The Scar (1948)

There are several very good film noirs at the Internet Archive. Since I have previously only written about five of them, the latest over a year ago – the “historical noir thriller” The Black Book, which is not exactly a “pure” noir – it is about time for another. The turn has therefore come to the exellent The Scar, originally titled Hollow Triumph.

Paul Henreid in The Scar / Hollow Triumph (1948)

When John Muller is released from prison, he and his companions decide to rob a casino. The heist goes awry, however, and he is now a wanted man. The casino owner wants to get even. In a stroke of good luck, Muller meets a psychoanalyst who is his doppelgänger, except for a large scar on one cheek. He decides to take over the man’s identity in order to disappear from his hunters. But this is a noir. Things are bound to go wrong somehow.

Just like any good example of the genre, this film is ripe with suspense and drama. The minds of most people who populate its black-and-white world are as dark as the dramatic shadows falling across the screen. The actors are really good, too, so even though the plot has some not so brilliant moments, this is not to be missed if you are a fan of the genre.

This film is best enjoyed whenever you need something to make you happy. Even though film noir tend to be pretty downbeat in many ways, they never fail to improve my mood.

Paul Henreid in The Scar / Hollow Triumph (1948)

The Scar
Download link
Year: 1948
Running time: 1 h 41 min
Director: Steve Sekely
Stars: Paul Henreid
Image quality: Good
Resolution: Medium (640×480)
Sound quality: Good
Best file format: Cinepack (900 M)

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October 1917 (1928)

Tomorrow, it was exactly one hundred years ago that the Russian October revolution started (Russia was using the Julian calendar at the time; hence the confusion about the specific month). That was the final stage of the Russian revolution, which led to the forming of the Soviet Union and, some forty years later, to the Cold War. And even though the Soviet Union has since been dismantled, it is no great exaggeration to say that those events still contribute to shaping the world into what it is. The most famous film about these events is Sergei Eisenstein’s October 1917, perhaps more commonly known as October: Ten Days that Shook the World, or in Russian Октябрь (Десять дней, которые потрясли мир).

The cruiser Aurora in Sergei Eisenstein's October 1917 / October: Ten Days that Shook the World (1928)

A great many of Sergein Eisenstein’s films are connected, one way or another, with the causes and effects of the Russian revolution. Strike (1925) and Battleship Potemkin (1925), for example, deal with events that in the official communist history writing are essential steps on the way to the forming of the Soviet Union, while films like The General Line (1929) detail the wonders that the revolution led to. October 1917 is the essence and the focal work of these two themes, as it deals directly with the revolution itself, and the events surrounding the Bolshevik uprising.

I am sure that a historian would have much to say about the plot of the film. Like any other Soviet film dealing with history or communism in any way, the historic events have naturally been adapted to fit into the communist ideological perspective. The first Russian revolution, the February revolution (which, for the same reasons, was in March, Gregorian time), is briefly depicted, then the depravity and corruption during the next few months, as the new government turned out just as bad as the Tsarist regime. Then, after Lenin has convinced the Bolsheviks that action is necessary, the events during the night between October 25 and October 26 are told in some detail. We see how the cruiser Aurora moves up to the place where the cannons could be fired as a starting signal. We also see how the cossacks and the female Death Squadron are won over to the just cause, and many other key events.

This film is best enjoyed for Eisenstein’s artistic and skillful telling of a story, whether historically accurate or not. His amazing cutting and use of imagery and metaphor must be experienced by anyone who has the least interest in cinematic history. And though I would recommend Battleship Potemkin first if you want to watch just one Eisenstein film (especially considering how much better that Internet Archive copy is), October 1917 is should also be on your to-see list.

