New DVDs: Bogdanovich, Painleve, Sailors

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As a professional journalist, I pride myself on my ability to fabricate a thesis out of any three random pieces of data, but this week, I admit defeat: the release schedule offers Peter Bogdanovich’s preferred black-and-white version of his 1976 “Nickelodeon” (created through the miracle of reverse colorization); Criterion’s survey of Jean Painleve’s wide ranging nature films, “Science Is Fiction”; and Flicker Alley’s “Under Full Sail,” a selection of silent films, including Rupert Julian’s 1927 feature “The Yankee Clipper,” set on tall masted schooners that seem to be neither Lydecker brothers miniatures nor ILM digital effects. How did they do that? More details in the New York Times.

223 comments to New DVDs: Bogdanovich, Painleve, Sailors

  • jean-pierre coursodon

    Junko, I don’t remember the patriotic poster but you’re probably right. And we do see soldiers coming in and out of the bar. Still it’s surprising that in a “Now” story taking place during the war, no one ever mentions it (even though the family members are constantly talking about one thing or another)especially in view of the fact that the film boasts a veneer of “realism” (location shooting etc…). On the other hand the erasing of the war makes sense to the extent that to Hitchcock anything irrelevant to the plot was considered not only useless but detrimental to the movie. And of course the fact that the war doesn’t seem to exist at all confirms Uncle Charlie’s statements about his niece (and the rest of the family)’s blithe ignoring/denial of the dire realities of life.

  • John C.

    skelly and Kent, because it’s easy to miss it’s not the same striking effect you’re talking about, but some of the incongruous music in the 70s period-set BARRY LYNDON has always been surprising to me, given that the movie seems otherwise pretty scrupulous about period (as far as I can tell, anyway).

    I don’t how/where you’d draw the line, but it seems like you can divide musical anachronism into the BARRY LYNDON variety, which you might just call “cheating”, and the MARIE ANTOINETTE variety, where the historical discord between music and image is part of the effect.

  • John C.

    dm494, I’ve been trying to think of other periods where there were a number of moviemakers taking on an earlier era with that historian spirit you identify. I wouldn’t be surprised if that phenomenon tends to follow periods of moral catastrophe: the 70s European impulse to examine the fascist era seems a bit like a “what the hell happened” impulse arising several decades after the fact. But I don’t know. I don’t think either the longstanding American vogue for hating on postwar suburbia or the 80s/90s Chinese movies emphasizing the suffering of the Mao era really counts; to me, in both those cases the films more focused on how awful a historical period was to live through (or how evil its sociomorals were) than they are on trying to analyze that period.

  • Barry Putterman

    Good gravy, has it now become mandatory for every film from the early 40s with a realistic surface to acknowledge Worl War II?

    Alright. Then why can’t we read SHADOW OF A DOUGHT as an extended political parable with Uncle Charley’s philosophy representing the fascism we refused to confront in the prelude to war? After all, doesn’t MacDonald Carey say “Sometimes THE WORLD goes a little crazy” in the wrap-up rather than give us a Norman Bates had some problems with his mother explanation?

  • steve elworth

    i think that the home front elements that Junko discusses are there and for the contemporary audience an aspect of verisimilitude and for us a thing to tease out, Barry’s political reading does not conflict with the home front one, fascism within us and fascism over there. Perhaps it is Hitchcock being British, but the war is under the surface occasionally erupting in all of his films made during WWII. An interesting comparison is the work of his greatest British contemporary, Michael Powell in which the war is more apparent but then he never left the UK and the war was much closer to London than to California.

  • Barry Putterman

    Hey there Steve! It’s ben a lonnnng time. Whatcha been up to lately?

    You know me. I’m both tossing in this political interpretation and suggesting that there may be a tad bit of absurdity to the whole discussion at the same time

    But you point to the elephant in the room that has been missing from a number of entries this week. The war was fought in Europe and the Pacific, not in America The history is different and so the movies are going to be different..

  • jean-pierre coursodon

    Barry, aren’t you dismissing the impact of Pearl Harbor on America, and especially California? There has been nothing like it in American history until 9/11. I doubt people were as indifferent as you seem to believe.

    I didn’t say that all films made at the time and set in the present should have dealt with the war. I am just surprised that it’s never mentioned at all, although I also made the point that it makes sense coming from Hitchcock.

