A Little Experiment: Part 1

It is funny what one can remember about a film one has seen once a long, long time ago. There are moments, flashes that are very clear, but not enough to form a coherent.

One of these films that fits the description is Man of a Thousand Faces (1957), a bio-pic staring James Cagney, who portrays the great silent actor and make-up master Lon Chaney This film is rather special,  because not only does it have the honor of being my first Cagney film, but also my cinematic introduction to the works of Chaney himself.

Just for the heck of it, I will see just how accurate these 10+ year old memories of mine are: In this post, I will jot down everything that I remember about the film, (in as close to chronological order that I can muster). I will then watch it for the second time in my life, and see how accurate my memories are.

It starts out in Chaney's childhood. You see him on his way home, it looks like he was in a fight. His young sister chides him, saying that Mama would not be happy. He goes to his mother, and comunicates with her in sign langue, ( one of these gesetures looks like clap). She "talks" with him, and that brings a smile to his face.

When he is an adult, he is in 1919's The Miracle Man (as I have latter figured out). The scene is filmed in which he is a twisted up criple who crawls towards a prist. The prist lifts his hand, looking holy, and Chaney untwists him self slowly. He emotionally kisses the man's hand. The scene finished, Chaney stands up and procededs to do a little tap dance.

He is married to a woman who obsessed with their baby being born deaf, because of Chaney's parents. The baby's post-birth spanking is shown in silhouette in the hospital, and the wife is at first happy because the baby is crying, but becomes upset when the doctor tells her that crying is not influenced by what he hears.

Later, Chaney stands over the baby's crib, with his wife the background. She has continued to express worry that their son is deaf. Exasperated, he claps his hands loudly, and the baby cries. The parents are relived, and comfort the child.

The wife meets Chaney's parents, and greets them with a shy "hello", but is surprised when she finds out by default that they are deaf. She goes away to cry, and Chaney talks with his mom and she brings a smile to his face, echoing the beginning of the film. He then goes to his wife, and tells him that his Mom was right: that he should have told his wife that they were deaf.

The a filming of the whipping scene in The Hunchback of Notre Dame (1923) is interrupted by some people, and there is an argument between them and Chaney (while he is still in make-up, which does not look similar to the original film).

The famous unmasking scene from The Phantom of the Opera (1925) is being filmed. Christine (with long blonde hair, for some reason) is sneaking up behind the masked Phantom, who preoccupied with playing the organ. She removes the mask from behind, and faints with shock when she sees his hideous visage. The Phantom (who has long straight white hair, for some reason) looks down at her still figure, and collapses from grief. After a call of "cut", Chaney and the actress get up, and they walk off while he pats her hand, talking cordially.

Chaney gets remarried to a nice, non-nerotic woman. You know she is nice, because she talks to the parents in sign language and hugs them.

Chaney and his son are talking in sign language at the edge of a dock. His second wife asks what's going on, Chaney says that they are having a "guy talk", and continues to sign.

Chaney is on his deathbed. No longer able to talk, he communicates with sign language. He tells his son to pick him his old make-up box. The son obeys, and Chaney takes out a piece of chalk and adds "Jr." to the end of his name. He smiles, and dies.

A Little Something for all Conrad Veidt fans

For a few months now, YouTube user ConnieVeidt has been uploading clips from our favorite German actor's films. Some of the titles have, until now, been completely unknown to me. It would be nice if entire films were given instead of tempting snippits, but beggars can't be choosers.

ConnieVeidt has also made a nice montage of his surviving movies. I wish the music was a bit was more rockin' and badass, but hey, there is plenty of Veidt, and that makes it automatically epic.

So if you feel like you can't get enough of the Awesomeness That is Conrad Veidt, be sure to check out this channel.

P.S. Judging from this footage, if his Cesare Borgia went against all the other fictional ones (including Orson Welles) Veidt would most certainly win in the unashamed villainy department.

Decision Before Dawn (1951)

In the closing months of World War 2 in Europe, the US Army undertakes a mission to use German POWs to work for them in enemy territory. One of these prisoners is a medic who volunteers because he actually believes that it is the right thing to do, after seeing his fellow prisoners kill his best friend. His journey causes him to bump into different Germans with different feelings towards the war.

