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Synopsis:
Grieving widow Kriemhild (Margarete Schon) agrees to marry Attila the Hun (Rudolf Klein-Rogge) when he promises to defend her name at any cost. After the birth of their son, Kriemhild invites her brother (Theodor Loos) and the murderous Hagen Tronje (Hans Adalbert von Schlettow) for a visit, intending to have Tronje killed; but when Attila refuses to harm his guests, the single-minded Kriemhild enlists the help of local Huns in seeking bloody revenge on the man who killed her husband.

Genres, Themes, Actors, and Directors:

• Fritz Lang Films
• Revenge
• Royalty and Nobility
• Silent Films
• Strong Females

Response to Peary’s Review:
This sequel to Fritz Lang’s Siegfried was filmed at the same time, and originally intended to fit the second part of a double-bill. Unfortunately, while it efficiently completes the story told in the early 13th-century epic poem Nibelunglied, it lacks the magical fantasy elements of its precursor, instead presenting a much darker, bloodier story “geared for adults”. With that said, as Peary notes, “the visuals are equally impressive,” and it’s satisfying to watch “the character of Kriemhild, so passive in part one, become one of the most formidable heroines in film history”. Indeed, Kriemhild overpowers even her notoriously autocratic husband Attila the Hun, who is presented here as “a sympathetic figure” — someone who “respects women, plays with babies, cries, and wants his guests to have a good time” (!). It’s too bad we’re not given more scenes between these two newlyweds; instead, Lang pads out the narrative with far too many lengthy — albeit impressively staged — battle scenes. Nonetheless, this classic silent epic remains must-see viewing for all film fanatics.

Redeeming Qualities and Moments:

• Margarethe Schon as Kriemhild
  
• Rudolf Klein-Rogge as Attila
  
• Wonderfully expressive costumes and make-up
  
• Lang’s “geometric” framing of characters and buildings
  
• Evocative set designs
  
• Carl Hoffman and Gunther Rittau’s cinematography
  
• The Huns emerging from their insect-like caves
  

Must See?
Yes. While not as enjoyable as Siegfried, this bloody sequel remains must-see viewing as well.

Categories

• Foreign Gem
• Historically Relevant

Links:

• IMDb entry
• Moria Review
• Movie Rapture Review
• TCM DVD Review

Synopsis:
While traveling to Worms to propose to Kriemhild (Margarete Schon) — the sister of King Gunther (Theodor Loos) — Siegfried (Paul Richter) kills a dragon and becomes invincible in all but one spot by bathing in its blood; he also captures the dwarfish Nibelungen’s hoard of treasure, and acquires a magic helmet which makes him invisible. In payment for Kriemhild’s hand, Gunther asks for Siegfried’s help in winning the mighty Brunhild (Hanna Ralph) as his wife — but when Brunhild discovers that Siegfried has used magic to trick her into marriage, she seeks revenge, enlisting the help of Gunther’s treacherous half-brother, Hagen Tronje (Hans Adalbert von Schlettow), to murder him.

Genres, Themes, Actors, and Directors:

• Fantasy
• Fritz Lang Films
• Revenge
• Royalty and Nobility
• Silent Films
• Strong Females

Response to Peary’s Review:
This first installment of Fritz Lang’s two-part, five-hour saga — based on an early 13th century Norse epic poem — is, as Peary notes, “a marvel, one of the truly great silent films, and one of the most spectacular ventures into fantasy and legend” that has ever graced the silver screen. It’s full of countless memorable moments and images — all stunningly choreographed and framed — with its expressive sets and cinematography evoking “the paintings of Swiss Romanticist Arnold Bocklin” (who also inspired the set of Skull Island in 1933’s King Kong). The story itself is consistently exciting, “subtle enough for adults and magical enough for kids”, and many of the special effects remain impressive. While I’m not a fan of the early dragon fight (it’s hard not to laugh when we see “blood” gushing out of the hole Siegfried pokes in its cardboard side), many other fantasy scenes — including Siegfried’s use of magic to help Gunther fight against Brunhild, and the Nibelungen dwarves turning to stone — are noteworthy.

