The Passing Barge of Romance

 L'ATALANTE (1934)

Reviewed by Jerry Saravia

French director Jean Vigo would surely have become one of France's greatest directors had his life not been cut short by tuberculosis. At the stunningly young age of 29, Vigo passed on and his last film, "L'Atalante," was compromised and trimmed without his approval by the studio. There had been six versions of the film since yet it wasn't until 2001 that we got a more fully-realized work that captured Vigo's swan song in all his splendor. 

"L'Atalante" is a French river barge commandeered by Captain Jean (Jean Daste) who has just married  a village girl named Juliette (German actress Dita Parlo). Their wedding procession leads them out of a village to the barge, presumably living with Jean in the barge as they travel around the world. The conditions inside the barge are not the best as evidenced by several different cats and kittens, all kept by a Pere Jules (Michel Simon), the old seaman who has collected all sorts of knick-knacks on his worldly journeys. His knick-knacks include a conductor puppet, a jar containing the severed hands of a mate who died long ago, and one too many fish nets, all inside a very cramped room.When the bored Juliette enters his room, it feels as if she is being greeted by an entire world that she had never seen. She is quite taken by Pere Jules and tries to be tender with him, though this does not lead to any intimacy beyond acknowledgement and potential friendship. In one shocking moment, Pere Jules shows her a knife he collected from his travels, cuts himself with it and she is shocked and sticks out her tongue for a second, as if she was about to lick his wound. You probably will not any moment in like that American pre-Code cinema.  

All this is interrupted by the madly jealous Jean who tears apart Jules' room. Jean yells mostly at Jules for having collected too much junk but he's mostly mad at Juliette. Promises of a night out in the town of Paris are cut short by Jules who takes off with his young cabin boy assistant to see a fortune teller, and steals a horn for his phonograph! Meanwhile, Juliette and Jean eventually visit a merry dance hall where they encounter a happy-go-lucky street peddler who flirts with Juliette and dances with her. Jean gets jealous again and they return to the barge. Eventually, Juliette sneaks out at night to Paris and Jean leaves abruptly on the ship, insulted and raving mad at her for leaving their bed. 

"L'Atalante" has a potentially flimsy story that is transformed by Jean Vigo's heart and attention to detail specifically the harsh conditions of the ship, and of Paris itself with its lack of jobs and crime in the streets, that makes it sing heartily. The movie is at times joyous and pulsates with the vibrancy of this couple's love - it gives you a lift to see the happiness in this couple and Juliette's genuine smile (I was quite moved when they sort of wrestle with each other on top of the barge). When their marriage goes sour, we feel for them and want them together - they are clearly naive and inexperienced in love. They need to mature and respect each other and know their love can overcome anything. Jean becomes a stoic man, unable to play checkers with Jules. We get parallel actions of them in bed, writhing with pleasure and wanting to be close. It is saddening for a second, then finally heartrending to see them reunite. There's a mere hesitation only because maybe neither one knows where they really stand. You embrace, you love, and now there's the rest of your life. It is a genuine romantic movie and, though it is not nearly at the level of 1927's "Sunrise," it will still give you goosebumps for days. 

C for Cinematic, H for Hitchcock

 DIAL M FOR MURDER (1954)
Reviewed by Jerry Saravia

It is no accident that the perfect murder is near impossible in reality, not to mention in movies and mystery books, because there is always a slip up. Tony Wendice (Ray Milland), a former tennis pro, is cocksure that a planned murder by a former associate of his will be delivered without a hitch (no pun intended). Just when you think of every conceivable aspect of a planned murder, however, some small detail is always overlooked. When you watch "Dial M for Murder" unfold, you are thinking where the slip up could be. Considering Wendice doesn't commit the murder, he did not think about unplanned and unforeseeable actions that derail his plans. 

