Lost One, The / Der Verlorene (1951)

Lost One, The / Der Verlorene (1951)

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“Debts must be paid.”

Synopsis:
A German scientist (Peter Lorre) during WWII murders his fiancee (Renate Mannhardt) when he finds out she has slept with his colleague (Karl John) and leaked information about their work to the Allied forces. He soon finds himself unable to resist killing again, and vows to hunt down John, in order to end the cycle of violence.

Genres, Themes, Actors, and Directors:

  • Character Studies
  • Flashback Films
  • German Films
  • Nazis
  • Peter Lorre Films
  • Revenge
  • Scientists
  • Serial Killers
  • World War II

Response to Peary’s Review:
As Peary notes, this “very peculiar” movie — Peter Lorre’s sole directorial effort, filmed in Germany — “takes a while to get started” but makes for interesting and provocative viewing. Lorre “combines realism… and expressionism” in what amounts to an “extremely impressive” visual style — evidence of his sadly underused talent. As pointed out by Peary and other reviewers, Lorre’s chain-smoking Dr. Rothe:

— a variation on the many other murderous, neurotic characters he played over the years — could be seen as symbolizing “Germany’s collective guilt during the postwar era”. Just as Hitler brainwashed most Germans into believing they had the moral right to abuse their non-gentile neighbors (eventually culminating in their complicit acceptance of mass genocide), it is the Gestapo’s convenient cover-up of Rothe’s initial impulse-murder which leads him down the slippery slope of increasingly frequent homicidal urges: if one was so easy, why not commit more?

Unfortunately, we never really learn why Rothe feels such impulses to kill; he doesn’t appear to be psychopathic (he’s too guilt-ridden for this), and any “issues” he may hold with women (who are inexplicably drawn to him, again and again) aren’t sufficiently explored. In addition, the film suffers from a rambling narrative which “takes some unnecessary turns” — at one point Rothe “stumbles on the collaborators of a Hitler-assassination plot”, which has nothing to do with the primary story, and simply confuses viewers. Despite these flaws, however, Der Verlorene — unreleased in the United States until 1985 — remains fascinating viewing.

Redeeming Qualities and Moments:

  • Peter Lorre’s understated yet masterful performance as the guilt-ridden doctor
  • Fine performances by each of the supporting actresses in the cast

  • Karl John as Hosch, Lorre’s dangerously arrogant colleague
  • Atmospheric direction and cinematography

Must See?
Yes. While it’s not a perfect film, The Lost One is evidence of Lorre’s sadly underused talent as a director.

Categories

  • Historically Relevant

Links:
Harp of Burma (1956)

Harp of Burma (1956)

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“I cannot leave the bones lying scattered on the hills.”

Synopsis:
At the end of World War II, a Japanese soldier (Shoji Yasui) in Burma is sent to inform another unit that Japan has surrendered; however, the unit refuses to stop fighting, and everyone but Yasui is killed. Devastated, Yasui pretends to be a Buddhist monk and wanders the countryside, burying and paying honor to the dead. In the meantime, his platoon leader (Rentaro Mikuni) conducts an intensive search for the missing soldier.

Genres, Themes, Actors, and Directors:

  • Character Studies
  • Japanese Films
  • Kon Ichikawa Films
  • Mistaken or Hidden Identities
  • Search
  • Soldiers
  • World War II

Review:
Harp of Burma (also known as The Burmese Harp) was Japanese director Kon Ichikawa’s first successful film in America, and remains one of his most accessible movies to date. After a somewhat hokey beginning — in which we are introduced to a Japanese platoon in the final stages of WWII which sings to keep its spirits up — the story quickly becomes more interesting, as Yasui is plunged into an existential crisis and begins his spiritual journey. At this point, Harp of Burma turns into a character study, with Yasui symbolizing veterans everywhere who must find a way to cope with the impossible reality of random death all around them. Rather than retreating into anger, denial, or masochistic behavior, Yasui chooses a path of healing and reflection; in the meantime, his loyal platoon leader (Mikuni) is obsessed with finding the missing soldier, who has become nearly a mythical figure to his fellow soldiers. Ichikawa thus shows us two divergent, yet equally relevant, approaches to dealing with the chaos and loss of war: Yasui honors the dead (who deserve attention and respect), while Mikuni focuses on preserving the living — who will ultimately be responsible for creating a new, post-war Japan.

Redeeming Qualities and Moments:

  • Yasui as the harp-playing soldier struggling to make sense of the devastation around him
  • Beautiful cinematography of the war-torn Burmese landscape

  • A powerful and unique depiction of post-war trauma leading to spiritual awakening

Must See?
Yes. Along with Ichikawa’s Fires on the Plain (1959), this remains one of the best cinematic reflections on post-war devastation.

