Take 3: To Catch a Thief Review

On April 30, 2023 By 18cinemalane9 Comments

For The Master Of Suspense Blogathon, I was originally going to review the 1958 classic, Vertigo. I selected this film because it had been recommended by one of my readers. Unfortunately, my plans fell through at the last minute. So, I had to quickly choose an alternative. As I looked back at the blogathon’s participant list, I discovered the 1955 film, To Catch a Thief, hadn’t been selected. That is the film I am now reviewing for The Master of Suspense Blogathon. I have seen some of Alfred Hitchcock’s movies before this event. From what I know of To Catch a Thief, the 1955 production is different from other titles such as Psycho and Rear Window. But will this difference impact the quality of the film? Keep reading my review in order to solve this mystery!

*To Catch a Thief* poster created by Paramount Pictures

Things I liked about the film:

The acting: In To Catch a Thief, Cary Grant portrayed John Robie, a former jewel thief looking to clear his name. A man of suave charisma, John was afraid of being accused of something he didn’t do. But he never lets this fear get to him. Instead, with the talents of Cary Grant, John was confident and intelligent. Grace Kelly was also cast in To Catch a Thief, portraying Frances Stevens. Frances carried herself with dignified confidence. However, this confidence did not come across as snobbish or arrogant. It added to Frances’ likability, along with her gentle demeanor and respectful elegance. Danielle Foussard is a friend of John’s. Portrayed by Brigitte Auber, Danielle had a spunky streak in her, adding liveliness to her and John’s interactions. A scene I really liked was when John, Frances, and Danielle are swimming in the ocean together. This scene perfectly showcased their personalities, as their banter bounced among each other like a soaring beach ball. What made that scene great to watch was the joining of the acting talents of Cary Grant, Grace Kelly, and Brigitte Auber!

The scenery: Most of the car chases in To Catch a Thief are captured in long, establishing shots. This is very different from car chases in other films, where the chases are shown in medium or close up shots. To Catch a Thief’s approach to car chases emphasizes the scenery surrounding these chases. Looking back on this film’s scenery, I can understand why To Catch a Thief’s creative team would make that decision. With the majority of the production filmed in France, the story shows pieces of the French countryside and seaside. Giant green mountains and deep blue waters present an isolated oasis. A smattering of orange roofed houses perched on these mountains add to the movie’s vibrant color palette. On the French seaside, bright yellow sands welcome the deep blue waters of the ocean. Most of the story’s exterior shots feature a blue sky with a handful of clouds. Even the flowers are appealing bursts of color, boasting shades of red, pink, and even purple. To Catch a Thief is a pretty looking movie and it knows it!

The dialogue: During discussions of Alfred Hitchcock’s movies, use of music, cinematography, and lighting are typically talked about by fans and film enthusiasts. But one area of film-making I feel is overlooked, specifically when it comes to Alfred’s work, is the dialogue. This element of story-telling was a pleasant surprise in To Catch a Thief! It not only suited the characters respectively, it also sounded like the screenwriters put a lot of thought into what the characters told each other. While driving through the French countryside, John and Frances are discussing Frances’ past. As the discussion carries on, John accuses Frances of looking for a husband on her trip. But Frances responds by saying, “The man I want doesn’t have a price”. This statement represented the respectful elegance Grace consistently carried throughout the film. It also hinted at foreshadowing.

The Master Of Suspense Blogathon banner Maddy from Classic Film And TV Corner

What I didn’t like about the film:

Limited amount of urgency: At the beginning of To Catch a Thief, John learns he is accused of stealing valuable jewelry. He evens claims to have ten days in order to clear his name. You’d think with this tight timeline, there would be a strong sense of urgency in the story. But this urgency to find the truth is, unfortunately, inconsistent. Instead, more emphasis is placed on the scenery, the romance, and the “finer things in life”. While the mystery was resolved, the limited amount of urgency held the story’s suspense and intrigue back.

A small amount of suspense and intrigue: Alfred Hitchcock’s productions are known for incorporating suspense and intrigue. This reputation has earned Alfred the title of “Master of Suspense”. In To Catch a Thief, however, suspense and intrigue were only served in small amounts. Part of this problem results from the limited amount of urgency I previously talked about. Another reason for this problem is how suspense and intrigue were used sparingly instead of evenly spread out throughout the story. It got to the point where I almost forgot this story had a mystery.

Lack of suspects: A typical mystery will include a collection of suspects, individuals who may or may not have a reason to be the guilty party. These characters are presented as uniquely as possible, in order to help the audience remember them and their reasoning. To Catch a Thief lacked this ingredient. Because the mystery was not as prioritized as in other works from Alfred Hitchcock, no room was made to include suspects. There was a red herring in To Catch a Thief, but this reveal felt random. Even the reveal of the mystery’s guilty party wasn’t completely surprising.

Illustration of Paris, France created by Freepik at freepik.com. <a href=”https://www.freepik.com/free-photos-vectors/travel”>Travel vector created by freepik – http://www.freepik.com</a>. Image found at freepik.com.

My overall impression:

As I said in this review, To Catch a Thief is a pretty looking movie and it knows it. While the scenery was the film’s crown jewel, there were other aesthetically pleasing components of this production, like the costume design and the set design. When it comes to the story, though, it wasn’t as suspenseful and intriguing as other Alfred Hitchcock movies. The visuals ended up overshadowing the script. I will give Alfred Hitchcock credit where it’s due, as it seems like he tried to take a different approach to cinematic story-telling. But out of his films I have seen, I prefer titles like Strangers on a Train.

Overall score: 6.3-6.4 out of 10

Have you seen To Catch a Thief? Which titles of Alfred Hitchcock’s do you prefer? Please tell me in the comment section!

Have fun at the movies!

Sally Silverscreen

Take 3: The Song of Bernadette Review

On May 6, 2022December 28, 2022 By 18cinemalane15 Comments

Shock and sadness. That’s how I felt when I discovered the passing of Patricia, from Caftan Woman, on Twitter. Upon hearing the announcement of the Caftan Woman Blogathon, I wanted to participate as a way to pay my respects to a fellow blogger. Over the years, Patricia has recommended several films for future reviews. So, it was only fitting for me to choose one of her suggestions for the event. Since the blogathon is commemorating a loss, I felt The Song of Bernadette was the most appropriate choice out of the recommendations on my Pinterest board. This also compliments other religious/faith-based films I’ve reviewed in the past, such as Ben-Hur and The Carpenter’s Miracle. With all that said, let’s start this review of The Song of Bernadette.

*The Song of Bernadette* poster created by 20th Century Fox

Things I liked about the film:

The acting: One of my favorite movies is Portrait of Jennie. Jennifer Jones’ consistent and captivating performance is one of the reasons why I love that film so much. In The Song of Bernadette, Jennifer’s portrayal of the titular character reminded me of her portrayal of Jennie. This is because she has a talent for pulling off an innocent demeanor without coming across as childish or immature. Throughout the film, Bernadette claims she is dumb. Yet, when asked what a sinner is, she tells the local reverend a sinner “is someone who loves sin”. The reverend even comments how Bernadette chose to say “loves sin” instead of “commits sin”. Personality wise, Jennifer brought a gentleness to her character. When speaking with one of Lourdes’ members of police, the policeman gets details of Bernadette’s story wrong. In a polite manner, Bernadette corrects him, pointing out the policeman’s errors in a soft-spoken voice. This innocence and gentleness allowed Bernadette to be taken seriously by the audience.

