Activity has been at a bit of an ebb tide at blog central of late, what with new jobs and a lot of traveling for work. So we’re dipping back quite a ways for this SASY Wrap, which covers yammers 61-70. This batch of 10 movies has pushed us over the 25% mark, and it feels great to know that we’re making headway even if things have been a bit slow on the movie yammer front (hey, we got up three posts in just two weeks recently, so we’re getting better!)
This latest round of 10 didn’t have any chronological oddities in it, so we stuck exclusively with films from 1946-1948, with a full seven of the entries coming from either Roberto Rossellini, Howard Hawks, or the wonderful duo of Michael Powell and Emeric Pressburger. However, it was films by John Ford and Jacques Torneur that really rocked our worlds in this set of pictures. But before we break down our thoughts on this block of movies, as tradition demands, we will present our respective rankings of all 10 films in this SASY Wrap:
I’ve said all along you’re a tough one… Twelve-year-old Edmund Koeler walks through the nigh deserted streets of Berlin in the aftermath of World War II in director Roberto Rossellini’s examination of the German psyche following defeat.
In the immediate aftermath of World War II, Italian director Roberto Rossellini made two heavily charged films focusing on the effort to free Italy from the grip of Fascism. Both Rome, Open City (1945) and Paisá (1946) took an interesting (if self-serving) perspective when it came to representing Fascism in Italy, almost completely ignoring the Italian Fascists while heaping unending scorn on the Nazis who occupied Italy in the closing days of the war. The Germans in these films were irredeemable monsters who seemed to derive pleasure from murder and torture; almost cartoonish villains that served as a sharp contrast to Rossellini’s more nuanced approach to Italian and Allied characters. So it is something of a surprise that the third film of the director’s famed ‘Neorealist Trilogy‘ — Germany, Year Zero (Germania, anno zero, 1948) — is about the suffering of the German people in the wake of defeat. The film follows the 12-year-old Edmund Koeler as he vainly attempts to help his impoverished family make ends meet in the ruins of Berlin. Like in the two previous films of the trilogy, Rossellini makes use of non-professional actors and location shooting in an attempt to bring gritty truth to what is essentially a melodrama. But set among the destruction and despair, the movie’s greatest strength may be that it offers a perspective on Third Reich Germany that is rarely considered by the victors of the war, that of a damaged country ravaged by bombs and ideology both. (73 min.) Continue reading
Why do you want to live? Powell & Pressburger pile on the visuals to create an extravaganza of music and dance in their final Sight & Sound film, The Red Shoes.
Ah, ’tis a sad day here in the land of Movie Yammers. Once upon a time (aka the beginning of 2014) S. and J. had a happy prospect ahead of them: six whole films by British filmmakers Michael Powell and Emeric Pressburger. Why, six films is almost an eternity of entertainment! And so we ventured forth through the dizzying days of Colonel Blimp to the Himalayan heights of Black Narcissus. But through it all we knew one day the Powell & Pressburger films (as well as our capacity for alliteration) would come to an end, and so they have with The Red Shoes (1948). And while we might no longer be dancing through Canterbury or Scotland — much less through the heavens themselves — The Red Shoes is a pretty grand way to end a run like no other on the Sight & Sound list. Loosely based on a Hans Christian Andersen fairy tale, the film recounts the story of three ambitious artists — a ballerina, a composer, and the director of a ballet troupe — as they struggle to balance love and art. Like the filmmakers’ Black Narcissus, plotting and character development are often a bit secondary in The Red Shoes, with the focus more on raw emotion and artistry than reason or sense. And through its kinetic ballet scenes and painterly blasts of Technicolor, The Red Shoes overwhelms with a torrent of visual splendor and daring quite unlike any other film. So, as David Bowie once insisted, “Let’s dance!” (135 min.) Continue reading
Denial ain’t just… John Wayne stars as a ruthless rancher willing to kill his ranch hands if it means keeping his own form of order on a cattle drive from Texas in Howard Hawks’ Red River.