Categories

  • Foreign Gem
  • Important Director

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

Links:

Man’s Favorite Sport? (1964)

Man’s Favorite Sport? (1964)

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“I’m wondering what it would be like if I kissed you.”

Synopsis:
Bestselling fishing expert Roger Willoughby (Rock Hudson) is asked by publicist Abigail Page (Paula Prentiss) to participate in a fishing contest. When Abigail discovers that Roger has never actually been fishing, she gives him private lessons, and finds herself falling hopelessly in love.

Genres, Themes, Actors, and Directors:

  • Battle of the Sexes
  • Howard Hawks Films
  • Mistaken or Hidden Identities
  • Paula Prentiss Films
  • Rock Hudson Films
  • Romantic Comedy
  • Sports

Review:
Howard Hawks’ final screwball comedy met with tepid reviews upon its release, and remains one of his lesser efforts: the premise is silly, the humor is inconsistent, and there isn’t much chemistry between Hudson and Prentiss. With that said, however, the movie benefits greatly from Prentiss’s energetic performance; indeed, although Peary doesn’t review Man’s Favorite Sport? in GFTFF, he gives it special attention in his Alternate Oscars book, where he votes for Prentiss’s performance as the best by any actress in 1964. Peary notes that Abigail “covers her insecurities by acting aggressively,” and that she “is her own worst enemy” — much like Geena Davis’s Muriel Pritchett in The Accidental Tourist (1988). Indeed, the two tall, lanky brunettes bear more than a passing resemblance to each other, given that Davis has suffered from a similar dearth of appropriate roles. Prentiss unfortunately never really found her niche in Hollywood, but this film remains one her finest on-screen triumphs, and is worth watching for this reason alone.

Redeeming Qualities and Moments:

  • Prentiss’s performance — she’s always great fun to watch
  • Hudson’s inflatable “waders” exploding underwater
  • Some hilarious overlapping dialogue (Hawks’s trademark)

Must See?
Yes. While it’s uneven, this cult film is redeemed by Prentiss’s stand-out performance, and improves upon repeat viewings.

Categories

  • Cult Movie
  • Important Director
  • Noteworthy Performance(s)

Links:

Chienne, La (1931)

Chienne, La (1931)

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“You’re no woman. You’re a bitch. You lick the hand that feeds you — and the hand that beats you, too!”

Synopsis:
A henpecked husband (Michel Simon) falls in love with a deceptive prostitute (Janie Marese) who milks him for money, sells his amateur paintings under her own name, and maintains a clandestine relationship with her pimp boyfriend (Georges Flamant).

Genres, Themes, Actors, and Directors:

  • Femmes Fatales
  • French Films
  • Henpecked Husbands
  • Infidelity
  • Jean Renoir Films
  • Love Triangle
  • Prostitutes

Review:
Jean Renoir’s second “talkie” film — remade by Fritz Lang in 1945 as Scarlet Street — marked the leading-role debut of jowly Michel Simon. Simon is simply brilliant here, playing a man who can’t seem to win: he’s henpecked by his insufferable wife on one side, cuckolded and plagiarized by his duplicitous lover on the other. Yet despite the fact that Simon seems to be headed straight from the frying pan into the fire — and must ultimately pay dearly for his brief foray into misguided adultery — at least he’s taking control of his life for the first time; we can’t help but watch his downfall with both fascination and pity.

Redeeming Qualities and Moments:

  • Michel Simon’s memorable performance as the cuckolded, love-struck painter
  • Janie Marese as the duplicitous prostitute who causes Simon’s downfall
  • Creative camera work

Must See?
Yes. This early French version of Scarlet Street is arguably Jean Renoir’s first masterpiece, and remains must-see viewing. Peary lists it in the back of his book as both a Personal Recommendation and a film with historical significance.

Categories

  • Foreign Gem
  • Important Director

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

Links:

Shadows of Our Forgotten Ancestors (1964)

Shadows of Our Forgotten Ancestors (1964)

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“What love has done to him!”

Synopsis:
After the death of his childhood sweetheart (Larissa Katochnikova), a young peasant in the Carpathian Mountains (Ivan Nikolaichuk) finds it difficult to love his new wife (Tatyana Bestayeva).