Visually, this film is a treat.  This was filmed on location, and you can tell. There are shots of snow-covered mountains, thick woods, and bombed-out buildings that are truly breathtaking. The camerawork is also very impressive: not show-offish, but fluid and smooth, moving from location to location without being distracting. Most of all, the lighting was incredible, with scenes that look like they could have been taken from a film noir of the 40's instead of war film from the 50's.

It amuses me that this this the second Richard Baseheart movie in a row that I have seen that has "treason" as a central theme. Except in the previous film (Time Limit) he himself was the treacherous one  and, but that is another story. Though he is top billed, I do not consider him the "star." That honor goes to Oskar Werner, whom Classic film fans may recognize from Jules and Jim, as the idealistic traveling POW. He gives a very haunting performance, as does Hildegard Knef in a small role as a cynical and sad bar girl.

On the whole, this film is rather slow going, but worth it. It joins the exclusive club of films that have been nominated for Oscars (including Best Picture), and completely forgotten about. And that is a shame, because it is a well put-together thriller. True, there is not too much "thrill" in large amounts, at least until the final half-hour. But don't that deter you from checking this interesting film out.

The Mortal Storm (1940)

Ah, the World War 2 propaganda film...you know, there should be a study of propaganda films. It is really fascinating how one can try to persuade the viewer to take their side in a issue. In World War 2, of course there were a bunch of films that showed how evil the Nazis were, in addition to showing that good old USA was on the side of good. This was not unusual: what is unusual is an American anti-Nazi film made before 1941, when the country entered the war. That got it banned in Germany, despite the studio trying its best to make location as vague as necessary (and failing at it).

This is where The Mortal Storm fits into the scheme of things. It takes place in a German town, not too far from the Austrian border. It is about a family with a Jewish---sorry, "non-Ayran" patriarch (Frank Morgan), and how they are is divided by Nazism. While the parents, daughter (Margaret Sullivan), and family friend (James Stewart) are very much outspoken against Hitler, their twin sons (one of which is strangely young Robert Stack) and daughter's fiancé (Robert Young) reveal a strong fidelity to Hitler which literally comes out of nowhere.

And that is the film's greatest flaw: The complete complete 180 that those characters go through. There is no hint before their conversion that they followed Nazisim. They go from "Hi, Jewish step-father/professor, we are so happy to celebrate your birthday!" to "Germany must regain its glory and take over the world!" at the drop of a hat, and that did not ring true for me.

But besides that, this was a very well-made film. The acting is really good all around, with a special shout out to Margret Sullivan and James Stewart. Both of them regain their chemistry from The Shop Around the Corner (1940), and it helps to involve the audience further in their plight and in clinging onto their steadfast beliefs amide the turmoil surrounding them.

Another special shout out has to go towards the cinematography.  There is some really fluid camera work, and some of the shots are beautifully put together. Also, the skiing scenes in the mountains very nicely filmed, though slightly ruined when intercut with shots of the actors leaning forward in front of mattes (seriously, it is possible for someone to ski downhill wearing a fedora, without it being blown off)?

Why is this film not better known? Perhaps because it has been over-shadowed be more prestigious, award-winning films of the same caliber made later (Casablanca, Mr. Miniver, etc). Who knows? What I do know is that this one of the better American WW2 propaganda film that I have seen, and that it deserves more attention.

The Wild Party (1929)

Oh, dear, old Fredric March, how I love thee. It seems only yesterday (though it was many years ago), that I first saw you getting woed by the bewitching Veronica Lake in I Married a Witch. Since then, I have continued to see you in varied roles in so many movies that I love: Seven Days in May, A Star is Born, Dr. Jekyll and Mr. Hyde, etc. etc. To me, you will always be the best Norman Maine, the best Dr. Jekyll/Mr. Hyde, and the best ancient Roman prefect (I will get back to review you, Sign of the Cross, mark my words).

But before he was cavorting about ancient Rome in a short tunic and a perm, Mr. March was trying to teach flirtatious females college students about Anthropology. I am of course referring to one of his first staring role, the 20's time capsule that is The Wild Party.

And, boy oh boy is this a product of the Roaring Twenties. There is the Carleston, a speakeasy, never-ending innuendo, and, of course, flappers. And the most flappin' of the flappers is none other that Clara Bow, the "real star" of the picture.

