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Red River (Hawks, 1948) #TSPDT #139

When the ruthless father drives an enormous herd north of Texas, his son decides not to support his brutal leader style.

Most of the story took me in. A lot of the tension came through the relentless brutality that Wayne's character displayed to everybody. The development of the story let me feel the rising madness, paranoia and control obsession of the leader of the trail. There were two or three historical hints, but in general it felt pretty convincing as a story in itself. On a sidenote: I have never seen written text in a movie presented so fast - I could barely follow the text on the page whenever excerpts of the diary were presented. 

The cast was perfectly chosen and the drift between Clift and Wayne was deepened by the knowledge at how far those two actors were in real life - in pretty much every sense.

One or two things bothered me slightly: The "other" gun hero and Clift never get that showdown that the story promises in the beginning. There is some rivalry between the two and it even gets noted by the other characters, there is a woman they could over, but ... nothing happened. There should at least have been some alienation between the two.

Also, the ending felt extremely sudden and slapped onto the rest. That was quite a let down and I wonder if the studio insisted on this type of ending (or the stars). Might be interesting to study the making-of, especially trying to find out if Hawks wanted to go into another direction with the ending.


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They drive by night (Walsh, 1940) #DTC #161

Two truck-driving brothers dream of a better future and financial independence in a sea of good and bad fortune.

Although the film has all the ingredients of a film noir, like the selfish femme fatale, Bogart, and many night scenes, this is something you could consider a feel-good movie. It pretty much surprised me with its turns and twists and I also wasn't prepared in the least to see Bogart as the sidekick, instead of the lead.

In terms of interesting characters, Ida Lupino as the selfish wife that tries to seduce George Raft's Joe she is definitively at the most intense when she slowly sheds all the layers of sanity towards the end. Although her motives are a bit unclear - the amazing thing about her behavior is that she values love over money. In that perspective the movie feels like a tragedy, as (except for the loan shark) everybody has comparatively sophisticated understanding of emotion and life.

Au revoir les enfants (Louis Malle, 1987)

During second world war the monk running a boarding school for upper-class kids hides Jewish kids.

This highly personal movie is very touching and manages to avoid all the pitfalls of being overly emotional. Music and editing are very subdued and carefully used to underline situations. This makes the story ring true (which it was) and gives the viewer good time to settle into the universe that these kids live in.

There are many quite complicated scenes and I was interested in one particular: When Jean gets invited on parent's day by the mother of his new best friend into a posh restaurant. In that very restaurant there are Nazis at one side of the room and an elderly Jew sitting on the other side. The table of the family is right inbetween. Many things about France during the war are told during this scene, I'll just try and focus on camera placement.

The focus shifts twice in the scene: From the family table to the French Jew's table  (who I have been told wears the red …

Glory (1989, Edward Zwick)

A young commander in the civil war is asked to recruit and lead the first all-black Confederate battalion into the Civil War.

I am not too interested in details of the American Civil War but the film managed to stir my interest in some ways. I might want to look up the difference in treatment of the many Chinese laborers that were employed in the development of the West and what kind of legacy this particular group of people has to suffer from in contrast to the better-known fate of African-Americans.

There are some interesting scenes in the film. I decide to examine the battle scene in the beginning. It introduces Broderick's character as a naive and brave but inexperienced soldier - a great choice of casting, especially in contrast to the hardened appearance of Washington. According to imdb footage was used from re-enactment groups and intercut with the staged film.

Before the battle scene commences Broderick walks in row of soldiers and talks over the pictures of the gathering…