Gaslight

In 1940 Thorold Dickinson directed Gaslight starring  Anton Walbrook and Diane Wynyard, in which a husband drives his wife slowly insane while he scours the house looking for her late aunt's hidden jewels.  This was a great thriller, with wonderful acting and pacing.  Although, I discovered this treasure by mistake, thinking I was ordering the 1943 version which won Oscars for best actress and best art direction.  This raised the question, why remake a film after only three years of it's predisesor's release?  It must be better, it just must, I mean it won two Oscars right?  

I was very disappointed with 1944's Gaslight.  As in classic 1930/40s style it was very melodramatic almost to the point of annoyance and thought parts of it dragged on, for instance I would have been fine with Paula and Gregory's courtship being a deleted scene.  There was also a busy buddy neighbor who couldn't wait to get into the home where Paula's aunt was murdered.  I felt she added nothing to the story and just wasted screen time.   I love Charles Boyer and Ingrid Bergman and even they couldn't save it, despite their amazingly talented efforts.  I had such high expectations for this film and was slowly deflated like a balloon.  

Gentleman's Agreement (1947)

Gentleman's Agreement centers around Phillip Schuyler Green (played by Gregory Peck) who goes undercover as a Jew to report on antisemitism.

This film came out shortly after the end of WWII and was obvious propaganda.  The filming was dark, and while it was a dark subject itself it was so dark that sometimes I had difficult disguising what was going on.  I have always had an interest in WWII so was looking forward to seeing this, unfortunately, the story telling was so dull that I don't think I could have held my eyes up with toothpicks.  In fact I am having a hard time reviewing this as my eyes were so glazed over that I couldn't even give a fair judgement on whether Gentleman's Agreement even deserved an Oscar for Best Picture.  To conclude, this is a lackluster review for a lackluster film.

Watch on the Rhine (1943)

Watch on the Rhine is a 1940s propaganda film.  You can spin it anyway you like, drama, Bette Davis film, patriotic but in the end its still propaganda to raise spirits during a hard time.

Kurt and Sara Muller along with their three children visit Sara's family who believe she married beneath her class.  The Mullers, having lived a secretive and poorly lifestyle remain mum on Kurt's position.  After a family member cannot keep his nose and eyes to himself discovers that Kurt is working underground in anti-fascist activates.  After learning that a fellow comrade (who once saved Kurt) has been captured Kurt feels it his duty to help his friend and prepares to set out for Germany despite the risk of his own life.  Teck de Brancovis, a  house guest, bribes the family threatening to tell the authorities unless  he is given $10,000 -- their life savings.  Therefore, Muller does the only thing he feels he can do to protect his family, murders the snitch and flees for his life.

The ending had me choked up with Bette Davis excepting her eldest son following in his father's footsteps even though she would have preferred him safe at home.  Sara knew it would be selfish on her part and let him go willing when the time was right.  It was a very tender moment.  Also, I thought the steady build-up to Kurt's position was very well executed even though I thought I had an idea considering the subject matter at hand.    Even so, at times I felt that it was almost too much propaganda but that was the style at the time -- very patriotic.  Overall, Watch on the Rhine was an interesting watch (pun intended) and would certainly recommend it to any Bette Davis or classic movies fan.

The Letter (1940)

The 1940's film, The Letter is the original Fatal Attraction.  The film opens in Malaya when Leslie Crosbie, played by Bette Davis shoots a gentleman caller, identified as Geoff Hammond a family friend.   After having her husband summoned and a police officer arrives she confesses to killing Mr. Hammond after he tries to make love to her grasping for the revolver to protect her honor.  Leslie is immediately brought into custody with little protest as though she was going to a day at the beach.  Each time Leslie is questioned her story never changes and is repeated word for word that, neither  herself or her husband had seen Geoff for many months until he appeared on her doorstep.  This is until a incriminating letter surfaces, written in Leslie's hand to Geoff Hammond on the day of the murder asking him to come to her home.  Of course this changes everything, following lies and deceit with a confession that can only be compared to Glen Close.

