Author: thehorsesheadblog

#130) Notorious (1946)

OR “Went to a Nazi Party”

Directed by Alfred Hitchcock

Written by Ben Hecht. Based on the story “The Song of the Dragon” by John Taintor Foote.

Class of 2006

The Plot: Immediately following the conviction of her Nazi-spy father, Alicia Huberman (Ingrid Bergman) is recruited by American agent Devlin (Cary Grant) to track down a group of Nazis living in Brazil. While down there she has a rendezvous with Alex Sebastian (Claude Rains), alleged Nazi and former “playmate” of Alicia’s. There’s also a sub-plot about uranium, but who cares? This film is all about the suspenseful, dangerous, and surprisingly heated love triangle between Alicia, Devlin, and Alex.

Why It Matters: The NFR praises Hitchcock, Bergman, and Grant, and calls the film “[a]rguably Alfred Hitchcock’s best black-and-white American film”. Warranted praise for sure, but quite a few qualifiers there.

But Does It Really?: Oh yes. “Notorious” may not crack the top of people’s Best Hitchcock list, but it is still an excellent example of Hitch’s signature style. The first American film Hitch did without David O. Selznick as “the muscle”, you can see him start to blossom artistically with “Notorious”. The clockwork script and airtight direction are aided by the undeniable star power of Cary Grant and Ingrid Bergman. They both play their parts perfectly, but also exude the kind of radiance you can only get with classic movie stars. Of all the Hitchcock films, this one has earned its reputation as his most…infamous? Is that the word I’m looking for?

Everybody Gets One: Most of the supporting cast, most notably Leopoldine Konstantin, the renowned Austrian actor in her only American film. She was so revered that she’s listed in the credits as “Madame Konstantin”.

Wow, That’s Dated: For starters, this film literally dates itself as 1946 in the opening text. “Notorious” also gives us a classic “driving in front of rear projection” scene. And speaking of traveling, guests of “Notorious” fly Pan-Am!

Take a Shot: Wow, no one says the word “notorious” at any point in this film.

Seriously, Oscars?: “Notorious” only received two Oscar nominations: Original Screenplay, and Supporting Actor for Claude Rains. Rains lost to Harold Russell for “The Best Years of Our Lives”, while screenwriter Ben Hecht lost to the screenplay of “The Seventh Veil”. You know, that classic. Most egregious of the film’s Oscar snubs was Ted Tetzlaff for his brilliant cinematography.

Other notes

• German worker? Were they not allowed to say “Nazi”? Or was it just too soon?
• Right off the bat I love this movie because of Ingrid Bergman and Cary Grant. Here are two real movie stars doing what they do best. They know exactly where the camera is and how to play to it. These two performances are not only great acting, but also a full display of that indefinable star quality.
• Devlin has Alicia’s conversation with her father recorded on vinyl. Very hipster.
• Holy crap that kissing scene is pretty sexy. I don’t usually go for Old Hollywood romance, but you can feel the heat from these two! Also, if you’re reading this post, I assume you are familiar with how everyone snuck this kiss by the censors.

• Speaking of, Hitch seems to be restraining himself in the sexual innuendo department. Either it’s so subtle I missed it, or Alma was around to keep Hitch in line.
• Cary Grant really could do no wrong as an actor. He rarely played this dark or stoic a character, but it somehow fits his screen persona like a glove.
• Oh Hitch, you and your mother issues. Alfred’s mother died in 1942, and he starts exorcising some demons with this film. And it just gets more cathartic from there.
• Claude Rains is great as a man obsessively possessive over Ingrid Bergman. Wonder if he got any pointers from his director…
• Once we get to Alicia retrieving the missing key, the film really kicks into high gear and we see the Master at work.
• Speaking of that key, this is the best advertisement Unica ever got.
• I love that crane shot so much all I can do is make the fingertips kiss gesture and type it out as “mwah!”

• You know those phrases you’ve never heard before but once you do you start to hear them everywhere? That’s me and “his nibs” right now.
• Hitchcock’s cameo is a little late in the film. Where you going, Hitch?
• Is “Notorious” the reason TCM thinks they need a wine club? And while Devlin is looking for a bottle, might I recommend the ‘34 MacGuffin?
• Alex and Alicia sleep in separate beds? Is this the Rob & Laura Petrie mansion?
• Yes, the best part of waking up is your first morning cigarette in bed.
• Why does Ingrid Bergman always marry men that want to kill her?