Genres, Themes, Actors, and Directors:

  • Eastern Europe
  • Folk and Fairy Tales
  • Love Triangle
  • Star-Crossed Lovers
  • Village Life

Review:
Armenian director Sergei Paradjanov only made four films in a span of nearly 30 years, yet remains one of the most acclaimed Soviet directors of all time. Based on Ukranian folklore, Shadows of Our Forgotten Ancestors — Paradjanov’s feature debut — is a rare film which demands repeat viewing in order to appreciate its relentless stream of colorful imagery; scene after scene is dazzling in its cinematic innovation. Known as the “Carpathian ‘Romeo and Juliet’,” Shadows transcends cultural boundaries with its universal trope of tragic romantic loss, yet simultaneously remains firmly grounded within the fascinating minutiae of Eastern European village life. Paradjanov’s later films (such as The Color of Pomegranates, 1968) are equally colorful and evocative, yet ultimately too abstract, and don’t carry nearly as much emotional resonance as Shadows… But if you fall in love with Paradjanov’s visual style, you’re sure to want to see his entire — albeit tragically limited — oeuvre. Click here to read more about his tempestuous life, which included five years in a hard labor camp.

Redeeming Qualities and Moments:

  • Gorgeous cinematography

  • Ivan’s brother being crushed to death by an enormous tree
  • Ivan’s wedding to Palagna, in which they are ceremonially blindfolded and yoked together
  • The kaleidoscopically-filmed village dance
  • A haunting, evocative soundtrack

Must See?
Yes. This is Paradjanov’s finest, most accessible, movie, and should be seen by all film fanatics at least once.

Categories

  • Foreign Gem
  • Important Director

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

Links:

Docks of New York, The (1928)

Docks of New York, The (1928)

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“You coulda saved yourself the trouble an’ let me die.”

Synopsis:
A ship stoker (George Bancroft) saves a depressed prostitute (Betty Compson) from suicide, then marries her on a drunken lark.

Genres, Themes, Actors, and Directors:

  • George Bancroft Films
  • Josef Von Sternberg Films
  • New York
  • Prostitutes
  • Romance
  • Sailors
  • Silent Films
  • Suicide
  • Waterfront

Review:
Josef von Sternberg’s whirlwind romantic fable manages to pack an enormous amount of genuine pathos into a story taking place literally overnight. Thanks to sensitive acting by all involved, we quickly grow to care for these characters — particularly the world-weary Compson — and are disappointed when the film ends after only 76 minutes. There’s a refreshing lack of moralizing, thus affording us a much more authentic glimpse of these characters’ lives than would be possible just a few years later during the Hays Code era. Harold Rosson’s atmospheric cinematography of the New York waterfront is a wonder to behold, and adds to the film’s overall appeal.

Redeeming Qualities and Moments:

  • George Bancroft as the well-meaning yet fiercely independent sailor (nominated by Peary for an Alternate Oscar as best actor of the year)
  • Olga Baclanova as Compson’s helpful friend
  • Gorgeous black-and-white cinematography

Must See?
Yes. This is a rare silent film which transcends the limitations of its format, and emerges as a surprisingly effective romance.

Categories

  • Important Director

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

Links:

Cool Hand Luke (1967)

Cool Hand Luke (1967)

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“You’re gonna get used to wearin’ them chains after a while, Luke.”

Synopsis:
A loner prisoner (Paul Newman) becomes a folk hero in the eyes of his fellow inmates when he refuses to be bullied.

Genres, Themes, Actors, and Directors:

  • Character Study
  • Deep South
  • Dennis Hopper Films
  • Escape
  • Folk Heroes
  • George Kennedy Films
  • Harry Dean Stanton Films
  • Paul Newman Films
  • Prisoners

Review:
Few actors have portrayed petulant rebels better than blue-eyed Newman, whose “Cool Hand Luke” remains one of the best-known in cinematic history. For those who dream of “sticking it to the man”, Luke embodies our deepest wish-fulfillment: he refuses to give up or give in, and justifiably earns the intense respect and admiration of his fellow inmates. Indeed, Luke (though all too human in some ways) comes across as an almost Christ-like avatar — an allegorical transference which is far from subtle, but somehow works in this fable-like story. In addition to fine acting by all involved, Cool Hand Luke boasts countless memorable moments: Newman forcing 50 eggs down his gullet simply to win a bet (though it’s painful to watch his triumph); Newman getting up again and again during a fist-fight he refuses to lose; a group of horny prisoners ogling a busty woman as she washes her car. The script is clever as well, and contains one of the most famous lines in cinematic history: “What we got here is a failure to communicate”. Prison-break films may be a dime a dozen, but this remains one of the best.

Redeeming Qualities and Moments:

  • Paul Newman as “Cool Hand Luke”
  • Luke eating 50 hard-boiled eggs on a dare
  • A group of prisoners lustily watching a busty woman as she washes her car in front of them
  • George Kennedy’s Oscar-winning performance as Luke’s nemesis turned number-one-fan
  • Conrad Hall’s cinematography

Must See?
Yes. This classic prison flick remains worthy viewing.

