Film Review: Berlin Correspondent (dir by Eugene Forde)


In the 1942 film, Berlin Correspondent, Dana Andrews plays Bill Roberts.

Bill is an American journalist, working out of Berlin.  Because the film takes place before America’s entry into World War II, Bill pretends to report only what the Germans want him to report.  Even while there are bombs exploding outside of the studio, Bill and his fellow correspondents report that everyone in Berlin is happy and that the German government is doing a great job.

However, Bill fills his reporting with code words, which are then interpreted by listeners in the American Intelligence service.  They understand that when Bill says that the people are happy, that means that they’re actually miserable.  When Bill says that the weather in Berlin is cloudy, that means that there is dissent brewing in the government.

Still, Captain Von Rau (Martin Kosleck) comes to suspect that Bill might be sending out secret messages and he decides to send someone to not only compromise Bill but to also discover who is feeding Bill information.  Von Rau sends his own fiancée, Karen Hauen (Virginia Gilmore), to seduce Bill.  Little does Von Rau suspect that Bill’s source of information is Karen’s own father (Erwin Kalser) and that Karen herself is going to end up falling in love with Bill.

Berlin Correspondent is typical of the films that were made to try to build support for the American war effort during the Second World War.  The hero is a tough and cynical American who pretends to not care about what is happening in the rest of the world but who eventually reveals himself to be an idealist with a strong sense of right and wrong.  Bill may say that he’s only in Berlin to report the news but, when Karen’s father is sent to a concentration camp, Bill proves himself to be willing to risk his own life to help the older man make it to Switzerland.  Karen’s father stands in for the members of the German resistance who worked from the inside to bring down the Nazis.  Bill and Karen’s love serves as a reminder that the world can come back together but only after Hitler has been defeated.

The two main Nazi villains are played by Martin Kosleck and Sig Ruman, two German actors who immigrated to the United States to escape the real-life Nazis.  Kosleck and Ruman play their characters as being buffoonish bullies who are easily outsmarted by street smart Americans like Bill.  It’s the film’s way of saying to the audience, “Are you really going to let these idiots think that they can defeat America?”  Still, a scene is included in which a crippled girl is described as being someone who should be put to death.  It’s a necessary reminder that the Nazis may be idiots but they’re also a legitimate threat.

Berlin Correspondent clocks in at a brisk 70 minutes and it features a typically strong leading performance from Dana Andrews.  If you needed someone to fight for America, 40s-era Dana Andrews would definitely be a good pick to go with.  It’s a joy to watch him outsmart the Nazis.

Film Review: The Man I Married (dir by Irving Pichel)


In 1940’s The Man I Married, Joan Bennett stars as Carol Cabbott Hoffman.

Carol is a New York-based art critic.  She is young, sophisticated, wealthy, and politically naive.  Because she has been married to a German for seven years, she has been keeping up with what has been happening in Germany but it’s clear that she doesn’t really understand the full story of what she’s hearing.  As she says, at one point, she has heard bad things about the Nazis but she also tries to keep an open mind and not get drawn in by “propaganda.”

Her husband, Eric Hoffman (Francis Lederer), has not been back to Germany in ten years and he says that he has little interest in ever returning.  But, when he receives a letter from his father (Otto Kruger), Eric announces that he has to return home for a visit.  Before Carol, Eric, and their son, Ricky (Johnny Russell), leave for Germany, they are approached by their friend, Dr. Hugo Gerhardt (Ludwig Stossel).  He explains that his brother has been imprisoned in a concentration camp and he asks Carol and Eric to deliver money to him and to appeal to the American embassy for help.  Carol agrees to do so.  Eric is noticeably reticent.

As soon as they arrive in Germany and Eric learns that his father wants him to take over the family’s factory, Eric starts to change.  He and a former schoolmate named Freida (Anna Sten) are a bit too happy to see each other again.  Eric insists on listening to the nightly radio broadcasts from Dr. Goebbels.  When Freida mentions that it is illegal to joke about Hitler, Eric surprises Carol by defending the law.  With Eric spending all of his time with Freida and dismissing Carol’s understandable suspicions by saying that she’s just being jealous, Carol meets an American correspondent named Keith (Lloyd Nolan) who reveals to her the truth of life in Nazi Germany.  Carol discovers that, rather than being the economically-strong paradise that Eric and Freida claim it to be, Germany is a place where many citizens live in fear of being heard saying the wrong thing and, as a result, they’ve chosen to close their eyes to what is going on around them.

