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WebFrench Cinema: A Critical Filmography (1940-1958) 1. 2. Sporting a glorious Technicolor palette of vibrant hues, it feels every bit the prestige picture that it is, but on a more inherent level its one of the most purely charming and universally entertaining musicals of this era, regardless of the audience its playing to.
Directed by: TETSUO LUMIERE Written by: TETSUO LUMIERE Genres: Silent Film / Comedy Cast: ANA LIVINGSTON, TETSUO LUMIERE Producers: MARIANO TORRES, LISANDRO LEIVA, TETSUO LUMIERE Director of photography: MARIANO TORRES, LISANDRO LEIVA Assistant Director: FAVIO LOPEZ Assistant Producer: The film overemphasizes minutiae of its mise en scne, extends scenes past their natural end points, and hoovers any sense of gratification out of its climax. But in addition, you might notice that the film remains eerily timely in an age in which the influence and power of the mass media (and the accrual of gauche, pointless wealth) is a topic of constant discourse. Les Anges du pch The COIC immediately set up regulations for the film industry and When movies such as Double Indemnity, Laura and Murder, My Sweet (all 1944) saw delayed release in Paris after the end of the Second World War, critics likened them to the romans noirs of 1930s crime novelists such as Raymond Chandler, James M. Cain and Dashiell Hammett. 
1946. I love them all, but the 
The choice to play both the tyrant and the oppressed man was an inspired one, underscoring the frightening but inescapable truth that we all contain a little bit of both characters. The trial goes as one might expect, with Hepburns charisma holding the attention of every scene, but the real surprise in Cukors film comes within its final moments, when the rocky marital fall-out between our leads ends in an almost nihilistic bit wherein Adam reveals he can be just as emotionally manipulative as he expects all women are. And its a beautiful kind of strangeness. William Wyler directed this adaptation of a stage drama by Lillian Hellman, who also wrote the screenplay. Breathless (1960) Not Rated | 90 min | Crime, Drama 7.7 Rate A small-time thief steals a car and impulsively murders a motorcycle policeman. Even Veda is contemptuous of Mildred for daring to have the moxie to have it all. She plays a small-town mother attempting to protect her family from blackmail after the accidental death of her daughters suitor. (1930) 110 min | Crime, Drama 5.6 uniforms and flags were rarely present within the frameand the MCDXXIX-MCMXLII (De Jeanne d'Arc Philippe Ptain), "Review of the film l'Ange de la nuit (1944)", "Bonsoir mesdames, bonsoir messieurs (1943)", "Premier de corde de Louis Daquin - (1944) - Film - Drame", "Florence est folle! The film understands wartime trauma in ways most war films simply dont; it captures Italys emotional, and sociopolitical fragility in the aftermath of World War II on celluloid like an insect trapped in amber, indulging in slight degrees of wish fulfillment while staging a credible representation of Italian resistance to German occupation in 1944. The effect of Kurosawas technique is dizzying, all the better to reinforce Stray Dogs central theme, in which the line between lawmen and criminals is irrevocably blurred. A.C. Ralph Meekeris our unpleasant private eye hero, on the hunt for the great whatsit through 1950s Los Angeles as bodies pile up and Cold War paranoia thickens. A.G. Language links are at the top of the page across from the title. A.G. We love what we love, and for some of us its romantic comedies and for others its monster movies, while for others its about this cinematic innovation or that groundbreaking foray into previously unexplored subject matter. Aside from Bogies legendary turn, the other performances are spot-on: among them, an already scandalized Mary Astor as the femme fatale; Sydney Greenstreet (Casablanca) as hulking baddie Kasper Fat Man Gutmanastonishingly, his film debut; and Peter Lorre as an obviously gay associate of Gutmans whose homosexuality was muted for the folks at the Hays Code. This is one of the 1940s Westerns that portrayed the psychologically disturbing aspects of life, rather than the traditional Westerns that swung more optimistic, writes the Toronto Film Society. John Hustons treasure-hunt adventure is less about mining gold than mining the human psyche through action and distrust and conflict. 1940: Stranger on the Third Floor Director: Boris Ingster Stranger on the Third Floor (1940) Latvian-born Boris Ingster only ever directed three films (he later became a TV producer on shows such as The Man from U.N.C.L.E. Her performance as icy heiress Tracy Lord in this remarriage comedy is a force of nature. The fault goes all the way to the bank in Tulsa, but really, knowing whos to blame for your misfortunes doesnt put a roof over your head, and The Grapes of Wrath proclaims boldly its belief in people before profit right up to Henry Fondas iconic closing speech, a poetic dedication to the need for social justice in a nation caught under the heel of corporate greed. Wilson continues to prove Kindlers identity, and Kindler goes to greater and greater lengths to conceal it. Others, like Pierre Chenal (That said, Chaplin later recounted that he could never have made the satirical film even a year or two later, as the extent of the horrors in German concentration camps became clearer.) Johnny and Gilda hurl emotional and physical hostilities