On 18 Cinema Lane, I have reviewed several of Vincent Price’s films. In most of these movies, Vincent portrays a character that can exude a sense of fear for the audience. But in The Song of Bernadette, his role of Vital Dutour was very different from his other roles. One reason is how Vincent is a part of an ensemble instead of a main focus in the story. Another reason is how Vital’s actions and choices were not chosen to cause fear. Despite all of this, Vincent carries his character with elegance and arrogance. In an effort to get to the bottom of Bernadette’s “visions”, Vital questions her story in his office. He speaks to Bernadette with a stern voice and presents a no-nonsense attitude. By interacting with her in this way, Vital is attempting in enforce his authority, thinking he will get his way. But because of Bernadette’s strength in her faith and her innocent demeanor, she is able to stand up to Vital. With that, both Jennifer Jones and Vincent Price are able to, acting-wise, go toe-to-toe with each other!

The set design: The Song of Bernadette takes place in the French countryside of 1858. But according to IMDB, the movie was filmed in California. Despite this, the set didn’t look like a set. Instead, it looked like a small French town from the 1850s! The architecture of Lourdes’ buildings was simple. Materials such as stone cover these structures. A traditional roof shingle design is displayed on top of these buildings. Like any well-researched production, the attention to detail was not overlooked! Vital’s office boasts two impressive things: a large desk and fireplace. The desk is a big piece of furniture that is coated in darker wood. Small, gold detailing can be found on the side of the desk. The fireplace is a massive marble structure, with etched detailing just below the mantle. Attention to detail and thorough research made this on-screen world an immersive environment!

Correlations with Biblical stories: When I reviewed the 1959 film, Ben-Hur, I talked about how certain Biblical events were incorporated into the overall story. With The Song of Bernadette, I could pick out moments that felt like unintentional correlations with some stories from the Bible. Toward the beginning of the film, Bernadette’s father is hired to dispose dirty rags from hospital patients. Shortly after being hired, Bernadette’s father can be seen pulling the wagon filled with dirty rags up a hill. This scene reminded me of the Crucifixion story, when Jesus is carrying the cross. The scene can also serve as a reminder how everyone has their own cross to bear, literally or figuratively. After Bernadette sees her first “vison”, Bernadette’s neighbors offer Bernadette’s family extra food they had acquired. The neighbors’ multiplying of food is reminiscent of the story where Jesus multiplied two fish and five loaves. Because this scene takes place after the first “vision”, I saw it as a miracle similar to the aforementioned Biblical story.

Using little to no dialogue: In two scenes, the movie’s creative team did a great job using little to no dialogue! One of them was the aforementioned scene where Bernadette’s father climbed up the hill. Orchestral music replaces any dialogue, which captures the emotions of Bernadette’s father. A long shot showcases the journey, elaborating how small Bernadette’s father is compared to the hill. This scene visually explained how difficult his life is. Another scene that used no dialogue is when Bernadette experiences her first “vision”. Not only is orchestral and choir music incorporated, the creative team uses a spotlight to accentuate Jennifer’s facial expressions. At one point in this scene, wind blew unexpectedly, signaling something was about to happen. Both scenes were able to say so much while saying so little!

The Caftan Woman Blogathon banner created by Lady Eve from Lady Eve’s Reel Life and Jacqueline from Another Old Movie Blog

What I didn’t like about the film:

The under-utilization of Antoine and his mother: In The Song of Bernadette, the titular character appears to be friends with a man named Antoine. Antoine also appears to be close with his mother. These two characters were only shown in a handful of scenes. Even when they were included in the story, their significance in the overall plot was weaker. The under-utilization of Antoine and his mother was disappointing, as I felt they could have offered more to the story. But since this movie was based on a book I haven’t read, I’m not sure if the limited presence of these characters is close to the source material.

A few ignored details: Toward the beginning of the movie, a friend of Bernadette’s explains to their teacher how Bernadette has asthma. This diagnosis is brought up on a few occasions by Bernadette’s family throughout the movie. But, for the most part, this detail was ignored and had little significance in the story. There were times when Vital Dutour was seen wiping his nose with a handkerchief. At one point in the story, he claims it’s “influenza”. However, it isn’t clearly explained what he’s medically dealing with. As I already said, The Song of Bernadette is based on a book I haven’t read. But if the creative team knew they weren’t going to utilize these details, it makes me wonder why they would include them in the movie?

Rose illustration image created by Freepik at freepik.com. <a href=”https://www.freepik.com/free-photos-vectors/background”>Background vector created by freepik – http://www.freepik.com</a>. Image found at freepik.com.

My overall impression:

Incorporating faith into film can be a tricky task. On the one hand, you don’t want to run the risk of alienating those who aren’t religious. At the same time, you want to acknowledge the beliefs of those who choose to include religion in their lives. The Song of Bernadette finds a way to achieve “the best of both worlds”! Bernadette’s story is shown as a procession, a good exploration of how religious phenomena can affect a small town. The film doesn’t seem to take sides when it comes to the actual topic. Yes, some people make fun of Bernadette because of her “visions”. But there’s no antagonist or villain in the movie. Lourdes’ mayor and his friends don’t believe Bernadette. However, none of the men are religious, approaching the situation from a legal and literal perspective. Even the town’s reverend isn’t quick to assume the “visions” are religious. Out of all the movies I’ve seen this year, so far, I’d say The Song of Bernadette is the strongest one! If you are interested in checking this film out, I think Easter would be an appropriate time to see it. Personally, I wish I had seen it sooner, especially since I can no longer thank Patricia for the recommendation.

Overall score: 8.2-8.3 out of 10

Rest in Peace Patricia

Sally Silverscreen

Take 3: Another Man, Another Chance Review

On February 13, 2021February 13, 2021 By 18cinemalane5 Comments

When it comes to blog events taking place on or around Valentine’s Day, romantic stories or favorite couples are usually the chosen topic. But for Pure Entertainment Preservation Society’s Unhappy Valentines Blogathon, there was an interesting twist placed on their event. For this blogathon, the theme was love stories that were “unhappily ever after”. After reading the requirements, I knew exactly which film I wanted to write about! For about a year, I have had the 1977 movie Another Man, Another Chance on my DVR. In this film, a man and woman who have each lost their spouses fall in love with one another. For some people, Valentine’s Day may not be a happy time. This can be the case for a variety of reasons. Whenever I’ve reviewed a Valentine’s Day themed film in honor of this holiday, the tone of those stories were lighthearted. So, it was nice to be given the opportunity to select a change of pace!

Because the poster for *Another Man, Another Chance* was featured on my television, I decided to take a screenshot of it with my phone. Screenshot taken by me, Sally Silverscreen.

Things I liked about the film:

The acting: This isn’t the first western of James Caan’s I’ve seen. Prior to reviewing Another Man, Another Chance, I have seen JL Family Ranch and JL Family Ranch: The Wedding Gift (with the latter film receiving a review on this blog). In those films, James’ character was more reserved, his character, Tap, learning from his mistakes and defending his family. With his character in Another Man, Another Chance, David, he appeared surer of himself. However, he wasn’t afraid to express emotions. When he was looking for his wife, David expresses genuine concern throughout his search. As he discovers his wife has died, his eyes tear up as he physically turns away from the sight of his wife’s dead body. Within the movie, the relationship of Francis and Jeanne stole the show! Portrayed by Francis Huster and Geneviève Bujold, both actors had good on-screen chemistry, giving the impression their characters truly loved each other. Geneviève brought a gentleness to her role that is sometimes seen in female protagonists in westerns. This presented a contrast to the harsh environment Jeanne experienced in France and the United States. Francis had a way with words and thought outside the box. When Francis invites Jeanne to come to the United States with him, she reminds him how he barely knows her. Without skipping a beat, Francis tells her how he barely knows America. In order to earn extra money for his family, Francis tries to apply for a part time job at a newspaper by offering to be the Gazette’s photographer. These two examples show the intelligence and wisdom Francis was able to bring to his character!