Legacy

• “Notorious” was remade for TV in 1992 with John Shea and Jenny Robertson. Its Wikipedia page has been removed, so that tells you the film’s success rate right there.

• The film was remade again in 2009. I haven’t seen it, but they seem to be taking a lot of liberties with the source material.

• The plot of “Notorious” has been heavily alluded to in such diverse titles as “Mission: Impossible 2” and an episode of “Star Wars: The Clone Wars”.

• Jimmy Stewart casually can’t remember the name of this movie in “Rope”.

• Perhaps the film’s most touching legacy: after filming, Cary Grant kept the infamous wine cellar key. Years later he gave it to Ingrid Bergman, who presented it to Alfred Hitchcock in 1979 during his AFI Lifetime Achievement ceremony.

After devoting every week to this blog for over 10 months, I’m finally taking a quick break and going on vacation. We’ll return to the usual format next Monday, November 13th. I won’t disclose where I’m going, but this previous post provides a helpful hint.

….it’s Disneyland. I’m going to Disneyland. I couldn’t hide it anymore!

#129) H2O (1929)

OR “13 Lakes’ Great-Grandparent”

Directed by Ralph Steiner

Class of 2005

The Plot: Water. It’s 12 minutes of water in various forms (though mostly up-close and abstract). No music, no commentary, just water.

Why It Matters: The NFR calls the film a “cinematic tone poem” with “striking visual effects”.

But Does It Really?: I dunno. We got plenty of Ralph Steiner on this list, and I can’t find any direct influence that this film has had, but it’s nice to know that avant-garde filmmaking was happening as early as the late ‘20s. If nothing else, this film must be fun to watch while high.

Wow, That’s Dated: Nothing, for the natural ebb and flow of water is timeless, much like the endless ebb and flow of life.

Other notes

• Great, now I really have to pee.

Legacy

• Ralph Steiner would go on to be the cinematographer on future NFR entries “The Plow That Broke the Plains” and “The River”, as well as a co-director on “The City”.
• Many avant-garde filmmakers cite Ralph Steiner as an influence, so he’s got that going for him.
• “H2O” would be remade in 1998 starring Jamie Lee Curtis.

#128) Schindler’s List (1993)

OR “Spielberg Sits at the Adults Table”

Directed by Steven Spielberg

Written by Steven Zaillian. Based on the book “Schindler’s Ark” by Thomas Keneally.

Class of 2004

The Plot: Based on true events, Oskar Schindler (Liam Neeson) uses his status and connections within the Nazi Party to get a factory in Kraków. He uses Jewish labor to make a fortune on enamelware. As the Nazis, led by Amon Göth (Ralph Fiennes), start to take over and the Holocaust begins, Schindler, assisted by accountant Itzhak Stern (Ben Kingsley), works to save his employees from being shipped to concentration camps. What starts out as a business strategy turns into the rescue and survival of 1200 Jewish people, later dubbed the “Schindlerjuden”.

Why It Matters: The NFR gives a summary, but no specifics for its inclusion. An essay by late film critic Jay Carr is much more supportive, calling the film, among other things, “a stunning achievement”.

But Does It Really?: This is another one of the “untouchables” on this list. The degree of difficulty on this film was high, and “Schindler’s List” sticks the landing. It is an incredible film that excels in every department. There are minor historical qualms to be sure, but as a film it is flawless. Any attempt at recreating the Holocaust could veer dangerously into the manipulative, but Spielberg and his team treat every aspect of the events with respect and unapologetic realism. Special mention to Janusz Kamiński’s peerless cinematography, John Williams’ subtle yet powerful score, the masterful work of Liam Neeson and Ralph Fiennes, and of course, Spielberg solidifying his place as a director whose work will be remembered for years to come.

Everybody Gets One: Almost everyone, notably actors Neeson and Fiennes, and violinist Itzhak Perlman.