Sergei Eisenstein's October 1917 / October: Ten Days that Shook the World (1928)

October
Download link
Year: 1928
Running time: 1 h 42 min
Language: English
Director: Sergei Eisenstein
Image quality: Acceptable
Resolution: Medium (640×480)
Soundtrack: Good; classical music
Sound quality: Excellent
Best file format: Cinepack (689 M)

The Night America Trembled (1957)

H. G. Wells’ groundbreaking 19th Century science fiction novel The War of the Worlds is fascinating, not only in itself, but just as much because of all the adaptations and sequels it has spawned. Not only has it resulted in six feature films (the 1953 version is a classic), an infamous TV series, an amazing music album by Jeff Wayne and countless comic adaptations. Perhaps most well-known of all is the 1938 radio dramatization by Orson Welles, an adaptation that allegedly created mass panic (historical consensus nowadays seems to be that it was not quite as bad as all that). Today is the 79th anniversary of that broadcast.

Panic or no panic, the radio drama, together with the events following, has itself been adapted on numerous occasions. Perhaps the first such adaptation was an episode of the CBS TV series Studio One, titled The Night America Trembled.

Warren Beatty and Warren Oates in Studio One: The Night America Trembled (1957)

After a brief introduction, the episode begins with a car racing along a deserted highway. We hear the radio. A voice is talking about the ongoing invasion. The car takes another bend, but too fast. A crash, then everything goes silent. All we see is a spinning wheel.

Through the rest of the episode, we get to follow a number of different people. We see and hear their reactions, and we also get to follow important events in their lives, as they play out to the background of, and sometimes augmented by, the radio.

The cast of this adaptation of an adaptation contains several young actors who would later rise to various levels of fame, not least Warren Beatty and James Coburn. Orson Welles, who both directed and played the main character in the original play, is here played by Robert Blackburn. However, Welles is not once mentioned by name.

In addition to The Night America Trembled, the Internet Archive contains several interesting subjects connected to The War of the Worlds, although not so many on film. A short selection: The original novel The War of the Worlds is a must read; there is also a LibriVox recording. Edison’s Conquest of Mars was one of the first sequels, though truth be told it is a pretty terrible read; again there is a LibriVox recording. Mercury Theatre on the Air: The War of the Worlds is Orson Welles’ original radio play, well worth listening to, and a Universal Studios newsreel from the day after contains some snippets from a press conference with Orson Welles; in itself a classic. Another radio drama is based on the 1953 movie, and with the same principal actors. You can also read the comic adaptation in Classics Illustrated (1955); one of the classic comic versions. Then there is a 1984 video game based on Jeff Wayne’s musical version – expect neither breathtaking graphics nor perfect surround sound. And there is more. Much more.

This episode is best enjoyed perhaps not foremost for its description of Welles’ radio drama and its consequences – as a historical documentary it is sorely lacking. It is much more interesting because it reflects a willingness in society to believe that things are generally much worse than they really are. Many politicians built their careers on this phenomenon, and so to some extent did Orson Welles. In addition, though the technical quality of the available copy leaves something to be desired, the drama is pretty well produced. It will hold your attention for an hour’s entertainment, and it is an excellent example of 1950s American television.

Alexander Scourby and Robert Blackburn (as Orson Welles) in Studio One: The Night America Trembled (1957)

The Night America Trembled
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Year: 1957
Running time: 59 min
Director: Tom Donovan
Stars: Edward R. Murrow
Image quality: Acceptable
Resolution: Low (320×240)
Sound quality: Acceptable
Best file format: MPEG4 (247 M)

The Hunt for Gollum (2009)

J. R. R. Tolkien spent almost an entire lifetime world-building, constructing languages and writing stories, most of them set in his fictional world Middle-earth. Yet very little of what he wrote was published during his lifetime. Most of it was for his own enjoyment. And even though many texts have been published posthumously, none have had even a fraction of the impact of his most famous work, The Lord of the Rings. So it is perhaps not to wonder that fans have taken to writing fan-fic – and making fan films – in order to satiate their need for ever more LotR stuff. One of the better fan films is The Hunt for Gollum.

Adrian Webster as Aragorn in The Hunt for Gollum (2009)

The Hunt for Gollum fills in one of the blank spots from the books and films in the LotR series. It tells the story of how Gollum was caught when Gandalf needed information about the nature and whereabouts of the One Ring. There is next to no information about this fascinating subplot in the original material, so the film makers had a great amount of freedom to make up their own story.

