Watch on the Rhine

Tags

1940's, Bette Davis, Drama, George Coulouris, Geraldine Fitzgerald, Herman Shumlin, Lucile Watson, Paul Lukas, Watch on the Rhine, World War II

Bette Davis is one of my favourite actresses so to be asked to take part in a blogathon honouring her was a sure bet. Crystal is paying tribute to the great lady with a mighty fine blogathon. My choice is Watch on the Rhine.

Film Title

Watch on the Rhine

Director

Herman Shumlin

Starring

• Paul Lukas as Kurt Muller
• Bette Davis as Sara Muller
• Lucile Watson as Fanny Farrelly
• George Coulouris as Teck de Brancovis
• Geraldine Fitzgerald as Marthe de Brancovis

Taken from a Lillian Hellman play, Watch on the Rhine provides much in the way of drama as it focuses on a member of resistance to the impending Nazi threat and what he must do to fight.

In the year after the beginning of World War II, German engineer Kurt Muller, his wife Sara and their three children enter the United States. Kurt has been involved with fighting the Nazi’s with underground work for the past seventeen years. The family resides in Sara’s mothers house in Washington, D.C. Her mother, Fanny Farrelly  is a society maven who welcomes them back but is unaware about why they are there. The resolute Kurt largely keeps his underground work secret as can be. But there is someone amid all of this who grows suspicious of him. That person is the conniving Teck de Brancovis; a Romanian Count who is also stays and has with Nazi sympathies. He immediately distrusts Kurt on sight and takes it upon himself to weasel what he can out of him. He attempts to blackmail Kurt and expose him, leading to dramatic consequences for everyone involved.

Herman Shumlin allows the story to flow well and doesn’t resort to any visuals tricks, so as to draw more attention to the events on screen. The script is rich with meaningful speeches and impassioned dialogue that allow the actors to shine. Now Watch on the Rhine is not flawless by any means. I’m sure many will see this movie as a propaganda piece and very much of its time. But that ignores the message of fighting for what’s right and standing by your beliefs, which can still be timely even now. Sometimes that message is heavy-handed but it’s mostly depicted handsomely. Occasionally the running time feels stretched and I for one believe some trimming may have benefited Watch on the Rhine. But these flaws aside and the fact that I wanted just a bit more from it, it’s still a great movie with a message that is conveyed throughout. And once the tension rises in the situation, the film gets better and filled with immediacy. A driving score from Max Steiner is a string in the film’s bow too.

Paul Lukas is rightly dignified and quietly strong in a performance that garnered him an Oscar. His greatest asset is his passion and dedication, showing Lukas as a fine actor in tune with the part of a crusading man fighting against fascism and Nazism. It’s a very subtle and natural performance that it often feels like he isn’t acting at all, so exact is his work. And complimenting that nuance is a finely tuned portrayal by Bette Davis. She was often known for her full force delivery but toning it down as the supportive wife here reveals a loving and softer side to her. I liked watching these two work together with a lovely chemistry and dramatic power. Lucile Watson is fine playing the part of the oblivious wealthy mother who is more concerned with her rich life than mere politics. Stealing some of the show is George Coulouris, who is excellently devious and fully warranting of villainy. It is he who kicks events into place with his plots to expose Muller. And there’s Geraldine Fitzgerald making an impression as the wife of the opportunistic Teck.

Bolstered by excellent dialogue and performances, the plight of the individual and the fight for freedom are well dramatised in Watch on the Rhine.

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Their Finest

Tags

2010's, Bill Nighy, Drama, Gemma Arterton, Helen McCrory, Jack Huston, Jake Lacy, Jeremy Irons, Lone Scherfig, Paul Ritter, Rachael Stirling, Richard E. Grant, Sam Claflin, Their Finest, World War II

Film Title

Their Finest

Director

Lone Scherfig

Starring

• Gemma Arterton as Catrin Cole
• Sam Claflin as Tom Buckley
• Bill Nighy as Ambrose Hilliard
• Jack Huston as Ellis Cole
• Paul Ritter as Raymond Parfitt
• Jake Lacy as Carl Lundbeck
• Richard E. Grant as Roger Swain
• Rachael Stirling as Phyl Moore
• Helen McCrory as Sophie Smith
• Jeremy Irons as Secretary of War

A splendidly engaging and unexpected ode to cinema, women and doing what needs to be done in World War II, Their Finest captures your attention and heart with the story it has to tell. A crowd pleaser with a most knowing touch is an apt way to describe the delightful Their Finest.

