Criterion Sunday 227: Le Corbeau (1943)

One of those crime films with the deep shadows, the chiaroscuro and accompanying shades of moral greyness, that distinguishes film noir, in which all the inhabitants of a small town are brought into conflict by a mysterious letter writer, whose identity gets pinned to any number of people throughout the film, and whose accusations get steadily more unnerving. Clouzot is most interested, it seems, in the way that ‘decent’ people can have their judgement clouded, and become the enemies of other ‘decent’ people, ultimately suggesting perhaps that everyone has base motivations. Given that it was made under German occupation, it’s not a stretch to suggest that Clouzot — if not uncomplicatedly making an anti-Nazi film — is at least not willing to let anyone off the hook for what humanity is capable of.


FILM REVIEW: Criterion Collection
Director Henri-Georges Clouzot; Writers Louis Chavance and Clouzot; Cinematographer Nicolas Hayer; Starring Pierre Fresnay, Micheline Francey, Ginette Leclerc; Length 93 minutes.

Seen at a friend’s home (DVD), London, Sunday 9 September 2018.

Criterion Sunday 218: Le Cercle rouge (1970)

Connoisseurs of the heist film may be able to speak lyrically about the various differences between them all, but at some stage all these (often French) mid-century heist flicks blend together in my mind. There’s a long, silent sequence of them pulling it off, which harks back to Rififi (if I’m not mistaken), which had a similar wordless heist procedural section. This one also has Alain Delon in a trenchcoat — somewhat as he is in Melville’s other films — but it’s a taut, well-told story with plenty of suspense. Quite why everything is happening is a little vague, but the performances and the snappy filmmaking pull it through, and keep it entertaining.


FILM REVIEW: Criterion Collection
Director/Writer Jean-Pierre Melville; Cinematographer Henri Decaë; Starring Alain Delon, Gian Maria Volonté, Yves Montand, André Bourvil; Length 140 minutes.

Seen at the Castro, San Francisco, Monday 5 May 2003 (and most recently on DVD at a friend’s home, London, Sunday 17 June 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 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 176: The Killers (1946/1964)

This Criterion release bundles together two adaptations of the Ernest Hemingway short story from 1927, each separated by almost twenty years and with a different generation of Hollywood direction, though it’s the first adaptation that really sticks out. After all, there’s something immensely satisfying about this key early film noir picture, and it’s not just the high-contrast shadows thrown across the screen, or the world-weary way that Burt Lancaster’s “Swede” meets his death (that’s not a spoiler by the way: that’s the set-up of the film). It’s not in the writing either (although excellent) and not just the first scenes in the diner (which are the ones taken from Hemingway’s short story) which leads into a backstory of intrigue that as it unfolds doubles-down on its double-crosses by piling them on thick and fast. No, what’s satisfying is that all of these elements come together with the excellent noir acting, all that heavy-lidded sense of fatalistic doom conveyed by Lancaster and Gardner but also all the character actors who round out the cast. Even when the plot’s events start to seem like they’re getting out of hand, the film keeps it all in check, and all the character types that seem so familiar to us now are all presented new and fresh.

Don Siegel’s remake may not perhaps be the equal of the Siodmak film (which the producer originally wanted Siegel to direct, apparently), but there’s certainly something to Don Siegel’s reimagining. Despite the film’s title and trailer, there’s not very much left of Ernest Hemingway’s original short story here except the sense in which a man fatalistically accepts his own death at the hands of the title’s killers. Thereupon these two, primarily Lee Marvin (always excellent), take it upon themselves to find out why he was killed, and uncover a ring of gangsters led by Ronald Reagan. The film’s plot takes about half the movie to kick in, and as a film, it feels quite different — less a noir than a doomed romance. It also proves that Reagan was much more convincing as a bad guy, a sad realisation to come with his last performance (maybe if he’d tried it earlier and found more acting success, we all could have been spared his political ambitions). Still, as a film this is a watchable piece of high-toned 60s murder mystery which seems to pave the way for Marvin into the greater, yet somehow stylistically reminiscent, Point Blank a few years later.

