Gone with the Wind (1939) ****

Why, Ms. Scarlett (Vivien Leigh), I do declare that you are one of the greatest female characters, both in film and prose, in American history.  You might be calculating but oddly still stupid at times, but I still like you and your 18 inch waist (pre Bonnie, rest her dear soul). Perhaps I often found myself hoping that Ms. Melly (Olivia de Havilland) would slap you or that a Yankee soldier would defile you—both to teach you a lesson—but I still hoped beyond hope that you would triumph in the end.  Alas, your god and creator, Margaret Mitchell, got it right in the end—let the reader/viewer decide how  your tomorrow turned out.  Of course, had Mitchell known that her money-grubbing descendants would allow Alexandra Ripley to write a trashy sequel (I won’t name the title, but the title is the most creative thing about it…and that’s all you need to know, Ms. Scarlett), perhaps she would have relented about writing the end of your story.  So, what makes you and your film merit a four-star rating, Ms. Scarlett? 

Star one: your theme music.  Dramatic and memorable—just like you Ms. Scarlett. Whenever I hear it I immediately think of the lush green gardens of Tara (and the burning of Atlanta, too—damn those Yankess, Miss Scarlett, damn them!),  Ah, and just like you were robbed by those damn Yankees, composer Max Steiner was robbed by the Academy when he lost the Oscar to some silly guy named The Wizard of Oz—now you know that’s not a decent, Southern gentleman’s name, Ms. Scarlett. Of course, it only makes sense that you would have one of the most memorable film scores ever, Ms. Scarlett, as you are the most memorable female film character in history.  Every badass needs a badass theme song, Ms. Scarlett, and rest assured, when your overpriced barouche is cruising the streets of Charleston (or Savannah, Atlanta, etc.) people know what badass is coming. 

Star two: your clothes.  With a figure like yours, Ms. Scarlett, you would look good in anything.  While I don’t know how wise it is to wear a green and white dress to a BBQ, I still think you make it work—and that green ribbon that attaches your hat to the rest of you could be used as a napkin if need be. What I’m saying is, you know how to make any dress work.  Take for example the white ruffle dress—some people would look like a roll of toilet paper gone wrong, but somehow it looks flouncy on you.  Another example is the red garnet gown that you look ultra-fierce in.  Some people just couldn’t work those feathers and the gauze-veil thingy, but you rock it. And, who but you could make a dress out of green velvet drapes seem stylish (sort of)?  Granted, it was because of those damn Yankees that you had to rip those curtains down and wear the tassels as an accessory belt, but we can’t blame the dress for the circumstances into which it was born. 

Star three: your crew. Rhett Butler (Clark Gable) may have left you in the end, but while he was with you he was the man in charge.  Your scenes together alone could have burned down Atlanta—damn Yankees.  I have to admit, I just couldn’t understand why you were always after that loser Ashley Wilkes (Leslie Howard) when you had a man like Rhett around. Was it that he rejected you, Ms. Scarlett?  You were just too much woman for that weak man!  He needed a calm woman like your cousin Ms. Melly, so he could continue the cycle of inbreeding. Melly, now there was a woman who knew how to endure, Ms. Scarlett.  Just think of all the insufferable things Aunt Pittypat (Laura Hope Crews) said over the years to that poor girl!  And you thought listening to Prissy (Butterfly McQueen) and Mammy (Hattie McDaniel) all the time was almost too much to bare.

Star four: your attitude.  There’s one thing that makes a person memorable, and that’s their attitude.  Sometimes things don’t go the way you want, but that doesn’t mean you give up. And, Lord knows, Ms. Scarlett you never give up.  Ashley married Melanie, so you married Charles (he was better looking anyway, plus he died and left you some worthless Confederate money—damn Yankees!). When you didn’t have the money to pay the taxes on Tara you and your drape dress found Frank Kennedy.  When the damn Yankees came calling you shot one dead. To me, this is a can-do attitude.  Plus, you always know you are the most interesting woman in the room.  Of course, you do have a a touch of willfullness and a rather nasty temper, but Irish blood runs hot!  Now, if I had to make one constructive suggestion to you it would be this: get over your procrastination issue. Tomorrow might be another day, but sometimes that day can turn out to be really crummy. Still, I like the can-do attitude about getting your man back. 

And, that, Ms. Scarlett is why you and your film are so memorable.

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All Quiet on the Western Front (1930) **1/2

Let’s hope all stays quiet on our western front in Afghanistan.