It is 1940, London, and the Blitz is at its height. Catrin Cole is a Welsh girl, living in an apartment with her artist husband Ellis, whose more than a bit moody and not exactly a supportive presence. A copywriter, she is called specifically the film division. Her knack for good dialogue is realised, even though it is said that she will be writing what many call the slop( women’s dialogue). She is hired for work on movies and partnered with snide and cynical Tom Buckley and older, more understanding Raymond Parfitt in the screenwriting process. Though paid less than the men and frequently questioned about her capabilities, Catrin emerges as a talented addition to the team. Being one of only a few women in a male dominated game, the odds are stacked against Catrin. But she is no wilting flower and can gradually in the story, easily handle herself against sexism and attitudes towards her doing a profession such as hers. With the War raging on, cinema provides an escape for those at home. The Ministry of Information is hoping that a new propaganda film will blend both authenticity and optimism into one, enabling audiences to feel comforted and with a rousing feeling. The film takes its basis from a newspaper article of two twin sisters using their father’s boat to rescue men from Dunkirk. Upon researching it further, Catrin discovers that the story has been exaggerated a lot. Though knowing this, she helps form a scenario around the events that will boost morale. And being that it is a propaganda film, the embellishment of facts is inevitable anyway. Catrin shows how indispensable she is with her flair for writing and her emerging determination to be taken seriously. Soon production is under way, yet various issues are present. The over the hill Ambrose Hilliard, who has a big opinion of himself, is perturbed that he is playing an old role. This is amusing because he is in his 60’s, yet can’t quite accept his glory days are far behind him. In order to appeal to American audiences and hoping to coax them into joining the war, the big wigs of production and Secretary of War employ former pilot Carl Lundbeck to be in the picture. The problem is, while handsome and projecting the right image, he is a hopeless actor. Most of all, it’s nearly a battle itself between Buckley and Catrin Through it all, Catrin manages to let her voice be heard and earn the respect and love of the initially standoffish Buckley as the unpredictable war continues. With luck, they hope their movie can be a rousing success and ignite the public imagination to a feeling of hope in a time of darkness.

Lone Scherfig, who previously demonstrated her greatness at tapping into the past in An Education, showcases that again with Their Finest. She finely discovers humour, pathos and inspiration in the story and knows exactly when to incorporate seriousness into the largely amiable proceedings. It’s a tightrope walk that could have gone wrong, but humour and maturity go hand in hand here, and highly benefits the overall product. Plus, Scherfig’s greatest asset is shooting a movie concerning World War II from a female perspective. I personally feel that there are not enough movies about World War II focus on the women who played a part, thankfully Their Finest corrects that in style and a displays a fervent female overcoming the obstacles to gain respect. The film itself is blessed with a sincere and funny screenplay, that has humour in the making of the propaganda film and the emotional undertones of the terror that war brings. It also has a great usage of wordplay, particularly between Catrin and Buckley, whose growing attraction becomes more obvious, despite the constant sniping and disagreements. You may be forgiven for thinking that Their Finest is simply cosy whimsy, but while it is charming and full of vitality, it never skirts around the tragedies or hardships of the war. And while at first you may be inclined to believe you know the outcome of the film, it throws in a surprising curve ball that changes a lot. Believe me, I never saw it coming at all, which is a credit to how the movie knows when to blind side you and show its dramatic muscle. This very instance of shock brings with it a heft of moving moments that add another string to the movie’s bow. Very much like the movie being made in the story, Their Finest knows how to please the crowd, being rousing yet never forgetting the devastation of World War II. You can’t get be wrapped up in the inspiring story, both of Catrin asserting herself more and the behind the scenes look at the propaganda movie. Comedy ensues in the brightest way in the beginning the scenes stretches, with various techniques and mishaps proving how the experience of a film is trying but usually worth it. A lovingly flowing score from Rachel Portman highlights the optimism and change of the time with deft assurance and emotional touches.