Criterion Extras: Joining these two is a film primarily known now as Andrei Tarkovsky’s first (student) film from 1956, although it was co-directed by three film students. It takes on only the events of the short story (clearly influenced visually by Robert Siodmak’s 1946 adaptation) and re-presents it, including some of the racist language that Siodmak’s work had omitted. Indeed, the scenes with the black(face) cook, even at this remove, seem pointlessly racist, but as a film this still shows some flair with its staging.


FILM REVIEW: Criterion Collection
Seen at home (Blu-ray), London, Sunday 22 October 2017.

The Killers (1946)
Director Robert Siodmak; Writer Anthony Veiller (based on the short story by Ernest Hemingway); Cinematographer Woody Bredell; Starring Burt Lancaster, Ava Gardner, Edmond O’Brien; Length 103 minutes.

The Killers (1964)
Director Don Siegel; Writer Gene L. Coon (based on the short story by Ernest Hemingway); Cinematographer Richard L. Rawlings; Starring Lee Marvin, Angie Dickinson, Clu Gulager, John Cassavetes, Ronald Reagan; Length 95 minutes.

Criterion Sunday 172: Pépé le Moko (1937)

I’d already reviewed this film before embarking on this Criterion-watching journey, so my comments there still stand, though on second watch I’m prepared to be a bit more generous towards what it achieves. After all, as a classic of a certain genre (‘poetic realism’) and an antecedent for so much else (film noir, hard-boiled romantic leads, beautiful nihilism), this should really be more famous than it is. Jean Gabin is on fine form as the existentially ennui-laden yet dashing crim of the title, who falls for an upper-class woman slumming it in the Casbah of Algiers, and lets that lead him to lose his edge. The poetry comes through in the odd framing, an expressive use of the camera with a bit of soft focus and some nice little bits of montage (most notably when he first meets Mireille Balin’s femme).


FILM REVIEW: Criterion Collection
Director Julien Duvivier; Writers Henri La Barthe (as “Détective Ashelbé”), Duvivier, Jacques Constant and Henri Jeanson (based on the novel by La Barthe); Cinematographers Marc Fossard and Jules Kruger; Starring Jean Gabin, Mireille Balin; Length 90 minutes.

Seen at home (DVD), London, Friday 19 July 2013 (and most recently at a friend’s home, London, Sunday 27 August 2017).

Criterion Sunday 161: Sous les toits de Paris (Under the Roofs of Paris, 1930)

A fascinating early sound film from René Clair, which could properly be described as a musical-comedy, I suspect, although a bittersweet one at best. There’s a love triangle featuring a beautiful Romanian woman (because the actor, Pola Illéry, was born there), within a story of working-class people whose lives are often a shade away from criminality, enticed here by the dubious moustachioed crim named Fred (Gaston Modot). The sound is used only sparingly, presumably because of the limitations of the nascent technology, but there’s a freshness to the enterprise that belies its generic themes. It’s something Clair would develop further in the following year’s Le Million and À nous la liberté but it still impresses here on this early sound outing.


FILM REVIEW: Criterion Collection
Director/Writer René Clair; Cinematographer Georges Périnal and Georges Raulet; Starring Albert Préjean, Pola Illéry, Gaston Modot, Edmond T. Gréville; Length 96 minutes.

Seen at a friend’s home (DVD), London, Sunday 11 June 2017.