as they love-hate on each other, both felt in equal measure. Orson Welles was only 24 when he made this cinematic masterpiece-his first feature, and considered by many to be the greatest film of all time-a rather chilling portrait of an enigmatic, narcissistic newspaper tycoon. A list of films produced in France in 1940: Language links are at the top of the page across from the title. He was dogged by cut-happy producers (its not even clear how much footage was removed but Welles was relieved of the first 16 pages of his script before principal photography even started) and contrarian casting and locations choices (Welles wanted Agnes Moorehead to play the investigator; the studio cast Robinson; likewise he got a budget-driven no on filming the prep school scenes at The Todd School in Illinois, his own alma mater). Otto Premingers masterful orchestration of convoluted twists and turns, and stellar performances by Tierney, make Laura a great film noir. All Rights Reserved. Smart, sweet, and witty; probably the quintessential film of the 1940s, and one of the best feel-good movies of the 20th century. (August 2008) A list of films produced in France in The Wizard of Oz gets more populist attention, but Meet Me in St. Louis is the best Judy Garland musical by an easy margin. the film industry in advancing this agenda and almost immediately put in The story of a proud, well-off Midwestern family whose position and stability are compromised by the advent of the automobile, The Magnificent Ambersons was itself a victim of the vicissitudes of mass production-but that hasnt stopped it from being an enduring and masterful Welles classic. A.G. From the moment Hayworth whips her sultry tresses into frameto this day, a disarmingly forward, come-hither introduction made more so by her bare shoulderswere as gobsmacked as Fords drooling puppy dog. What puts you on the edge of your seat in this film is how you get there. (Its also the blueprint for an entire niche of movies, the shomin-geki, a genre in Japanese film, television and theater that favors realism and which portrays the lives of working class Japanese families.) Huston uses a light hand to illuminate some pretty dark corners of human instinct, and Humphrey Bogart is marvelous as Fred Dobbs, a man destroyed by lust and paranoia as we watch. To Have and Have Not is loosely adapted from Hemingways novel of the same name. Which may be screenwriters Ruth Gordon and Garson Kanins funniest joke: Adams Rib is about how men and women are equal only in how equally terrible they can be to each other. Nobody knew what to call film noirs when they first started coming out of Hollywood in the early 1940s. Among the bumper 1944 crop, none were more bitter than Fritz LangsThe Woman in the Window, which far outpaces the pessimism of even Double Indemnity in its story of a lonely professor (Edward G. Robinson) whose affections are preyed upon by a deceitfulJoanBennett. Join here. Like most of Hitchcocks work, what makes it truly spooky are its relatable themesin this case, living in someone elses shadow and worrying that a loved ones hiding something. But certainly for its day, and quite equally so now, this film is a pretty astute and sophisticated look at post-traumatic dissociative compartmentalization, and its really fun to watch it unfold. The world is a hell, he says, what does it matter what happens init?, See also:The Fallen Sparrow (Richard Wallace), Journey into Fear (Norman Foster), The Seventh Victim (MarkRobson). Veronica Lakepositively smoulders as nightclub singer Ellen Graham, and the studio wasted no time in reteaming this iconic duo they were back in cinemas within six months in the Dashiell Hammett adaptation The GlassKey. (You might even believe, given both the passage of time and enough viewings of The Third Man under your belt, that Welles himself is the architect of the piece, but of course youd be 100% wrong if you did.) Sign up for BFI news, features, videos and podcasts. The 1940s saw the rise of Technicolor but also of film noir with its dark, cynical, moody and fatalistic stories of hard-boiled detectives and treacherous women. Your preference will come down to how well you like your schmaltz: Those with a taste for unadulterated sentimentality will likely lean more toward Capra, while those who like a healthy sprinkle of cynical realism on their holiday fare will probably go for George Seatons Miracle instead. Notably, the COIC created what would Fantasia ran at New Yorks Broadway Theatre for 49 consecutive weeks, the longest film run ever at the time. ( Hellmans script is caustic and relentlessly grim, Wylers camera work is high-strung and spooky, and Davis plays the main character as an icy villain. This film noir follows a UN War Crimes Commission agent, Mr. Wilson (Edward G. Robinson) whos hunting down fugitive Nazi Franz Kindler (Orson Welles). dramas, and a few fantasy films. In typical Welles-versus-studio fashion, the producers backed out at the last minute on the promise of a four-picture deal to follow this film-they had become convinced it would run at a loss and Welles was incapable of directing a mainstream hit movie. Bette Davis stars as Regina Giddens, a Southern aristocrat living in a world where only sons were considered legal heirsReginas been subverted by her greedy brothers and there are multiple conniving marriage plots around the consolidation of wealth.
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