Criterion Sunday 214: The Devil and Daniel Webster (aka All That Money Can Buy, 1941)

I was not enthused upon the prospect of watching this Criterion release, but its merits grew on me. It’s a moral fable, taken from the story of Faust, and like other tales of wealth coming to the wrong people (I’m thinking of Barry Lyndon myself), its central character is in some ways the weakest, with Jabez Stone being an insufferable weed of a man who sells his soul to the devil (consarn it!) and finds himself the recipient of untold wealth. It’s interesting though in the way it moralises about the responsibilities of wealth, siding it seems against capitalist exploitation (surely the natural mode of the American industrialist), this perhaps one of the surprising ways in which the wartime mood shifted people’s interests towards the common good. It all has the sheen of a fine picture, with some nice supporting performances, but it’s the film’s strong moral convictions that carries it through.


FILM REVIEW: Criterion Collection
Director William Dieterle | Writer Dan Totheroh and Stephen Vincent Benét (based on the short story by Benét) | Cinematographer Joseph H. August | Starring James Craig, Anne Shirley, Edward Arnold, Walter Huston | Length 107 minutes || Seen at a friend’s home (DVD), London, Sunday 15 April 2018

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Criterion Sunday 213: Richard III (1955)

These grand and handsome stagings of Shakespeare made Olivier something of a predecessor to Kenneth Branagh towards the end of the century, and as with Branagh, I feel a little underwhelmed. It’s not that the acting is stodgy (there have been some patchy adaptations, but on the whole Richard III is well acted, without egregious hamminess), and it certainly doesn’t lack in visual splendour. In fact, the Technicolor Vistavision looks gorgeous, all saturated colours on beautifully theatrical sets (not quite the Brechtian level of, say, Rohmer’s Perceval, but still mightily stagy and unreal-seeming). I just find Olivier’s adaptations unengaging, with too many scenes that don’t really seem to grab much attention (Loncraine and McKellen’s adaptation seemed much stronger in that regard). I still think this is one of his better ones, and I prefer it to Henry V, so maybe I’m just being churlish.


FILM REVIEW: Criterion Collection
Director/Writer Laurence Olivier (based on the play by William Shakespeare) | Cinematographer Otto Heller | Starring Laurence Olivier, John Gielgud, Claire Bloom, Ralph Richardson, Cedric Hardwicke | Length 161 minutes || Seen at a friend’s home (DVD), London, Monday 11 June 2018

Criterion Sunday 212: Ingmar Bergman gör en film (Ingmar Bergman Makes a Movie, 1963)

A documentary tracking Ingmar Bergman during the making of Winter Light, split into five roughly half-hour chunks, as it was originally made for Swedish TV. That film is one of my favourite of Bergman’s efforts, and he seems relaxed talking about its making in great detail. We also get a chance to see some of the filming, as well as comparisons of differently-edited versions of the same scene, all presented by the director of the I Am Curious diptych. Fans of Bergman will undoubtedly get a lot more out of this fairly dry documentary than I did, but it gets into the craft a lot more than most filmmaker puff pieces.


FILM REVIEW: Criterion Collection
Director Vilgot Sjöman | Cinematographer Mac Ahlberg | Starring Ingmar Bergman | Length 146 minutes || Seen at a friend’s home (DVD), London, Monday 23 April 2018

Criterion Sunday 209: Såsom i en spegel (Through a Glass Darkly, 1961)

I’m willing to concede that Bergman was a great filmmaker, and I have no doubt that if I came to this with the willingness to engage with it that Bergman comes to his filmmaking, then I’d probably connect with it more. It looks beautiful, to be sure, with lots of full-face close-ups, and that windswept Fårö scenery. It’s intense in its psychodrama, dealing as it does (and as is not unusual for the director) with faith, the connection with God, so tenuous and so alluring. The woman has mental health issues from which she’s recovering, and this much feels a little bit rote: beautiful women suffering for the love of God is something of a worn trope. But, as I say, were I to revisit this again, perhaps I would connect with it better, or perhaps if I came from a certain type of family, I’d appreciate the dynamics more.


FILM REVIEW: Criterion Collection
Director/Writer Ingmar Bergman | Cinematographer Sven Nykvist | Starring Harriet Andersson, Gunnar Björnstrand, Max von Sydow, Lars Passgård | Length 91 minutes || Seen at a friend’s home (DVD), London, Sunday 1 April 2018

Criterion Sunday 207: Erogotoshitachi Yori Jinruigaku Nyumon (The Pornographers, 1966)

This Japanese film about a small-time filth merchant doesn’t actually feature any of what the title suggests (probably for the best) but is instead a sort of odd, madcap series of incidents that hangs together really strangely — although I admit I was a little drowsy when I watched it, which hardly helped me keep it all straight, though I don’t really think it’s interested in straightforward narrative storytelling. It has enough oddity to make it more of a satire, and it probably helps if you know the society to pick up on what’s being skewered.

Criterion Extras: Nothing but a trailer.


FILM REVIEW: Criterion Collection
Director Shohei Imamura | Writers Imamura and Koji Numata | Cinematographer Shinsaku Himeda | Starring Shoichi Ozawa | Length 128 minutes || Seen at a friend’s home (DVD), London, Sunday 8 April 2018

Criterion Sunday 200: The Honeymoon Killers (1970)

This seems an intriguing film in many ways, because it’s taking that evergreen trope of lurid Americana — the serial killers — and stripping it of any of the glamour usually afforded them in cinema. It doesn’t make either particularly attractive and it doesn’t beautify their crimes, as the film grimly moves its story on from initial meeting to murderousness in slow stages of development, she no less instrumental than him in driving them to their end. Its black-and-white graininess and low-budget quality effectively recalls Sam Fuller’s 50s pseudo-exploitation flicks, those true-crime ripped-from-the-headlines type of films which could run as a B-movie in a grindhouse.


