Like her character, Karin in “Stromboli,” Ingrid Bergman found herself ostracized in real life from Hollywood and America after making this film with her director/lover Roberto Rossellini. Their affair and out of wed-lock child caused a scandal that found Bergman unable to find work in the United States for six years. In the film, Bergman is a Lithuanian refugee, released from an internment camp when she marries Antonio (Mario Vitali), an Italian and former prisoner of war. They go to live in his home in Stromboli, an almost deserted village located on a small volcanic island off the coast of southern Italy. Marriage and life in the poor village is far from what Karin envisioned for herself. Most locals who were born there have left. The ones who remain are a stoic group unwelcoming to strangers. Her attempts to brighten up their home by decorating are met with indifference from Antonio. Continue reading
My next full length review with be up on Monday morning. The change in schedule is due to my participation in the Michael Powell/Emeric Pressburger blogathon hosted by the Classic Film and TV Cafe . I will be contributing a piece on the 1960 film, “Peeping Tom.” In the meantime, I thought I would post seven short takes on some other films that I have recently watched.
The Sand Peebles (1966) Directed by Robert Wise
When “The Sand Peebles” premiered in December 1966, the U.S. was already deep into its “quagmire” in Vietnam, a foreign policy disaster fueled by false fears that if one domino (Vietnam) fell, all the others in Southeast Asia would surely all fall too. Though set in 1926 in China, the analogy to Vietnam and the depiction of racism, prevalent at the time as well as the colonialism is all too clear. “The Sand Peebles” is a three hour anti-war epic about the effects of wrong-headed foreign policy. Steve McQueen gives what is arguably his finest performance as a rebellious ship engineer. Richard Crenna is superb as the ships’ self-righteous Captain, as is Richard Attenborough as one of McQueen’s shipmates who falls for a local Chinese girl. Visually, the film is epic and stunningly photographed. Only weak spot is Candice Bergen’s non-existent performance as a missionary. Continue reading
Theodora Goes Wild – (1948) Small town girl living with her two Aunts leads a double life as a Sunday school teacher and organist while secretly writing bestselling “sexy” novels, one of which causes an uproar when the local town newspaper serializes it, much to the dismay of the self righteous local “literary society,” a group consisting of stuffy skirted elderly ladies, who want the so called “filthy” book banned. A entertaining if non-extraordinary romantic comedy thanks mainly to a sparkling and charming performance by Irene Dunne, with some fine assistance from Melvyn Douglas as a book illustrator, who has a big secret of his own that comes to the surface halfway through the film. Dunne’s character break out of her plain Jane small town mode once she hits New York and meets Douglas revealing herself to be a much freer spirit than anyone back home would have ever believed. The cast also includes Thomas Mitchell. Thurston Hall and Spring Byington. Directed by Richard Boleslawski. Based on a story by Mary McCarthy. (***)
Open City (1950) – A landmark Italian film made with black market film stock, few professional actors and extremely limited finances, in other words, Guerilla filmmaking, Italian Style. The film centers on a group of resistance fighters eventually betrayed by a former mistress of one who is seduced by the German lesbian assistant of the Gestapo officer in charge, a sadistic creep named Bergmann. The film still contains brutal scenes of torture that must have been truly shocking to filmgoers when the film was first released. My only problem with the film is the extreme broad strokes of good versus evil director Roberto Rossellini, and scriptwriter Federico Fellini, paint. The resistance fighters have God, Church and family on their side versus the evil Nazis who are vile, sadistic, heartless, homosexual, lesbian, anti-religious zealots. Anna Magnani and Aldo Fabrizi star. (****1/2)
Moonrise (1948) – Frank Borzage’s moody expressionistic and lyrical criminal tale of guilt, anger, violence and ultimately redemption contains a nice performance from Dane Clark who as the son of a convicted murderer has been tormented his entire life by schoolmates and others for his father’s sins. When Clark, now a young man, accidently kills one of his tormenters he must confront the choices in his own troubled life. Be like his father, a man on the run, facing a similar fate, or surrender to the law freeing himself of his guilt and his past. Gail Russell is his understanding love interest. Some early performances from Lloyd Bridges and Harry Morgan, listed here as Henry Morgan. (***1/2)
This reposting is in conjuction with the Classic Movie Blog Association’s Alfred Hitchcock Blogathon. For more Hitchcock reviews by other CMBA members see list after the review or click on the Hitchcock Blogathon ad on the right.
Who ever said Alfred Hitchcock was not a romantic? After all, what could be more romantic than the final scenes in “Notorious” where we see Cary Grant coming to Ingrid Bergman’s rescue just in time to take her away from the murdering Nazi Claude Rains. True for the past two hours Grant forced Ingrid to whore herself by playing a 20th Century Mata Hari, seducing and sleeping with Rains in order to obtain secret information. He then resents her for agreeing to do this and hates himself for forcing her do it. Yep, no one knew how to treat a woman like Mr. Hitchcock, just ask Janet Leigh in “Psycho” or Grace Kelly in “Dial M for Murder.”
“Notorious” is a dark perverted love story. It is also a story of espionage, spies, murder and sex with Grant and Bergman as two of the most glamorous spies this side of James Bond, and wouldn’t have Grant made a great James Bond. In this seductive tale, Bergman is Alicia Huberman, daughter of a convicted Nazi spy, though Alicia herself is a patriotic American, a party girl who loves to drink and has a reputation for promiscuity, which just happens to make her a perfect choice for a dirty job planned by American intelligence agents. Agent Devlin (Grant) is selected to recruit her, by seduction if necessary, for the delicate mission. He does his job well, a little too well as she falls in love with him. One romantic evening, Devlin breaks the news on what she has been recruited to do. They want her to go to Rio de Janeiro where a known Nazi spy ring has congregated. There she is to ingratiate herself into the home and life of the spy rings leader, one Alexander Sebastian (Claude Rains), a man she has previously met. In a subtle (remember this is 1946) but still clear way, Devlin tells her to do what it takes, even to sleep with Sebastian if need be, to find out what he and his cohorts are up too. Reluctantly she agrees. In love with Devlin, she practically pleads with him to tell her not to go through with this mission but Devlin never says the magic words, he has his orders. Poor Devlin, our dark hero is conflicted; he has feelings for Alicia yet resents her for accepting the job and hates himself for not stopping her. Continue reading