Showcasing photography: It was interesting to see what the art and business of photography was like in the 1800s! Not only did the equipment look different, but the techniques were different as well. When a customer visits the studio, Jeanne makes him sit in a special chair. This chair features a vertical metal bar with a smaller, curved metal piece at the top. It helped customers sit up straight and keep their head in place as they had their picture taken. While in France, Francis says he can only take pictures for a certain amount of time and on certain days due to needing sunlight. His solution to this problem is moving to the United States and settling in the West, where he feels there will be more natural light.

An immigrant’s perspective: When it comes to stories in the western genre, most of them revolve around characters that were either born or raised in the United States. By devoting a large piece of the story to Francis and Jeanne, the audience is able to see a perspective that is rarely explored in this area of cinema. It also allowed the audience to witness these characters’ contributions to their environment. As I mentioned in this review, Francis tries to apply for a part time job at a newspaper by offering to be the Gazette’s photographer. In the 1800s, photographs were not included in newspapers. However, the editor in chief of the Gazette solved this dilemma by agreeing to create stencils of Francis’ photos and adding them to the paper. If it weren’t for Francis’ talent and profession, the Gazette would never have been ahead of their time!

The Unhappy Valentines Blogathon banner created by the Brannan sisters from Pure Entertainment Preservation Society.

What I didn’t like about the film:

Limited time spent with Jeanne and David’s relationship: One of the biggest plot points (and one of the reasons why I watched this film) is Jeanne and David learning to fall in love again. However, they don’t officially meet until an hour and twenty-eight minutes into the movie. Most of the film revolves around David’s and Jeanne’s life prior to their relationship. I know that context and build-up are important to any story. But for Another Man, Another Chance, there was too much build-up to Jeanne and David’s romance.

The run-time: Another Man, Another Chance is a two hour and sixteen-minute film. Personally, I think this run-time was unnecessary. Several scenes lasted longer than they needed to because of the creative team’s desire to satisfy this length in time. One example is when Francis and Jeanne open their photography studio. The scene itself is somewhere between two to five minutes. Because there are no major conflicts or significant moments happening, that scene could have reduced to either a few seconds or a minute. The film’s run-time might have been an hour and twenty or thirty minutes if scenes like that one had been shorter.

Too many unanswered questions: In the story of Another Man, Another Chance, there is a lot going on within the overall plot. This resulted in many questions remaining unanswered. At the beginning of the film, a wealthy woman named Alice is interested in opening a boarding school in France. She shares how she is unable to have children of her own and mentions her sympathy toward the French people. Later in the movie, Alice ends up starting a partial boarding school in her neighborhood. What caused her to change her mind about that boarding school in France? Where did her sympathy for the French people go? These questions were ignored throughout the story.

Small, western town image created by Freepik at freepik.com. <a href=”https://www.freepik.com/free-photos-vectors/background”>Background vector created by freepik – http://www.freepik.com</a>. Image found at freepik.com.

My overall impression:

Every so often, I come across a film that, intentionally or not, made a significant contribution to the world of film. In the case of Another Man, Another Chance, this was done by telling a type of story that isn’t often seen in westerns. The creativity found in this movie is something I can appreciate. It should also be noted how this is one of the few bilingual westerns. But, to me, the overall project could have been much stronger. Another Man, Another Chance did not need to be over two hours. While watching the film, I noticed several scenes that could have easily been cut shorter. It also doesn’t help that Jeanne and David’s relationship was not featured in the story as much as the synopsis advertised. Even though this blogathon highlights romance gone wrong, I feel there are better stories of this nature to watch on Valentine’s Day. My personal choice is the PixL film, Same Time Next Week. Similar to Another Man, Another Chance, the protagonists learn to fall in love again. But in the 2017 film, the overall story is a lot stronger.

Overall score: 6.1 out of 10

Have you watched a western on Valentine’s Day? If so, which one was it? Tell me in the comment section!

Have fun on Valentine’s Day!

Sally Silverscreen

Take 3: Funny Face Review (Fred Astaire and Gene Kelly Blogathon Part 2)

On November 8, 2020December 29, 2022 By 18cinemalane6 Comments

For the second part of my Fred Astaire and Gene Kelly double feature, I’ve chosen to review the 1957 film, Funny Face! Last September, when 18 Cinema Lane received 135 followers, I reviewed my first Fred Astaire movie. That was The Sky’s the Limit, which I thought was just ok. Speaking of firsts, reviewing Funny Face is a first for 18 Cinema Lane, as it is the first musical film starring Aubrey Hepburn I’ve seen! Even though I have seen Breakfast at Tiffany’s and The Nun’s Story, those films would be classified as dramas. Since this was my first time seeing Audrey perform in a different genre, I was curious to see if she would be able to hold her own. When I read the synopsis for Funny Face, it sounded similar to another musical starring Audrey: My Fair Lady. Because I haven’t seen that movie, I can’t make a comparison between it and Funny Face.

*Funny Face* poster created by Paramount Pictures.

Things I liked about the film:

The acting: The one word I’d use to describe the cast in Funny Face is comfortable. I chose this word because every actor and actress appeared comfortable in their role! This presented the characters as if they were real-life people dealing with real-life situations. Watching Audrey’s performance in this movie reminded me of her performance in The Nun’s Story for this reason: her character grows over the course of the movie. In Funny Face, Jo opens her heart and mind to a new chapter in her life that she never thought she’d embark on. She steps out of her comfort zone to not only follow her dream of meeting her favorite philosopher, but she also creates new dreams for herself. Audrey’s ability to adapt to any scenario helped her make Jo’s journey seem believable! As I mentioned in the introduction, I saw The Sky’s the Limit last September. Personally, I liked Fred’s character in Funny Face more than his character in the 1943 film. This is because Dick Avery had a better personality. He came across as easy-going and approachable, someone who you would want to tour Paris with. This made Dick Avery worth rooting for! Kay Thompson stood out to me as Maggie Prescott! While her character was no-nonsense and straight-forward in what she wanted, she was never cold-hearted or mean for the sake of it. This is different from other characters of this specific type. What’s also different is how Maggie was allowed to be silly, as could be seen when she and Dick are attempting to find Jo at the home of Jo’s favorite philosopher. This gave Kay an opportunity to apply her acting abilities to various situations!

The use of color: I love how color was used in Funny Face! Whenever scenes had a primarily plain color palette, like white or beige, objects or pieces of clothing were added to bring a pop of color to the space. The opening scene is such a great example! Each door of Quality magazine’s office was painted a bright shade of various colors, providing visual appeal to a mostly white lobby and hallway. Maggie’s office adopted a beige hue for about 85% of that location. However, certain pieces of fabric and even an assistant’s green coat add bold colors to a place that would have remained dull without them. This decision to use color was very detail oriented and showed how the film’s creative team really paid attention to how their project would be presented!

The musical numbers: Funny Face’s musical numbers were not only entertaining to watch, they also incorporated creative ideas that made them memorable. The very first musical number, “Think Pink!”, showed a montage of the different ways the color pink could be worn. Through the use of colorful visuals, it helped illustrate the point Maggie was trying to stress to her assistants as well as the audience. “Bonjour, Paris!” showed Maggie, Dick, and Jo simultaneously in a split screen shot. I have never seen a musical use a split screen before, so this detail is the one I remember the most! Each performer in these musical numbers looked like they truly enjoyed what they were doing! “Basal Metabolism” showed Audrey Hepburn having fun performing her dance trio. She appeared in her element and joy radiated from her routine. This definitely added to the overall enjoyment of Funny Face’s musical numbers!

