The Marquise of O (Film Movement, Blu-ray, DVD) – After Eric Rohmer completed his “Six Moral Tales,” and before launching into the “Comedies and Proverbs,” he tackled two projects very different than anything else in career. The first of these, The Marquise of O (1976), based on the novel by Heinrich von Kleist, leaves the young intellectuals of Paris for Italy of the late 18th century Napoleonic wars. During the Russian invasion the beautiful young Marquise (Edith Clever) is saved from certain assault the handsome and dashing Count (Bruno Ganz). She spends the night guarded by her chivalrous savior, who returns months later to rather insistently court her. Only when he leaves does she discover that she is, unaccountably, pregnant. Rohmer’s style is both more lush (shot in rich colors by Nestor Almendros) and less intimate than his previous romantic comedies, directed in painterly compositions from a removed distance. Unlike the self-obsessed young adults of his modern films, the Count and the Marquise act out of moral duty and social responsibility, and their actions reverberate through family and community.
Yet this is still a Rohmer film, filled with carefully tooled dialogue (spoken in German) and informed by irony. The story of innocence and corruption, and the shades that lay within even the best of men, ends on a note of delicate forgiveness and understanding. Rohmer followed this with an even more unexpected stylistic experiment, the beautiful and beguiling Perceval, which I hope is in consideration by Film Movement.
With archival interviews with director Eric Rohmer and star Bruno Ganz and a new essay by David Thomson.
Full Moon in Paris (Film Movement, Blu-ray, DVD), the fourth of Rohmer’s six “Comedies and Proverbs,” stars Pascale Ogier as Louise, a restless designer bored with sleepy suburban life outside of Paris, lives with her lover Remy (Tcheky Karyo), a stable architect happy with a calm home life and a long-term relationship. The independent minded Louise decides to move back into her old Paris apartment during the week, losing herself in the bustle of dinner parties and nightclubs and single men, while spending her weekends back with Remy. Like an inversion of Rohmer’s “Six Moral Tales” Louise becomes briefly entangled with another man, a spontaneous musician who is the opposite of Remy, but in a neat twist on the formula Remy himself drifts to another – at the suggestion of Louise herself.
This is the most ironic and, in many ways, judgmental of Rohmer’s films. Willowy Ogier’s kittenish sexuality and zest for life are wrapped in a self-absorbed determination that borders on indifference, but for the most part this is another wryly witty look at modern love from the master of the sophisticated romantic comedy. Fabrice Luchini plays Louise’s best friend and conniving confidante Octave and Laszlo Szabo appears as a café patron who pontificates on the magical effects of the full moon. Ogier, who died shortly after the film’s release, designed many of the handsome sets.
With an archival interview with actress Pascale Ogier and a new essay by David Thomson.
Tenderness of the Wolves (Arrow / MVD, Blu-ray+DVD), based on the same true story that inspired Fritz Lang’s M, is a stylish and visually striking but narratively confusing and unpleasantly explicit thriller starring Kurt Raab as murderer, black marketeer and police informant Fritz Haarman, a pedophile who used his position to sweep the train stations and pick up young runaway boys.
Living well in the depression of post-World War I Germany, Haarman lured the boys to his attic apartment with the promise of a warm meal and bed, only to emerge alone the next morning with second hand clothes and black market “pork.” Director Ulli Lommel melds images from M and F.W. Murnau’s Nosferatu with the elegant camerawork, evocative sets and tableaux-style direction associated with the films of New German cinema auteur Rainer Werner Fassbinder, who produced the film and appears in a small role. Screenwriter/star Kurt Raab suggests Peter Lorre by way of the vampire Nosferatu with his shaved head, child-like smile and hunched walk, an insidiously beguiling boy-man who turns feral to strangle and feast on the blood of his innocent young victims. Fassbinder’s inspiration is all over the elegant camerawork, handsome design, and tableaux-style direction and the film is well performed by cast made up of Fassbinder’s regular troupe. But it gets muddled in the middle, tangling the many threads before finally winding them together in a bold, baroque climax. Though lacking in the rich irony of Fassbinder’s works, it’s a striking, often startling film dominated by Raab’s unsettling performance.
In German with English subtitles. Newly restored and remastered by the Rainer Werner Fassbinder Foundation, the Blu-ray debut (the release is a Blu-ray+DVD Combo) features commentary by director Ulli Lommel with moderator Uwe Huber, an introduction by Lommel, new video interviews with Lommel, director of photography Jurgen Jurges, and actor Rainer Will, and an appreciation by European horror expert Stephen Thrower, plus a booklet with art and essays.
The Hurricane (Kino Classics, Blu-ray, DVD) is frankly speaking one of John Ford’s weaker films. Based on the novel by Charles Nordhoff and James Norman Hall (authors of “Mutiny on the Bounty”) and directed for high-rolling independent producer Samuel Goldwyn in 1937, it’s a drama of western civilization colliding with native culture in the South Seas, the same theme as Murnau’s Tabu but with more focus on the European characters and without the poetry or the power.
Jon Hall is the young Polynesian hero Terangi, a Tahiti native with a foot in both worlds, beloved by the islanders and the respected first mate of an American ship, and Dorothy Lamour his innocent Tahitian bride. They get top billing and it is ostensibly their story but the film spends a lot of time with the Caucasian characters in paradise debating culture, morality, and justice: the alcoholic doctor with a philosophical take on Tahitian life (Thomas Mitchell), the priest devoted to the islanders (C. Aubrey Smith), and the new island Governor (Raymond Massey), a strict, stiff martinet whose devotion to the letter of the Napoleonic code makes no room for justice or compassion, let alone the moral code of the local culture. Mary Astor is both his wife and his conscience, and he refuses to listen to either when he sentences Terangi to six months hard labor for punching a racist white man, and then extends his sentence by years for his failed escape attempts. This is paradise invaded by civilization, which casts judgement and punishes accordingly.