Aragorn is the protagonist and the hero here, and some other characters from the film trilogy also make appearances (including a computer-generated Gollum, of course). The actors do a decent job for the most part, and especially Adrian Webster manages to hold up the central role of Aragorn surprisingly well.

The make-up and costumes are really good, too. Well, at least so long as the camera stays at a distance. They should have avoided some of the close-ups, which reveal a bit too much of the budget. Even so, the orcs in particular look impressive for a film like this. The fight scenes do look a bit amateurish and awkward, though not disturbingly so. And, frankly, the fight scenes in the “real” LotR films are not entirely problem free either.

I am sometimes amazed when I look at what amateurs can achieve with next to no budget, but in this case it is perhaps not quite as amazing as it may seem at first. Director Chris Bouchard had already been a professional in the movie business for years (working with music and visual effects) when he took on The Hunt for Gollum. That is not to say that his achievement was not a good one, and indeed, it has helped to propel him into a career as a professional film director.

This film is best enjoyed because it is fun. Not only is there a bit of tongue-in-cheek humour inserted here and there, but you can also tell that the crew had a great time while they were making this little piece, and that feeling rubs off on the finished film. Even so, you have no reason to watch this unless you are a fan of Peter Jackson’s LotR movies. Just like most fan productions, this one needs the support of the original works, and does not really hold up as a self-contained production.

Gollum in The Hunt for Gollum (2009)

The Hunt for Gollum
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Year: 2009
Running time: 38 min
Director: Chris Bouchard
Stars: Adrian Webster
Image quality: Good
Resolution: Low (644×290)
Sound quality: Excellent
Best file format: MPEG4 (318 M)

The Pleasure Garden (1925)

There can be no doubt that Alfred Hitchcock was one of the most influential directors of all time. Many also hold that he was one of the greatest. His true greatness is most obvious in his many classic Hollywood productions from the 40s through the early 60s. (He also made a handful of films in the late 60s and 70s, but those are not among his best efforts). Before Hollywood, however, Hitchcock had already been directing films for 15 years! Those films, almost half of his total production, are often overlooked, in some cases for good reasons.

Among those rarely seen early films is his very first attempt as a director (except one short and one unfinished film, both lost), The Pleasure Garden. Considering Hitchcock’s enormous influence, this is a film that should have a significant historic value, in spite of any cinematographic shortcomings.

Carmelita Geraghty in Alfred Hitchcock's The Pleasure Garden (1925)

The plot is pretty standard fare for silents of the time. Jill has come to London to seek her fortune as a dancer. She meets Patsy, who works at a theatre called The Pleasure Garden. Patsy helps her get a job and lets her stay at her appartment, but later, when Jill has become a star, she will not return Patsy’s favours. The plot is complicated by two men. Hugh is Jill’s fiancé and Levet is attracted to Patsy. However, there is also an attraction between Patsy and Hugh.

The copy at the Internet Archive is apparently some 15-20 minutes shorter than the original film (which has been restored in recent years). I have not seen the longer version, but I suspect that a longer film allows for some more depth to a story that in the present form is a bit hard to follow at times.

This film is best enjoyed for its historical significance. Sure, you can see some interesting scenes that suggest the great things that were to come (especially in the beginning), but Hitchcock at this point is no better than several other contemporary directors, and the script is not really good enough to maintain interest all the way to the end.

Miles Mander, John Stuart and Virginia Valli in Alfred Hitchcock's The Pleasure Garden (1925)

The Pleasure Garden
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Year: 1925
Language: English (Japanese subtitles)
Running time: 1 h 1 min
Director: Alfred Hitchcock
Stars: Virginia Valli
Image quality: Acceptable
Resolution: Medium (480×386)
Soundtrack: Acceptable; organ music partly adapted to the images
Best file format: Ogg Video (255 M)

The Invaders (1912)

In my review of Ingeborg Holm (1913), I suggested that it is hard to find good feature film older than that, but during the early years of the 1910s, many good films were created that do not quite qualify as a “feature” by modern standards, yet are long enough to tell a reasonably complex story and helped to pave the way for future film makers. The Invaders is one of those films.