Two words could complete this review, Bette Davis.  Although that sounds cheap and undeserving for such a film.  It goes without saying that she is phenomenal, her emotion oozes like she is putting her entire being into the character giving the watcher a better connection to the story, even if you haven't killed your lover. That is not to say that Davis is the only one to give a heart wrenching performance, Herbert Marshall, who plays her devoted husband Robert Crosbie, pulls at your strings after finding out what a sham his marriage is and his life is in ruins.  Here he cries openly without restraint and I really felt for him.

I've always enjoyed William Wyler as a director because like Hitchcock he has a very different way of looking at things.  Speaking of Alfred Hitchcock, in his Rebecca while Maxim de Winter is stating how he killed the first Mrs. de Winter the camera flows about the room as if following a pantomime and feel like  you're seeing it through the killer's eyes.  Wyler does this too and I think it really adds something.

I hadn't watched The Letter in a very long time and forgot how stupendous it is.  This film puts me in the mood for Bette Davis and W. Somerset Maugham who's play it was based on.

Rebecca (1940)

You had me at Hitchcock.  And if that wasn't enough you can also throw in the great Laurence Olivier and Joan Fontaine.  These three mainstays of Golden Hollywood are all involved with the mysterious Rebecca.

Rebecca is the story of an unnamed girl who marries the wealthy Maxim de Winter who was ruined after the death of his first wife Rebecca.  Upon entering the estate of Manderly the second Mrs. de Winter is constantly being compared to the first wife of that name and is petrified by her maid and still devotee of Rebecca, Mrs. Danvers.

Rebecca was filmed in an eerie light making the most mundane things creepy, such as the opening of a window, a portrait in the hall or an embroidered pillow case, goosebumps were sent up my spine.

 I've seen this movie many times and still manages to catch me off guard.  I think this is because there are gaps of questioning left in the conclusion, leaving this storyline as unfinished or unsolved, as somethings must stay unearthed.

Jane Eyre (1943)

Orson Welles stars as Edward Rochester, the brooding employer of governess Jane Eyre in this adaptation of Charlotte Brontë's Gothic novel. An orphan with a tragic story herself, young Jane, played by Joan Fontaine slowly frees Edward from his self-imposed prison, but his troubled past stands in the way of their burgeoning love.

First, I must say that there was a disclaimer before the beginning of the film, not because of its content but because the film was so old and the distributors did as best they could to put the footage together. Although, if they had not proclaimed that ahead of time I wouldn't have been the wiser.

Both Orson Welles and Joan Fontaine did a superb job in the acting department, and could actually see him as a fantastic Heathcliff as well, {sorry Laurence}. Joan in a way revised her role in Rebecca, once again playing the quite plain sweet and innocent heroine that you just have too love. This 1940s production of Jane Eyre is a fantastic gothic classic.

La Belle et la Bête (1946)

Children believe what we tell them.  They have complete faith in us.  They believe that a rose plucked from a garden can plunge a family into conflict.  They believe that the hands of a human beast will smoke when he slays a victim and this will cause the beast shame, when a young maiden takes up residence in his home.  They believe a thousand other simple things.  I ask of you a little of this childlike simplicity, and, to bring us luck, let me speak four magic little words, childhood's "open sesame".  "Once upon a time..." ~ Jean Cocteau

 This film is just exquisite.   Because of the small budget after WWII the "special effects" were very minimal but still leave a fascinating impact.  One example of the lack of budget is a scene filled with sheets hanging out to dry.  These hundreds of sheets were "donated" by surrounding communities for this one shot. An example of the fantasy aspect of the film, the candlesticks on the walls are held by real hands and the statues throughout the Beast's palace have seeing eyes.  One of my favorite parts in the film is Belle's introduction to the palace and the magic that inhibits it; not only does she find this eerie but faints upon first sight of the hideousness of the Beast, who than carries her to her room and while crossing the threshold her simple dress turns into an elegant gown.  Lastly,  not only is it fun to read the book see this movie, but is also interesting to compare Jean Cocteau's version to that of Disney's as they stole so much from it.


This clip is a nice comparison if you will (and also my favorite scene in the movie.)