Pygmalion (1938)

There is an eternal controversy regarding the ending of Bernard Shaw’s classic play Pygmalion and its various incarnations, apparently ever since its London premiere in 1914. This controversy is most frequently mentioned, and most glaring, in connection with the musical version My Fair Lady (filmed in 1964), but can also be seen in the 1938 film adaptation of the original play, as well as in a previous Dutch adaptation, unfortunately not available at the Internet Archive.

Scott Sunderland, Leslie Howard and Wendy Hiller as Colonel Pickering, Henry Higgins and Eliza Doolittle in Pygmalion (1938)

The story of Professor Higgins and his pupil Eliza has become so well-known during the past hundred years that it barely requires an introduction. But just to be on the safe side, the film begins as one Colonel Pickering, returning to England, comes across Professor Henry Higgins (an expert in dialects and phonetic variations) as the latter is taking notes on the speech of a flower girl. The two fast become friends, and enter a bet that Higgins could teach the cockney-speaking girl to pass for a well-bred lady, just by teaching her manners and good pronunciation. This he sets out to do with great determination. The film for the most part stays very close to the original play. Shaw himself adapted the script for the screen, adding some scenes and characters that since have sometimes been used in new productions of the play as well.

The above-mentioned controversy, it should be pointed out, is not in the tension between a happy versus unhappy ending. Shaw’s intended ending is indeed very happy for everyone involved. Higgins has made Eliza into an independent person, one who can logically no longer remain with her “creator”, or her independence no longer has any real value. The controversy is rather as to whether she should remain with Higgins or go out in the world and stand on her own two feet.

But the romantic movie-making tradition, passed down in the 1920s from Hollywood to British film, prescribes that a dramatic build-up with two opposite-sex characters demands closure where they fall in love, and implicitly live happily ever after. Shaw’s film script indeed had no such closure originally, but the studio insisted that it could not end thus, and forced a late rewrite. I shall not here go into the details of that ending so as not to spoil it for you entirely.

Speaking of strong language, no-one is likely to be shocked today by the use of the word “bloody” in a film. But both when the play premiered in 1914 and when the film did so in 1938, this word was highly controversial. In fact, that single word alone helped to draw an audience to the theatres.

This film is best enjoyed if you have previously only seen My Fair Lady, or if you are somehow entirely unfamiliar with this entire story. With the debatable exception of the ending, it is an excellent film, and it is a good representation of this modern classic. Both Leslie Howard as Higgins and Wendy Hiller as Eliza are excellent.

Wendy Hiller and Leslie Howard as Eliza Doolittle and Henry Higgins in Pygmalion (1938)

Pygmalion
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Year: 1938
Running time: 1 h 35 min
Director: Leslie Howard, Anthony Asquith
Stars: Leslie Howard
Image quality: Acceptable
Resolution: Medium (720×576)
Sound quality: Acceptable
Best file format: DivX (698 M)

Zéro de conduite (1933)

Banned in its own time, but highly influential on later French (and international) film, Jean Vigo’s Zéro de conduite (Zero for Conduct) is not to be missed.

Zéro de conduite / Zero for Conduct (1933)

The setting is a boarding school, where the teachers, or most of them, are pretty mean characters. The pupils decide to take matters into their own hands and revolt. This, of course, is a controversial theme, not least since Vigo takes the children’s side in the conflict. Even today, the notion of empowering children over adults may be found hard to swallow by some.

The film is in many ways experimental and a fore-runner in its use of techniques for visual composition and story-telling. The images may sometimes feel exaggerated, but the exaggeration is also a very conscious tool for directing the viewer’s focus.

The film, as it has been preserved to the world, is only a little over 40 minutes. I have read that it was originally intended to be significantly loger, but was cut contrary to Vigo’s wishes. This is sad, because one of the film’s major problems is that the story-telling feels a bit awkward at times. I think this could have been improved by a longer running time.

This film is best enjoyed by anyone who has the slightest interest in the history of French film. Or just watch it as a great comedy.

Pillow fight in Zéro de Conduite / Zero for Conduct (1933)

Zéro de conduite
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Year: 1933
Running time: 41 min
Language: French (English subtitles)
Director: Jean Vigo
Image quality: Good
Resolution: Medium (704×576)
Sound quality: Good
Best file format: MPEG2 (2.0 G)

Downhill (1927)

Alfred Hitchcock’s early films are only rarely the suspense filled thrillers that we are used to from his later works. There are many dramas and a few comedies. Some are interesting only for tracing Hitchcock’s development, but a few are genuinely good. One of those is Downhill.

downhill

Downhill was the second time – after The Lodger (1927) – that Hitchcock used Ivor Novello as his leading actor. Novello, at the time highly popular, also worked on the script. Some believe that the story reflects Novello’s attitudes towards women. He was apparently a homosexual, and the women in Downhill are for the most part treacherous, deceiving and seeking lust or riches. This is a pretty risqué story, even though some of the moral implications may seem very dated today.

