carlianschwartz Reviews

Tonight and Every Night (1945)

The Windmill Theatre--to suit the censors of the time

[9/10 · 25 January 2015]

Rita Hayworth appeared in a "one-two punch" of Technicolor musicals during World War II, the first being "Cover Girl" and the second being "Tonight and Every Night."

I'd give "Cover Girl" the edge on songs, as the standard from that film, "Long Ago and Far Away," was had lyrics by Ira Gershwin and the melody was given to Jerome Kern by Ira from his brother's box of unpublished songs at a pre-production meeting in 1943.

"Tonight and Every Night" is a tribute to the Windmill Theatre, a London fixture of the time that didn't close despite the air raids of the Blitz, the Baby Blitz, and the V1 and V2 raids of 1944-45. The Windmill started with non-stop vaudeville, which was copied, but with the coming of hostilities the management changed the format to tableaux and striptease featuring Phyllis Dixey (subject to a BBC series rebroadcast some years ago on PBS here in the States).

Because of a puritanical streak in film-making of the period, stripping was out and general wholesome entertainment was in. A more accurate rendering of the events was released in 2005--"Mrs. Henderson Presents" starring Judi Dench and Bob Hoskins. It showed how--and why--the programming at the Windmill evolved, and, like "Tonight and Every Night," loses some critical cast members through a direct air raid hit on a neighboring pub.

Both films would make a GREAT double-feature!

The Talk of the Town (1942)

What we really fought for in World War II

[10/10 · 9 June 2013]

Why were we fighting against he Axis? Until quite recently, this country stood for the rule of law. Under the guise of a love triangle, and scripted by Irwin Shaw, this wonderful film shows what America once stood for against the the caprice, injustice, and atrocity that characterized our enemies. As the plot unfolds, the rule of law and fact becomes clearer and ultimately prevails against fear manipulated through tainted journalism.

There'a another film, released in England a year later, entitled "The Life and Death of Colonel Blimp." It's thesis is that you lose a war when you lose your national values and adopt those of your enemies.

Frank Capra directed a major series of films during World War II--"Why We Fight." These two films put a personal, home-front slant on it.

Goodbye Again (1961)

Wonderful film made by adults for adults!

[10/10 · 16 February 2009]

A literate script and excellent acting and direction elevate this love triangle to art.

One of the best scenes, late in the picture, takes place on the dance floor of Maxim's and has NO dialog--just facial expressions culminating in a touching of hands.

The original French title, "Aimez-vous Brahms?", is reflected here in the use of Brahms's Third Symphony. Again, the feeling is conveyed by the music and the facial expressions of the actors. This music, long familiar to me, took on a new meaning.

This is a film made by adults for an adult audience--a 40-year-old audience will appreciate it, a younger audience will not.

The Thief of Bagdad (1940)

This is one of my favorite movies of all time!

[10/10 · 25 May 2005]

It is very rare for a film to appeal to viewers of all ages--to children for a fine narrative and a wonderful, colorful production, and, to adults, for a literate script, fine production values, good casting/acting, all bound together with a fine Rozsa score. Two roughly contemporary films accomplish this--"Thief of Baghdad" (1940) and "The Adventures of Robin Hood" (1938). Some of the back story on this production is fascinating. This production, commenced in England in the summer of 1939, moved to Hollywood, and proved a cover for British intelligence efforts! The producer, Alexander Korda, was subsequently knighted in 1942. Here is a unique case of the intersection of art, commerce, and politics! By all means, secure a good CD of this film for your library!

Bon Voyage (2003)

Simply Amazing and Worth a Second Viewing!

[10/10 · 11 April 2004]

When I went to see Bon Voyage, I expected a good, skillful multidrama on the order of Grand Hotel (1932) and Les Enfants de Paradis (1944). It was better than that. With few exceptions, none of the characters were totally good or totally evil--just as in real life. The acting was wonderful, especially those who played Frédéric, Raoul, and Camille. The photography was amazing, as it recreated the period perfectly and managed to be shot in/around Bordeaux during a time of new public works but managed the "look" of June 1940. Costumes and make-up were accurate. There is so much in this movie that it's worth a second viewing. It's exciting, funny, and, ultimately, touching. N.B.--Be sure to see it in a theatre with good quality projection. It's in wide-screen, and in the theater where I saw it (the Clairmont in Montclair) the first 30 minutes had the subtitles at the bottom in focus but the actors' faces slightly fuzzy! This was ultimately corrected but detracted from the pleasure of the film.

Purple Noon (1960)

Original--and better than remake!

[15 February 2004]

After seeing "The Talented Mr. Ripley," I learned that it was originally filmed in French ca. 1960 with Alain Delon. I saw it today on a cable station, and (as is often the case) was better than the original. The plot line was more subtle, and acting very good, and the photography was amazing. All in all, this will stay in my memory longer than the remake.

Callas Forever (2002)

an extremely moving film

[2 August 2003]

I watched this film aboard an Air France flight to New York and was extremely moved--at the end I broke down into sobs. The story was unusual, the acting first-rate, and there's a sub-plot (I won't break the surprise) that was handled in a matter-of-fact, mature, and sophisticated way. I don't believe it was released theatrically in the U.S., but would very much like to obtain a DVD of the firm.

The Life and Death of Colonel Blimp (1943)

A wonderful, deeply moving film.

[25 March 2003]

The Life and Death of Colonel Blimp is one of the most deeply moving films I've ever seen. It's amazing how independent producers (the Archers--Powell & Pressburger) managed to put together a lavish Technicolor epic without government assistance in wartime England--but they did it. it contains one of the most subtle "why we fight" themes--to preserve the English (and, hopefully, American) sense of fair play exemplified by the title character. The emotional kicker is a scene which takes place in 1939 in a British police station, where the German (played by Anton Walbrook--a German refugee actor) calmly and drily narrates how and why he came to settle in England. Just the thought of the scene moves me to tears. It's a marvelous piece of acting. The narrative technique--the story contained in one, long flashback--was in vogue on both sides of the Atlantic in the early 1940s--one can think of Sam Wood's Saratoga Trunk (Warner Brothers, 1943) as a good example--but the shift from 1942 to 1902 is accomplished by a very deft piece of editing. Colonel Blimp enters the pool of the Royal Automobile Club an old man, and emerges 40 years earlier! Colonel Blimp's true subtext is how civilization, friendship, and love survive times of chaos and barbarism (not to mention war) and, indeed, triumph by their survival. It is especially timely at the time of this writing (late March 2003).