The Man I Married is an interesting film.  It’s an anti-Nazi film that was released at a time when America was still technically a neutral nation.  Indeed, the film almost feels like it was made to prepare Americans for the inevitability of war with Germany.  When Keith mocks Carol for trying to be neutral about the Nazis, it’s clear that he’s meant to be speaking to the audience watching the film.  Eric begins the film as an erudite and seemingly charming man but, as soon as he arrives in Germany and is reunited with Freida, he reveals himself to be a fervent Nazi.  The film warns the audience not to trust those who were trying to excuse or dismiss Germany’s actions.

This is also one of the few films made before World War II that really acknowledged just how central anti-Semitism was to the Nazi ideology, acknowledging the concentration camps at a time when many in the West were refusing to admit they existed, either because they were in denial or because they just didn’t care.  Towards the end of the film, a major character is discovered to have had a Jewish mother and the reaction to the news reveals the hate that was at the heart of the Third Reich.

The Man I Married, with its portrayal of a populace that has convinced itself that their government is never to be questioned and that all dissent must be punished, is a film that feels just as relevant today as it did in 1940.  It’s a film that warns viewers of the risk of disbelieving their own eyes.

Scenes That I Love: Jean-Paul Belmondo in Breathless


Today would have been the 91st birthday of international screen icon, Jean-Paul Belmondo.

Belmondo spent the majority of his career in France, where he was one of the early faces of the New Wave and also a prominent action star, famed for doing his own very dangerous stunts.  In America, he was best-known for his starring turn in Jean-Luc Godard’s Breathless.  In Breathless, Belmondo was the perfect existential outlaw, living life day-by-day and obviously doomed but still so incredibly magnetic and stylish.

In tribute to Belmondo, here is a scene that I love, the final moments of Breathless, with Belmondo and Jean Seberg.

4 Shots From 4 Films: Special Ward Bond Edition


4 (or more) Shots From 4 (or more) Films is just what it says it is, 4 (or more) shots from 4 (or more) of our favorite films. As opposed to the reviews and recaps that we usually post, 4 (or more) Shots From 4 (or more) Films lets the visuals do the talking.

121 years ago today, the great American character actor Ward Bond was born in Benkleman, Nebraska.  In a career that last nearly forty years, Ward Bond appeared in more than 200 films and he currently holds the record for being the actor to appear in the most films nominated for Best Picture.  (He appeared in 13 nominated films, two of which won.)  He did 22 films with John Wayne and was a favorite of both John Ford and Frank Capra.

It’s time for….

4 Shots From 4 Ward Bond Films

Gone With The Wind (1939, dir by Victor Fleming, DP: Ernest Haller)

It’s A Wonderful Life (1946, dir by Frank Capra, DP: Joseph Walker and Joseph Biroc)

The Searchers (1956, dir by John Ford, DP: Winston C. Hoch)

Rio Bravo (1959, dir by Howard Hawks, DP: Russell Harlan)

Monday Live Tweet Alert: Join Us For Aftershock!


As some of our regular readers undoubtedly know, I am involved in hosting a few weekly live tweets on twitter and occasion ally Mastodon.  I host #FridayNightFlix every Friday, I co-host #ScarySocial on Saturday, and I am one of the five hosts of Mastodon’s #MondayActionMovie!  Every week, we get together.  We watch a movie.  We snark our way through it.

Tonight, for #MondayActionMovie, the film will be 1990’s Aftershock!  Selected and hosted by Rev. Magdalen, this movie is about life after an eclipse!  So, you know it has to be good!

It should make for a night of fun viewing and I invite all of you to join in.  If you want to join the live tweets, just hop onto Mastodon, pull up Aftershock on YouTube, start the movie at 8 pm et, and use the #MondayActionMovie hashtag!  The live tweet community is a friendly group and welcoming of newcomers so don’t be shy.   