Wow, That’s Dated: Spielberg and cinematographer Janusz Kamiński wanted a timelessness to the film, and that’s exactly what they got. The only giveaways are the early ‘90s Universal logo, and the end credits’ mention of the original soundtrack available on “CDs and Cassettes”.

Seriously, Oscars?: A critical and commercial success, “Schindler’s List” did what no other Spielberg film had done before; it swept the Oscars. “Schindler” led with 12 nominations and won seven, including Picture, Adapted Screenplay, Score, Cinematography and, at long last, Best Director for Steven Spielberg. Notable among its losses, Neeson and Fiennes’ subtle performances lost to the more Oscar-friendly work of Tom Hanks and Tommy Lee Jones, the film lost Sound Mixing to Spielberg’s other 1993 film, “Jurassic Park”, and the film lost Makeup to, of all films, “Mrs. Doubtfire”.

Other notes

• We have Kate Capshaw to inadvertently thank for this film. Spielberg was already attached to produce the film since the early ‘80s, but kept turning down the opportunity to direct, feeling he wasn’t “mature” enough. His then-fiancée Kate Capshaw insisted on converting to Judaism prior to their wedding, despite Spielberg considering himself not very religious. He credits Capshaw’s conversion with reconnecting him to his Jewish roots and leading to him directing “Schindler’s List”. Thanks Willie!
• I won’t go over the historical details that may have been fabricated or exaggerated. Suffice it to say that the film is adapted from a book that, while based on interviews with many Holocaust survivors and Schindlerjuden, contains elements of historical fiction. Also, Oskar Schindler wishes he were as handsome as Liam Neeson.
• Speaking of, what I would not give to see Liam Neeson’s take on Lincoln.
• This film is a master class in scene work. You can dissect any scene in this film and learn how to effectively stage, frame and edit a scene. Especially impressive considering this is a 3-hour plus film of essentially just people talking. Kudos to everyone involved.
• Not only does Ben Kingsley provide a bit of humanity during all of the proceedings, but he also gets to deliver the line “Bring your sister”, the film’s only joke.
• It took a little over an hour, but the ghetto liquidation scene is what finally brought me to tears. It just got worse from there.
• Is it weird for me to appreciate the use of squibs in this film? It’s just so terrifyingly realistic.
• So crazy to think that the man responsible for the cartoonish Nazis in “Raiders of the Lost Ark” made this film.
• Oh dear, I can no longer take Liam Neeson asking for “certain skills” seriously.
• With this film you get one of Spielberg’s favorite trademarks: a close-up of someone in conversation while the other person is reflected in the mirror behind the first person.
• It goes without saying, but Ralph Fiennes is excellent in a role you don’t get in most films: a dimensional Nazi.
• Brief shout-out to Embeth Davidtz as Göth’s maid Helen Hirsch. I remember her best as Miss Honey from Danny DeVito’s film version of “Matilda”.
• For the last half of the film my notes simply read “Not a lot of notes, too engaged.”

Legacy

• The “Seinfeld” episode “The Raincoats” involves a subplot featuring Jerry and his date making out during “Schindler’s List”. Spielberg mentioned that he would watch “Seinfeld” to cheer him up after filming “Schindler”.

• The success of the film led to more acknowledgment and preservation of the work of Oskar Schindler, including a discovery of one of his suitcases in 1997, a discovery of one of the actual lists in 2009, and the preservation of his Kraków factory into a museum.
• Turns out Oskar Schindler and Mr. Burns have a lot in common.

• Ben Kingsley would go on to play another Holocaust survivor; Otto Frank in “Anne Frank: The Whole Story”.

• Although Spielberg dropped out of Cal State Long Beach in his youth, he returned to finish his degree in 2002. The faculty allowed Spielberg to submit “Schindler’s List” as his film project. After winning a boatload of Oscars and accolades, “Schindler’s List” earned Spielberg what he wanted the longest: class credit.

#127) Gold Diggers of 1933 (1933)

OR “Polly Parker Pranks a Pair of Pickled Patrons”

Directed by Mervyn LeRoy. Musical sequences by Busby Berkeley.

Written by Erwin S. Gelsey & James Seymour. Dialogue by David Boehm & Ben Markson. Based on the play “The Gold Diggers” by Avery Hopwood.