A beautifully judged performance from Gemma Arterton is one of the main joys of Their Finest. A nicely employed subtlety is evident in her keen and plucky portrayal, finding emotion and growing feistiness in the role of Catrin that is a great showcase for the actress.  Lovely, genuine and boasting a backbone of steel that comes in handy when asserting her talents, Arterton makes Catrin an arresting heroine who you immediately warm too and want to watch succeed. For my money, this is one of the best parts Gemma Arterton has had in a movie and goof for her I say, as I’ve always been a fan of hers. Sam Claflin, behind small glasses and a moustache, has the stinging sarcasm and attitudes for a man of the time; while delving into the inferiority complex he has and why he acts like a jerk. He shares a nice chemistry with Arterton, that starts flinty and evolves into a mutual understanding that is lovely. Being the scene stealer that he is, Bill Nighy sinks his teeth into the part of has-been actor who still thinks of himself as the biggest star in the world. It’s a funny, self-mocking part, that also makes time for Nighy to display a caring and inspiring side to what at first appears to be a very difficult. Nighy is the one who gets most of the laughs in Their Finest. Jack Huston is left with the least engaging part of Catrin’s inattentive husband, while Paul Ritter quietly thumps away at the typewriter as the mediator in the screenwriting process. Also getting laughs is Jake Lacy, whose all American appeal and square-jawed features are handsomely used to play a charming but not very talented star thrown into the propaganda film. Richard E. Grant, Rachael Stirling and Helen McCrory provides great support, as does a cameo from Jeremy Irons as the Secretary of War.

Charming, spirited yet grounded in seriousness when it needs to be, Their Finest is wonderful movie making that celebrates the powers of cinema and inspiring women.

Two Women

Tags

1960's, Drama, Eleonora Brown, Foreign Language Film, Jean-Paul Belmondo, Sophia Loren, Two Women, Vittorio De Sica, World War II

Film Title

Two Women

Director

Vittorio De Sica

Starring

• Sophia Loren as Cesira
• Eleonora Brown as Rosetta
• Jean-Paul Belmondo as Michele

A harrowing account of a mother trying to protect her daughter in the dark days of World War II, Two Women is strikingly told and excellently acted. Occasionally it gets a bit meandering, but the grim power and authentically moving performance from Sophia Loren make Two Women a must see.

It is the Second World War and in Rome, widowed shopkeeper Cesira is struggling to cope with the constant uncertainty and bombings that terrify everyone. Her main priority is keeping her 12-year-old daughter Rosetta safe, no matter what. Having saved up some money and collected what she needs, she heads with Rosetta to the hills of her childhood, looking for sanctuary. The journey to the hills is fraught with difficulties and horror, but the two persevering women carry on. Once in the poor but a lot more sheltered regional village of her past, Cesira attempts to carve a life for her and Rosetta until the war calms down and they can return to Rome. Along the way, Cesira becomes attracted to young idealist Michele, who also harbours romance for her. Though she develops feelings for him over time, her primary concern is Rosetta and Cesira knows that her impressionable daughter has a crush on him. Times are tough due to shortage of supplies and amenities, though resourceful Cesira tries to make the best of things by foraging food and just protecting her daughter from the horrors of war as long as she possibly can. Yet just as it seems safe for Cesira and Rosetta to return to Rome with the war seemingly hitting a turning point, they encounter brutal tragedy at the hands of Moroccan soldiers.

Vittorio De Sica wisely brings his credentials as a purveyor of neo-realism out here, highlighting the stark and unforgiving fallout war can cause and especially on those left behind. None of the film is varnished or dressed up to look smooth, it is depicted with astonishing naturalness and harsh reality thanks to De Sica’s expertise. It deftly captures the way that a war can impact on people and their lives, one minute it seems calm, the next minutes it is a mass upheaval. There are those out there that will dismiss the film as overly episodic, but by and large, it’s an honest picture of the sea saw of terror and not knowing when . Two Women is not without nicer moments of people attempting to raise their spirits, but these are coupled with scenes of shock and grit that never lets us forget that this is only a temporary respite from a difficult time. Some parts do feel a bit rushed and there are parts that linger too long for their own good, yet the bigger picture and power of the piece always manages to bring it all back to something exceptionally genuine. The last half especially will emotionally devastate and shock viewers with its intensity and raw, visceral content that leaves a mark. The black and white cinematography highlights the bleakness of war and what it does to people, both emotionally and physically. If Two Women had been in colour, a lot of the impact would have dissipated. Music is employed sparingly but appropriately, allowing the main story and themes of survival to flourish but also give an emotional pull when required.