Another important theme is that of friendship and trust. The friends Roddy (Novello) and Tim (Robin Irvine, also very good) go to the same school and are interested in the same woman. When Tim makes her pregnant, Roddy takes the blame and is consequently expelled from school and disowned by his father. This is the start of his moral and economic downhill ride in society, a ride which is sometimes depicted with brutal sincerity.

Hitchcock’s image compositions are terribly elegant, sometimes bordering on overdone. The influence from German Expressionism can be clearly seen (F.W. Murnau’s Der letzte Mann (1924) was one of Hitchcock’s major sources of inspiration). In fact, had this film been made in Germany, I am sure it would have been considered part of the German Expressionism.

This film is best enjoyed if you do not expect a “regular” Hitchcock. Downhill is a good silent drama, and Hitchcock is experimenting successfully with visual elements that he were to re-use later in many of his thrillers. The theme of the falsely accused is also used to great effect here. But no thriller or horror elements are to be expected, so while the lover of silent cinema is likely to enjoy this, the casual Hitchcock fan may find it a disappointment.

Ivor Novello in Alfred Hitchcock's Downhill (1927)

Downhill
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Year: 1927
Running time: 1 h 22 min
Director: Alfred Hitchcock
Stars: Ivor Novello
Image quality: Good
Resolution: Medium (560×416)
Soundtrack: None
Best file format: MPEG4 (969 M)

Steamboat Bill, Jr. (1928)

Even though Buster Keaton had an acting career of nearly 50 years, his greatest period can be narrowed down to only about six years, starting with Our Hospitality in 1923 and ending about 1929. One of the last great silent comedies with Keaton was Steamboat Bill, Jr. It was the last silent he made for Universal Pictures, and the last film where he had almost total creative freedom.

Buster Keaton in Steamboat Bill, Jr. (1928)

In this film, Keaton plays a young man who has been studying at college, and is now about to be reunited with his father, whom he does not really know. He is vain and foppish, and his father, the steamboat skipper, is annoyed by the difficulties he finds in teaching his son the trade of riverboat navigation. Things take a turn for the worse when the son falls in love with the daughter of the father’s worst competitor. Keaton uses this simple setup to create another of his great masterpieces.

The meticulously orchestrated and spectacular stunts (see for example the breakneck fall above) are, as in any good Keaton, the film’s trademark. Keaton’s perfect sense of timing, along with his fine acting skills, are the main reasons why this film still works today, almost ninety years after its release.

Unfortunately, the film was a box office bomb. It has gone down in history as a great classic, but was not received well enough by its contemporary audience, and this was the reason why Keaton fell out of favour with his employer.

This film is best enjoyed for one of Keaton’s best and most well-known stunts, as an entire building falls down around him. Keaton’s acrobatics, and this stunt in particular, has been cited as a major influence on Hong Kong star Jackie Chan, who has frequently been compared with Buster Keaton.

Buster Keaton and Marion Byron in Steamboat Bill, Jr. (1928)

Steamboat Bill, Jr.
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Year: 1928
Running time: 1 h 9 min
Director: Charles Reisner, Buster Keaton
Stars: Buster Keaton
Image quality: Good
Resolution: Medium (640×480)
Soundtrack: Good; synchronized with the images
Sound quality: Good
Best file format: MPEG4 (808 M)

The Kennel Murder Case (1933)

I must confess that before I first saw The Kennel Murder Case, I had never heard of the character Philo Vance, and even after seeing the film, it was years before I realized that this was a recurring and well-known character. Well, live and learn. One day I may actually read one of the original novels with the character.

Robert Barrat and William Powell in The Kennel Murder Case (1933)

The film begins at a Long Island dog show, where, amongst many other dog owners, Philo Vance and Archer Coe exhibit their dogs. The following day, Coe is found dead. The police suspect suicide, but Vance is convinced that the truth lies elsewhere, and cancels a planned trip to Europe in order to investigate the case. It turns out that Coe was not a very well liked man, and many have reasons for wanting to see him dead. Vance starts to investigate the case from many different angles.

