Hollywood Canteen (1944). 124 minutes. Directed by Delmer Daves. Starring Robert Hutton (as Slim Green) and Dane Clark (as Sergeant Nolan). Also starring as themselves: The Andrews Sisters, Jack Benny, Joe E. Brown, Eddie Cantor, Kitty Carlisle, Joan Crawford, Bette Davis, Jimmy Dorsey, John Garfield, Sydney Greenstreet, Paul Henreid, Joan Leslie, Peter Lorre, Ida Lupino, Joan McCracken, Roy Rogers and Trigger, S. Z. Sakall, Barbara Stanwyck, and Jane Wyman.
Hollywood Canteen is a World War Two-era propaganda film that takes place in the real Hollywood Canteen, a wartime nightclub for G.I.s that operated from 1942 to 1945 and was staffed by Hollywood superstars. Inside the canteen, the most glamorous names in the film industry performed menial labor by preparing food, waiting tables, and cleaning up after guests, and provided entertainment on a main stage. The movie Hollywood Canteen offers us a glimpse of what a canteen guest’s experience might have been like while also promoting the war effort and the … 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
The following article is a review of three film adaptations of Dashiell Hammett’s novel The Maltese Falcon: the pre-Code Maltese Falcon (1931), the bizarre comedic Satan Met a Lady (1936), and the superb film noir version (1941).
Synopsis: The Maltese Falcon by Dashiell Hammett (1929)
Sam Spade is a private detective working in San Francisco. A woman identifying herself as Miss Wonderly appears in his office one day and asks for his help: she claims her sister is visiting the city in the company of a disagreeable man, and Wonderly wants the two separated. Spade’s partner Miles Archer takes over the case and agrees to shadow the man, Thursby, but that evening both Miles and Thursby are shot dead.
The next day, Spade meets up with Wonderly, who explains that she and Thursby were involved in a plot to capture an illusory, legendary, jewel-studded falcon statuette that has been smuggled around the world by treasure hunters through the ages. … Read the rest
Stranger on the Third Floor (1940). 64 minutes. Directed by Boris Ingster. Starring Peter Lorre (as the Stranger), John McGuire (as Michael Ward), Margaret Tallichet (as Jane), Charles Halton (as Albert Meng), and Elisha Cook, Jr. (as Joe Briggs).
Stranger on the Third Floor is a noir curiosity from 1940, cited by many as the first entry in the genre’s classic period, which spanned roughly from 1940 to 1959. I would say that it stars Peter Lorre, except that he barely appears or even talks in the movie until three quarters have elapsed—and yet Lorre was such an impressive actor at the time that he received top billing nevertheless.
Lorre is the reason to see this movie. He plays the weird and enigmatic Stranger, a curious fellow whom protagonist Michael Ward suspects of murdering a neighbor. Lorre’s early silent appearances as the Stranger—lurking on the front stoop of Ward’s building, peeking out of a door on Ward’s apartment landing, peering … Read the rest
M (1931). 110 minutes. Directed by Fritz Lang. Starring Peter Lorre (as Hans Beckert), Gustaf Gründgens (as The Safecracker), and Otto Wernicke (as Inspector Karl Lohmann).
It has often been pointed out that M is a terrific example of a film that bridges the silent and talkie periods. M was German director Fritz Lang’s first talkie, and it makes use of sound in a very interesting way. For many early filmmakers, their first ventures into sound became opportunities to show off the new technology by using sound constantly and extravagantly — hence the large number of musicals in the early days of sound films. Lang’s M was different, though, in that it actually contained many evocative, intensely silent passages and, at other times, very carefully and strategically used sound. For example, early in the film, we come to know that young Elsie Beckman (played by Inge Landgut) has disappeared for good when we spy her balloon silently trapped in the … Read the rest