It’s clear that Ford’s heart isn’t in this one. Ever the professional, he delivers a handsome drama, but this kind of exotic romanticism is a poor fit for America’s film poet. The characters of the script (written by Dudley Nichols) are more debate positions than developed personalities, the natives are holy innocents, and the film is shot largely in the studio, which does no service to the tropical setting. Ford signed on because of the opportunity to shoot on location in the South Pacific and apparently lost interest when the production was relocated to the studio, with Catalina Island standing in for Tahiti in the film’s few outdoor scenes.
The title of the film arrives in the final act, whipping up a deadly storm while Terangi struggles to get home, and it’s quite the spectacle even if it was created in the studio, but it is also a confused metaphor for a film that sets up Terangi as a kind of Christ figure and the storm as the wrath of God. If this is Old Testament punishment, it’s taking it out on the wrong folks: the hurricane destroys the church and kills the innocent islanders (who are no better than extras in the drama) while sparing the westerner interlopers. If this is all just a lesson in compassion and multicultural respect for the Governor, there’s a lot of collateral damage. Still, it was a big commercial hit for Ford and Goldwyn. It was also the last film Ford made for Goldwyn.
It looks great, a good quality transfer with no evidence of damage. No supplements.
In The Devil’s Disciple (Kino Classics, Blu-ray, DVD), an adaptation of George Bernard Shaw’s play of the American Revolution, friends and frequent co-stars Burt Lancaster and Kirk Douglas teamed up for the third time. It’s an odd kind of American-British co-production: produced by Lancaster’s production company and directed by British filmmaker Guy Hamilton (who replaced Alexander Mackendrick, director of Lancaster’s “Sweet Smell of Success”), it is written by Brits, set in revolutionary America, and shot on England.
Lancaster is the idealistic, soft-spoken parish priest whose faith mother England is destroyed by the cruelty of British soldiers and Douglas is wanted criminal turned rabble rouser and revolutionary guerilla Richard Dudgeon, a nemesis who becomes a compatriot in a complicated triangle that involves the priest’s younger wife. Kirk is rather old for the role but a good match for the rebellious nature of the character and Lancaster is still and subdued as the priest, at least until the final act. Both are shown up by Laurence Olivier, the very model of cool, calm authority as a savvy British officer surrounded by thickheaded underlings.
What could have been turned into a swashbuckling revolutionary war adventure with witty characters remains largely stagebound. It’s shot largely on studio sets from a script that remains grounded in conversations and debates. The witty dialogue and energetic performances keep the film moving along but it never seems to break out of its constraints. There is also a creative and clever use of cut-out figures and 3D stop-motion animation to stand in for expensive battle scenes.
Strong image, crisp focus, excellent source material. No supplements.
Film Detective is a new company releasing public domain films on Blu-ray. It’s an idea that has been done right by Kino Classics, which partnered with George Eastman House, Library of Congress, and UCLA Film Archive to find the best quality materials from which to master their editions, and has been done wrong by companies like HD Cinema Classics, which tried to overcome damaged and inferior source prints with the digital scrubbing of digital noise reduction (DNR), which removes the blemishes and smoothes over the image. Film Detective looks to be following Kino’s model in two of its first releases, though it doesn’t quite meet the bar set by Kino.
Beat the Devil (Film Detective, Blu-ray) is a cult film with an incredible pedigree. Directed by John Huston from a screenplay written on the fly by Truman Capote and starring Huston’s buddy Humphrey Bogart with Jennifer Jones, Gina Lollobrigida, and Peter Lorre, it’s something of an anti-“The Maltese Falcon” with Bogart as a down-on-his-luck businessman fronting a group of swindlers attempting to take control of a uranium mind in Africa. Heavy with irony and black humor, the shaggy dog tale was a flop with audiences but it found admirers years later for the games of lies and flirtations played by the stars and the dry wit of the script and wry attitude injected by Huston’s direction. It feels much more modern than many films of its era, but because it fell into the public domain it has been victim to poor home video editions since the days of VHS.
The image on the Film Detective release is a little soft but it’s clean and detailed and in the proper aspect ratio and does not appear to be scrubbed with DNR tools. It’s an acceptable Blu-ray and superior to other public domain labels. No supplements.
Salt of the Earth (Film Detective, Blu-ray), the only American film ever to be blacklisted in the U.S., is an independently produced 1954 drama inspired by a real life strike in New Mexico by Mexican-American mineworkers. The cast is comprised largely of non-professionals (many of them participants in the real strike) and the film was financed by the mineworkers union and produced by socially-motivated artists that had been blacklisted from Hollywood, including producer Paul Jarrico, director Herbert Biberman, screenwriter Michael Wilson, and actor Will Geer (who plays the cruel sheriff that protects the strikebreakers).
It takes on issues of racial prejudice, social injustice, and economic inequity, often with a didactic approach, and delivers a message of collective action to improve working conditions and receive a fair wage. Remarkably it is built on the ordeal of the Mexican-American characters and there is no white movie star to save the day. But perhaps the most revolutionary aspect of the film was the recognition of the participation and strength of the women, who rise to positions of leadership in the community and demand the same respect from their tradition-bound husbands and fathers that the men have been demanding from their bosses. This was all at the height of the Red Scare and the film was branded communist propaganda. It’s a remarkable portrait for its time, a landmark production that is still a powerful film. It was added to the Library of Congress National Film Registry in 1992.
The Blu-ray debut comes from a worn print and looks pretty scuffed up, but the transfer also presents a reasonably sharp image. A restoration is called for but until then this is an acceptable substitute. No supplements.