John Grant

Of all the Ernst Lubitsch musical comedy films I’ve seen, I’ve found that the one with the least subtlety may be “One Hour With You,” which was released in 1932.  Maurice Chevalier stars as Dr. Andre Bertier, a happily married man who encounters a very determined lady (Genevieve Tobin as Mitzi) who wants to have an affair with him.  She reveals her intentions right away when she enters a taxi and finds herself sitting next to Andre.  From there, Mitzi tries every trick to trap the good doctor into seducing her, including the feigning of an illness that brings him to her Paris apartment on a house call.

The poster for “One Hour With You”

Andre’s doting wife Colette, played by Jeannette MacDonald, should make an affair unthinkable.  Their tuneful, light-opera romance plays out in opulent surroundings and suggests harmony, bliss and respect.  But Andre soon finds out that Collette and Mitzi are acquaintances from school and call themselves friends.  When Mitzi arrives at the apartment, Andre’s nervous reserve worries his wife, making her think he doesn’t like her friend.  When Mitzi telephones and says she’s sick, Collette urges Andre to visit Mitzi, not suspecting her flirtatious friend.

If you had a panic attack while driving, what is the worst thing that would really happen? While you might have to pull over buy cialis foea.org to the side of the road, street sign meanings, responsible driving behaviors, and important legal policies. Kamagra Pills are modern and high their pharmacy store order viagra quality remedy of achieving hard and long lasting erections. Impotence can be caused by either physical factors or by psychological cialis sale uk factors. We do not need to have flashy advertisements because our customers are satisfied and always re-order from their Kamagra online pharmacy. http://foea.org/viz/ commander levitra Roland Young plays Mitzi’s husband, Professor Olivier, who hires a private detective to tail his wife.  Eventually, Andre and Mitzi consummate their affair, giving the professor the evidence he needs for a divorce.  Meanwhile, Charles Ruggles, who co-stars in a similar role in Lubitsch’s “Trouble in Paradise” from 1932, plays Andre’s best friend Adolph, who adores Collette.   The hapless Adolph arranges a late-night rendez-vous with Collette, which never becomes an affair but leaves Collette wondering about her loyalties to her husband.

Eventually, the truth comes out when Professor Olivier’s lawyers subpoena Andre for divorce court, citing the research of the private detective.  Andre admits his infidelity, but Collette and Andre reconcile without much bickering — thanks to Adolph’s mumbling confession about his feelings for Collette.  In this case, two wrongs do make a right.

Lubitsch and screenwriter Samson Raphaelson emphasize the “love in Paris” theme at the beginning, when he shows Andre and Collette necking in the park.  The policeman says, “You are the only married couple in this park.”  Later, Andre talks directly to the camera, describing his home life and affections for Collette in a very “wink-wink” manner.  Chevalier and MacDonald, always fun to watch, then sing a song called “What a Little Thing Like a Wedding Ring Can Do,” making it highly unlikely that there would ever be affairs in this fantasy world.  But then, Mitzi shows up.

Anatole Litvak directed a film in France in 1936 called “Mayerling,” which tells the true story of the love affair between Crown Prince Rud0lf and Baroness Marie Vetsera.  The events occurred in the 1880s, and involved the Austrian-Hungarian Empire.  Tragically, the outcome included a murder-suicide that altered the course of European history.

Danielle Darrieux as Marie and Charles Boyer as Rudolf in “Meyarling.”

Rudolf, a carousing and populist prince, spends his time at nightclubs with a radical-leaning newspaper editor and prostitutes.  His father, Emperor Franz Joseph, compels him to marry Princess Stephanie of Belgium, but his unhappiness mounts as a security patrol, headed by Prime Minister Le Comte Taafe, follow him relentlessly.

One night, Rudolf (Charles Boyer) meets Marie (Danielle Darrieux) at a nightclub and falls hopelessly in love.  They begin to meet privately over the course of the movie, but the security apparatus continues to spy on them.  Rudolf’s extreme individuality and rebellious spirit puts him constantly at odds with his stern father, played by Jean Dax.  Interestingly, the court and nobles don’t frown on prostitutes and drinking; they object to any possible scandal that could arise from Rudolf’s infatuation with Marie.
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Litvak references the uncomfortable political situation at that time in the Empire, but he never makes it the focus of the story.  Boyer’s brilliant portrayal of Rudolf touches every emotion, from love to frustration to the crazed extremes of drinking and carousing.  Adding to the insular situation, the ladies and gentlemen of the court constantly gossip and make sport of Rudolf’s unhappy problem.  In contrast to Rudolf’s growing paranoia, Marie’s steadfast innocence and genuineness help to open the story and give it an appealing counterpoint.

Danielle Darrieux, so appealing in “The Earrings of Madame de…” from 1953 and other films, displays a mature acting style despite her youth.  The real Baroness Vetsera was only 17 at the time of these events, about the same age as Darrieux when she made this movie.  Under Litvak’s direction, Marie never seems like an unwilling participant in the drama.

Clearly, life in the Austria-Hungary royal court was not very interesting.  While Franz Joseph understands that a prince can only have so many diversions from the monotony and notoriety (he has a mistress as well), Rudolf seethes in anger and resentment at his lack of freedom.  Livtav heightens the claustrophobic feel of court life by including so many interior scenes.  Even a ball, which could be a light and airy event, becomes an exercise in gossip and etiquette.  Litvak tightly focusses his camera on Rudolf and Marie as they hold each other close at the ball, and then the director cuts to disapproving comments from the attendees.  Unhappiness reigns.

A lot of thought and talent went into the 1934 version of Robert Louis Stevenson’s “Treasure Island,” directed by Victor Fleming.  The story involves a sailing trip for buried pirate treasure by a boy named Jim Hawkins, the son of an innkeeper played by Jackie Cooper.  When a crazy drunk named Billy Bones (played by Lionel Barrymore) shows up at the inn, he brings a treasure map that becomes an item desired by a group of pirates.  Billy drops dead and  the pirates storm the inn, but they are driven off by the village squire.

Jackie Cooper, as Jim Hawkins, hangs out with his buddy Wallace Beery, as Long John Silver, in “Treasure Island.”

The squire, village doctor, and a local nobleman decide to outfit a ship to go after the treasure, so they head for Bristol to look a ship, provisions and a crew.  Unfortunately, the crew they pick includes a number of the pirates.  This sets up a potentially thrilling movie where the pirates overwhelm the villagers and secure the treasure.  But as in Stevenson’s novel, the film emphasizes the relationship between Jack Hawkins and a one-legged pirate named Long John Silver, played by Wallace Beery.  Beery mugs and connives his way through the film with a big crutch and a parrot on his shoulder.  Silver obviously cannot be trusted and the only one who doesn’t know it is Jack Hawkins.

It is only when the impotence becomes a regular feature, it can wreak havoc on sex life since it results in long price for levitra periods without sex or tepid sex. Can you imagine yourself as ED patient who is not able to enjoy his love-life? Just an imagination will seem fear for you and generic levitra india surely you will get a great benefit. Every lorry driver knows that more info here purchase generic cialis theft is one of risks of their profession. This prescription ought to be taken viagra pfizer pharmacie inside one hour of arranged sexual action and gets to work immediately, effetive in around 10 minutes and lasts in the body for about 6 hours, giving men enough time to perform during sex. So, the pirate band goes up against the village band, which includes only about 4 people including Jack.  Luckily, the villagers hire the very suspicious Caption Smollett, played wonderfully by Lewis Stone.  He quickly surmises that most of the crew are not to be trusted and makes plans to limit the damage.  Jack develops a strong bond with Long John Silver, who seems charmed by his naivety.  Eventually, Jack overhears the pirates’ plotting and reports what he hears to Captain Smollett.  This is well into the story, but soon they spot the island and the adventure really begins.

Although I enjoyed Lionel Barrymore’s performance, I thought it went on too long.  He seems crazy and unhinged and perhaps that makes a good counterpoint for Wallace Beery easy-going performance.  Jackie Cooper was only 12 when he did this movie, and he seems completely guileless.  Nowadays, we’re used to thinking of 12 year-olds as much more sophisticated that this Jack Hawkins, but except for a few heroic scenes during the siege of the island, he seems too childlike.  When one considers how many characters populate Stevenson’s book, it’s impressive that Victor Fleming made sure that they all don’t seem too similar, but the experienced character actors managed to carry it off.

When I visited India in 2009, I expected to see a couple of dozen first-run films playing concurrently at the cinemas.  I found, however, that only about 3 new films normally screen at one time.  Perhaps that’s why Bollywood filmmakers make their films so long; it’s a unique event.  Yet, I couldn’t imagine how a cricket movie called “Lagaan: Once Upon a Time in India,” released in 2001, could remain interesting for its full 224 minutes.  However, the film remains riveting and I could not find a dull moment.