Closely based on former WWI German soldier Erich Remarque’s novel of the same name, this 1930 anti-war film won the Academy Award for Best Picture and also a Best Director Oscar for Lewis Milestone. The story examines the horrific and senselessness of a German soldier’s experience in the literal trenches of WWI.

The film opens by introducing viewers to the militaristic nature of Germany in 1914, with German soldiers marching to martial music and professors urging students to enlist for the glory of the fatherland. This is where we meet Paul Baumer (Lew Ayres) and his friends Kropp, Leer, and Kemmerick. We watch as they enthusiastically arrive at boot camp only to see them soon broken down by a brutal commander. After finishing their training, the young soldiers are sent to a war-torn French town on the outskirts of the front. Here they meet cynical and grizzled front veterans, who enlighten them about the shortage of supplies, specifically food. Luckily they have the very industrious Kaczynski, who finds a pig and is willing to trade pork for other comforts, namely cigarettes and booze. Kaczynski serves as the voice of truth about what war entails and is about.

Soon the soldiers are sent to the front to string barbed wire and are introduced to shell fire. One of the boys is blinded by shell fire and then is killed as he runs toward enemy lines. From here we watch the soldiers hunker down in bunkers for endless days of exploding bombs and sporadic machinegun fire. We see soldiers have nervous breakdowns, deal with a rat invasion, and endure hunger and sleeplessness. Once the bombing dies down, the soldiers find themselves in a battle in no-man’s land. Using mobile crane shots, Milestone captures some of the most realistic battle scenes in film history. Intercutting charging soldiers with machinegun fire, Milestone creates images that stress the chaotic and dizzying nature of warfare. One scene shows a French soldier completely obliterated by a grenade—only his hands are left, which we see gripping barbed wire. Another scene shows rows of soldiers fall down like dominoes against machinegun fire. At the end of this battle, the French reach the German trench and force the Germans to retreat to a further back trench. The camera then scans the battlefield to show thousands of bodies. Then, in an excellent indictment on the futility of war, the film looks as though it was being run in reverse, as the Germans mount a counter-attack and push the French back to their former position. This was not a sanitized war film.

When they return from the trench the soldiers are fed and told they will return to the trenches the next day. This launches the German soldiers to philosophize about why war is conducted: to give generals something to do and to make manufacturers rich. While in town, Paul and other soldiers visit a dying Kemmerick in a makeshift hospital. Amplifying the horrors of war, we watch as Kemmerick realizes his leg has been amputated. One soldier callously asks Kemmerick for his boots since he obviously no longer needs them. After watching Kemmerick die, Paul takes the boots back to camp. These were evidently bad luck boots, because what follows is a montage scene of the boots being passed to a new owner every time the former owner dies.

Later in the film, Paul finds himself in battle in a graveyard where he is struck in the head. As he takes cover, a shell explodes and Paul has a decimated coffin land on him—a foreshadowing of things to come. While hiding in a shell hole Paul find himself face-to-face with a French soldier, who he stabs in the throat with his bayonet. Unfortunately the French soldier doesn’t die easily, and Paul has to listen as the Frenchmen groans in agony. We watch as Paul waffles back and forth, praying for the soldier to die and then later hoping for his survival. When the soldier dies, Paul has a desperate conversation with the dead man for forgiveness. Soon after escaping the shell hole, Paul is severally wounded and take to the hospital where he watches yet another one of his friends scream in agony about having his leg cut off.

When he recovers from his injury Paul is given leave and he returns home, where he finds himself unable to deal with peace and quiet. He visits his sick mother and lies about how the war really is. He then finds his father and his friends out of touch with the realities of war, who tells him that he must risk his life for the honor of Germany. After leaving this group he is accosted by a former professor to address his students of the honor of being a German soldier. Shocking his professor, Paul gives a pacifistic speech about the truth of war. In a sadly ironic turn, the class boos Paul and calls him a coward. Because of this incident Paul decides he can’t take the unrealistic world away from the front and decides to return four days early.

When he returns to the front he finds most of his company dead. In a bitterly tragic scene, an aerial bomb wounds Kaczynski. Paul good-naturedly tells him the war is over for him and begins to carry him on his shoulder to a medic. Just then another aerial bomb explodes behind them and a bomb splinter kills Kaczynski, unbeknownst to Paul who continues talking to him. When he tries to give water to his friend he is shocked and dazed to find him dead. If this scene wasn’t heartbreaking enough, the closing scene is haunting. On the eve of the armistice, Paul is daydreaming in a trench about the coming peace when he sees a butterfly (he collected them before the war) through his gun-hole land just outside the trench. We watch as he starts to reach outside the trench and at the same time a sniper takes aim through a rifle scope. The next thing we hear is the shot that sends Paul to his death. The film closes with the image of countless white crosses and the ghosts of Paul and his friends marching into a void, who look accusingly back into the camera.