    Another remark about SHADOW OF A DOUBT in relation to that famous “the past is a foreign country” concept. The Santa Ana of the film is supposed to be a typical sleepy little town (McGilligan in his Hitchcock biography calls it “a sleepy hamlet, population 13,000, built around a central square.”) Yet at night around 9PM on an ordinary day the streets are crowded with people going briskly to and fro — there’s even a traffic cop, although we see very few cars. Where are all those people going to or coming from at that time of day? And did small town public libraries in those days close as late as 9PM? This is definitely not my experience of small town life today or in any of the past decades I have lived in the USA. The “effet de reel” is somewhat dammaged there, or perhaps people did spend a lot of time outdoor at night in those days, not having television at home…

    I am not criticizing (the film is a masterpiece, one of my favorite Hitchcocks)I am just scratching my head.

  • steve elworth

    Jean-Pierre, it is possible that the non ordinariness of Santa Rosa even compared to the nearby and 20 years away town of Bodega bay before its avian attacks is marked by war, the kind of home front mobilization which is the focus of Since you Went Away. Another point is that all the home front men of Shadow are marked as damaged in some way including by the very act of being there and not killing and being killed several thousand miles away.

  • Kent Jones

    Making a film about an ordinary family in a small town in California in 1943, with a nearby air base, and barely acknowledging the war is indeed strange, and I don’t find the discussion of it even a tad bit absurd. Of course, Hitchcock is nothing if not idiosyncratic, and he probably put his “war pictures” (FOREIGN CORRESPONDENT, SABOTEUR, LIFEBOAT) and SHADOW OF A DOUBT in another. Jean-Pierre, I grew up in a small city, bigger than Santa Rosa but it had a square and a Main Street (called North Street), and on Thursday nights the library stayed open until nine along with everything else. In fact, I seem to remember going to the library in the evenings on many school nights. Kids did their homework there. What’s strange to me, now that our attention has been called to it, is that the boy never discusses the war or listens for news about it on the radio, and that the father and his friend are pointedly obsessed with true crime but not interested in the war. And the film doesn’t even have that phantom intimation of war that shadows so many other films of the period.

  • Kent Jones

    Left out some text: he out his war pictures in one mental file and SHADOW OF A DOUBT in another.

  • alex hicks

    Johan Andreasson,

    As soon as I sent that last e-mail I had a nagging if vague recollections of Napoleonic war references in “”Persuasion.” But I think “Persuasion” is the exception to my claim (as indeed the somber “Persuasion” — is something of an exception to Austen’s core of “young ladies courting” books, while “Northanger Abbey” strikes me more romance and novel and rather overtly detached as Gothic from claims to historical verisimilitude).

  • skelly

    Steve E.’s mention of Michael Powell and Barry P. writing: “The war was fought in Europe and the Pacific, not in America. The history is different and so the movies are going to be different.” Brings to mind Powell’s The 49th PARALLEL the (pre-Pearl Harbor) propaganda thrust of which was watch out North America (Canada), the war can come to your shores soon enough!

    John C wrote: “I don’t how/where you’d draw the line, but it seems like you can divide musical anachronism into the BARRY LYNDON variety, which you might just call “cheating”, and the MARIE ANTOINETTE variety, where the historical discord between music and image is part of the effect.”
    Good point, and I don’t know where the line would be drawn either. Though loathe to mention in the same post as the great BARRY LYNDON, there’s also that far less subtle musical anachronism example with the Vangelis synth score in CHARIOTS OF FIRE, which was effective (at least commercially, kind of cringe inducing today). Speaking of Vangelis (cause who wouldn’t want to do that), another twist on the layers of THEN/NOW was his “futuristic” score for BLADE RUNNER which, while still highly effective today, simultaneously suggests both some future time and 1982.

  • alex hicks

    Jonathan Freedman’s “Hitchcock’s America” very likely addresses many aspect of the documentary (and other modes of) realism in “Shadow of a Doubt,”

    On libraries open till 9:00, many still are until 8:00PM so, why not till 9:00 PM back before TV when people read more books (if suggestions from historical studies. e.g., of cohort of cohorts of verbal test scores, are viewed as accurate).

    Also, should we suppose that the model for “Shadow”‘s setting is a much infleunced by Thorton Wilder’s New England roots as the conveniences of California shooting and related demands of verissimilitude?

    I’ve always thought of “Shadow” a composite of Hitchcock and “Our Town” (“Our Town” turned insideout like a sock — a dirty one at that).

  • Barry Putterman

    Oh, did I say that America was indifferent to World War II? Well then, let me correct myself.