Categories

  • Noteworthy Performance(s)

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

Links:

Heaven Can Wait (1978)

Heaven Can Wait (1978)

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“The likelihood of one individual being right increases in direct proportion to the intensity with which others are trying to prove him wrong.”

Synopsis:
A football star (Warren Beatty) taken to heaven prematurely by an overeager angel (Buck Henry) is sent back to Earth to complete his life in the body of a recently murdered millionaire.

Genres, Themes, Actors, and Directors:

  • Dyan Cannon Films
  • Football
  • Julie Christie Films
  • Life After Death
  • Plot to Murder
  • Romantic Comedy
  • Untimely Death
  • Warren Beatty Films

Review:
Warren Beatty’s directorial debut — a remake of 1941’s Here Comes Mr. Jordan — isn’t quite worthy of its predecessor, but remains an enjoyably loopy romantic comedy. The entire situation defies belief, naturally; but once you allow yourself to accept the basic premise, it’s great fun to watch the likable Beatty trying to take over the burdens of a ruthless, hated millionaire when he really only has one goal in mind: to play in the Superbowl. Best of all, however, is Dyan Cannon as Beatty’s adulterous wife — she shines in some of the movie’s most hilarious moments, and is reason enough to watch this film at least once.

Redeeming Qualities and Moments:

  • Beatty as the wrongfully killed football star who tries to make the best of his new situation
  • Jack Warden as Beatty’s coach — the only one on Earth who knows the truth about his situation
  • Dyan Cannon and Charles Grodin as Beatty’s duplicitous wife and her lover

Must See?
No, but it’s an enjoyable romantic comedy, and recommended for viewing at least once.

Links:

Battle of San Pietro, The (1945)

Battle of San Pietro, The (1945)

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“The lives lost were precious lives — to their country, to their loved ones, and to the men themselves.”

Synopsis:
Allied soldiers fight valiantly to liberate the rocky village of San Pietro from German forces.

Genres, Themes, Actors, and Directors:

  • Documentary
  • John Huston Films
  • World War II

Review:
John Huston’s documentary about the WWII Battle of San Pietro was considered too “anti-war” by the U.S. military to be seen in its original form, and was cut from five reels to only three; most existing prints run approximately 33 minutes long. Yet even this minimal footage makes for powerful viewing, with the action so vivid and gritty that one is amazed Huston and his crew managed to escape death while filming in the midst of it. It’s a shock to watch these handsome, grinning soldiers returning from the hills in white body bags, especially knowing that losses were so high (approximately 1,100 men needed to be “replaced” by the end). Although the final scenes of grateful Italian peasants were likely added for propaganda purposes, this footage, too, remains fascinating, simply for the valuable ethnographic glimpse it affords.

Redeeming Qualities and Moments:

  • A no-holds-barred look at the real-life casualties of war
  • Footage of grateful Italian peasants after San Pietro has been liberated

Must See?
Yes. This powerful documentary remains must-see viewing simply for its historical importance.

Categories

  • Controversial Film
  • Historically Relevant

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

Links:

Mephisto (1981)

Mephisto (1981)

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“What do they want from me now? After all, I am just an actor.”

Synopsis:
A stage actor (Klaus Maria Brandauer) in pre-WWII Germany colludes with the Nazis in order to continue working.

Genres, Themes, Actors, and Directors:

  • Actors and Actresses
  • Character Studies
  • Nazis
  • Social Climbers
  • World War II

Review:
Hungarian director Istvan Szabo helmed this fascinating update on the Faustian legend of “selling one’s soul to the devil”. Based on an early-20th-century novel by Klaus Mann, it remains one of the most compelling cinematic portraits of life in pre-WWII Nazi Europe — thanks in large part to a powerhouse performance by Klaus Maria Brandauer. Brandauer embodies ambitious actor Hendrik Hoefgen with true passion and energy, brilliantly showing the complexity of a man who is both sympathetic (we relate to his impulses) and pathetic (his choices are ethically dubious). The film’s narrative moves quickly, in what was called by the New York Times “a daringly compressed style” — perhaps the inevitable result of translating from novel to screen; but this ultimately serves the larger purpose of showing us Hoefgen’s transformation over the years from idealistic socialist to compromised theatrical superstar. By the final powerful scene of this movie, we are no longer sure what to think or feel about our enigmatic protagonist — yet we understand that we could be there ourselves, but for the grace of God.

Redeeming Qualities and Moments:

  • Klaus Maria Brandauer as Hendrik
  • A fascinating, believable look at the seduction of political collusion during WWII
  • A unique update on the Faustian legend of Mephistopheles
  • The powerful closing shots

Must See?
Yes. Brandauer’s performance makes this must-see viewing.

Categories

  • Noteworthy Performance(s)

Links: