John Grant

Watch “The Tree of Wooden Clogs,” an Italian movie from 1978, and you can learn a lot of things just by observing.  For instance, it’s very bad when a cow won’t eat and can’t get up, and chicken manure might be the best thing to fertilize tomatoes; it’s stronger and it keeps the ground warmer in winter.  Additionally, while poor tenant farmers tended their land the Bergamo province of Italy around 1900, a strong socialist fervor gripped the nation and caused the Italian police to be on high alert.

Farm life in Bergamo provincia: A scene from “The Tree of Wooden Clogs.”

The movie, which is known as “L’albero Degli Zoccoli” in Italian, tells the story of four peasant families and their struggles to get through the year.  The title refers to the father of one family, whose son walks 12 kilometers back and forth  everyday to attend school.  When the child’s wooden clog splits apart, the father cuts down one of the landlord’s trees to make him a new clog.  This action is symbolic of a father’s pride and love for his family amongst continuing poverty and hardship.
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Most remarkably, the director, Ermanno Olmi, cast actual peasants from the Bergamo region in all the acting roles.  The actors speak the local dialect and seem perfectly suited to this environment.  The film is mundane from start to finish, but so perfectly atmospheric with real-life characters that I couldn’t help but feel empathy for the people and their struggles.

The film displays a high amount of respect for the Catholic Church; it presents its priests, nuns and teachings in a very favorable light.  The film treats landlords and the Italian authorities more harshly, and it especially emphasizes the matter-of-fact cruelty practiced against farm animals by the peasants.  We witness a pig slaughter in detail, and a goose is also executed.  By the end, even a city dweller like me feels like I spent a year on a farm.

Everybody should see the 1935 film called “La Kermesse Héroïque (Carnival in Flanders),” which stars the wonderful and gifted Françoise Rosay as the wife of the Burgomaster in a Flemish village.  When Spanish invaders take over the town, the men flee but the women greet them with open arms.  The Spanish become so taken with the women’s hospitality that they refrain from sacking the village.

Françoise Rosay as the Burgomaster’s wife in “Carnival in Flanders.”

The film takes its Flanders’ style from the paintings of Jan Brueghel, while the Spanish invading army’s style derives from Diego Velazquez.  The village Burgomaster, fearing a masacre, fakes his own death, a ruse he finds tiresome as the ladies wine and dine the Spaniards.

In addition, it balances the effect of sodium nitroprusside, a nitric oxide donor, was observed. on sale at site viagra prices The most deadly parts of Fugu include the liver, continue reading now generic cialis without prescriptions muscles, ovaries, and skin. From the very beginning, you should be thinking about your career cheap super viagra and where it’s going. Any of the following symptoms can be debilitating, greatly buy levitra viagra affecting their lives. Although released in 1935, the film remains fresh with satirical jabs at the Flemish and Spanish authorities and remarkable sexual openness.  A funny bit involves the wife of the village innkeeper, who lustfully engages with more than one of the invaders.  Rosay, the wife of director Jacques Feyder, revels in her characterization of a no-nonsense wife making the best of a potentially destructive situation.

Feyder also directed Greta Garbo in the German-language version of MGM’s “Anna Christie (1931).”  With Carnival in Flanders, he works with magnificent and blustery character actors performing a smart and very funny story.  A disclaimer card at the beginning of the movie warns us of the film’s farcical nature, perhaps anticipating the subsequent uproar the movie caused in Belgium. The crawling credits say in French: “This film is not based on historical events.  It is a heroic-comic farce, a fiction set in a sleepy town, by a canal lined with old wooden houses.”

The “sleepy” town used in the movie is Bruges, a town I know well from my years of living in Belgium.  Feyder, being a Belgian, understands the Flemish attitude towards festivals and food, which is less formal and more beer-centered than the French.  In a delightful scene, the frustrated Jan Brueghel threatens to walk out of painting an official portrait of the Burgomaster and his deputies.  “Go back to your ‘dauber,'” Brueghel says.  The Burgomaster retorts:  “My ‘dauber’ was Rubens!”

Peter Lorre and Sidney Greenstreet team up once again in “The Mask of Dimitrios,” released in 1944 by Warner Brothers and directed by Jean Negulesco.  Lorre plays a Dutch detective story writer named Cornelius Leyden who becomes obsessed with a Greek criminal named Dimitrios.  Dimitrios washes up dead at the beginning of the movie on a beach in Istanbul.  When the local police chief gives details of Dimitrios’ infamous career,  Leyden travels around Europe to research the dead man’s history, for curiosity and a possible book project.

Peter Lorre is menaced by Sidney Greenstreet in “The Mask of Dimitrios.”

The film, which tells the Demitrios story in flashback, makes no mention of World War 2, hence Leyden’s ability to travel easily to Sophia, Belgrade, Vienna and other dangerous places.  Leyden starts out alone but soon Greenstreet arrives and tails him during his journey.  While Leyden searches for the truth, Greenstreet’s character, Mr. Peters, plots revenge against Demitrios, confounding and confusing Leyden the entire way.
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I suppose the appeal of pairing Greenstreet and Lorre lies in their apparent harmlessness.  Greenstreet hardly moves at all, and when Lorre finally mixes it up violently with the villain, he’s obviously overmatched.  But taking them for granted proves to be the villain’s undoing.  Zachary Scott plays the menacing and way over-confident Dimitrios, who does Warner Brothers proud as a gangster without a conscience.

An Indian film directed by Jean Renoir called “Le Fleuve (The River)” came out in 1951.  Its glorious color photography by Claude Renoir captures the sites along the Ganges River.  The story involves a  British family that runs a jute processing factory.  When a handsome American veteran, Captain John, visits the next door neighbor, he causes a stir among the teenage girls of the jute family, especially plain-looking, poetry-writing Harriet, who stalks Captain John throughout the picture.  He prefers Harriet’s prettier and shallow older sister, Valerie.  Captain John also shows interest in a half-Indian girl named Melanie, but that seems ill-fated from the start.

Patricia Walters (as Harriet) and Suprova Mukerjee (as Nan) spy on Captain John in “The River.”

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Satyajit Ray, who served as assistant director for The River, made his next film, “Pather Panchali,” in 1955.  I wondered if Ray borrowed much from Renoir, but it doesn’t seem likely.  The River seems like old-time film making, with a quick pace and finely-tuned editing.  Pather Panchali’s languid style heighten’s the suspense as it relentlessly explores the struggle of Apu’s impoverished boyhood.  Ray’s later, more stagey films owe more to Renoir’s style than Pather Panchali’s realist core.

“The Savage Girl,” an interesting pre-code film made by Monarch Film Corporation in 1932, tells the story of an eccentric and drunk millionaire (Amos P. Stitch) who hires a professor to travel to Africa, catch wild animals, and stock Stitch’s private zoo.  The adventurers hear of a local legend concerning a wild white woman who lives in the jungle, but scoff at the idea.  When the girl appears in the shape and form of stunning Rochelle Hudson, she inspires lust and rage among the hunting party.

Rochelle Hudson sees western civilization for the first time in “The Savage Girl.”

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Stitch continues to drink alcohol throughout the picture, and there’s a funny bit where the drunken Stitch experiments to see if elephants are really afraid of mice.  He also rides around the jungle in a taxicab, complete with a bored cabby!  It takes a while before Hudson appears, but it’s well worth the wait.