This is one of the greatest war films ever made. When you watch it today it does not seem dated at all. The grim images captured are mesmerizing and realistic. The message of the complete uselessness of war is not heavy-handed here. Instead, the true reality of what war looks like is bitterly emphasized. The overall performance of Lew Ayers is exceptional. He goes from enthusiastic recruit to grizzled, disillusioned veteran seamlessly.

If you are a WWI history buff or you enjoy truly great war films, you must see this film.

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The Big Parade (1925) **

Why is this 1925 King Vidor classic the top-grossing (worldwide) silent film of all time? I suppose people were willing to pay the price of admission to see one of the most realistic war films of the silent era.

Released just eight years after the end of the Great War, this film follows the story of Jim Apperson (played by John Gilbert) from reluctant volunteer to disabled war hero. Jim is a bored, rich young man who allows his naive fiancée to convince him to enlist. Off to war and quartered in France, Jim befriends Slim Jensen and Bull O’Hara (no relation to Scarlet) and falls for French shop girl Melisande. She’s easy on the eyes, but what makes her really attractive to Jim is that he can’t understand a word she’s saying. Any man’s dream…

Later on his unit is ordered to the front at Belleau Wood. The battle scenes are elaborately designed and heart-wrenching to watch. When they get bogged down in No Man’s Land, surrounded by snipers and a machinegun nest, the commander orders Jim, Bull, and Slim to take out the nest. Slim goes first and takes out the nest, but on his way back he’s injured and lies in the battlefield moaning in agony. This is too much for Jim and Bull and they try to rescue him, but Bull is killed and Jim is shot in the leg. Jim becomes enraged—comparable only to the rage of a man who has been stood up at the altar by a Swedish beauty. Anyway, this is where one of the more memorable scenes takes place. Jim stalks a German sniper into a trench and is about to slit his throat when the German motions for a cigarette. Compassionately, Jim gives him one and soon the soldier dies right next to him.

Later Jim is rescued by a Red Cross truck and while recuperating in the hospital he learns that Melisande’s village has been bombed. He grabs a crutch and hitches a ride on a truck. He finds Melisande’s village leveled and as he’s calling out for his love the town is shelled again. Jim is injured again in the leg, so much so that it is amputated. Returning home crippled he finds his finance in love with his brother and he returns to France and is reunited with Melisande.

The battle scenes in this film are great. This is not a sanitized view of war. The drudgery, cruelty, and mind-blowing death and destruction that encompass war are realistically depicted. John Arnold’s photography is superb.

This film literally reinvigorated the public’s interest in war films. If you are a fan of such films as Saving Private Ryan or Paths of Glory you must watch this film. A true cinematic gem from the silent era.

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Häxan: Witchcraft Through the Ages (1923) **1/2

A cult movie in more ways than one.

Shown as a Witching Hour film since the 1960s, this 1923 Ben Christensen silent docuhorror (I think I just made this genre up) is a study of witchcraft through the ages. It's supposed to be a "documentary", but I don't know how realistic one can truly be when it comes to filming reenactments of the Devil & Co. I can just imagine the outrage the release of this film caused in strict-Lutheran Sweden and Denmark! In America, a Variety reviewer said this about the film: "Wonderful though this picture is, it is absolutely unfit for public exhibition." Satanism, overt sensualism, and a bit of nudity were just too darn much for 1923!

While the story is not bowl-you-over compelling (though it is both spooky and comical at the same time), the set design, makeup, costumes, and lighting are imaginative. And who doesn't love a story with the devil, horns and all, seducing young women? An interesting film to watch, sober or otherwise.

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Nosferatu ( Nosferatu, eine Symphonie des Grauens)1922 **

Suave, sophisticated, and outright sexy is what you think of Max Schreck's Nosferatu, right? Don't be ashamed to admit it... What? You don't like pasty skin, pointed ears, sickening-long and pointed nails, and the gait of a floating corpse? Aren't you a fan of German Expressionism?