The opening introduction of Wendice with his soon-to-be accomplice, Charles Swann (Anthony Dawson), and the initial discussion of buying a car leads to Swann's criminal background and the perfect murder is truly riveting stuff and holds your attention. The whole scene takes place in a single room in an apartment and director Hitchcock cleverly stages the scene with various angles, including the customary low angles and high angles of his later work. No shot is repeated twice and by consistently switching it up with occasional pans across the living room to a desk with curtains in the background and selective master shots, it becomes a master class in how to make a room with two people talking crackle with excitement. That the actors involved are suave, sophisticated Ray Milland and inquisitive, dapper Anthony Dawson are sufficient yet we also get angelic-looking Grace Kelly as Wendice's not-so-angelic cheating wife and Robert Cummings as a mystery novelist who is in love with Kelly. Adding enormously to the proceedings is John Williams as the fastidious Scotland Yard detective. You never think for a moment you are watching a filmed stage play.

"Dial M for Murder" is not great Hitchcock but it is tight, formal storytelling where everything falls in place precisely. It's just the murder that doesn't. 

College widow and swordfish

 THE HORSE FEATHERS (1932)

Reviewed by Jerry Saravia

Harpo Marx gets to impressively play the harp for an extended period of time and catch some dogs, maybe a policeman. Groucho Marx gets to uproariously sing "Whatever It Is, I'm Against It" as a professor in front of the faculty, and makes a mockery of everyone. Chico Marx is finicky about getting the right password for entry to a speakeasy, and argues until he accidentally gives it away ("Swordfish" of course). Zeppo Marx, the most normal of the Marx Brothers, is interested in the "college widow" (Thelma Todd). Meanwhile there is some business about kidnapping two college football players.

"The Horse Feathers" is pure tomfoolery fun, though not nearly as anarchic as "Monkey Business" or "Duck Soup" (the latter is tied with "A Night at the Opera" as their greatest comical work). There is so much to enjoy here from the double, sometimes triple takes delivered by Groucho as well as his various one-liners. I howled with laughter at many but especially at Groucho who believes that a "father further" is more appropriate than "Anything further father?" The constant interruption in the college girl's bedroom from Groucho coming and sitting on her lap while opening an umbrella, to Chico and Harpo both bringing in blocks of ice and throwing them out the window (Not sure what the heck that is all about). The football sequences are insanely funny, particularly the antics of the Marx Brothers playing cards and eating hot dogs or leading a chariot with horses tied to a garbage wagon in the middle of the field. 

For a 1932 flick pre-Code, most of "Horse Feathers" is gleefully inoffensive and never crude (though double entendres are plentiful). There's also the unusual sight for its time of Groucho breaking the fourth wall and telling the audience to head to the lobby while Chico sings and plays piano. You just gotta love the glorious antics of the Marx Brothers because anything goes. 

Note: The term "college widow" refers to a young woman who remains in a college year after year dating different male students. Nothing further father.   

High School as a big garbage can

 THE BLACKBOARD JUNGLE (1955)

Reviewed by Jerry Saravia

I would argue that for potency alone, "The Blackboard Jungle" has not lost none of it nor is it dated. This 1950's school of juvenile delinquents may not have cell phones or computers or carry guns but their attitudes have not changed nor their propensity for violence (it has only gotten worse). In the 2020's, the grossly negligent attitudes of the 50's have now become practically nihilistic. This movie seems innocent by comparison but not completely alien by any standards.

Richard Dadier (Glenn Ford), a Navy veteran, is is seeking the most noble of jobs - a high-school teaching position in English at an inner-city school overrun with misfits and gang members. One of them, Artie West, the leader (Vic Morrow), taunts "Teach" relentlessly. First, Artie might listen to Mr. Dadier, then he ignores and scoffs at him. Eventually, there is a brutal assault on the streets of this rough neighborhood where Dadier is beaten up along with math teacher Josh Edwards (Richard Kiley). Police are called yet Dadier has no idea who beat him up or slashed his briefcase. Naturally, he suspects one of the students and it doesn't take long for him to find the culprit in Artie. Only the shenanigans go beyond the classroom when Artie starts sending letters to Dadier's wife with false adultery accusations. There are also false bigotry accusations within the classroom. A Navy man can only take so much before making a stand. Mr. Edwards quits after his jazz records are all destroyed by these students. Dadier's pregnant wife (Anne Francis) insists that her bruised husband quit and teach elsewhere. Nothing will make Dadier quit, however, not even hearing the heartless remarks by another teacher (Louis Calhern) who calls the school "a big garbage can."