Scenes I Love: The Trip from A Field In England


Happy Eclipse Day!

In honor of the eclipse that I will probably not be able to see because of the clouds and the rain, today’s scene that I love comes from 2014’s A Field In England.  This film may (or may not) take place during a solar eclipse.  I won’t try to explain everything that is happening in the scene, beyond stating that this particular field in England is home to some interesting mushrooms.  I encourage you see to watch the film for yourself.

Film Review: Underground (dir by Vincent Sherman)


1941’s Underground tells the story of two brothers on opposite sides in Nazi Germany.

Kurt Franken (Jeffrey Lynn) is a patriotic German who believes that the country got a raw deal at the end of World War I and who is a strong supporter of the Nazis.  He served in the army, fighting on the front.  When he returns home to Berlin, he’s missing an arm.  Whenever his friends and his family say that they’re sorry that he lost his arm, he replies that he was happy to make the sacrifice for his country.  When someone starts to mourn for his son who was killed in the fighting, Kurt accuses the man of being a traitor for doubting the wisdom of the government.  Kurt is a true believer, just the type to be recruited by the SS and tasked with helping to investigate who is behind a series of anti-Nazi radio broadcasts.  Kurt believes that, if the government says it, it must be right.  Laws must be obeyed and orders followed without question.  Kurt, in other words, is a very familiar type.

What Kurt doesn’t realize is that the man behind the broadcasts is his own brother, Eric (Phillip Dorn).  As Kurt investigates, he falls in love with Sylvia (Kaaren Verne) without realizing that she is also a part of the resistance.  While Kurt tries to discover who is behind the underground radio station, Eric and his fellow resistance members attempt to stay one step ahead of the Gestapo.

For a film made in 1941, the film’s doesn’t flinch from showing the brutality of the Gestapo.  Like all authoritarian dictatorships, The Third Reich is determined to quash any and all signs of dissent and they investigate the underground radio station with a ruthlessness that even takes Kurt by surprise.  Witnessing first hand the brutality and sadism of the government for which he gave his arm, Kurt starts to doubt his previous beliefs.  But will Kurt’s doubts come in time to save the lives of Eric and his fellow resistance members?

Made at a time when the United States was still officially neutral in the violent conflict that was sweeping the rest of the world and released just a few months before the U.S. officially declared war on the Axis Powers, Underground is a powerful look at life under a dictatorship.  Shot in a noir style, the film’s black-and-white imagery perfectly captures the harshness of life in Germany while the shadows in the background perfectly capture the paranoia of knowing that saying the wrong word could lead to arrest, torture, and death.  The film’s final minutes involve a guillotine sitting ominously in the background, a reminder that Nazi Germany was not the first authoritarian regime and that it would not be the last.

The film is well-acted, with Jeffrey Lynn epitomizing the otherwise intelligent people who allow themselves to get caught up in the madness of the majority.  His discovery of the truth about Germany was obviously meant to mirror the awakening of the Americans who previously supported a policy of neutrality.  By the end of the film, both Karl Franken and the audience understand that the time for neutrality has passed.

Retro Television Review: The Hunted Lady (dir by Richard Lang)


Welcome to Retro Television Reviews, a feature where we review some of our favorite and least favorite shows of the past!  On Sundays, I will be reviewing the made-for-television movies that used to be a primetime mainstay.  Today’s film is 1977’s The Hunted Lady!  It  can be viewed on YouTube.

Detective Susan Reilly (Donna Mills) reluctantly teams up with a chauvinistic cop named Sgt. Arizzio (Alan Feinstein) to investigate a United States senator who has presidential ambitions.  Arizzio believes that the senator is being back by the Mafia and that it would be disastrous for the country if a mob-connected politician ended up in the White House.  (Being mob-connected didn’t seem to hurt John F. Kennedy but still….)