Francis Ford and William Eagle Shirt in The Invaders (1912)

The Invaders, which has been called “cinema’s first great Western epic”, starts with a peace treaty being signed by a U.S. colonel and a Sioux chief (both fictional, as far as I can tell). This gives the Indians the rights to their own land. The treaty, however, is soon broken. Some white people are killed by the Indians, and all of a sudden the war is in full swing.

The film contains many great battle scenes, and though they were dwarfed by D.W. Griffith’s great epics a few years later, they are still very impressive for this time.

Another important factor is the camerawork. Long distance unmoving camera was the norm at this time, and while that is common in this film as well, we see several scenes when the camera breaks free of its limitations, either panning or showing details in close-up. While not very spectacular today, it must have been effective for the audiences of the day.

This film is best enjoyed not only because it is a good film for its time, but also because it treats the Indians in a much more respectful manner than many later Westerns, especially during the sound era. These Indians, evidently played by real Sioux, are actually portrayed as people, with humans rights and human feelings.

Francis Ford and Ethel Grandin in The Invaders (1912)

The Invaders
Internet Archive page
Year: 1912
Running time: 41 min
Directors: Francis Ford, Thomas H. Ince
Stars: William Eagle Shirt, Francis Ford
Image quality: Acceptable
Resolution: Medium (651×498; not counting black border)
Soundtrack: None
Best file format: MPEG2 (1.4 G)

Jungle Book (1942)

It is interesting how inspiration can sometimes go in circles – or at least in spirals. Rudyard Kipling’s The Jungle Book, published in 1894, lent inspiration to Edgar Rice Burroughs who wrote the first Tarzan book in 1912. Burroughs has said that Kipling was among his inspirational sources, and Kipling later admitted that Burroughs was a “genius among genii” of imitators (though, strictly speaking, Tarzan is more than just a Mowgli imitation). The Tarzan character was later changed, in both subtle and not so subtle ways, for the silver screen, and among those changes was the iconic vine swinging, allegedly invented by Frank Merrill and popularized by Johnny Weissmuller. Now, here comes the real inspirational loop, for when Jungle Book, one of the most classic of the film adaptations, was made in 1942, we suddenly see Mowgli swinging the vines from tree to tree, just like the Tarzan that was originally inspired by the book Mowgli.

(NB. Tarzan of the books finally did swing the vines, but not until 1948, in the final Tarzan book published during Edgar Rice Burroughs’ lifetime, Tarzan and the Foreign Legion.)

Patricia O'Rourke and Sabu in Zoltan Korda's Jungle Book (1942)

With or without vine swinging, Jungle Book is really a spectacular piece of film, though truth be told, it is not a very faithful adaptation of the literary original. It begins with a neat framing sequence, where an old storyteller somewhere in the Indian countryside tells the story of Mowgli. Then we see many scenes of nature, both beautiful and powerful. And at last, the story comes to Mowgli himself and his struggle for finding his place, among the jungle animals, but even more so among the humans. There is naturally also a romantic interest in the form of a young girl.

Mowgli was played by the actor simply named Sabu, who at this time was at the height of his career. Sabu had a very special screen personality, one that mesmerized and captivated the audience. But after he had served as a tailgunner in World War II, his career never quite got back on its feet, and this is therefore one of his rather few films as leading actor. If you are unfamiliar with Sabu, watching him is by itself worth the price of admission.

This film is best enjoyed because it combines the best of Hollywood and British film of the time. From the British, it has the attention to detail, the flowing dialogue, and that little something which I cannot quite put my finger on. From Hollywood, it has the lavish sets and the budget to truly make it rise above the average.

Sabu as Mowgli among the elephants in Zoltan Korda's Jungle Book (1942)

Jungle Book
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Year: 1942
Running time: 1 h 46 min
Director: Zoltán Korda
Stars: Sabu
Image quality: Excellent
Resolution: High (960×738)
Sound quality: Good
Best file format: MPEG2 (3.8 G)