    World War II was the central fact in American life during the first half of the 40s and all of our films, including SHADOW OF A DOUBT, reflect that fact in one way or another.

    The films were about America’s experience of World War II; soldiers fighting and dying overseas, sacrifice and anxiety on the homefront. They weren’t about having our country invaded, our cities blasted to bits and our civilian population slaughtered. And while the war was a terrible experience, it all turned out the right way in the end so we weren’t motivated to look back and make movies like THE CONFORMIST asking ourselves how we let it all happen to us.

    Alex’s inclusion of Wilder and OUR TOWN is very important in understanding SHADOW OF A DOUBT. In many ways the film is more a memory of an English small town than an American one. When Steve references Powell, I’m pretty sure that he has something like A CANTERBERRY TALE in mind. I would suggest the gloriously Looney Tunes WENT THE DAY WELL as a start point for SHADOW OF A DOUBT.

  • steve elworth

    it is nice to know that an old friend can still read one’s mind. I was thinking of the nervousness of the home front in Powell in both A Canterbury Tale and I Know where I’m going. The strangeness of Cavalcanti and Graham Greene’s Went The Day WEll is an excellent place to see the anxiety of the home front through a disguised invasion and I agree with Barry is an excellent place to discuss Shadow of a doubt.

  • Barry Putterman

    And isn’t it nice to know that I still can’t spell worth diddly Steve? CANTERBERRY! Hoo boy, they’ll never let me back in the country now.

    I know that this isn’t the place for personal conversation, but drop me and/or Barry Gillam a line here at Everett Collection Steve. We really would like to catch up with you.

  • Kent Jones

    I don’t get these references to A CANTERBURY TALE and I KNOW WHERE I’M GOING and WENT THE DAY WELL (which is “gloriously Looney Tunes?” Why?). Those three movies are all about wartime, WENT THE DAY WELL actively so.

    Barry, you’re right, we weren’t motivated to make movies that asked how it all happened, but we did make many that looked back at the psychic toll taken by the war.

  • Barry Putterman

    Gee I don’t know Kent. When your fighting for your life against an enemy that is bombing the hell out of you but hasn’t invaded and you make a movie that says that the war is over and lets think back to how our people repelled the invasion…well, that just strikes me as a bit strange.

  • steve elworth

    What I see in the films that I think is related to the American films of WWII is the absence/presence of war time in the everyday. When I have taught Shadow, the ordinary/weirdness behind the facade comes up and WWII. If it is an immigrant’s re-reading of Wilder’s Americana, Wilder’s 39 play is still suffused with darkness.

  • Junko Yasutani

    ‘Yet at night around 9PM on an ordinary day the streets are crowded with people going briskly to and fro — there’s even a traffic cop, although we see very few cars. Where are all those people going to or coming from at that time of day? And did small town public libraries in those days close as late as 9PM? This is definitely not my experience of small town life today or in any of the past decades I have lived in the USA.’

    I have made visit to Western States of America in 1970s, visiting Santa Barbara California, small town then. Main street called State Street was busy at night, not weekend night either. Maybe busy night time small town is California phenomenon, because weather is fine there. I do not know to be certain though.

  • alex hicks

    Can any one name ANY fictional narrative films made in any nation about WWII and “why it all happened”?

    Maybe films about how Germans people allowed German fascism to arise (or embraced it), since Germany was a pretty clear cut aggressor, whose with aggressions have roots — or nourishment for roots — in Nazism… (“The Damned,” Berlin Alexanderplatz,” “Three Comrades.”)

    Tolerance of Italian fascism is less direct, tied to war by alliances not aggressions that have much to do with the outbreak of WWII.

    Any films that actually address tensions between Japanese Asian expansionism and its tensions with Anglo-American Asian interest less obliquely than “No Regrets for My Youth” or “Blood on the Sun” or “Thank you, Mr. Moto”?

    The outbreak of WWI — German eagerness not to waste the mobilizational efficiency that had gained unexpected victory in 1970– could inform a great black comedy.

    Of course, there’s Pearl Harbor, but that’s a bit too much the mere, if undeniable, percipitant to seem very interesting to me.

    (Yes, “Our Town” is pretty dark, but bright enough for high school teachers to go with, villianless, and definitely just NEW England.)

  • Kent Jones

    Thanks for the thoughtful response, Barry.

    Steve, how do your students react to SHADOW OF A DOUBT? And what’s the context when you show it – Hitchcock? The 40s? I’d be interested to know. It certainly has a unique place in Hitchcock’s body of work.