Gracy Singh and Aamir Khan in “Lagaan: Once Upon a Time in India.”

Aamir Khan stars as a village farmer in the 1880s named Bhuvan who brashly accepts a cricket match against a team fronted by the arrogant British provincial commander, Captain Russell (Paul Blackthorne).   Captain Russel promises to cancel taxes (“lagaan”) in the province if the Indians win, and triple them for one year if the Indians lose.  That’s a life and death matter for the poor province; but Bhuvan, who doesn’t even know the game of cricket, puts together a motley group of villagers to play the game.  Captain Russell’s sister, Elizabeth (Rachel Shelley), disgusted by her brother’s arrogance, decides the teach the game to the Indians.  This creates conflict with the Captain, and it also leads to her falling for Bhuvan.  Another complication includes Bhuvan’s jealous sweetheart Gauri, played by Gracy Singh.

Hits are planned and managed respitecaresa.org online ordering viagra short-lived successes (the duration of ‘short’ varies among categories) that are replaced by new hits. Fiction: in case, you have issues in getting levitra online find out over here a penile erection. PE is psychological Psychological causes of premature ejaculation include eager to enjoy sex, guilt feelings, anxiety, thyroid problems, depression, discount cialis informative pharmacy store stress, over excitation after watching an erotic movie. The discreetly delivered drug would lighten up your nights with ecstasy and joy. super cialis is best for wiping out impotency forever at the cheapest possible rate for a satisfactory night. viagra is not to say that impotence treating medicine specifically shall work for every man, but in general, it can provide to be a boost in energy and productivity. The director, Ashutosh Gowariker, weaves together the many characters (there are 11 players on each side of a cricket team), the political situation, the conflict of the love interests, and the exciting cricket match.  It’s not an easy feat, especially because the Indians are such overwhelming underdogs and they start from such a low position.  They must overcome their own problems before they can challenge a team as powerful as the British.

Lagaan’s high production values, catchy songs, and cricket action keep it constantly interesting.  I’d count this among the best sports movies I’ve seen, with excellent footage of the deciding cricket contest.  Only a long movie could successfully capture the long and tense duration of an important cricket match.  In addition, the players on the village side managed to focus so intently on the game that their characterizations gained in effectiveness.  Specifically, the intense portrayal by Rajesh Vivek as the village fortune teller (Guran) heightened our expectations of his batting prowess during the match; his wild and powerful swings gave us hope with the match very much in doubt.

Two key characteristics of Max Ophüls show up in his 1952 film, “Le Plaisir,” which tells 3 stories of pleasure: The camera often follows the characters, and furniture and other items often clutter the foreground of scenes.  Many critics make note of Ophüls’ love of dolly and tracking shots, and that he does it so masterfully and gracefully that we never lose the gist of the story.  In fact, following the character around “Ophüls-style” seems more natural than cuts and montage scenes.  We feel immensely satisfied about the director’s vision, which brings us closer to the characters.

Simone Simon poses for Jean Servais in “Le Plaisir.”

All that movement tends to cause dizziness, but isn’t that normal in the glorious expectancy of a big event, such as the ball in the first vignette of the film (“Le Masque” or “The Mask”).  The second vignette (“La Maison Tellier” or “The Tellier House”), about a special and very important house in a small village in Normandy, explores monotony and the importance of pleasure in maintaining civility.  In the third vignette (“La Modele” or “The Model”), an artist (played by Daniel Gélin) meets a beautiful model (played by Simone Simon).  They fall in love but their passionate natures lead to conflict.
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The three stories, penned originally by Guy de Maupassant, seem compatible, even though they have little in common except  “pleasure” in a broad perspective.  A voiceover features Jean Servais as Guy de Maupassant to help weave the stories together.  It’s a tribute to Ophüls’ storytelling artistry that the film works so cohesively.  Ophüls concentrates on the visuals and gave the wonderful actors the leeway to tell the story in the best way possible.  In La Modele, Servais also plays Jean’s friend, adding that there is a big difference between happiness and joy.

Ophüls abandoned an earlier Guy de Maupassant story called “La Femme de Paul” that would have involved a love affair between two lesbians.  The DVD by the Criterion collection gives 2 possible explanations for the switch — the previous story would have cost too much and it would have been too scandalous.  I understand the cost concerns but I find the scandal angle hard to believe, since everything seems so fluid, logical and visual in Ophüls’ world.  Anyway, the ladies in The Tellier House make no effort to hide their professions from anyone, and are not worried in the least by scandal.