Criterion Sunday 151: Traffic (2000)

Well, first up, I can’t really deny Soderbergh is a skillful director. He has a way with cinematic narrative that puts him up there with that other sibilant Steven of Hollywood preeminence. Despite a two-and-a-half-hour running time, Traffic (like the British television mini-series it’s based on) is never boring; it’s well-paced, tightly structured and it has plenty of fine performances (not least from Soderbergh regulars like Don Cheadle and Luis Guzman as a pair of cops investigating a mid-level drug dealer, Miguel Ferrer — also excellent). It’s just, at a fundamental level, I’m not sure at some of the hand-wringing arguments being made here about drugs, not least the racialised aspect of it. I mean quite aside from the Mexicans (they’re all corrupt, all of them), there’s the weirdly morally judgmental descent of Michael Douglas’s daughter (played by Erika Christensen) — he’s a high-flying government drugs czar, she’s privately-educated (and hangs out with Topher Grace of all people), her nadir apparently being sleeping with a black drug dealer. I mean maybe I’m reading too much into it, though I found the attitude towards the teenagers generally a little condescending. Also, Soderbergh was deep into his own addiction to coloured lens filters (Cincinatti is BLUE, Mexico is YELLOW, and at least DC and LA are sort of normal), which gets trying too. Anyway, it’s enjoyable enough, but I wouldn’t call it his masterpiece.


FILM REVIEW: Criterion Collection
Director Steven Soderbergh; Writer Stephen Gaghan (based on the television miniseries Traffik by Simon Moore); Cinematographer Steven Soderbergh [as “Peter Andrews”]; Starring Benicio del Toro, Michael Douglas, Don Cheadle, Catherine Zeta-Jones; Length 147 minutes.

Seen at Manners Mall Cinema, Wellington, Sunday 25 March 2001 (and again on Blu-ray at home, London, Thursday 13 July 2017).

Heremias: Unang aklat — Ang alamat ng prinsesang bayawak (Heremias: Book One — The Legend of the Lizard Princess, 2006)

Right, you probably all know this film is long: it’s Lav Diaz, and events will unfold as they will. Once you get over that — and the title which playfully suggests some kind of mystical/fantasy epic poem — the movement of time isn’t really an issue, and there’s necessarily a sort of documentary effect to the extreme length, as we watch our titular protagonist (Ronnie Lazaro) trudge along endless roads with a group of vendors selling their wares from ox-drawn carts. Heremias at length peels off on his own, and, at length, gets caught in a typhoon, from which he takes shelter. When he wakes, his cow has gone and his cart is burnt. By this point, we’re at around hour four and this is the mysterious crime he’s trying to unravel (after a fashion), but things go off track again and there’s a criminal conspiracy which reveals the limits of power in an autocratic society. So there are political themes (present in much of Diaz’s work that I’ve seen), and then there’s the repeated motif of roads stretching off across the landscape, into which (or from the horizon of which) Heremias trudges, seemingly endlessly. At great, great length.

Heremias: Book One film posterCREDITS
Director/Writer Lav Diaz; Cinematographer Tamara Benitez; Starring Ronnie Lazaro, Sid Lucero; Length 510 minutes.
Seen at London Gallery West, London, Friday 3 February 2017.

Criterion Sunday 115: Du rififi chez les hommes (Rififi, 1955)

This film is generally acclaimed as a classic of the heist genre and justifiably so. Indeed, there are some pretty clear reasons, chief among them the impressive way in which an extended, almost silent, sequence of the gang breaking into a safe is handled. Nevertheless, for all writer/director/star Jules Dassin’s nous behind the camera — and indeed in front of it, decked out as he is in a stylish bowtie (why can’t gangsters have that kind of style anymore?) — the film devolves into a morality play for its last half that feels a little backwards looking. Again, it’s all classic genre stuff nowadays: the criminal gang divided amongst themselves, fractured not just by the investigations of the police but by internecine squabbling over the lucre. Still, the style and the performances of Rififi carry it ably.


FILM REVIEW: Criterion Collection
Director Jules Dassin; Writers Auguste Le Breton, Dassin and René Wheeler (based on the novel by Le Breton); Cinematographer Philippe Agostini; Starring Jean Servais, Robert Manuel, Carl Möhner, Jules Dassin; Length 115 minutes.

Seen at a friend’s home (Netflix streaming), London, Thursday 4 August 2015.