Although Siegfried is ostensibly about its titular hero, it’s interesting to note that strong females play an important part in both this film and its sequel (Kriemhild’s Revenge). Brunhild is a no-holds-barred warrior woman who surrounds herself with a bevy of female associates; and while Peary notes that she “harbors a secret love for Siegfried” (a fact which is apparently borne out in the original story), it’s not made explicit here. Instead, Brunhild comes across as simply a powerful female who resents being forced to marry and give up her independence; significantly, it’s her actions and motivations which propel the tragic final half of the film. It should also be noted how androgynous the leads appear: Margarete Schon and Hanna Ralph are positively transgendered, while Siegfried — with his wildly poofed-out hair and dramatic make-up — makes for a somewhat “feminine” counterpart. Ultimately, then, Siegfried remains a mythic tale of larger-than-life beings who transcend traditional gender roles, instead embodying core human emotions and values.

Redeeming Qualities and Moments:

• Paul Richter as Siegfried
  
• Hanna Ralph as Brunhild
  
• The wonderfully androgynous Margerete Schon as Kriemhild
  
• Marvelous set designs
  
• The baroque costumes and headdresses
  
• Carl Hoffman and Gunther Rittau’s cinematography
  
• Brunhild’s luminous castle
  
• The fiery plains surrounding Brunhild’s castle
  
• The Nibelungen dwarves turning into stone
  
• Siegfried and Kriemhild’s brief but intense romance
  
• Siegfried using magic to help Gunther win Brunhild’s hand in marriage
  
• A refreshing depiction of a truly strong female (Brunhild)
  
• Lang’s “geometric” framing of characters and buildings
  

Must See?
Yes. This early cinematic masterpiece should be seen by all film fanatics.

Categories

• Foreign Gem
• Historically Relevant

Links:

• IMDb entry
• Movie Rapture Review
• TCM Article

Synopsis:
Desperate for money, aspiring writer Joe Gillis (William Holden) is hired by aging silent movie star Norma Desmond (Gloria Swanson) to help her write her comeback screenplay. Soon the two are lovers — but things become complicated when Holden finds himself falling in love with a young screenwriter (Nancy Olson).

Genres, Themes, Actors, and Directors:

• Actors and Actresses
• Billy Wilder Films
• Erich von Stroheim Films
• Flashback Films
• Gloria Swanson Films
• Has-Beens
• Hollywood
• Jack Webb Films
• Love Triangle
• May-December Romance
• Nancy Olson Films
• Prostitutes and Gigolos
• William Holden Films
• Writers

Response to Peary’s Review:
As Peary notes, Billy Wilder’s Sunset Boulevard “remains the harshest indictment of Hollywood on film” — not only “assaulting those who have made [it] a place where talent and integrity have little meaning”, but offering a “funeral elegy to old-style Hollywood films”. Despite its gloomy thematic premise, however, it’s a surprisingly enjoyable movie, full of fabulous set designs, stand-out performances (particularly by Swanson), memorable scenes, and dark humor. The story itself is densely layered: in addition to its sharp critique of Hollywood, Sunset Boulevard is both a suspenseful noir “romance” (with Swanson an atypical femme fatale), and — as noted by both Peary and DVD Savant (see link below) — an unusual “ghost story” with a “morbid, death-obsessed plot”, and countless “horror-movie references and imagery”. Perhaps the strongest indication of Sunset Boulevard‘s brilliance, however, is that our knowledge of Joe’s ultimate fate (his corpse narrates the story) does nothing to mitigate our enjoyment of the film as it unfolds.

Redeeming Qualities and Moments:

• Gloria Swanson as Norma Desmond
  
• William Holden as Joe
  
• Eric von Stroheim as Max the butler
  
• Nancy Olson as Betty Schaefer
  
• Marvelously baroque set designs
  
• Norma pantomiming silent screen characters
  
• John Seitz’s noirish cinematography
  
• The famous “bridge playing” sequence with former silent stars
  
• A macabre sense of humor
  
• The classic opening shot
  
• The even more famous closing shots
  
• Countless memorable lines
  

  Joe: You’re Norma Desmond. You used to be in pictures — you used to be big.
  Norma: I am big. It’s the pictures that got small.
  Joe: I knew there was something wrong with them…

• Franz Waxman’s appropriately creepy score

Must See?
Definitely. This is an undisputed classic of American cinema, and merits multiple viewings. Discussed at length in Peary’s Cult Movies (1981).