What I didn’t like about the film:

No major conflict: While watching Funny Face, I noticed something was missing from this movie. That would be a major conflict, which I think would have made the story a little more interesting. Smaller conflicts, like finding a new face for Quality magazine, kept the film moving forward. But, because a major conflict was absent, it made situations feel like they worked out too easily in the characters’ favor. One idea could have shown Dick struggling to decide if he should continue to be a fashion photographer or become a stage performer. If this would have been a conflict in the story, it would have presented a mystery as to which career path Dick will choose.

A prolonged transformation: Like I said in the introduction, I haven’t seen My Fair Lady. Therefore, I can’t compare the two movies. What I will say about Funny Face is how Jo’s transformation doesn’t happen until the film’s halfway point. In the first half of the story, Jo’s perspective starts to change, allowing her to expand her intellectual horizons. But the physical transformation, from bookworm to fashion model, happens a lot later than most movies of this nature. When a character makes a dramatic change to their appearance, that moment may be the audience’s most anticipated moment. If they are forced to wait too long, they may start to lose interest.

An attraction that happened too quickly: In my review of The Crow: City of Angels, I pointed out how, to me, Ashe and Sarah’s attraction for one another was a flaw of that movie because it came about so quickly. The attraction between Jo and Dick in Funny Face makes the same error, as it also happens too quickly. Minutes after meeting for the first time, Jo and Dick share a kiss. Shortly after this encounter, Jo sings “How Long Has This Been Going On?”, a song about falling in love. If this song had been sung later in the film, after she had spent more time with Dick, the song itself would have been more impactful. Even though it is somewhat predictable for Jo and Dick to form a relationship, it should have taken its time to come to fruition.

With Glamour & Panache: A Fred Astaire & Gene Kelly Musicals Blogathon banner created by Heidi from Along the Brandywine.

My overall impression:

Funny Face is a film I had heard of for years, but had never seen. Whenever I heard about classic films or even movies starring Aubrey Hepburn, this film has, more often than not, been brought up. Now that I have seen Funny Face, I have developed an understanding for why this is the case. This is not just a good musical or a good Audrey Hepburn title. It is a good movie in general! Creative ideas within this project help it stand out. Some examples include using a split screen and incorporating objects with color into scenes with plain color palettes. Musical numbers were well-choreographed, featuring performers that appeared to enjoy the material they were given. Every actor and actress seemed comfortable in their roles, giving their characters a life of their own. While Funny Face does have its strengths, it has its weaknesses as well. Just one example is how Jo’s transformation happens much later in the film. Despite having seen only two of Fred Astaire’s movies, I’d pick Funny Face over The Sky’s the Limit. I would even choose Funny Face over Take Me Out to the Ball Game!

Overall score: 7.8 out of 10

Have you seen Funny Face? Which Fred Astaire musical is your favorite? Please share your thoughts in the comment section!

Have fun at the movies!

Sally Silverscreen

Take 3: Day for Night Review + 250 Follower Thank You

On October 14, 2020 By 18cinemalane3 Comments

October’s theme for MovieRob’s Genre Grandeur is French New Wave Films. Because I’m not as familiar with this particular genre as I am with others, I had to look up potential titles for this review. One of the films that appeared in my internet search was the 1973 French film, Day for Night. When I read the movie’s tagline, “A movie for people who love movies”, I felt it was the perfect choice for the movie blogger I am! MovieRob’s Genre Grandeur is not the only reason why I’m reviewing this film. Day for Night is also my choice for Pure Entertainment Preservation Society’s 4^th Annual Great Breening Blogathon! When I participated in this specific blogathon last year, I reviewed Vampyr, a movie released before the Breen Code was created. As I already said, Day for Night was released in 1973, two decades after the Breen Code era. Like my Vampyr review, this current article is going to be a blog follower dedication review. Last week, 18 Cinema Lane received 250 followers!

Day for Night poster created by Les Films du Carrosse
PECF, Produzione Internazionale Cinematografica, and Warner Bros.

Things I liked about the film:

The acting: I’ve said before one of my favorite Hallmark films is An Old Fashioned Thanksgiving. The acting performances are a great part of it, especially Jacqueline Bisset’s portrayal of Isabella. In Day for Night, Jacqueline portrayed American actress, Julie Baker. Her on-screen persona was a pleasant surprise, as it was down-to-earth and kind. This was very different from the “diva” attitude that some lead actress characters are given in stories of this nature. Valentina Cortese is another actress that gave a memorable performance in Day for Night! She portrays Severine, an older actress looking for a come-back. One scene shows Severine turning to drinking as a way to get through the scene and cope with personal issues. Valentina effectively showed the emotional transition her character was experiencing; starting out confident but slowly turning to sadness as the scene continues. Jean-Pierre Léaud portrays Alphonse, a fellow actor who works alongside Julie and Severine. His performance came across very natural on screen, making it look effortless. A scene that shows Alphonse having a bad evening is a good example of this, the look on his face appearing defeated and his body language showing the audience how he was walking aimlessly in a hotel hallway.

The film-making process: The story of Day for Night revolves around a director making a movie alongside his cast and crew. A behind the scenes lens is how the film is presented, with the production process being the primary focus. As someone who loves movies, I found this part of Day for Night fascinating! Seeing the different ways film-making related problems were solved was interesting to watch! The director of the film’s movie, Ferrand, is looking for a car for an upcoming scene. Because of the movie’s budget, he ends up using a car from one of the crew members. Later in the production of “Meet Pamela” (the movie being filmed in Day for Night), the cast and crew are struck with a tragedy. Ferrand decides to cut some scenes from the movie as a result of this event. He discusses these decisions with a script writer named Joëlle, as well as talking with investors.

The cat scene: While filming “Meet Pamela”, the cast and crew want to include a cat drinking milk from a food tray. At first, a kitten is placed in the scene. However, the kitten doesn’t take direction very well. After several failed attempts, the director decides to use a “studio cat” instead. To me, this scene was hilarious because it was a good use of the “comedy of errors” style of humor. It also highlights the idea of animals being difficult to work with in film.

The 4th Annual Great Breening Blogathon banner created by Tiffany and Rebekah Brannan from Pure Entertainment Preservation Society.

What I didn’t about the film:

Thinly written characters: Day for Night features an ensemble cast, showing their audience how multiple people are responsible for the creation of a single movie. However, all of these characters are thinly written, as they were defined by the main issue they were dealing with in the film’s story. For example, Julie experienced a breakdown prior to the events of Day for Night. Because of this, Julie is known as “the woman who experienced a breakdown”. Throughout the movie, she does talk about her marriage to her doctor and her working hours as an actress. But her personal situation is highlighted the most.

Too much going on: As I just mentioned, this movie has an ensemble cast. This means there are a lot of characters involved in the overall story. It also means Day for Night contains several subplots. Personally, I found it difficult to keep up with the characters, as I thought there were too many to focus on. Even though this happened briefly, there were moments when I forgot who was who. The subplots were not interesting to me, as they revolved around situations I just didn’t care about. It felt more like a bland soap opera than a compelling part of the behind the scenes of “Meet Pamela”. Honestly, I wish this movie had put more emphasis on the film-making aspect of the narrative.

The director’s dreams: On three separate occasions, the dreams of the director, Ferrand, are shown. These scenes are filmed in black-and-white and contain no dialogue. I thought the inclusion of the dreams were random, as they didn’t seem to have anything to do with the overarching story. It also doesn’t help that no explanations are provided for what these dreams could mean. If anything, they were simply there to satisfy the run-time.

