SPOILERS AHEAD Sazio experiences a brutal, misunderstood end: Johnson learns that his own impoverished background as a Black American doesn’t compare to the squalor Pasca and his community are currently living through: Moore doesn’t realize that the woman soliciting him is actually the same girl he fell in love with months earlier, and skips out on a reunion: Medin and Avanzo can barely make it across a city without being killed; monks hold such engrained prejudices against non-Catholics that we can easily see how intolerance persists across Europe; and a young child cries with anguish in the night when his parents are brutally killed. Obviously, none of this is light-hearted or easy to get through — but one finishes Paisan with gratitude for its harsh authenticity (we see the bitter “truth” here), and a sense of hope that things will at least start to get better by the end of the war. Notable Performances, Qualities, and Moments: Must See? Categories
(Listed in 1001 Movies You Must See Before You Die) Links: |
“When the throne is yours, you will punish the regicide — and others, too.”
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Response to Peary’s Review: However, he argues this “doesn’t help” the movie, noting that he’s “never seen so many people in a theater dozing off as when [he] last saw this film.” While he concedes the movie is “beautifully shot,” he also notes that it’s “slow-moving and lacking some of the pivotal characters of the first part.” I actually don’t agree with Peary: while I share his sentiment that Part I is “ludicrously melodramatic” and over-rated, there’s a lot going on this time around, with the storyline heading in a more interesting (and dangerous) direction — and we definitely see “pivotal characters” from the first movie, most notably Aunt Efrosinia and her son, who is as infantilized as ever but now has the beginnings of a beard: In Part II we’re given better insight into Efrosinia’s naked ambitions (“I’d suffer the pangs of your birth a hundred times over to see you seated on the Tsar’s throne!”), and we actually begin to feel compassion for idiotic Vladimir, who pitifully asks, “Why are you always trying to make a leader of me, mother?” To that end, the “lullaby” Efrosinia sings to Vladimir is appropriately creepy:
The final sequence — involving carefully crafted deception and violence — really jolted me, making me realize how invested I’d become in this scenario. Meanwhile, the early inclusion of a flashback sequence showing the trauma young Ivan experienced when his mother was brutally killed by boyars helps us to better understand his enduring hatred for them: It’s too bad that Eisenstein passed away before he was able to complete the intended third portion of this epic, given that he was going to continue to build on Ivan’s paranoia. Peary writes that “obviously, Eisenstein’s czar is meant to represent Stalin’s view of himself” — and this time around, that makes a lot more sense. Note: Putting an accurate date on this film is tricky; Peary lists 1945, but I’ve put 1958 given the following information (from Wikipedia): “Part II, although it finished production in 1946, was not released until 1958, as it was banned on the order of Stalin, who became incensed over the depiction of Ivan therein.” Notable Performances, Qualities, and Moments: Must See? Categories
(Listed in 1001 Movies You Must See Before You Die) Links: |
“Only the heartless succeed in crime — as in love.”
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Review: Flirtatious Landis (just a couple of years before her untimely death) is his perfect counterpart: … and steals the movie in later scenes, as both her vengeance and her obsession with hats take full form. Less effective is Hasso as a reverent young woman who falls in love with the saintly painting of Sanders, then goes silent each time she sees him in real life: For some reason her silence is appealing to Sanders, and a love triangle of sorts is thus set in motion, all while Tamiroff and his extended criminal family are busily plotting (with Sanders) to carry out the ultimate heist: The storyline is mostly light-hearted, with plenty of mistaken identity kerfuffle (and a pet monkey!), but it turns fairly dark by the end: Fans of Sirk’s work will likely be curious to check this film out, but it’s not must-see viewing. Notable Performances, Qualities, and Moments:
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