Class of 2003

The Plot: Backstage musicals don’t really need a plot, but this one’s got a doozy. Four actresses (Joan Blondell, Ruby Keeler, Aline MacMahon, & Ginger Rogers) strive for work during the Depression and find what may be the hit show they need. When the producer Barney (Ned Sparks) admits they have no funds, composer Brad (Dick Powell) delivers the money somewhat suspiciously. When it comes out that Brad actually comes from money, his brother Lawrence (Warren William) threatens to disown him and stop Brad’s marriage to Polly (Keeler). When Lawrence arrives, Carol (Blondell) poses as Polly and tries to bag him for herself. And in the midst of all of this are some of Busby Berkeley’s lavish production numbers.

Why It Matters: The NFR calls it “[a]rguably the definitive Depression-era musical” and praises the work of Busby Berkeley (but hey, how can you not?).

But Does It Really?: You can point to “42^nd Street” as the definitive Busby Berkeley musical, but I give this film a pass out of sheer entertainment. The “book” scenes can weigh things down a bit, but the numbers more than make up for that. Unlike other backstage musicals of the era, “Gold Diggers” actually acknowledges the Depression, paying tribute with its powerful finale “Remember My Forgotten Man”. And how can you say no to the musical that gave us “We’re In The Money”?

Everybody Gets One: We’ll see most of this film’s major players again in “42^nd Street” and “Footlight Parade”. Among the rest are go-to sassy confidante Aline MacMahon and a young Billy Barty!

Wow, That’s Dated: For starters, the title. But mainly, this film roots itself firmly in the Depression-era.

Seriously, Oscars?: “Gold Diggers” only received one nomination; Best Sound, losing to “A Farewell to Arms”. The only reason the film didn’t receive any Best Song nominations is that the category didn’t exist yet. If only it had been “Gold Diggers of 1934”.

Other notes

• We start off strong with “We’re In The Money”. And then Ginger Rogers gets an extreme close-up as she sings a verse in Pig Latin. Am I having a stroke?

• Look closely; one of the Gold Diggers is future Oscar winner (and future “Falcon Crest” star) Jane Wyman.
• We’ll see more of character actor Ned Sparks throughout this blog. Needless to say, he’s one of those actors that leaves quite an impression.
• Oh man, they fired Warren and Dubin! How meta.
• Barney mentions that Brad and Polly would make a great team “like the Astaires”. Hey man, Ginger is right there.
• Wouldn’t having the composer replace the lead cause problems with Actors’ Equity?
• Ah yes, the great film trope of musical numbers that can’t possibly fit on the stage they are being performed on.
• Polly tap-dances while wearing heels! Get it, Ruby Keeler!
• It takes about 40 minutes before this film gives you its first of Busby Berkeley’s trademark overhead shots. As always, they are splendid.
• That’s veteran character actor Charles Lane as the audience member who figures out who Brad is. You snitch.
• This film perpetrates that theater women are gold diggers and that all theater people are “cheap and vulgar”. Well…
• Pretty sure I just saw most of Joan Blondell’s boobs. Thanks, Pre-Code!
• Disney voiceover legend Sterling Holloway makes a rare on-screen appearance as a delivery boy. You can clock that voice in a second.
• Lawrence wants to be John Carradine so badly.
• Cool neon effect in “Waltz of the Shadows”! I can only imagine what a pain that was given the technical limitations of the time.

• Why is Joan Blondell Rex Harrison-ing her way through so much of “Remember My Forgotten Man”? Can’t she actually sing?

• Don’t kid yourself, obviously dubbed soloist.

Legacy

• This film spawned several films in the “Gold Diggers” series (though they were sequels in title only). Busby Berkeley and Dick Powell were on hand for most of them. The only real takeaway is the “Lullaby of Broadway” sequence from “Gold Diggers of 1935”.

• “We’re In The Money” and “Waltz of the Shadows” found their way into the Broadway adaptation of “42^nd Street”.

• The opening of this film is featured prominently in “Bonnie and Clyde”.

• And of course, everyone who’s ever sung “We’re In The Money”.

Listen to This: While on the subject of the Depression, let’s not forget the quintessential song of the era, “Brother, Can You Spare A Dime”, preserved here with recordings by Bing Crosby and Rudy Vallee.