This 1922 silent by F.W. Murnau is a classic retelling of the Dracula myth that has often been imitated, but never surpassed. For those not in the know, Murnau had some problems with Bram Stoker's people, so he changed the setting and the names of the characters from the original novel. Instead of Count Dracula wreaking havoc in London we have Count Orlock, played by Shreck, decimating Bremen, Germany. However, the core plot is the same as the book. I'm sure you know the crux of the story, so I'll move on to what is great about this picture.


The interplay between shadow and light in some scenes is just fantastic. Photographers Gunther Krampf and Fritz Wagner do an amazing job of capturing just the right amount of light to capture the creepiness that is Orlock's shadow.

Max Schreck is unforgettable as Count Orlock. To allow yourself to become so embedded in the skin of your character takes talent. Hand movements, facial expressions, the tautness of his frame--all of these were perfectly orchestrated in such a way as to make Count Orlock a timeless movie monster. Those of you who have seen Willem Dafoe's portrayal of Schreck in Shadow of the Vampire might have a deeper appreciation of Schreck's work.

My favorite scene is when Count Orlock arrives by boat in Bremen and eerily glides off the boat and through the darkened and deserted streets. This scene gave me nightmares when I first saw it as a child. Do you have a favorite scene?

This film is a classic and should be watched--even if you don't think Max Schreck is the Sexiest Man Alive

 

 

 

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The Phantom Carriage (Körkarlen) 1921 **

Ever wonder where Ingmar Bergman got some of his ideas for The Seventh Seal? Look no further than this classic 1921 Swedish silent by Victor Sjostrom. Yes, the same Sjostrom who starred in the 1957 Bergman classic, Wild Strawberries, is the star and director of The Phantom Carriage (aka Korkarlen).

The opening of the story takes place on New Year's Eve at the deathbed of a Salvation Army sister who wants to see David Holm (played by Sjostrom) before she dies. The problem is David is out on a drunk--his usual state of being. Through a series of flashbacks we learn how the dying woman became ill--she contracted consumption from mending David's ratty coat after he passed out at her station the previous New Year's Eve. To make a long story short, David is found and told that the sister wants to see him. Being his usual SOB self, he refuses to go and proceeds to get into a fight with some men who crack him over the head with a bottle, seemingly killing him. This is where the phantom carriage comes into play.

Every year at the stroke of midnight a person condemned to hell dies and is given the duty of driving the carriage around collecting others like themselves for the rest of the year. The driver of David's carriage happens to be Georges, an old friend of his. In one of the most spectacular images captured in early film, you have David Holm's spirit rise from his body only to look down at his own corpse lying on the ground. David's first task as carriage driver (after visiting the sister) is to collect his wife and children who have perished by self-inflicted poisoning. In an unusual twist, Georges gives David a second chance to put things right. So after reawakening at midnight in his own human form, David races home to prevent his family's death. Unlike Bergman's Death, this one does grant reprieves.

While I don't like the ending (David deserved his cursed fate), the film is still a classic. The translucent shots are awesome for the time. The flashbacks within flashbacks make the story complex and compelling. And, quite simply, the phantom carriage itself is really creepy. A must see--but difficult to find.

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The Cabinet of Dr. Caligari (Das Cabinet des Dr. Caligari) 1919 **

Oh, German expressionism, how I love thee let me count the ways. This 1919 German horror (yes, I said horror) classic is without a doubt one of the all-time best international silents ever made. Directed by Robert Wiene (with a little help from Fritz Lang), this film is off-the-hook crazy.

The title character, Dr. Caligari (played by the spooky Werner Krauss), is a would-be hypnotist who travels around Germany performing shows with his sleepwalking minion Cesare. Quite simply, Marilyn Manson is the modern day twin of Cesare in both appearance and overall creepiness. Some murders take place and the story's hero/narrator, Francis, suspects Dr. Caligari and Cesare are to blame. In a twist that M. Night Shyamalan has an altar set up to for inspiration, it is revealed that Dr. Caligari isn't really criminally insane, but rather Francis--who is telling the story from his reserved spot in an asylum. The music that is played during this revelation makes the hair on your arms stand on end.

As if the story itself isn't strange enough, the set design is a psychological marvel. Expressionistic art is in the forefront of every scene. The scenery is misshapen and unrealistic--it is another story unto itself, mocking the idea of what reality actually looks like. Film school dissertations have been written on what set designers Warm, Reimann, and Roehrig were actually trying to convey about the realm of the real and unreal.

If you call yourself a silent film fan, you should have this film in your library. Browning and Whale fans should see many similarities with their films and this one. This is definitely a film that is worthy of being watched.

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