Image of vintage movie camera created by Macrovector at freepik.com. <a href=”https://www.freepik.com/free-photos-vectors/background”>Background vector created by macrovector – http://www.freepik.com</a>. Image found at freepik.com.

My overall impression:

Like I said in the introduction, the tagline of Day for Night is “A movie for people who love movies”. While I do love movies, I did not love this film. Sure, there were things about it I liked, such as the acting and the film-making process shown. But if you’re going to make a movie, you need to provide your audience with interesting characters worth watching. The characters in Day for Night were thinly written, defined by their personal situations. Even though it can be intriguing to see how characters overcome their obstacles, they have to have other qualities about them. Because of the poor writing for the characters, their subplots were not interesting. Issues among them were basically at a stand-still, not really getting resolved to a satisfying degree. What would have helped this story is if were presented in a mockumentary format, giving more emphasis to the behind the scenes aspect of film-making. Before I end this review, I want to thank all 250 of 18 Cinema Lane’s followers! The success this blog has received would never have happened without you!

Overall score: 6.2 out of 10

Have you seen Day for Night? Are there any movies about film-making you’ve seen? Please tell me in the comment section!

Have fun at the movies!

Sally Silverscreen

Take 3: Alphaville Review

On July 23, 2020 By 18cinemalaneLeave a comment

For July’s Genre Grandeur, the theme is “French Film Noir”. Originally, I was going to review a film released within the Breen Code Era, as I’ve been participating in Pure Entertainment Preservation Society’s Clean Movie Month. But anytime I searched for a French film noir title that premiered between 1934 and 1954, the movie was either too expensive to purchase or unavailable to rent. So instead, I chose to review the 1965 film, Alphaville, as I was able to rent it. In my review of Alice in the Cities, I said that out of all the movies I’ve seen and/or reviewed that were created outside of North America, most of them came from Europe. The majority of these films were released from France. While researching Alphaville, I learned that the movie is labeled as a science fiction story. As someone who has seen both film noir and sci-fi movies, I was curious to see what a story with this specific genre combination would look like.

Since I saw a picture of the film’s poster on my television, I decided to take a screenshot of it. Screenshot taken by me, Sally Silverscreen.

Things I liked about the film:

The acting: Because I’ve seen a limited number of French films, I wasn’t familiar with these actors and actresses. However, I thought the acting performances in Alphaville were good! Eddie Constantine’s portrayal of Lemmy Caution reminded me of the performances I’ve seen from John Wayne. What I mean by this is Eddie presented his character with a tough and masculine exterior, but allowed emotion to break through that exterior. He also adopted a “no nonsense” attitude that worked for a story of this nature. Anna Karina also gave a performance that worked for this story! She incorporated a gentleness to her portrayal of Natacha von Braun. This can be heard through her soft-spoken voice and seen through her caring nature. Throughout her performance, Anna displayed emotions in a subtle way. In one scene, when Lemmy is being arrested, Natacha can be seen crying as silently as possible. Despite appearing in the film for less than five scenes, I liked watching Akim Tamiroff’s portrayal of Henri Dickson! The best part about it was how believable it was. A good example of this is any time Henri was experiencing a heart attack, as pain could be seen in his face.

The cinematography: There were some scenes in Alphaville that were shot in interesting ways! This was accomplished by applying various film-making techniques. When Lemmy was walking to a particular location, a continuous shot followed Lemmy to his destination. A perfect example can be found toward the beginning of the film, when Lemmy is being led toward his hotel room. For scene transitions, flashing lights were incorporated to signify a bridge between scenes. After Alphaville’s computer, Alpha 60, is finished explaining one of the city’s many beliefs, a neon sign of a math equation flashes until a scene involving Lemmy begins. Toward the end of the movie, some scenes were presented using an infrared light. This was to show a glitch in Alphaville’s technological system.

The film’s sci-fi world: When most people think of the science fiction genre, fantastical worlds with elaborate costumes, set designs, and makeup are usually what come to mind. For Alphaville, the creative team purposefully chose to film in real-life locations. This decision causes the titular city to appear grounded in reality. The science fiction elements of this story were woven into the behaviors of the citizens and the beliefs they hold. Using what they already had to create a science fiction narrative allowed the movie’s creative team to submit a film that goes against the genre’s norm.

Magnifying fingerprints image created by Balintseby at freepik.com. <a href=”https://www.freepik.com/free-photos-vectors/glass”>Glass vector created by Balintseby – Freepik.com</a>. <a href=’https://www.freepik.com/free-vector/fingerprint-investigation_789253.htm’>Designed by Freepik</a>. Image found at freepik.com.

What I didn’t like about the film:

The film’s science fiction ideas: In a typical science fiction film, the sci-fi ideas are presented as understandable enough for the audience to know what’s happening on screen. This was unfortunately not the case for Alphaville. The ideas associated with this story were so high-concept and complex, that I found myself not understanding what the characters were talking about most of the time. It also doesn’t help that the characters fail to provide clearer explanations for these ideas. This feels like the creative team expected the audience to know what was being discussed before they saw the movie.

Lack of context: In my review of The Crow, I talked about how questions emerged without an answer or an elaboration being provided. This is the exact same mistake that the creative team behind Alphaville made. The majority of female characters in the 1965 picture can be seen with number tattoos. No context is given for why they have this type of tattoo or the meaning behind the tattoo itself. In one scene, Lemmy and Natacha are attending a gathering where people who disobey Alphaville’s beliefs are being punished. Natacha explains how there are more men than women who get punished at these gatherings. She never gives further explanation for why this is the case. Because of the lack of context, it adds to the story’s overarching confusion.

No sense of urgency: Film noir movies usually have a slower pace. This is done on purpose to flesh out the overall story. However, there is an underlying sense of urgency. While watching Alphaville, I could not detect any amount of urgency in the story. For most of the film, Lemmy could be seen in his hotel room, roaming around the city, or visiting the Alpha 60 headquarters on rare occasions. Even though he resolves the film’s conflict, this doesn’t happen until about the last twenty minutes.

Colorful galaxy image created by Freepik at freepik.com. <a href=’https://www.freepik.com/free-vector/lovely-hand-drawn-galaxy-background_2943080.htm’>Designed by Freepik</a>. <a href=”https://www.freepik.com/free-photos-vectors/background”>Background vector created by Freepik</a>. Image found at freepik.com.

My overall impression:

I like participating in Movierob’s Genre Grandeur blogathon because it gives me an opportunity to see films that I may not have watched otherwise. This is certainly the case for this month’s selection, Alphaville. A combination of sci-fi and film noir was something I hadn’t seen before. But I found it to be an interesting contribution to both genres. The world presented in this story is not always found in sci-fi narratives. Bringing a newer idea to the table is what basing the world in a more realistic setting did. Cinematography was also a highlight of this project. It gave the film’s creative team a chance to experiment with different film-making techniques. However, the overall story was just ok. This was caused by confusing science fiction ideas and a lack of context. The majority of content from this story flew over my head, as I didn’t understand what the characters were talking about most of the time. I was frustrated by the overall project because I wasn’t able to grasp the concepts within Alphaville.

Overall score: 6.1 out of 10

Have you seen any French film noirs? Are there any movies from this specific genre you’d like to see me review? Please tell me in the comment section!

Have fun at the movies!