FILM REVIEW: Criterion Collection
Director/Writer Leonard Kastle | Cinematographer Oliver Wood | Starring Shirley Stoler, Tony Lo Bianco | Length 107 minutes || Seen at a friend’s home (DVD), London, Sunday 25 February 2018

Criterion Sunday 199: Schizopolis (1996)

I think maybe Soderbergh is onto something here, a three-part comedy satire about, well, I don’t know, adultery? The American Dream? The suburban middle-classes? It seems to touch on a lot of things with a deadpan that wouldn’t be out of place in Monty Python, or low-budget Wes Anderson at times, but mostly this is just demented throwing-ideas-at-the-screen-and-seeing-what-sticks kinda stuff. By the time it’s finished, the manic energy has calmed a bit into something a little more contemplative, about the leading lady (Betsy Brantley, Soderbergh’s ex-wife) and a feeling of ennui, perhaps, comes through. But mostly, it’s just quite exhausting.


FILM REVIEW: Criterion Collection
Director/Writer/Cinematographer Steven Soderbergh | Starring Steven Soderbergh, Betsy Brantley | Length 96 minutes || Seen at home (VHS), Wellington, June 2000 (and on DVD at a friend’s house, London, Sunday 18 February 2018)

Criterion Sunday 193: Quai des Orfèvres (1947)

A whodunit movie, I suppose, but one in which that all seems a little beside the point by the end (it’s a really short scene of ‘it was me all along!’ ‘Oh, okay then’ or something like that; and I won’t remember the plot contrivances by this time next week). This is a film about the detective (Louis Jouvet) — the title refers to the address of the Paris city police, somewhat in the manner of Scotland Yard in the UK — and the film tracks him as he follows leads and hunches in investigating the murder of a wealthy creep. In the course of this, the detective stalks around the theatre and its milieu, interviewing people, teasing out relationships and the underlying currents that connect people and push them apart. It’s a film of great style, and lived-in weary performances, which seems something of a trait of the Clouzot films I’ve seen. Everyone talks a whole lot, but it’s the kind of solidly unflashy film resonant in lived-in period detail that seems to characterise an older, black-and-white, era of filmmaking. As such, it would probably make a lot more sense if I were watching it in a cinema.


FILM REVIEW: Criterion Collection
Director Henri-Georges Clouzot | Writers Clouzot and Jean Ferry (based on the book Légitime défense by Stanislas-Andre Steeman) | Cinematographer Armand Thirard | Starring Louis Jouvet, Suzy Delair, Bernard Blier | Length 106 minutes || Seen at a friend’s home (DVD), London, Sunday 28 January 2018

Criterion Sunday 192: Der Fangschuß (Coup de Grâce, 1976)

There’s a lot of really strong stuff in this film, set in 1919 towards the latter stages of the Russian Civil War, but it all seems so curiously distant and alienated, perhaps because it’s partly a film about the way the ravages and atrocity of war makes people curiously distant and alienated from one another. They don’t even always speak the same language to one another (sometimes French, sometimes German), as if even at a production level they couldn’t quite connect. It’s a film of passionate feelings conveyed coldly, suppressed and pushed away, and finally snuffed out. The black-and-white cinematography is beautiful and glacial, and Margarethe von Trotta (usually a director in her own right, but who wrote the script with two other women adapted from a novel by Marguerite Yourcenar) is excellent in the lead role of Sophie, who almost callously demands the love of Erich (Matthia Habich), an officer, who pushes her away, leading them to get tangled up in a strange psychosexual relationship (somewhat reminding me of The Night Porter too). However, the film never enunciates anything quite so clearly as that, and a lot of these dramatic shifts in their relationship seem to happen off-screen or almost in passing. But as I said, it has that strange distancing affect to it.


FILM REVIEW: Criterion Collection
Director Volker Schlöndorff | Writers Jutta Brückner, Margarethe von Trotta and Geneviève Dormann (based on the novel Le Coup de grâce by Marguerite Yourcenar) | Cinematographer Igor Luther | Starring Margarethe von Trotta, Matthias Habich | Length 97 minutes || Seen at a friend’s home (DVD), London, Sunday 21 January 2018

Criterion Sunday 189: Lo sceicco bianco (The White Sheik, 1952)

Early Fellini is probably the best Fellini, in my opinion, free of the baroque stylisation he would later fall victim to. That said, I find it difficult to imagine this as an Antonioni film (he was one of the writers of the original story, if not the screenplay), because it’s so filled with the extra touches Fellini would throw in, all light and music and movement and mugging for the camera. The lead actor is particularly good (Leopoldo Trieste), the one who plays the hapless husband making excuses for his star-struck wife, and it wasn’t until watching a making-of featurette that I realised this wasn’t a satire on film, but rather a satire on a very specific type of literature in which narratives were photographed for magazines, hence why I was confused about the nature of the shoot. Anyway, it’s all very pleasing and silly really.


FILM REVIEW: Criterion Collection
Director Federico Fellini | Writers Federico Fellini, Tullio Pinelli and Ennio Flaiano | Cinematographer Arturo Gallea | Starring Alberto Sordi, Leopoldo Trieste, Brunella Bovo, Giulietta Masina | Length 83 minutes || Seen at a friend’s home (DVD), London, Sunday 3 December 2017