  • John C.

    Alex Hicks, it depends what counts. Following an extreme trauma like the European experience of WWII, someone might well be inclined to wonder why it all happened, and, like you (and me), conclude that the German embrace of Nazism was part of the answer. So I think BERLIN ALEXANDERPLATZ counts as a fictional narrative film about why WWII happened, or at least a response to a desire to know why WWII happened.

    On the other hand, I realize that this step toward generality and abstraction is a slippery slope. I mean, you could fairly tell a similar story about UGETSU MONOGATARI. But this gets back to all the talk about period settings above: it’s interesting when, and interestingly rare that, you get films analyzing what happened during X period, and why, that are actually set in X period. At 6:14 yesterday dm494 talked about this in terms of handling the past “in the manner of a historian.”

  • Alex Hicks

    A film about the origins of war: Gance’s NAPOLEON!

    Sure, it’s too “Great Man” centered and pro-War not to sstirke some as a bit proto-fascistic to many, but it’s, among various things, densely and enthrallingly about the origins of the Napoleonic War(s) –or War(s) for Bourbon Restoration.

  • steve elworth

    Kent: for the most part they know of Hitchcock and have heard of if they have not seen Vertigo, Psycho and Rear Window. So, they have some ideas of Hitchcock which I develop and I have used David Sterritt’s great essay on it as background. I do some discussion of the 1940’s to help situate it. I think Junko’s idea of more people being out in California in the evening is quite interesting. I think that NYC libraries were open at least one night, Probably Thursday in the 1960’s and would be quite fill. We have left out that they are two late night Santa Rosa,s the one of the smiling policeman and one of the sleazy bar that Uncle charlie takes her and she meets her former class mate who is leaving polite society.

  • Shawn Stone

    “Main Streets” started to die in the early 70s, at least in upstate NY (where I grew up). The biggest town near my home had a movie theater (long lines for AIRPORT and THE GODFATHER), restaurants and a department store then. People were out and about. Now of course it’s dead by 7:30 PM–the cinema and department store are long gone.

  • Junko Yasutani

    ‘Any films that actually address tensions between Japanese Asian expansionism and its tensions with Anglo-American Asian interest less obliquely than “No Regrets for My Youth” or “Blood on the Sun” or “Thank you, Mr. Moto”?’

    SPY SORGE addresses that question. Two main narrators of the movie are Dr. Sorge and Ozaki Hotsumi. Ozaki narration describes imperial competition between Japan, Britain and America in Asia. Scene taking place in Shanghai showing Ozaki seeing British ship unloaded with Indian cotton under supervision of American businessman. Explaining that Japan wants to dominate China trade and later showing Manchurian Incident of 1931. This was beginning of war for Japan, also showing Japan was aggressor during Shanghai Incident that terrorism attack against Japanese citizens was fake.

    SPY SORGE showing all steps toward war with China and Western powers from 1931 to 1941, growing fascism, miltarism taking over government, civilian officials assasinated. That is one theme of the movie. It is interesting movie but not great movie.

  • steve elworth

    Shawn, has everything moved to the mall with the movie theater? On small town theater going, two of our most esteemed writers on film have new pieces on the internet about it.
    David Bordwell has had a great recent piece about movie going in Penn Yan NY in the 50’s and 60’s at his blog and Jonathan Rosenbaum of theater owning stock has a recent piece on his blog about the small town theaters in Florence Alabama and its environs.

  • Shawn Stone

    Penn Yan NY??? I’ll have to check that out, because I grew up just down the road from there, a decade later. My family had relatives in the other direction, though, and I never went to the movies in Penn Yan; I was referring to Bath NY. Since it’s the seat of county government, the restaurants and bars are still there. But most stores and non-alcohol related entertainment is gone. I saw the second-to-last movie shown at the old Babcock Theatre, The Who doc THE KIDS ARE ALRIGHT. (The last movie shown was Chuck Norris’ A FORCE OF ONE.)

  • Kent Jones

    I grew up in western Massachusetts, and people were out in all seasons. Then, the old, now familiar story told by Shawn: GE and the local department store closed after the mall opened, and that was it.

    Steve, is it a film history class?

  • Libraries here in Detroit are open till 9:00 PM, and packed. I was just to a Writer’s Group meeting last night (7-8:30). Public libraries are the community centers in the USA.