Sophia Loren is simply put powerful and forceful in the lead role; it’s no surprise she won the Academy Award for her raw and heart-rending work here. The role of Cesira is embodied so naturally and with grave, hard-working determination by Loren that you can’t tear yourself away from the screen. She excels at colouring the role with the deep maternal instinct and love, without resorting to melodrama and needless overdramatising. Sure Cesira says what she thinks and can be very feisty, but in the hands of Loren, we glimpse the little nuances of the character that complete the whole. We get many sides to the woman; the caring side, desolation and vulnerability, along with an outspoken attitude and unwavering strength that all make it a triumph of intensity and authenticity. From the first moment you see Loren cradling her daughter from harm and screaming that she wishes the war would end, you just know that the performance is going to be something special. Before this film, Sophia Loren had largely been cast in parts that were merely glamorous and weren’t ones that showcased the talent she had. She really showed off her abilities with this award collecting part, that will haunt the mind for days to come and established herself as an actress to be reckoned with. Eleonora Brown forges a realistic and convincing bond with Loren as the young innocent daughter, whose experiences leave her shell-shocked and she has to grow up quicker than expected. This tender relationship is the heart of the movie and is played magnificently. Jean-Paul Belmondo has probably the least demanding role of the central three, but nonetheless conveys the free thinking and opinionated feelings of the young idealist.

Anchored by the superb work of Sophia Loren showing her mettle and the honest direction of Vittorio De Sica , Two Women is a dark and stark evocation of the horrors endured in World War II and the power of a mother’s love.

Malena

Tags

2000's, Coming-of-Age, Drama, Foreign Language Film, Giuseppe Sulfaro, Giuseppe Tornatore, Malena, Monica Bellucci, World War II

Film Title

Malena

Director

Giuseppe Tornatore

Starring

• Monica Bellucci as Malena Scordia
• Giuseppe Sulfaro as Renato Amoroso

A moving, at times funny and at times bittersweet drama, Malena focuses on the coming of age of a young boy during the Second World War and his desire for a mysterious and beautiful woman. With a lush soundtrack and beautifully rendered visuals, Malena is a film that touches you as well as delivering a few unexpected shocks every now and then.

The tale begins in 1940 in a quiet Sicilian village. Italy has just entered the War and young Renato is given his first bike. The main other event that changes his life on this eventful day is, along with his friends, glimpsing the sight of the beautiful Malena Scordia, whose husband is away fighting in the War. As a quiet and devastatingly gorgeous woman, Malena is the subject of malicious gossip from women and amorous advances from men throughout the town. Young Renato begins to develop a crush on the lonely woman and repeatedly dreams about her. Yet while almost every other man objectifies the woman and for a time Renato does this in his daydreams and fantasies, he soon begins to see that she is just trying to cope with loneliness and is not at all like the savage gossip that is spread about her. As the hardships of the War begin to take their toll, Malena comes under more scrutiny for becoming a prostitute because she is desperate for food and her husband has been listed as dead while serving in Africa. Only young Renato, on the cusp of his teenage years, knows that Malena is simply a shy woman cursed by being very beautiful and paying the price of envy and slander from others as the War continues to rage on.

Writer and director Giuseppe Tornatore conjures up an atmosphere of changing times, burgeoning sexual attraction and intolerance brought on by jealousy. Many of Renato’s dreams about Malena are amusingly rendered with cinematic quality yet tinged with a sense of eroticism. Unlike the other men who just think of her as a sex object, the young boy, while still entranced by her, becomes something of a protector for her, defending her name and observing her actions with an ardent devotion. Malena may be quite funny on occasion but it isn’t afraid to show a darker side, especially surrounding the reactions of other towards the eponymous beauty. At times, the line between humour and drama is a bit stretched, but overall it is a marvellously moving film of youth giving way to maturity and the facing of intolerance. There is one particular scene that showcases the intolerance that I won’s spoil but I will say is a shocking and completely unexpected moment that is hard to watch as the jealous women of the village unleash their fury upon the unsuspecting Malena. An evocative score from the master that is Ennio Moriconne provides thematic backbone to the movie, moving along with at first a jaunty, childlike rhythm before giving way to melancholy pieces to illustrate the sadness of Malena and her set of circumstances. The visuals in Malena are breathtakingly beautiful, bathing the sleepy town obsessed by the beauty of the elusive main character with golden lustre that further enhances the air of beauty and discussion about her.