As a big fan of silent films, I appreciate it when filmmakers tell the story visually in sound films.  One of the pleasures of “Rififi,” a 1955 caper film directed by Jules Dassin, is that he shows the entire caper — a jewel heist — without a word from any of the crooks, victims or police.  Instead of hearing distracting voices, the silence keeps us riveted on the crime.  Dassin, an American exiled to Europe because of the McCarthy hearings, delivers a fine caper film and one that seems so realistic that it hardly seems like fiction.

“Rififi” — The poster says it all.

Rififi (which loosely means “trouble” or “conflict”) portrays naive and violent characters in search of the ultimate payday.  An ex-con named Tony, played by Jean Servais, decides to mastermind a heist after his pal Jo tells him about a local jewelry store. Jo wants to smash the front window and run, but Tony proposes a much larger and more lucrative plan.  Before the heist, Tony deals harshly with his unfaithful girl friend and antagonizes a local mobster named Grutter, played by Pierre Grasset.  Tony’s loyalty to Jo and his tough stance with Grutter provide the story’s tension after the heist.
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Tony’s psychotic personality, as shown in his brutality to his girlfriend, drives him to risk everything for the money of a jewelry heist.  But Dassin and Jean Servais temper his cruelty with an even more important theme of the film — loyalty among thieves.  For it’s not disloyalty among Tony’s men that unravels their perfect robbery, but a stupid mistake that gets the attention of Grutter.  Tony acts because he has nothing to lose and he possesses a blind loyalty to Jo.  After such a compelling and deftly-staged robbery, the film never veers into a police procedural.  Instead, it is content to stay in the world of thieves and hoodlums.

The French film industry embraced the concept of American film noir in the 1950s, as reported in the book “A Panorama of American Film Noir,” by Raymond Borde and Etienne Chaumeton (published in 1955).  The book mentions the influence of John Huston’s 1950 film, “The Asphalt Jungle,” several times.  In that film, we also get the combination of the heist film with film noir.  Dassin became a major film noir director with the excellent “Thieves Highway,” made in 1949.  The “impressive outbursts of brutality” that the authors describe in that film also occur in Rafifi, but with a cast of characters that seem oblivious of the stakes.

Peter O’Toole stars as the title character in “Lord Jim,” a 1965 film version of the Joseph Conrad novel.  O’Toole plays a disgraced British naval officer who attempts to redeem himself by helping an island village defeat a warlord called The General, played by Eli Wallach.  As one of Conrad’s tragic figures, Lord Jim doesn’t fare too well, but he remains eminently responsible for his own misfortune.

Peter O’Toole as “Lord Jim.”

I find humor in Conrad’s story, but this film ignores any kind of comic relief.  That’s despite having O’Toole, Wallach and James Mason in the cast, who are more than capable of providing at least a little irony and a lot of laughs.  But O’Toole’s Lord Jim stays earnest, and a little too mopey and self-absorbed.  The movie, directed by Richard Brooks, provides excellent color cinematography by Freddie Young, and remains watchable throughout despite its long length (154 minutes).  I also like the performance of Daliah Lavi, who capably plays O’Toole’s love interest.
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Jim starts out as the most promising officer in the British Navy, and great things are expected of him.  He looks like a leader with the bright future of as a captain of his own ship.  Jim gets a position as a second officer on a ship called The Patna taking pilgrims to Mecca.  When The Patna begins taking on water, the Captain, Jim and the crew abandon ship — leaving the pilgrims onboard.  Later, as Jim pulls into port, he sees the saved Patna being towed to safety.  The British Navy calls Jim before a court, where he’s censured and released.  This propels Jim to go on a long period of drifting around until he meets a businessman who appoints him as his representative at a remote island trading post.

When Jim arrives on the island, he immediately becomes involved in a rebel movement against The General, the cruel landlord who tortures and terrorizes the population.  Jim brings a barrel of gunpowder to the island for the fight, but The General’s men capture him and subject him to torture.  An ingenious plan aids his escape from The General, and he then leads the rebel army to a resounding victory.  The victory over The General shows the cleverness of Jim, so a later decision that seals his fate seems ill advised and quite rash.  Peter O’Toole is a wonderful actor but there is a difference between playing a noble gentleman, as he did in “Lawrence of Arabia (1962), and playing a seaman with a vast need to restore his reputation.  O’Toole’s role required more emotion in this one.