Sally Silverscreen

Take 3: Cyrano de Bergerac (1990) Review

On June 5, 2020March 20, 2022 By 18cinemalane13 Comments

When I published my Hallmark Hall of Fame Reading Challenge last March, one of the literary works I listed was Cyrano de Bergerac by Edmond Rostand. While I’ve never read the play, I was interested in seeing how Hallmark Hall of Fame would adapt this particular story. Sadly, I couldn’t find this specific version on DVD, VHS, or digital, as a lot of the collection’s movies from the ‘50s to about the early ‘80s appear to be lost. When I discovered Vincent Perez starred in the 1990 adaptation of Cyrano de Bergerac, I thought seeing this version would be the next best thing. It was also a perfect choice for The Third Broadway Bound Blogathon, as it was listed under the “Movies Made From Broadway Shows” section in the very first announcement for the event. This blogathon also happens to take place days before Vincent’s birthday, so this became another reason to review Cyrano de Bergerac! I was able to obtain a copy of this film, but I had to purchase two DVDs and a Blu-Ray just to find one that worked with my home entertainment system. Read my review to find out if this film was worth the search!

After weeks of searching, I finally found a DVD copy of *Cyrano de Bergerac* I could watch! Screenshot taken by me, Sally Silverscren.

Things I liked about the film:

The acting: Since I chose this film because of Vincent’s involvement, I’ll talk about his performance first. One aspect that stood out to me was how his voice was always soft-spoken. This fit his character, Christian de Neuvillette, well because he wasn’t as confident with his words, like Cyrano. I also noticed how sincere Vincent’s performance came across. No matter what situation Christian is in, he always has his heart in the right place. The goodness of this character showed through in Vincent’s portrayal, which helped Christian be as likable as possible! Since I just mentioned Cyrano, I will now talk about Gérard Depardieu’s performance. The word I’d use to describe his portrayal of the titular character is expressive. Every feeling Cyrano was experiencing felt genuine, emotions appearing in his facial expressions, body language, and poetry. Toward the beginning of the film, Cyrano performs at a local theater and participates in a dual shortly after. Gérard was able to adapt to every situation given to his character. Besides Vincent and Gérard, the cast is filled with talented actors and actresses. Anne Brochet is one of those cast members, bringing a gentle nature to her character, Roxane. Through emotionality, Anne brings her character to life in a way that feels believable. One example is when Christian and Cyrano visit her at her balcony.

The historical accuracy: As I’ve said before on this blog, the quality of a film’s historical accuracy can show how much a creative team cares about their project. The historical accuracy of Cyrano de Bergerac is proof of this statement! The world in this movie felt immersive, presenting the locations with a sense of realism. The set designs reflected the financial situation/social status of the characters, with the local bakery and Roxane’s room being perfect examples. While the bakery featured a simpler interior design, Roxane’s room appeared elegant. Costumes looked appropriate for that specific time period, with the color palette for the cast’s wardrobe ranging from lighter shades of beige and blue to darker tones of gray and black. Tools and utensils from yesteryear were used by the characters, such as Cyrano and Christian applying a wax seal on letters to Roxane. This movie shows that no detail was ignored.

The humor: One of the strongest elements of this film was the humor! Not only was it well-written, but the humor itself seemed to fit that world. The funny moments within Cyrano de Bergerac were also given good executions by the actors. My favorite scene is when Christian continuously interrupts Cyrano’s story by making references to Cyrano’s nose. During this exchange, Christian would sometimes only say “nose” to get a reaction from Cyrano. While Christian appears unfazed by Cyrano’s reactions, Cyrano becomes more irritated as the scene continues. This scene made me repeatedly laugh, as I found it hilarious!

The Third Broadway Bound Blogathon banner created by Rebecca from Taking Up Room. Image found at https://takinguproom.wordpress.com/2020/03/20/announcing-the-third-broadway-bound-blogathon/.

What I didn’t like about the film:

The under-utilization of Vincent Perez: Vincent Perez is one of the reasons why I sought out the 1990 adaptation of Cyrano de Bergerac, as I’ve enjoyed his acting performances so far. Before watching this movie, I knew his involvement in the project was a break-out role and likely the biggest role he received at that time. However, because Vincent is billed as the main supporting actor, I was disappointed to find out he was in the film for a limited amount of time. The majority of the story revolves around Cyrano, which means that Vincent was only given a reduced amount of material to work with. There were even large intervals when Vincent was not featured on screen. Usually, main supporting actors receive about half the screen-time the film’s protagonist does. In the case of Cyrano de Bergerac, however, the antagonist, Comte Antoine de Guiche, is given more prominence in the production than Vincent’s character.

The war storyline: Prior to seeing Cyrano de Bergerac, I had a general knowledge of what the story was about. The movie is even classified as a “comedy-drama”, with the assumption that the romantic aspects of the story would fall under the “drama” part. While the comedy and romance within Cyrano de Bergerac dominated the first half of the film, a storyline involving a war took over the film’s second half. The build-up toward the event and the reasoning behind it felt too “inside baseball”. It also caused the entire story to pull a “bait and switch” with its overall tone. Based on the knowledge I had about this film and even based on the DVD cover, I expected the light-hearted tone within the first half to have a consistent presence throughout the film. Even though there were romantic and light-hearted moments within the second half, some of them didn’t feel like they fit in the context of the war.

The poetic monologues: I’m aware that Cyrano is known for being “a man of many words”. I also know the original play was written only in verse. The poems themselves weren’t the issue, as the poetic monologues within this film were performed and written well. However, some of them lasted too long. Toward the end of the movie, Cyrano recited one of his signature monologues. Because it was long in time length, the monologue made the scene drawn out. I realize that the reason for the long monologues was to satisfy the film’s run-time. Personally, I think, at least, a few of the them should have been a bit shorter in length.

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My overall impression:

I’ve heard that the 1990 adaptation of Cyrano de Bergerac is “the definitive film version of the Edmond Rostand play from 1897.” This is the only film version of the story I have seen. As I also said in the introduction, I have never read the play. So, I can only judge this film simply as a film. Cyrano de Bergerac is a good, solid movie! I found myself invested as the story was unfolding and I can definitely see how this could be presented on Broadway. The poetic dialogue was an interesting choice that helped this project achieve a unique identity. However, there were aspects that prevented the production from being better than it was. Some of the poetic monologues were too long, causing scenes to feel drawn out. Despite flaws like that one, I’m glad I was given an opportunity to see this film! If you do choose to watch this version of Cyrano de Bergerac, keep in mind it is a rarer title to find on physical media. While this movie did receive a Blu-Ray release, prices can get expensive.

Overall score: 7.6 out of 10

Do you enjoy movies based on Broadway shows? Are there any literary adaptations that you like? Tell me in the comment section!

Have fun on Broadway!

Sally Silverscreen

Take 3: Au revoir les enfants Review + 165 & 170 Follower Thank You

On January 13, 2020December 25, 2020 By 18cinemalaneLeave a comment

At the beginning of the month, my blog received 165 followers! While I was figuring out which movie I would review, I was creating a new blogging schedule for myself. Several days ago, 18 Cinema Lane received its 170^th follower! So, for this blog follower dedication review, I decided to write about one movie while acknowledging both milestones. I chose to talk about a French film called Au revoir les enfants! Foreign films are rarely talked about when it comes to these specific reviews. In fact, the first one I discussed was Vampyr last October. Au revoir les enfants has also been on my DVR since last February. So, I thought these reasons would be a good excuse to finally watch this film! While Vampyr is a French and German production, I have reviewed a French film on this blog before. For Clean Movie Month, I talked about the 1950 project, Les Enfants Terribles. Will my thoughts on Au revoir les enfants be similar to those on the aforementioned French film I reviewed last year? You’ll just have to read this post if you want to find the answer!

20200111_230227[1] — I chose to use this poster for the review because it verifies that I, indeed, watched this film. Screenshot taken by me, Sally Silverscreen.