I have often felt that Monica Bellucci is sometimes overlooked for her acting ability because of her striking looks. But one need look no further than Malena to see that she is a very talented actress of great subtlety and depth. With little dialogue, she gives this woman a sadness, unintentional beauty and the burden of being constantly watched by those around her. A lot of the performance is through her eyes, which stunningly exude a solitary demeanor, the desire to be left alone and the elusiveness that many debate about her. The young Giuseppe Sulfaro brings a naive yet loyal and ardent personality to the character of Renato, who while growing up is the only person aware of Malena’s struggles and the only one sympathetic to her plight. While there are other characters in the film, they mainly just blend together as either lustful men or jealous women as the focus on the story is Malena and Renato.

A moving coming of age tale as well as a parable about the perils of having such beauty, Malena is a fill that will stay with you in one way or another.

 

Female Agents

Tags

2000's, Déborah François, Drama, Female Agents, Foreign Language Film, Jean-Paul Salomé, Julie Depardieu, Julien Boisselier, Marie Gillain, Maya Sansa, Moritz Bleibtreu, SOE, Sophie Marceau, Thriller, World War II

Film Title

Female Agents

Director

Jean-Paul Salomé

Cast

• Sophie Marceau as Louise Desfontaines
• Julie Depardieu as Jeanne Faussier
• Marie Gillain as Suzy Desprez
• Déborah François as Gaëlle Lemenech
• Moritz Bleibtreu as Karl Heindrich
• Maya Sansa as Maria Luzzato
• Julien Boisselier as Pierre Desfontaines

Inspired by true events, Female Agents tells of five women’s attempts to stop secrets being leaked to the Nazi’s during World War II regarding the Normandy Landing. Thrilling, compelling and excellently acted, it is a tribute to brave women during the war and the dangerous tasks taken to ensure the safety of millions.

The year is 1944. Louise Desfontaines is a member of the French Resistance who flees to London after her husband is killed. She is then recruited by SOE( Special Operations Executive), an organisation created by Churchill to conduct spying and dangerous missions in occupied Europe. Louise is tasked with the rescue of a British geologist who has been captured by the Germans and holds valuable information regarding the Invasion of Normandy. She is told to form a group of women to aid her in the dangerous mission along with her brother Pierre. The women are chosen for specific qualities and reasons. They are Suzy, a seductive cabaret dancer who was formally engaged to a Nazi colonel, Gaëlle, a devoutly religious girl who is skilled with explosives, Jeanne, a hard-edged prostitute adept with weapons and Maria, a Jewish woman looking for revenge after her family was taken to a concentration camp. They arrive in France and quickly go about rescuing the man from enemy clutches in a French hospital. The women seem to have succeeded until they are accidentally revealed to a prominent colonel in the SS, Karl Heindrich who happens to be Suzy’s former lover. From then on it a race against time to not only save the geologist but also their lives and carefully planning to kill the colonel. Prepare to be enthralled by the dangerous mission undertaken and the lengths the women go to in order to survive and see it through.

The first thing that catches the eye is the believability of the settings and costumes, that really take you into the heart of war-time intrigue. Music plays a key part in the film and the score adds a poignant and epic sweep as the narrative unravels at a break neck speed. Credit must go to the screenplay for presenting a war movie from a female perspective, carefully showing us the dangers these women undertook to make sure of successful missions that could cost them their lives. Although the film goes at a fast, driving speed, the film still makes time for us to engage with the five women and watch as they risk their lives for their cause. The film although packed with adventure does not shy away from the brutalities of war and intrigue, clearly shown when members of the group are tortured for information by having their heads dunked underwater and hit repeatedly.  Above all, it is the acting, mainly from the quintet of women that keeps the story running smoothly. Heading the cast is Sophie Marceau as Louise, she carefully embodies the stoic responsibility as leader of the group but we sense a pain underneath her outwardly cold facade. Julie Depardieu creates a convincing character in Jeanne, the prostitute unafraid of staring death in the face. Marie Gillain exudes glamour and poignancy as Suzy, who is initially reluctant about the mission because she knows it will bring her back into contact with her former lover. Déborah François is luminous as the bomb expert who still clings to religion to get her through the dangerous mission. And Maya Sansa emits a quiet rage as the vengeful Maria, who by her own admission will relish the chance to kill those who murdered her family. Out of the males in the cast, Moritz Bleibtreu is the most convincing, excellently capturing the outward charisma of his SS colonel character but then showing the brutal violence that lurks beneath it.

If it’s a World War II thriller with a difference and a definite and loving recreation of time, then Female Agents is the advisable film for you. The luminous female cast alone is reason to see this inventive thriller inspired by true events.