Categories

• Genuine Classic
• Noteworthy Performance(s)
• Oscar Winner or Nominee

(Listed in 1001 Movies You Must See Before You Die)

Links:

• IMDb entry
• DVD Savant Review
• Roger Ebert’s Review
• Stinky Lulu: Nancy Olson in Sunset Boulevard
• TCM Articles
• Time Out Capsule Review

Synopsis:
When his troubled wife (Meryl Streep) walks out on him, a workaholic father (Dustin Hoffman) must learn to care for their 6-year-old son Billy (Justin Henry) on his own. Soon Hoffman discovers the joys of parenthood, but things are complicated when Streep reappears and demands custody of Billy.

Genres, Themes, Actors, and Directors:

• Courtroom Drama
• Divorce
• Father and Child
• Meryl Streep Films
• Raising Kids

Response to Peary’s Review:
While acknowledging that Kramer vs. Kramer (based on Avery Corman’s real-life-inspired novel) is an “excellent, thoughtful, humorous, sensitive film with terrific acting and real characters”, Peary nonetheless expresses some serious reservations in his review, arguing that the film “ridiculously glorifies Hoffman for doing what so many mothers do as a matter of course”. I disagree: because Kramer Versus Kramer is essentially a character study (we see things almost exclusively from Hoffman’s point of view), it makes sense that his transformation from self-absorbed workaholic to loving father is shown as a tremendous accomplishment — for him, it is. With that said, it would certainly be interesting to see the entire story told from Streep’s perspective; but this would be a different film altogether.

To her credit, Streep (who won a Best Supporting Actress Oscar) manages to convince us that her heinous abandonment of Billy was an act of desperation rather than rationality. Even more impressive, however, is Hoffman, who deservedly won an Oscar as best actor of the year — he apparently invested an enormous amount of time and energy into his role, essentially co-writing the script with director Robert Benton, and using improvisation whenever possible. The rapport he develops with Henry (an excellent child actor) is wonderfully natural; I love how there’s never a musical montage depicting their life together as “single males”. Instead — in one of the film’s best sequences — Benton shows us Billy silently setting out plates and doughnuts for breakfast while he and his dad read their respective “papers”.

This type of carefully rendered authenticity permeates the entire narrative, which is often heartbreaking — and occasionally melodramatic — but always, fortunately, real.

Redeeming Qualities and Moments:

• Dustin Hoffman as Ted Kramer
  
• Justin Henry as Billy
  
• Meryl Streep as Joanna
  
• Jane Alexander as Ted’s sympathetic neighbor
  
• Nestor Almendros’ cinematography — particularly the outdoor New York scenes
  
• The infamous “ice cream scene”
  
• The hilarious “hallway scene”, when Billy happens upon his dad’s naked lover (JoBeth Williams) heading to the bathroom
  
• The hectic “French toast scene” near the beginning of the film — and its subdued counterpoint near the end
  

Must See?
Yes. This moving, well-acted drama remains the best film ever made about a custody battle.

Categories

• Noteworthy Performance(s)
• Oscar Winner or Nominee

(Listed in 1001 Movies You Must See Before You Die)

Links:

• IMDb entry
• Roger Ebert’s Review
• DVD Savant Review
• TCM Article

Synopsis:
The spirits of a witch (Veronica Lake) and her father (Cecil Kelloway) who were burned at the stake in 17th century New England take revenge upon the descendant (Fredric March) of their accuser. Things become more complicated, however, when Lake accidentally drinks a love potion, and finds herself smitten with March.