"Blackboard Jungle" shows some students are willing to learn despite peer pressure from Artie and other loyal members. One of them is Miller (Sidney Poitier), who calls Dadier "chief," and he is the smart guy of the class whom others listen to. Miller also has interest in music and is preparing for a Christmas play at school. Dadier knows that with Miller's help, he might be able to reach his students. Dadier will not quit no matter how often he's pushed or threatened with switchblades. 

"The Blackboard Jungle" is a rough, tough picture for its time, showing how far juvenile delinquents have gone to defy the establishment. What may have irked some audiences back in 1955 wasn't so much the teens in the audience finding something that spoke to them but rather the cold reality of the school system. One teacher is either sexually assaulted or beaten or they have their property destroyed - no one is safe from the teens' wrath. Being destitute brings forth desperation and anger and the teens felt it and, I suspect, so did the teenage audience who danced in the aisles to the tune of Bill Haley's "Rock Around the Clock" playing in the opening credits (later the song became synonymous with "Happy Days"). The movie is ostensibly a rock and roll-type picture with the vastly underrated Glenn Ford showing he is the perfect idealistic teacher - the one who is ready to fight for what he believes in. We have had cinematic teachers for many decades but Ford has that special gift and that is, beyond his tough exterior, he shows he cares. He genuinely cares. Not dated at all.

Note: Look for Paul Mazursky and a beaming Jamie Farr (listed in the credits as Jameel Farah) as students in Dadier's class.    

Spruce Goose as a flying ocean liner

 NON-STOP NEW YORK (1937)

Reviewed by Jerry Saravia

Starting off as a noir piece about a mob killing amidst the Depression-era of New York, "Non-Stop New York" doesn't settle long enough for a thriller dynamic with a love story and some sociological tension. The movie is a non-stop roller coaster ride filled to the brim with wit, pungent casting and a futuristic-looking plane that seems to be years ahead of Howard Hughes' own Spruce Goose. Except of course that this Spruce Goose is seemingly a mini-ocean liner with propellers!

A zestful English actress, Jennie Carr (Anna Lee), is penniless and is eager for at least a cup of coffee. Thankfully she has enough change for a coffee, which she promptly drops on the floor when bumping into a guy named Billy (James Pirrie). Billy is a mob attorney and wants out of the business, only Jeannie doesn't know that. She is invited to Billy's apartment and then ejected when the mob boss Brant (Francis L. Sullivan) and some goons arrive and a shot rings out. Jennie had seen the men but not the murder, and there is a vagrant who witnessed it and is charged for a crime he didn't commit. You see, it looks as if the film is building to another noir until we enter Hitchcock terrain via a Trans-Atlantic flight from New York to London.

What is delightfully escapist fun about "Non-Stop New York" is the eclectic cast of characters including the aforementioned Anna Lee's Jennie Carr, who's a little on the naive side. John Loder is the disbelieving Scotland Yard inspector who takes an interminable time to believe Anna's story (I would have trouble with her version of events too). There's also a bespectacled young musical prodigy (Desmond Tester) who annoys all passengers with his saxophone (which leads to a great joke about a parachute); Jerry Verno as a steward who has his share of double entendres, and the grand villainy of Francis L. Sullivan as Brant who pretends to be a Paraguayan general named Costello (isn't Costello normally an Irish or Italian surname?) 

"Non-Stop New York" has a wildly contrived plot (why all the shenanigans to put Jennie in jail briefly and then have Brant follow her back to New York?) Still, I did not mind and found the film fluffy yet never less than breezy fun. Wait till you get to the parachute joke!