Direkt zum Hauptbereich

Foreign Correspondent (Hitchcock, 1940) - #DTC #986

A practical, but highly unpolitical foreign correspondent finds himself at the heart of political turmoil in WWII Europe

A very enjoyable movie, although the overall plot seemed a little constructed within the greater realms of things. Just about when WW2 is to break out, Europe already seems infested with the bellicose virus carried by warmongerers and other despicable criminals. This is the mess that Joel McCrea steps into and tries to get out of. Action story and love tales are always difficult to combine convincingly, I've found, but it works here to some extent.

There is not a lot of character development throughout this story. McCrea's guy basically sticks to his guns, and the delightful George Sanders basically rules most of the action in the picture. I would have liked to see more fundamental doubts/changes in the characters.

The scene at the mill is quite fantastic. A lot of suspense as McCrea doesn't try to get caught, while moving most of the time. It's quite amazing how the spatial sense transfers from the screen - you always know exactly where you are, and it's not a simple setup.

Kommentare

Beliebte Posts aus diesem Blog

Time of the Gypsies / Dom Za Vesanje (Emir Kusturica, 1988)

A supernaturally gifted boy from a Gypsy community is forced to survive in the world of crime. The intriguing qualities of Kusturica's films I've seen is his relentless depiction of basically crazy communities. Not just agreeably potty, they're usually outright interstellar-nuts. Here, he follows the fate of the rather harmless boy Perhan, that leaves for Italy in hope of a better future for him and his loved ones. There are some enormously interesting images in the film that kept ringing long after. The ritual in the river and the last scene in the church ruin (with a horse standing somewhere far back in the image...). After sketchily mapping out the scenes it is surprising how rigorously three-acty the screenplay is constructed. The first act seems quite long in terms of time and number of scenes, but there is also a lot of imagery spent on depicting life in this crazy universe, which makes the second part in Italy much more believable. And there is a certa...

Detour (Ulmer, 1945) #TSPDT #390

A hitchhiker is picked up by death and then picks up his personal tormenting devil. The plot looked fairly straightforward, but the magic of this gem is that the story strand convolutes until it tightens into a strangling gordic knot - which is pretty much exactly what happens towards the end. The flashback structure are very noir-ish, so was the plot - everything straight down, right from the beginning. I really rooted for the guy to get out of this situation, but every time he takes a decision it actually gets worse - so in the end I was just hoping he might die and get relieved. Most striking was the jaw-dropping performance of Ann Savage. She pops out about a mile and her character is rendered so immensely unlikeable that I wondered that she has not been called the godmother of a new type of acting school (maybe she was?) This is definitively a film worth studying again. Its shortness does nothing to diminish the impact and it is rich on details.

Scarface (de Palma, 1982) - TSPDT #490

A cuban refugee wreaks havoc on Miamis drug industry and realizes his version of the American Dream. The main character is really something - the acting is great and the character suffers from the most fatal of all flaws: He cannot lie - although in a practical sense he does exactly that. So his attacks on the american society he has worked so hard to become a part of work really great - he has a deep insight but at the same time he is hypocrite enough to fall in the same trap in a way. The only time when I felt that the script had to "pull" a little to take the story where it wanted it is when Tony's mother calls to ask about his sister. Her character was a little too much on hating Tony.