Now, Detective Reilly and Sgt. Arizzio working together to take down a corrupt senator sounds like an intriguing premise for a movie, right?  Well, oddly enough, that’s not what this movie is actually about.  Instead, it’s about Susan going on the run after she’s framed for Arizzio’s murder.  She escapes from police custody with the help of her father.  Though she’s still recovering from being shot earlier in the film, Susan makes her way to Reno and attempts to hide out from both the cops and the Mafia assassin that has been sent to kill her.

Susan hiding out in Reno.  Hmmm …. sound like an intriguing premise for a movie, right?  Well, don’t get to attached to Susan pretending to be a professional gambler because it turns out that bullet wound was more serious than she realized and she ends up passing out from blood loss.  When she awakens, she’s in a free clinic that is run by Dr. Arthur Sills (Robert Reed).  Dr. Sills doesn’t ask Susan too many questions about her past and even hires Susan on as a nurse.  Susan and Dr. Sills fall in love and try to clear the name of a Native American who has been accused of blowing stuff up.

Doing some research, I was not surprised to discover that The Hunted Lady was originally developed as a possible television show.  The show would have played out like a combination of Charlie’s Angels and The Fugitive, with Susan moving from town to town and getting involved with a new set of guest stars each week.  With both the police and the mob trying to track her down, Susan would try to clear her name while also helping out strangers.  Unfortunately, The Hunted Lady wasn’t exactly a hit in the ratings and Susan’s further adventures went untold.

The main problem with The Hunted Lady is an obvious one.  The idea of the Mafia trying to install one of their guys in the White House is considerably more intriguing that Susan falling in love with Dr. Sills while working at a free clinic.  The whole time that Susan was helping the doctor’s patients, I was thinking, “But what about the senator?”  Donna Mills was surprisingly convincing as a tough cop but she had next to no chemistry with Robert Reed.  If anything, Reed looked annoyed at just having to be there.

Anyway, here’s hoping that Susan cleared her name eventually.  You can only run for so long.

Scenes That I Love: Harry’s Nightmare from The Conversation


1974 was a very good year for Francis Ford Coppola.  Not only did he direct the Oscar-winning Godfather Part II but he also directed another film that was nominated for Best Picture, an intense study of paranoia called The Conversation

Today’s scene that I love comes from The Conversation.  Surveillance expert Harry Caul (Gene Hackman, giving one of his best performances) fears that his work may lead to murder.  In this scene, he has a nightmare in which he tries, in vain, to talk to one of the people who he has been surveilling.  This scene perfectly captures the horrific logic and helpless feeling of a nightmare.  Harry, who is not the most open or emotional of men, can only be his true self in his dreams.

4 Shots From 4 Films: Special Francis Ford Coppola Edition


4 (or more) Shots From 4 (or more) Films is just what it says it is, 4 (or more) shots from 4 (or more) of our favorite films. As opposed to the reviews and recaps that we usually post, 4 (or more) Shots From 4 (or more) Films lets the visuals do the talking.

Today is Francis Ford Coppola’s birthday! Coppola is a bit of a controversial figure among some film scholars. While everyone agrees that, with the first two Godfathers, he directed two of the greatest films of all time (and some people would include Apocalypse Now on that list as well) and that he was one of the most important directors of the 70s, his post-Apocalypse Now career is often held up as a cautionary tale. Some say that Coppola’s career suffered because of his own excessive behavior and spending. Others argue that he was treated unfairly by a film industry that resented his refusal to compromise his vision and ambitions. Personally, my natural instinct is to always side with the artist over the executives and that’s certainly the case with Coppola. Coppola has only completed four films since the start of this current century and three of them were not widely released. Say what you will about the films themselves, that still doesn’t seem right. This year will bring us a new Coppola film, Megapolis. I know that we’re all hoping the best.

Regardless of how one views his latter career, Coppola is responsible for some of the best and most important films ever made. And today, on his birthday, it’s time for….

4 Shots From 4 Francis Ford Coppola Films

The Godfather (1972, dir by Francis Ford Coppola, DP: Gordon Willis)
The Conversation (1974, dir by Francis Ford Coppola, DP: Bill Butler)
The Godfather, Part II (1974, dir by Francis Ford Coppola, DP: Gordon Willis)
Apocalypse Now (1979, dir by Francis Ford Coppola, DP: Vittorio Storaro)