Journey into Fear (1943). 68 minutes. Directed by Norman Foster. Starring Joseph Cotten (as Howard Graham), Dolores del Río (as Josette Martel), Ruth Warrick (as Stephanie Graham), Agnes Moorehead (as Mrs. Matthews), Jack Durant (as Gogo), Everett Sloane (as Kopeikin), Eustace Wyatt (as Professor Haller/Muller), Frank Readick (as Matthews), Edgar Barrier (as Kuvetli), Jack Moss (as Banat), Stefan Schnabel (as purser), Richard Bennett (as captain), and Orson Welles (as Colonel Haki). Screenplay by Joseph Cotten and Orson Welles.
Journey into Fear features Orson Welles’s Mercury Theatre stock players in a story about a hapless American who gets caught up in a European espionage plot during World War Two. The rushed production required the actors to work in many uncredited capacities, and the movie was certainly not the artistic focus of Welles’s time at RKO in the early 1940s—a period that included Citizen Kane (1941), The Magnificent Ambersons (1942), and the ambitious and unfinished It’s All True. But Journey Into … Read the rest
Modern Times (1936). 87 minutes. Starring Charlie Chaplin (as the Little Tramp), Paulette Goddard (as Ellen Peterson), Henry Bergman (as café proprietor), Stanley “Tiny” Sandford (as Big Bill), Chester Conklin (as mechanic), and Al Ernest Garcia (as president of Electro Steel Corp.). Written, directed, and scored by Charlie Chaplin.
Modern Times is very special: unusually clever, unusually bittersweet for a comedy, and unusually and deliberately archaic. I say “archaic” because although it is from the sound era, Modern Times is largely silent, just like its predecessor City Lights (1931), also directed by and starring Charlie Chaplin and also made during the age of sound. Chaplin’s rejection of the talkies was multifaceted, and in resisting sound, he primarily sought to preserve his silent-era persona—the character known as the Little Tramp, who he did not believe could survive in a sound film. Modern Times, however, resists more than merely the demise of the Little Tramp at the hand of the new … Read the rest
The Broadway Melody (1929). 100 minutes. Directed by Harry Beaumont. Starring Anita Page (as Queenie Mahoney), Bessie Love (as Harriet “Hank” Mahoney), Charles King (as Eddie Kearns), Jed Prouty (as Uncle Jed), Kenneth Thomson (as Jacques Warriner), Edward Dillon (as stage manager), Marry Doran (as Flo), and Eddie Kane (as Zanfield). Music by Arthur Freed and Nacio Herb Brown.
The Broadway Melody is one of the first films in the sound era to use an almost completely synchronized soundtrack. The top-grossing picture in its year of release, it was widely praised by critics and was the first sound movie to win the Academy Award for Best Picture. However, the reviews of some in the industry, such as Charlie Chaplin, were not so favorable (he calls it “a cheap dull affair” in his memoir). Chaplin admittedly had much to fear with the arrival of The Broadway Melody, whose success helped to spell the end of the silent era … Read the rest
Casablanca (1942). 102 minutes. Directed by Michael Curtiz. Starring Humphrey Bogart (as Rick Blaine), Ingrid Bergman (as Ilsa Lund), Paul Henreid (as Victor Laszlo), Claude Rains (as Captain Louis Renault), Conrad Veidt (as Major Heinrich Strasser), Sydney Greenstreet (as Signor Ferrari), Peter Lorre (as Signor Ugarte), S. Z. Sakall (as Carl), and Dooley Wilson (as Sam).
I am constantly amused by how warmly and universally well-received by general audiences Casablanca is—not because I think it deserves otherwise, but rather because it is difficult for any film to endure for so long in the mind of the public at large as an unequivocal classic, and not just as a classic among many, but to many people the definitive classic film. And yet the same people go to such great lengths to diminish it while they praise it, asserting that it was merely a B movie (it was not), or that it was only one of hundreds of films produced that year … Read the rest