    24 EYES (Keisuke Kinoshita) is a masterpiece about was fever building in Japan, and its costs.

    There might be subtle problems about Hollywood and war.
    All films were preceded by newsreels showing the war, plus savings bonds were sold right in the theater. Hitchcock would know that the evening at the movies would include plenty of war references. He might not have seen the need for more.
    Are there a lot of “casual” references to the war in films? The War was seen as a Big Subject. Perhaps filmmakers felt it had to be a central subject in films, or not present at all. Maybe Hitchcock felt he couldn’t do it justice in SHADOW OF A DOUBT. He might have felt it needed the full treatment found in SABOTEUR or FOREIGN CORRESPONDENT.

  • That’s “war fever” in 24 EYES.

  • Alex Hicks

    If 883 min of network TV production sans directorial auteur is not prohibitive, “The Winds of War.”

    But I think I’d prefer to see “Spy Sorge” first, were it accessible.

  • Barry Putterman

    EXCELLENT point that Mike brings up about how SHADOW OF A DOUBT was originally presented. And it touches on so many of the things that have been under discussion this week. We look at the movies now and try to put them into historical context, but rarely consider the context in which the intended audience saw it.

    It would be interesting to hear from anybody else who could paint a picture of what a night at the movies would have been like in the 30s and 40s in any other country than U.S.A.

  • nicolas saada

    Alex, in 1977, I spent one night in Florence with my brother and sister and my father. The hotel was the Excelsior.
    One morning we all went down the stairs for Breakfast. As we arrived at the second floor, we were schocked to see three nazi officers and a few german soldiers in the lobby. We stood there for at least a couple of minutes until we realized they were extras. A film crew was shooting…THE WINDS OF WAR. That’s what I would call a then/now effect plus a “war is in the background effect” meets Pirandello kind of story.
    I’ve always seen SHADOW OF A DOUBT as a 1943 film. First of all, my idea is that Cotten is just evil summed up in one man. He is a sort of walking metaphor of everything which is taking place across the Atlantic. Then, what struck me, even as a kid, was the fact that the only “men” in the movie were the two cops and ncle Charlie. The environment of the family house is totally non-male, from the father figure to the asexual neighbour. As if the “real men” were somewhere on the front. Last but not least, I have always made a connection between DOUBT and BEST YEARS OF OUR LIVES, the latter being a folow up to the first one. The men come back to town… Far fetched I know. But I’m jus a useless french cinephile….

  • Tony

    A brief digression to report the sad news of Ken Annakin’s death.

  • Barry Putterman

    But Nicolas, if not for the pioneering efforts of useless French cinephiles, I could not have become a useless American cinephile. On the shoulders of giants.

    Jack Cardiff. Ken Annakin. Just what the hell is going on there in England!?

  • Alex Hicks

    My intuition, nicolas saada , is that you’re definitely correct seeing Cotten as “evil summed up in one man….. walking metaphor of everything which is taking place across the Atlantic.”

    Maybe a film can address a topic allegorically aided by a little indirection!

    A “useless french cinephile?” Perhaps, except insofar as the cinephile is also the superb critical voice and — I hear tell– film maker known as Nicolas Saarda.

  • skelly

    Nicolas S. wrote: “Then, what struck me, even as a kid, was the fact that the only “men” in the movie were the two cops and ncle Charlie. The environment of the family house is totally non-male, from the father figure to the asexual neighbour. As if the “real men” were somewhere on the front.”

    Was going to comment something similar. Always felt they should have made the two cops older to drive this point home – like say a less comic version of William Demarest’s stay at home war time cop in THE MIRACLE OF MORGAN’S CREEK. That way Cotten’s character would the only virile man in town. Something Hitch seemed to want to drive home in both the seedy bar scene with the “former class mate who is leaving polite society” (I love this Steve E.! – also love that actress’s lathargic dead pan delivery of the dialogue) and the scene where the two Charlie’s cross the street and another of young Charlie’s class mates give Uncle Charlie an admiring once over. In the end it seemed they want to suggest that young Charlie had a normal romantic future with Macdonald Carey’s cop (who represented a very loose/vague love interest). In fact Cotten’s non-participation in the war only accents his evilness/misanthropy (not like say Eddie Braken’s loveable 4-F doofus in Morgan’s Creek).

    I echo the SHADOW OF A DOUBT is a masterpiece sentiment.