She is a happy-go-lucky student who is popular but a bit on the wild side. She mets cute with the new professor (March's role) on a train, and has a romance with him. Add in a subplot about her studious best friend who is working hard for a scholarship, and you have the film in a nut shell.

Now, considering her well-known mike fright,  Ms. Bow was not half bad. She had a kind of natural perkiness and warmth that was really quite charming. Alas, March is rather dull and does not leave much of an impression, with the exception perhaps of his mustache.

But is this a good movie? Well..... it is a product of its time: remeber when the main reason girls went to college was to party and to find a nice guy to settle down with? This is a really early talkie, so the shots are static and the dialogue is very stilted. I have to give the film kudos, however, for presenting the best friend as an attractive, intelligent girl who is dedicated to her education, but does not let that prevent her from having some fun.

Also worth noting is that this film is a product of Dorothy Arzner, who was a rare successful woman director of the Studio system. I have only previously seen two of her films, Dance, Girl Dance and Merrily We Go to Hell (1932, again with Fredric March), but I plan on seeing more.

Though not necessary viewing, I think that this film is worth a look if you a fan of either star, early talkies, or a cinematic portrait of the "wild party" of the Twenties just before the hangover of the Depression.

The Most Mad Scientist Ever?

The Devil Doll (1936) is an odd film. And considering that it is directed by Tod Browning, the man who gave the world The Unknown (1929), Dracula (1930), and Freaks (1931), that is really saying something. Without giving away too much plot, let's just say that it involves revenge, Lionel Barrymore pretending to be a woman, and Rafaela Ottiano.

Ms. Ottiano is Malita, the devoted wife (made widow early in the film) of a scientist, who has created a process that can shrink down animals and humans to 1/6 of their original size, which planed to unleash on to the world to stop world hunger. However, his creation end up having no will of their own, needing a strong mind to telepathically move them.

Stealing the show from Lionel Barrymore in drag is no easy task, but Ms. Ottiano does just that.

With her wide eyes, streak of white hair, and crutch, she is truly an imposing figure. She is 100% devoted to her work, and only helps Mr. Barrymore with his nefarious plans of revenge in order to continue her husbands unfinished work. Considering her amazingness, it is appropriate that she (Spoiler alert go out with a bang.)

It is unusual to find a fully over-the-top insane woman scientist in a horror film from the 1930's, but I am glad that this one is such a memorable crazy. Here's to you, Malita!

A Week (plus a few days) in Review: Part 2

The Loneliness of the Long Distance Runner (1962)

Based on an excellent short story I had to read for my English class, this is a classic example of England's "kitchen sink dramas", which focused on the working class and dealt with more mature themes than its predecessors. The stark black and white cinematography reveal the tale of a young man (Tom Courtenay) sent to a boy's reformatory for robbing a bakery. He is given a chance to make himself an honest citizen when the warden of the prison (Michael Redgrave) gets him to train as a long distance runner. During his solitary practice runs, he musses on his past. The performances are excellent, the script (by the writer of the original story, Alan Sillitoe) is first rate, and the story moves at a steady but quick pace, like the runner of the title.

Children of Men (2006)

I quite enjoyed the the premise of this film: what would happen if everyone in the world suddenly became infertile, so that eventually the youngest person on Earth is 18 years old? As it turns out, everything goes to Hell, and at the center of it all is England, now transformed into a police state. Clive Owen gets involved with protecting a young pregnant woman from harm, which is pretty difficult task, since the government and the rebels would use her to further their own ends if she is discovered. It got a bit too sentimental for my taste near the end, but thanks to a breathtakingly bleak art direction and impressive editing and cinematography (complete with carefully edited together shots that give the appearance of long takes), I found it quite enthralling.

South Park: Bigger, Longer, and Uncut (1999)

This is a South Park movie: it is loud, rude, offensive, and immature. It contains incredible amounts of violence, swearing, and crude humor. It has the Devil be the subservient lover of Saddam Husain. It has the US going to war against Canada.  It shows why people should never light their farts on fire. It mocks censorship and parents that worry too much about what their kids are exposed to. You have never seen anything like it. It is one of the funniest cartoons I have seen in a while. And the songs are catchy, too.