Howard Hawks is a mainstay of the Sight & Sound list, contributing more entries (six) than any other American director. This will be the fifth Hawks film we’ve tackled here at Fan With a Movie Yammer, and it is readily apparent that the director is a master of many styles. So far we’ve seen an adventure drama, two screwball comedies, a noir whodunit, and now with our latest film — Red River (1948) — a Western. And a very expansive Western at that, as the movie finds cowboy film legend John Wayne and the tightly wound Montgomery Clift (in his first major film role) at the head of a massive herd of cattle as they seek to drive their way to fortune and glory in post-Civil War America. Red River is an unusual Western, passing over the black-and-white morality of so many of these films by presenting a deeply flawed hero/villain in Wayne’s iron-hard rancher. It also serves as an interesting snapshot of a transitional moment in American cinema as a new breed of actor was starting to emerge that eschewed the heightened (some might say stagy) performing styles of Golden Age Hollywood in search of something more real and emotionally resonant. This, of course, comes in the form of Clift, whose twitchy performance as Matt Garth stands in sharp contrast to the old school styles of his fellow actors, and set the stage for the likes of James Dean and Marlon Brando in the decade to come. (133 min.) Continue reading
Like Dylan in the movies. Robert Mitchum stars as a former private detective whose old life comes back to haunt him in director Jacques Torneur’s noir thriller Out of the Past.
We’ve had a few list films of late that have latched onto the visual dynamics of film noir. But for all the canted angles and exaggerated shadows, the 1940s entries on the Sight & Sound list have been rather light on actual noir movies. Thankfully that changes with our latest viewing experience: Out of the Past (1947), a tale of devilish dames, compromised detectives, and the inescapable pull of fate. And also badass dialogue, with the film dropping a host of noir patter that should leave Phillip Marlowe green with envy. Out of the Past marks the sole entry on the list by director Jacques Torneur, a filmmaker otherwise best known for helming some early horror classics like The Cat People (1942) and I Walked With a Zombie (1943). This horror background serves him well in the noir genre, bringing a deeper darkness to the cinematography than most other such movies, but also finding the crowd-pleasing humor in the sudden violence and double dealing. Out of the Past also marks the first list appearance by actor Robert Mitchum, who brings a laconic cool to the role that seems like much less of an affectation than with most other noir anti-heroes. Throw in a spectacular femme fatale in Jane Greer and a wonderfully smarmy early performance by Kirk Douglas, and you get a crackerjack piece of entertainment that is as existential as it is exuberant. (97 min.) Continue reading
I like this plane! An American soldier drunkenly rants to a thieving Neapolitan street kid in a vignette from Paisà, Roberto Rossellini’s anthology of stories examining the effects of WWII on the Italian people and the Allied soldiers who fought against the fascists.
In 1945, during the closing months of World War II, Roberto Rossellini kicked of the neo-realism film movement in Italy with Rome, Open City, his look at Nazi oppression and the Italian anti-fascist resistance. Rossellini’s follow-up, Paisà (aka Paisan, 1946), is in much the same vein and serves as the second of a trilogy of neo-realist films examining aspects of the Second World War. (The third film — Germany, Year Zero — is also on the Sight & Sound list.) Like in Rome, Open City, Rossellini makes use of on-location shooting and a cast populated largely by amateur actors or non-actors, but the director tries to work on a much larger canvas for this film. Or perhaps that should be canvases, as Paisà is actually a collection of six stories that track the progress of the war as Allied troops move ever northward up the boot of Italy. Each story is an autonomous block, completely separate from the other tales, but they share the common thread of focusing on moments of interaction between Allied personnel and Italians either fighting in or affected by the conflict. Though spiked with humor, romance, and devout expressions of faith, Paisà is not a film that revels in the downfall of fascism. Instead it is unflinching in its presentation of the brutality of oppression and the violence and sacrifice it took to liberate a still-stricken nation. But through all the suffering Rossellini never preaches, it is left to the audience to decide upon the grand purpose of these tales. (120 min.) Continue reading
Nun too difficult. You are almost contractual obliged to use a bell-ringing shot atop any article about Powell & Pressburger’s Black Narcissus. And there is little wonder why, as this movie about a group of nuns atop a mountain in India is a visual feast of extraordinary sumptuousness.
After four movies set firmly within wartime Britain, filmmakers Michael Powell and Emeric Pressburger finally put World War II behind and look to the outskirts of Britain’s colonial empire for their fifth entry on the Sight & Sound list, Black Narcissus (1947). Though set in the mountains of northern India, the film sticks with a predominantly white, English cast (unfortunately even for a number of Indian roles), presenting the trials and tribulations of a group of nuns attempting to set up a school and clinic in a mountaintop palace. Few in number and living in isolation, the nuns (led by Powell’s beloved Deborah Kerr) struggle with their living situation, the local people, and among themselves as they try to cope atop the mountain. The film uses the nuns to delve into questions of faith, duty, colonial attitudes, lust, love, and madness. But the treatment of these themes is generally superficial, with the movie preferring to work more as an exercise in tone and image. And in that regard Black Narcissus is a thrilling work of art channeling the compositions of Vermeer, a liberal dash of Orientalism, and a sinister Technicolor palette to create an unreal world where enlightenment and derangement sit side by side. (100 min.) Continue reading