Things I liked about the film:

The acting: Movies that have young actors make up the majority of the cast can be hit-or-miss. In the case of Au revoir les enfants, this aspect worked in the film’s favor! All of the young actors were not only allowed to act their age, but they were able to work alongside other actors within their age group. This made their performances feel genuine and realistic. Speaking of realism, I noticed that all of the character portrayals and the situations showcased in the movie appeared like it came directly from real-life. It gave these elements a sense of authenticity. Because this film is based on a true story, the creative team’s focus on making the characters and situations look and feel believable seemed to be taken very seriously.

The historical accuracy: This film takes place in early 1944. Because of this, all of the material elements of the project looked like it came directly from that period in time. The wardrobe of all the characters feature articles of clothing that one would likely find within the mid ‘40s. The architecture of the boarding school shows off the preserved interior and exterior style from an era gone by. Even the finer details of the picture, such as the books, feel like relics of that specific year. While watching this film, I noticed the way the characters spoke also reflected the time period. Whenever subjects related to World War II were brought up, it was done in a very subtle way. Even though this was a period film, I never felt like I was being talked down to or like the movie was treating itself like a history lesson. If anything, I felt like I was watching a moment in time.

The presentation of the subtitles: How the subtitles are presented in foreign films is very important. If they can be seen clearly, it allows the audience to better understand what the characters are saying. I liked how the subtitles were showcased in Au revoir les enfants! While all of the text was white, it was presented against backgrounds that were dark in hue. The very first scene in the movie is a great example of this. The station and train itself adopted colors of black and gray. None of the characters in this scene wore bright colors. Because of this creative decision, I never had a difficult time reading the subtitles.

491032-PH3FVI-159 — Hanukkah mehorah image created by Freepik at freepik.com. <a href=’https://www.freepik.com/free-photo/mehorah-with-flaming-candles_3299423.htm’>Designed by Freepik</a>. <a href=”https://www.freepik.com/free-photos-vectors/background”>Background image created by Freepik</a>. Image found at freepik.com.

What I didn’t like the film:

A weak plot: The more movies I watch, the more I realize that “slice of life” stories aren’t my thing. That’s because I don’t find them to be as intriguing as other cinematic stories. That’s what the majority of Au revoir les enfants is: a “slice of life” story. To me, it didn’t contain as much interest as it could have. It felt like the screenwriter put so much emphasis on the premise of Julien and Jean’s relationship, that there was nothing else to offer in the narrative.

A somewhat mis-leading premise: In the synopsis I read for this movie, it said the film was about a Catholic boy and a Jewish boy becoming friends during World War II. However, the friendship aspect of their relationship isn’t portrayed until about the last twenty minutes of the film. Julien and Jean spend most of the movie apart than together. In fact, Julien starts off not liking Jean as a person. Julien does become nicer to Jean as the film progresses. When this does happen, it just makes them seem like acquaintances more than anything.

Situations being shown, but not explained: Throughout Au revoir les enfants, there are situations shown on screen that aren’t given explanations. One example is when Julien pokes his hand with a compass. As he is doing this, he tells the classmate sitting next to him how it doesn’t hurt. Not only was this action never explained, but it’s never referenced again in the movie. Julien’s action didn’t seem to serve a purpose for his character development or the overall narrative. Moments like this one happened at several times in the film and I found myself being frustrating by them.

3 paris — Illustration of Paris, France created by Freepik at freepik.com. <a href=”https://www.freepik.com/free-photos-vectors/travel”>Travel vector created by freepik – http://www.freepik.com</a>. Image found at freepik.com.

My overall impression:

Before I share my final thoughts on this film, I want to thank each and every one of the followers! 18 Cinema Lane would not be the success it is today without you. Now, on to my overall impression of Au revoir les enfants! Personally, I thought it was just ok. The movie does have merits that are earned, as well as a plot twist that works. But the overall project could have been stronger. As I mentioned in my review, Au revoir les enfants is based on a true story. It felt like the creative team approached the narrative as respectfully as possible. Because the creation of the movie was handled with a sense of reverence, it allowed the film to have the emotional weight it contained. The realism of the acting and writing gave me a reason to stay invested in what the characters were saying and doing. I’m not often given opportunities to watch and review French films. However, I’m glad I chose this movie for my latest blog follower dedication review!

Overall score: 6.1 out of 10

What are your thoughts on my review? Are there any French films you’d like to see me review? Tell me in the comment section!

Have fun at the movies!

Sally Silverscreen

Take 3: Les Enfants Terribles Review (Clean Movie Month — #4)

On July 22, 2019October 18, 2019 By 18cinemalane5 Comments

Several months ago, I recorded the French film, Les Enfants Terribles, on my DVR. Since I don’t watch many foreign films, I wanted to see this film as a way to expand my cinematic horizons. When I found out that this particular movie was released during the Breen Code era, in 1950, I was curious to see if any traces of the Breen Code could be found in the film. So, that is why I chose Les Enfants Terribles for one of my Clean Movie Month reviews! If you read my review of Madeleine, you would know that Les Enfants Terribles is not the first foreign film I reviewed for this blogathon. In fact, I was quite surprised that Madeleine was approved by the Breen Code. An interesting coincidence is both Madeleine and Les Enfants Terribles were released in the same year. So, it’ll be interesting to see how this French film from 1950 compares to the British film, also from 1950!

20190721_222820 — I’ve seen other posters for this movie, but I like this one the best! Screenshot taken by me, Sally Silverscreen.

Things I liked about the film:

The acting: The acting in Les Enfants Terribles was one of the finer points of the movie! The two main characters, Paul and Elisabeth, were very interesting to watch because of the lead stars’ acting performances! Nicole Stephane brought the character of Elisabeth to life with a sense of fierceness and strength. These two elements helped her carry the film. She was also able to stand on her own merits when it came to acting among the other actors and actresses! Edouard Dermit portrayed Elisabeth’s brother, Paul. The well-roundedness of his acting talents was very clear to see in this film. Paul goes through a lot in Les Enfants Terribles. In every scene, Edouard brought his A game and even made his character seem like he was a real person. Over the course of this story, Edouard not only incorporates a sense of realism to his character, but also pulls off an acting performance that was mesmerizing to watch!

The music: At certain points in the film, orchestral music could be heard. This type of music would normally come into the movie anytime a new location was introduced. I thought this was an interesting choice because it fit the film’s overall tone. The orchestral music was grand yet sinister, highlighting Paul and Elisabeth’s journey through wealth and growing up. In one scene, Elisabeth’s husband, Michael, sings a song while playing the piano. Not only did the piano music sound good, but the song was also sung well. The music’s role in Les Enfants Terribles brought a special significance to the project!

The dynamics of the characters: Les Enfants Terribles puts more focus on the characters than the story itself. Despite this, it was fascinating to see how the characters interacted with one another. Throughout the film, lives are transformed and relationships are built among Paul, Elisabeth, and the people around them. What makes this part of the movie work is the screen-writing as well as the acting. These two elements provide the perfect combination for making the characters as interesting as they were.

Clean Movie Month banner created by Tiffany and Rebekah Brannan from Pure Entertainment Preservation Society. Image found at https://pureentertainmentpreservationsociety.wordpress.com/2019/07/01/cleanmoviemonth85-is-here/.

What I didn’t like about the film:

Lack of explanation for Paul and Elisabeth’s “game”: During the movie, Paul and Elisabeth play a game that only the two of them know about. However, no explanation to what this game is or how it’s played was ever given in the story. While watching the film, I tried to figure out more about the game. But, without an explanation, it was very difficult to understand the importance of it. I also noticed that this game was featured in the story when it was convenient for the plot. This is because the game itself was mentioned on very few occasions.