The Kennel Murder Case appears to have been the fourth and final time that William Powell played the role of Philo Vance. At least one of the previous films, The Canary Murder Case (1929) is available from the Internet Archive. In addition, there are some old radio episodes available with Philo Vance.

This film is best enjoyed by fans of whodunnits. This is a thoroughly pleasant film with good actors, good photography, and just the right amount of plot twists. If you want to explore Hollywood film from the 1930s, this is a very good place to start.

Eugene Pallette, William Powell and Robert McWade in The Kennel Murder Case (1933)

The Kennel Murder Case
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Year: 1933
Running time: 1 h 13 min
Director: Michael Curtiz
Stars: William Powell, Mary Astor
Image quality: Good
Resolution: Medium (720×480)
Sound quality: Good
Best file format: MPEG4 (680 M)

The Mind’s Eye (1990)

I have previously written about all the other instalments in the classic four-part series about computer animation from the 1990s, The Mind’s Eye. The time has now come to the first part, the one which gave the series its name, The Mind’s Eye.

CGI computer animation from the segment Mobay Chemical in The Mind's Eye (1990)

Much happened in the world of computer animation during the seven or eight years during which the Mind’s Eye series was designed and directed, Thus, The Mind’s Eye often seems pretty primitive, even when compared with the later films in the series. For that reason, I would not recommend beginning with the first film if you are looking for an introduction to the series. Perhaps the most artisitically interesting instalment is the second, Beyond the Mind’s Eye (1992), though the following parts The Gate to the Mind’s Eye (1994) and Odyssey into the Mind’s Eye (1996) are also interesting, each in its own way.

The series was intended to continue after the fourth part, but no further films surfaced under that banner. There were, however, a number of spin-offs. At least one, Virtual Nature (1993), is available for download.

Like Virtual Nature, the version of The Mind’s Eye available at the Internet Archive is unfortunately a VHS rip. Thus, neither image nor sound are as good as they could have been, although still good enough to be enjoyable.

This film is best enjoyed for its historical significance. While the weakest part in the series in terms of editing and animation (also to some extent with regard to soundtrack), it gives a tremendous insight into just how much CGI animation developed during just a few short years. It is also worth remembering, that just a few years previous, it would have been impossible to make a film like this at all. (If you are interested in even older animation, a State of the Art of Computer Animation from 1988 can be downloaded.) Put into perspective, The Mind’s Eye is still an impressive piece of artistic and technological achievement.

CGI computer animation from the segment Prime Corporate Video in The Mind's Eye (1990)

Beyond the Mind’s Eye
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Year: 1990
Running time: 38 min
Director: Jack Nickman
Image quality: Good
Resolution: Medium (704×468)
Sound quality: Acceptable
Best file format: Cinepack (456 M)

The Fighting Lady (1944)

The Second World War saw on both sides of the conflict a considerable rise in the quality of its cinematic propaganda material. One of the driving individuals behind the American material was William Wyler, who in 1944 helped direct and produce both The Memphis Belle, about a B-17 Flying Fortress in action over Germany, and The Fighting Lady.

Curtiss SB2C Helldiver over USS Yorktown aircraft carrier during World War II in The Fighting Lady (1944)

The Fighting Lady tells the story of an aircraft carrier in the Pacific. The ship is unnamed in the film, but most of the scenes were filmed on board the USS Yorktown. The film stresses the difference between the boredom of everyday routine, and the dangerous bursts of action during a battle. An effective and dramatic contrast is thereby reached, which together with authentic combat footage helps to make this one of the better American documentary/propaganda productions from the war years.

Typical of Wyler’s films, there is no attempt to hide the losses of human lives caused by the war. On the contrary, the US casualties are held up as tragic but also heroic. No doubt, this helped to strengthen home front morale, as long as the audience were also told that the terrible cost was paid back in full to the enemy.

If you like this sort of film, you may also want to take a look at Wyler’s Thunderbolt (1947), about the P-47 Thunderbolt and the action it saw during the campaign in Italy.

This film is best enjoyed for a better understanding of one of mankind’s most terrible conflicts ever fought, not forgetting that it is in many ways propaganda and not foremost a historical document.

Aircraft landing on carrier deck during World War II in The Fighting Lady (1944)

The Fighting Lady
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Year: 1944
Running time: 1 h 1 min
Director: Edward Steichen, William Wyler
Stars: Robert Taylor (narration)
Image quality: Good
Resolution: Medium (720×480)
Sound quality: Good
Best file format: MPEG2 (1.8 G)