As a not often seen curiosity, Moontide is as close as it gets to 'Hollywood come Parisian'. Perhaps it could even be hailed as one of 20th Century Fox's earliest entries into 'Noir' drama. During the time exiled French leading man Jean Gabin was taking refuge in the USA (escaping the Nazis) he made two movies, this, and 'The Imposter' 44 ~ both relatively undistinguished at the time. Gabin, known for his difficult, gruff nature may well have been playing himself with his role as Bobo, a sailor with self destructive drinking habits. Bobo has a change of heart when he saves the life of a depressed young woman, played by a 20 something Ida Lupino. Lupino is the whole show, proving she was not simply a pretty face but a sterling dramatist of the highest degree. She steals every scene with strong, heart felt professionalism, a pure joy to watch! Other cast members are also of a special class, Claude Rains gives a great out of character performance as the warm hearted Nutsy, with Thomas Mitchell memorable as the nasty big lunk known as Tiny. Another odd character played by Jerome Cowan as a Dr having marital problems, has the feel of a part that may have been reduced in post production editing (could be interesting to know...?).
Equally striking is the first class moody black and white (award nominated) cinematography of veteran Charles G. Clark, whose fluid camera weaves in and out of eerie fog bound waterfront settings. The interesting screenplay by talented, self opinionated, and somewhat self destructive, John O'Hara was adapted from the novel by writer/actor Willard Robinson. Some may know Robinson from his roles in: Deep Valley '47 and The Oxbow Incident '43, among many others. Portions of the screen play were penned (un-credited) by award nominated writer Nunnally Johnson, the multi-talented producer/screenplay writer of "The Grapes of Wrath" '40. Johnson was also hailed for his classic work as the writer/director of "The Man in the Grey Flannel Suit" in '56.
Direction is fully credited (wrongly) to veteran all rounder, Archie Mayo but the project was started under the call of Fritz Lang. Lang was sacked after disputes with the difficult Jean Gabin. It's easy to see why many attribute much of the films atmospheric feel as being due to Lang's involvement. The sets, while visually interesting, are somewhat claustrophobic due to budget constraints. The off-the-wall montage dreamed up by unhinged 'artist' Salvador Dali during one of Gabin's binges is eye popping. The only other I've seen this good (if not better) was in Carol Reed's unforgettable classic, "Odd Man Out" '47. Producer Mark Hellinger of "The Killers" '46 and "Naked City fame" '48 ~ gives us yet another compelling watch, for those who like to trace early offbeat ventures into American 'noir' dramas.
KenR.....
Equally striking is the first class moody black and white (award nominated) cinematography of veteran Charles G. Clark, whose fluid camera weaves in and out of eerie fog bound waterfront settings. The interesting screenplay by talented, self opinionated, and somewhat self destructive, John O'Hara was adapted from the novel by writer/actor Willard Robinson. Some may know Robinson from his roles in: Deep Valley '47 and The Oxbow Incident '43, among many others. Portions of the screen play were penned (un-credited) by award nominated writer Nunnally Johnson, the multi-talented producer/screenplay writer of "The Grapes of Wrath" '40. Johnson was also hailed for his classic work as the writer/director of "The Man in the Grey Flannel Suit" in '56.
Direction is fully credited (wrongly) to veteran all rounder, Archie Mayo but the project was started under the call of Fritz Lang. Lang was sacked after disputes with the difficult Jean Gabin. It's easy to see why many attribute much of the films atmospheric feel as being due to Lang's involvement. The sets, while visually interesting, are somewhat claustrophobic due to budget constraints. The off-the-wall montage dreamed up by unhinged 'artist' Salvador Dali during one of Gabin's binges is eye popping. The only other I've seen this good (if not better) was in Carol Reed's unforgettable classic, "Odd Man Out" '47. Producer Mark Hellinger of "The Killers" '46 and "Naked City fame" '48 ~ gives us yet another compelling watch, for those who like to trace early offbeat ventures into American 'noir' dramas.
KenR.....