A misleading premise: According to Turner Classic Movies’ (TCM’s) website, Les Enfants Terribles is about “a brother and sister close themselves off from the world by playing an increasingly intense series of mind games with the people who dare enter their lair”. As I’ve already mentioned, Paul and Elisabeth’s “game” wasn’t well explained or featured in the movie for very long. The sibling relationship of Paul and Elisabeth seemed very toxic, from calling each other names to treating each other horribly. If anything, this movie was about two things: siblings who grow apart and a young woman who slowly becomes obsessed with power and control. Since the movie was different than its synopsis, I found TCM’s description to be misleading.

An unclear time-line: Les Enfants Terribles takes place over the course of several years. But, to me, this movie felt like all the events happened within a year. This was because there were no clear explanations about when certain situations were taking place. Time-cards and any mentions of the year were not found in this movie. Even the narrator didn’t talk about how much time had passed. The film’s time-line became very confusing, leaving me wondering how many years were included in the story. Because of the unclear time-line, the characters appeared as if they were frozen in time.

My overall impression:

I ended up liking Les Enfants Terribles more than I thought I would! It was an interesting film that had a few surprises in store. The movie itself is a character study/character driven story, showing how they evolve as time goes on. The acting was really good and the characters were well developed, helping this narrative become engaging. As I was watching Les Enfants Terribles, I could see some of the Breen Code’s influence. One example was anytime the doctor came to examine Paul. Either the examination itself was not shown on-screen or the doctor would only be shown listening to Paul’s heartbeat. However, when it came to this film, the Breen Code could have been enforced more. There were several times where characters were swearing, either at each other or just for the sake of it. This shocked me because not only was Les Enfants Terribles released in 1950, but it was also released during the Breen Code era. I was surprised that this movie got away with having this much language in the early ‘50s. Was this particular film the beginning of the end for the Breen Code? That’s definitely a question for another day.

Overall score: 7 out of 10

Have you ever watched a French film? Which foreign film have you always wanted to see? Share your thoughts in the comment section!

Have fun at the movies!

Sally Silverscreen

Take 3: Madeleine Review (Clean Movie Month — #3)

On July 17, 2019July 17, 2019 By 18cinemalane8 Comments

When I discovered the film, Madeleine, on Turner Classic Movies’ (TCM’s) website, the movie’s premise is what caught my attention. I recorded the film on my DVR and saved it for a special occasion. Since Madeleine was released in 1950, during the Breen Code era, I finally found that special occasion. While learning more about the movie, I made some surprising discoveries. The first was who the director is. David Lean not only directed Madeleine, but he also directed Lawrence of Arabia, which I reviewed last November. Another discovery I made was where the film was made. Madeleine was created in the United Kingdom, meaning that it’s considered a foreign film. The fact that this movie was approved by the Breen Code, as the logo can be seen during the opening credits, surprised me. This is because I was given the impression, after reading the article, “The Production Code of 1930’s Impact on America” from Pure Entertainment Preservation Society, that foreign films weren’t directly impacted by the Breen Code. On IMDB, Madeleine is labeled as a crime drama. This detail made me curious as to how the Breen Code would influence this story. Well, the wait is over, as it’s now time to review 1950’s Madeleine!

Madeleine poster — *Madeleine* poster created by The Rank Organization. Image found at https://en.wikipedia.org/wiki/File:Madeleine_1950.jpg.

Things I liked about the film:

The acting: I liked watching the various acting performances in this film! Everyone did a good job with the acting material they were given! This is especially the case for the star of the movie. Throughout Madeleine, Ann Todd carried the movie with versatility. This helped her portrayal of the titular character be as believable as possible. Another performance that I enjoyed seeing was Ivan Desny’s! The way he portrayed Emile L’Angelier came across very believably. One such example is anytime Emile appeared ill. Like Ann, Ivan brought versatility to his performance. It worked in his favor, as his character was captivating to watch on-screen!

The setting: Like I said about Jersey Boys, the world in Madeleine was well crafted! All of the locations, as well as other aspects of the film, looked and felt like the movie’s respective time period. Even the artwork on the walls of the Smith family home reflected the Victorian era. This showed me that the creative team behind this movie were very detail oriented, caring about what was presented on-screen. Also, like Jersey Boys, the world in Madeleine was very immersive! It made the audience feel like visiting this created world was possible.

The on-screen chemistry: I was pleasantly surprised by the on-screen chemistry of Ann Todd and Ivan Desny! Anytime they were on-screen together, they made the relationship of Madeleine and Emile appear believable. Because of this, it was interesting to watch their relationship evolve as the film went on. Ann and Ivan’s on-screen chemistry kept me invested in their on-screen interactions. Even though I knew the fate of Madeleine and Emile’s relationship, I was curious about which directions they would go in. This aspect of the characters definitely added something interesting to the story!

265038-P4TIN9-926 — Envelope with hearts image created by Freepik at freepik.com. <a href=’https://www.freepik.com/free-photo/hearts-and-pink-envelope-for-mothers-day_1950691.htm’>Designed by Freepik</a>. <a href=”https://www.freepik.com/free-photos-vectors/love”>Love image created by Freepik</a>. Image found at freepik.com.

What I didn’t like about the film:

The accents: As I said in my Jersey Boys review, accents in movies can be hit or miss. The characters in Madeleine had accents, but they didn’t reflect where they were from. This story takes place in Glasgow, Scotland. However, every member of the Smith family speaks with a British accent. Emile L’Angelier is known as a Frenchmen. While Ivan tried his best to speak with a French accent, it wasn’t consistent enough to sound believable. More often than not, Ivan could be heard speaking with a British accent. I understand that the film was created in the United Kingdom. But it never felt like an effort was made from the film’s creative team to encourage the appropriate accents for their characters.

A drawn-out plot: Madeleine is about a woman who is accused of murdering her lover. However, the crime itself isn’t featured in the story until the film’s half-way point. The first half of the movie is dedicated to showing the build-up to the crime. Personally, I think this part of the story didn’t need to last that long. At most, the build-up could have been fifteen or twenty minutes. If this was done, the narrative would get straight to the point, expressing the script’s idea sooner. This also could have helped shorten the film’s run-time.

A lack of mystery: When I found out that this film was considered a crime drama, I was looking forward to seeing a mysterious and intriguing story unfold on-screen. Unfortunately, there wasn’t a lot of mystery in this movie. The creative team behind Madeleine tried to incorporate a mystery in the second half of the film. But because the build-up to the crime was featured in the first half of the story, the second half wasn’t as effective as the creative team had hoped. Madeleine should have taken place during Madeleine’s trial, with flashbacks coming into the story during people’s testimonies. With this approach to the story-telling, the audience could have been left wondering throughout the film if Madeleine was, indeed, guilty.

My overall impression:

Madeleine made me feel the same way that Jersey Boys did. Both films are just ok. There are things about them that I can appreciate. Yet, they were held back from being better than they were. I expected more from Madeleine, thinking I would get an intriguing mystery story. Instead, the narrative was drawn-out and the mystery aspect was poorly executed. But, throughout the movie, I could tell that the creative team behind Madeleine had put in an effort to make the best film they could. Similar to Citizen Kane, I could see the Breen Code’s influence within Madeleine. Anytime Madeleine and Emile kissed, they turned their heads to hide the kiss from the audience. All of their kisses only lasted a few seconds. Madeleine and Emile engaged in an affair throughout the film. But because of how the script was written, their relationship was never labeled as an affair. Also, the word “affair” was never said by any of the characters. After watching this film, I’m now curious to find out what other foreign films were approved by the Breen Code.

Overall score: 6 out of 10

Have you seen any of David Lean’s films? Which foreign film released during the Breen Code era is your favorite? Share your thoughts in the comment section!

Have fun at the movies!

Sally Silverscreen