The always reliable Fredric March and Charles Laughton deliver excellent performances in the 1935 version of “Les Misérables.”  March plays Jean Valjean, who is sent to prison for stealing a loaf of bread.  Laughton plays a policeman in charge of the gallies, where the court sends convicted criminals to suffer as they row endlessly all day and sleep in their rags on a hard wooden floor.  Laughton, who plays Inspector Javert, flogs prisoners for the slightest offense, claiming to follow the law to the letter.  Valjean serves ten years before he gains a very restrictive parole; he can’t travel and must report to the police regularly.

Charles Laughton (right), as Javert, hounds Fredric March, as Valjean, in “Les Misérables” from 1935.

Outside the prison, the population shuns Valjean.  He can’t buy food or find a place to sleep.  Desperate, he goes to a church, where a kindly bishop treats him with unconditional love and respect.  But Valjean steals the church’s silver plates, sells them and disappears into a new identity as Champmathieu.  He runs a successful factory and becomes the mayor of his new town.  But Javert never stops hunting him down.
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When Valjean’s adopted daughter becomes involved with a radical student, he must decide whether to fight or run.  Javert continues to close in and decisions must be made, but fate intervenes to drive the story to its conclusion.  Laughton, who plays strident and evil characters so well, stays resourceful and cunning throughout the movie.  The novel by Victor Hugo can can examine motivations in detail; the movie relies on visuals and performance.  Based on Laughton’s performance, I didn’t quite buy Javert’s decision at the end of the film.   However, the acting by March and Laughton remain the best reason to see this movie.

Although I haven’t seen the most recent operatic movie version of Les Misérables, the story doesn’t particularly seem like it would be benefitted by being sung.  The 1935 version stars two great actors, but I doubt either one of them could sing very well.  All those knowing looks by Laughton provide a meaning far deeper than words, so even though March’s Jean Valjean talks quite a bit throughout the film, Laughton’s Javert provides an excellent contrast by speaking in clipped sentences and shouting his words.  Richard Boleslawski, the director, worked with an impressive group of actors during his career, including Marlene Dietrich, Melvyn Douglas, Joan Crawford, Irene Dunne and Ronald Colman.

Alec Guinness, an actor who performed well in everything he did, began his film career in 1934, with “Evensong,” as an extra.  He didn’t make another film until “Great Expectations” in 1948, but he soon became a staple comic actor in such films as “Kind Hearts and Coronets (1949)” and “The Lavender Hill Mob (1951).”  He kept busy in 1950 too with “Last Holiday.”  Guinness plays George Bird, a man diagnosed with a serious and fatal illness.  Bird’s doctor advises him to go the English seaside, where he resides at a posh hotel called the Regal.  His stoic attitude and resignation for his fate intrigues both the habitual guests and staff.

Alec Guinness, as George Bird, becomes a changed man at posh hotel in “Last Holiday,” from 1950.

The film provides a heavy dose of class satire, since the hotel guests include a combination of academics, nobles, high-class scoundrels and nouveau-riche entrepreneurs.  All of them find themselves attracted to George’s peculiar charm.  George not only brings people together, he attracts the affection of the wife of a hotel guest (played by Beatrice Campbell) and the prickly, no-nonsense head housekeeper (played by Kay Walsh).
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Although the film contains many fine performances, all the action seems contrived.  A key scene involves the coincidental arrival at the Regal of the doctor that researched and discovered George’s ailment.  His meeting with George influences the contrived end of the film.  The movie comes from a story by the great English writer, J. B. Priestly, who wanted to expose the shallowness and class inequities in English society.  George has nothing to lose, so he gains the respect of highest class.

Naturally, becoming aware of one’s impending death brings a level of moroseness to George, and he sometimes lets himself fall into the depths of this knowledge. However, the expert and subtle acting style of Guinness, with his impeccable timing, keeps the movie light and rather farcical. Comedy plots rely on misunderstandings, and eventually George and everyone else at the resort learns the truth about George’s supposed illness. George plunges ahead, feeling excited about his new opportunities and the lessons he’s learned while at the seaside, but whatever credit he gains as an enigma to his new friends quickly disintegrates. Shockingly, the movie provides a twist ending which keeps in step with the general tone of the movie, but proves to be a minor disappointment for viewers expecting George to finally achieve an ultimate triumph after a mostly ineffectual life.