Genres, Themes, Actors, and Directors:

• Cecil Kellaway Films
• Fantasy
• Fredric March Films
• Rene Clair Films
• Revenge
• Romantic Comedy
• Susan Hayward Films
• Time Travel
• Veronica Lake Films
• Witches and Wizards

Response to Peary’s Review:
As Peary notes, this “reasonably funny” romantic fantasy by director Rene Clair is “bolstered by some truly special effects and a memorable performance by Lake”, who — with her trademark curtain of golden-blonde hair — is “extremely sexy”. The story is most amusing in the first half, as Lake does her best to make life difficult for March, a hapless gubernatorial candidate who’s being hoodwinked into marriage with a woman (Susan Hayward) he doesn’t love simply to earn voter sympathy the day before a statewide election.

Lake — who proves herself to be an admirable comedic actress — is the perfect embodiment of pixyish mischief, as she dawdles in a burning building while March is trying to “rescue” her, throws her fur coat (her only piece of clothing!) out the window of her taxi cab, and turns up lounging in March’s bed on the day of his wedding.

March is appropriately stiff and stuffy as the object of Lake’s torture (and affection); it’s fun to see his sudden transformation once Lake successfully works her charm on him.

Interestingly, March and Lake hated each other in real life, and Lake did what she could to make his life miserable on set — but you’d never know from watching them interact together.

Redeeming Qualities and Moments:

• Veronica Lake as “Jennifer”
  
• Cecil Kellaway as Lake’s naughty father
  
• Some nifty special effects — I particularly like the way Lake and Kellaway travel around in funnels of gray smoke (one big, one small) before embodying human forms
  

Must See?
Yes, for Lake’s charming performance, and for its historical importance as the inspiration behind the TV series “Bewitched”.

Categories

• Historically Relevant
• Noteworthy Performance(s)

Links:

• IMDb entry
• NY Times Original Review
• The Spinning Image Review
• Moria Review
• TCM Article
• Time Out Capsule Review

Synopsis:
A spoiled heiress (Claudette Colbert) whose controlling father (Walter Connolly) disapproves of her recent elopement with an aviator (Jameson Thomas) runs away, and is discovered by a reporter (Clark Gable) hoping for a big story. As they travel together, they gradually fall in love — but Colbert’s new husband is waiting for her.

Genres, Themes, Actors, and Directors:

• Alan Hale Films
• Clark Gable Films
• Claudette Colbert Films
• Frank Capra Films
• Heiresses
• Journalists
• Love Triangle
• Road Trip
• Romantic Comedy
• Runaways

Response to Peary’s Review:
Frank Capra’s screwball fairy tale — which swept all of that year’s five major Oscars — is, as Peary notes, a “super” film with many special “small moments” (who can forget the “Walls of Jericho”, or Gable and Colbert trading hitchhiking tips?). Unlike most of Capra’s later work, It Happened One Night is decidedly un-preachy; while it offers astute observations on issues of class and gender, none of these “lessons” are hammered over our heads. Colbert was reportedly unhappy with being cast in the film, but her implicit disdain works well for her character; and Gable — with his wisecracking, cynical demeanor — is perfectly cast as the tippling reporter who finds himself falling for Ellie despite his better judgment. A personal favorite of many, It Happened One Night is certainly must see viewing for all film fanatics.

Redeeming Qualities and Moments:

• Clark Gable as wisecracking Peter Warne
  
• Claudette Colbert as strongheaded Ellie (nominated by Peary as Best Actress of the Year in his Alternate Oscars book)
  
• Roscoe Karns as an obnoxious bus passenger trying to sweet-talk Colbert: “Well, shut my big, nasty mouth!”
  
• Gable scaring Karns by posing as a gangster
  
• The infamous “walls of Jericho” scene
  
• Peter attempting to show Ellie how hitchhiking “should” be done
  
• An entire bus bursting into song with “That Daring Young Man on the Flying Trapeze”
  
• Joseph Walker’s gorgeous cinematography
  

Must See?
Yes. This classic romantic comedy has held up remarkably well, and should be seen by every film fanatic. Nominated by Peary as one of the Best Pictures of the Year in his Alternate Oscars book (though he ultimately chooses The Scarlet Empress instead).

Categories

• Genuine Classic
• Historically Relevant
• Oscar Winner or Nominee

(Listed in 1001 Movies You Must See Before You Die)

Links:

• IMDb entry
• NY Times Original Review
• TCM Article
• TV Guide Review
• Three Movie Buffs Review
• Time Out Capsule Review