  • steve elworth

    I love Skelly and Nicolas’s point about the portrayl of masculinity that I did raise in passing and also the relation to Best Years of Our Lives on what happens when the damaged heroes return. Kent, I have taught it in both History and aesthetic/genre classes. I will throw out also some classroom discussions of the absence of war in the Post war, Out of the Past. If in some noirs most explicitly, joe Mankiewicz’s Somewhere in the Night is what happened when the damaged tries to recover his past and find out what type of person he was when he had his face, Jeff Bailey/Markham was hiding while the War occured. Lastily, I do agree with Barry that this is an almost impossible search for context but worth trying.

  • Johan Andreasson

    “Can any one name ANY fictional narrative films made in any nation about WWII and “why it all happened”?”

    How about THE LIFE AND DEATH OF COLONEL BLIMP?

    Unbelievably subtle for a propaganda film, and with a historical sweep from the Boer War to WW II.

  • Alex Hicks

    As connossieurs of accounts of the notorious Pomona preview will especially appreciate, Hitchcock kindly chose to spare us a somewhat too macabre coda to the original version of “Shadow.” In this, the film ends with Charlotte Newton, May and Pa Newton, Herbie Hawkins (Hugh Cronyn), investigator-suitor Jack Graham, and other good citizens of Santa Ana/Rosa returning, giddy with ridicule, from a night at a viewing of a preview of a film called “The Magnificent Ambersons.”

    (NOT!)

  • Kent Jones

    The search for context may be impossible in a sense, but it’s also necessary. There can never be enough of it.

    For instance, the worry over home invasion of England by the Germans in 1942 may seem “Looney Tunes” in hindsight, but it was still taken seriously in England at the time, at least by the Ministry of Information. As Kristin Thompson points out in her thoughts on the movie (http://www.davidbordwell.net/blog/?p=2303), “When the film was being planned, there were many rumors in England that a German invasion was imminent and much speculation as to whether the country could resist such a thing successfully.” There was enough worry to inspire the making of not just WENT THE DAY WELL but Dickinson’s THE NEXT OF KIN the same year. The fitness of the Home Guard is also a big item in THE LIFE AND DEATH OF COLONEL BLIMP, which came out a year later. Each of these films had its own unusual narrative framework.

  • The mystery novel known as Night Exercise (1942) in Britain and Dead of the Night in the US is by John Rhode,a well-known mystery author and real life Army officer. The opening chapters (1 – 4) vividly describe a Background of the British Home Guard doing a war exercise in preparation against a possible Nazi invasion of Britain. They take place in a small English town, and we meet many of its local inhabitants, especially the tradesmen and farmers who are Rhode’s favorite people. Everybody in the town gets to take on a new role, and almost a new identity, as part of the war time exercises, and this often involves new clothes and appearances. The local pub plays a central role. Many means of transportation in town are employed. The landscape of the town and its surrounding countryside is described in vivid detail, and made the setting of the exercise. In fact, the town’s landscape is the actual subject of the story. It is looked at in interesting new ways, as part of the war exercise, as well as being seen in its traditional English usage. Most of the opening chapters take place at night.

  • skelly

    Shame about Ken Annakin (though that’s a nice long life!). I’m not super familiar with his filmography; but I’d heartily recommend ACROSS THE BRIDGE (1957) an under the radar gem based on a Graham Greene short story and starring Rod Steiger. It’s available on DVD.

  • Barry Putterman

    indeed, the never ending chase for more context is what keeps us watching new movies and re-watching old ones.

    In fact, isn’t it why we are all talking to each other here?

  • jbryant

    A real then-and-now mind-bender is De Toth’s great “None Shall Escape,” made during the war but with a post-war framing device and a flashback structure that relates one man’s rise through the Nazi Party ranks (starting in 1919 Poland, if I remember correctly)!

  • Tom Brueggemann

    Cardiff was DP on Annakin’s late and very mediocre The Fifth Musketeer; the only time their careers crossed.

    I know others were responsible for much of the fun (Peter Ellenshaw leading the way), but I am fond of The Swiss Family Robinson among Annakin’s work.

  • nicolas saada

    I discovered ACROSS THE BRIDGE a few months ago and I found it really good.
    Here is a link to one of the best piece ever written on this film. This critic reminded me of the best of Raymon Durgnat

    http://www.culturecourt.com/F/UK/AcrossBridge.htm

  • Kent Jones

    Steve, have you shown Huston’s LET THERE BE LIGHT to your classes? Questionable documentary practices aside, a troubling and (no pun intended) illuminating film.

    Annakin’s version of ROBIN HOOD is pretty good, isn’t it? He certainly had a long relationship with Disney.