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
Download link
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)

Advertisements

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
Download link
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)

U-Boote westwärts! (1941)

When I first discovered and read about the German World War II film U-Boote westwärts!, I was struck by the extreme story similarities with the British film We Dive at Dawn from two years later. So struck that for a while I speculated whether the latter might actually be a loose remake of the former.

German submarine U-123 in U-Boote westwärts / U-Boat, Course West (1941)

The initial story structures are, indeed, strikingly similar. A submarine returns to port after a long and hard mission at sea (scenes of surfaced submarine moving steadily forward through picturesque sea and port backgrounds). The crew is looking forward to a long and well-deserved shore leave. They meet up with families, fiancées and various other female friends. One is about to get married. But duty calls. The Queen/Führer needs them and they have to set to sea immediately in order to fulfil an important mission.

However, even during the brief shore leave sequence, the differences between these two films start to become apparent. Beyond the abovementioned similarities, these films are very different at their cores.

Compared with the British film, U-Boote westwärts! seems much more realistic, both in terms of the submarine interiors, and in terms of the missions and situations that a World War II submarine would typically face. On the other hand, the story lacks the intensity, action and adventurous touch that the British production has. Which version you prefer thus depends on whether you prefer realism or suspense.

This film is best enjoyed if you like old war films. U-Boote Westwärts! is not a great film, and some will be further put off by the propagandistic portrayals of British seamen. Nevertheless, it has several good qualities, including some very solid actors.

Herbert Wilk in U-Boote westwärts / U-Boat, Course West (1941)

U-Boote westwärts!
Download link
Year: 1941
Language: German (English subtitles)
Running time: 1 h 37 min
Director: Günther Rittau
Stars: Herbert Wilk
Image quality: Good
Resolution: Medium (720×540)
Sound quality: Acceptable
Best file format: Matroska (681 M)

Stukas (1941)

I have had an almost lifelong fascination for aviation movies. When I was a kid, I dreamt of becoming a pilot, and I guess the best aviation movies sort of made that dream seem true for a brief time. For several years now, I have wanted to see a number of German World War II propaganda films on that topic, and in particular the film Stukas, about the infamous dive bombers that totally dominated the sky during the successful Blitz in the early parts of the war. I was therefore very excited to find, at last, a good copy of the film at the Internet Archive some time ago, and my expectations were completely met.

Carl Raddatz and O. E. Hasse in Stukas (1941)

Set during the Battle of France, which had ended only about a year before the film’s release, the film depicts the joys and hardships of a Luftwaffe group of Stuka pilots. The need of constantly being on the alert and the sorrows of losing dear friends in battle, but also the strong comradeship and the sense of accomplishment after a successful mission.

The film is well paced for the most part. In the beginning the constant victorious missions over French territory may feel a bit repetitive at times, and the final segment of the film is too long and drawn out. But these are minor quibbles over a film that, in spite of the subject matter, is overall very enjoyable.

The choice of Stukas was not coincidental. It was one of Germany’s most important and efficient weapons during the early parts of the war. Later, however, such as during the Battle of Britain, the Stukas would suffer considerably when they no longer could enjoy the luxury of full air superiority and therefore much less fighter support. This knowledge gives an unintended ironic twist to the final scenes, where the brave pilots fly off towards England, singing a gay patriotic song (yes, really!).

The copy I downloaded appears to be spliced together from at least two copies of vastly varying technical quality. Fortunately, the larger part of the film is in good shape, but during some short scenes, sound and image are barely tolerable.

This film is best enjoyed if you can stomach some pretty thick German propaganda, but if you do you will be treated with a number of effective and often spectacular flight scenes. As far as I know, no flying Stukas exist anywhere in the world, so films like this one are the only chance to see actual Stukas in action. This is not to be missed if you are an aviation history nerd!

Junkers Ju-87 Stuka in Stukas (1941)

Stukas
Download link
Year: 1941
Language: German (English subtitles)
Running time: 1 h 38 min
Director: Karl Ritter
Stars: Carl Raddatz
Image quality: Good
Resolution: Medium (720×540)
Sound quality: Acceptable
Best file format: DivX (903 M)

The Flying Deuces (1939)

Before watching the film The Flying Deuces, I had no idea what the word “deuce” meant (except for the tennis term). I have now informed myself, and I know that it means “pair” or “two of a kind” or something of the sort. I still do not understand why the word “deuces” is in plural, but all the same I feel much better now.

Stan Laurel, Jean Parker and Oliver Hardy in The Flying Deuces (1939)

The Flying Deuces, plural or not, is mostly interesting because it is part of the Laurel and Hardy legacy. This famous pair of comedians (or deuces, maybe) hardly need any introduction, so I will just say that their presence in the Internet Archive is considerably smaller than for some of their contemporaries, such as Charlie Chaplin or Buster Keaton. That is the main reason why it has taken until now for me to review one of their films, but also because those few feature films that can be found in the archive do not appear to be among their best.

The Flying Deuces is perhaps not their best either, but there are some really good scenes including an absolute classic just at the end. Some of the humour, however, feels very out-dated, especially some very long-winded chase scenes during the last fifteen minutes. But all in all, the film is a good introduction to Laurel and Hardy, and if you already like them, you will not want to miss this chance to see them do their usual routine in some pretty unique situations.

This film is best enjoyed for the wonderful timing and acting by Stan Laurel and Oliver Hardy. It is not without reason that these two have gone down as one of the best pairs of comedians in the history of cinema.

Stan Laurel and Oliver Hardy in The Flying Deuces (1939)

The Flying Deuces
Download link
Year: 1939
Running time: 1 h 3 min
Director: Edward Sutherland
Stars: Stan Laurel, Oliver Hardy
Image quality: Good
Resolution: Medium (720×546)
Sound quality: Acceptable
Best file format: MPEG4 (528 M)

Der Mann, der Sherlock Holmes war (1937)

There is a lot of German film at the Internet Archive. There are German wartime newsreels, silent classics from the German Expressionism and World War II propaganda such as Kampf um Norwegen, just to mention a few important categories.

Der Mann, der Sherlock Holmes war, this week’s film, has nothing to do with wars nor expressionism, however. It is a very refreshing mystery comedy, and as the title implies there is also a Sherlock Holmes connection.

Hans Albers and Heinz Rühmann in Der Mann der Sherlock Holmes war / The Man who was Sherlock Holmes (1937)

The film begins with two persons, dressed up as Sherlock Holmes and Dr. Watson, stopping a train in the middle of the night in order to get on board. We soon find out that they are not the famous detective and his companion at all. Exactly what they are after is something we are not told at this point, but everyone fall for their ruse. The train personnel do everything they can to help them, while a couple of criminals on board bolt for the woods, just in case, leaving their baggage behind. “Watson” and “Holmes” soon encounter a couple of very nice women in the next compartment and promptly develop a romantic interest.

This beginning may sound a bit convoluted, and I guess it is. And even while the rest of the film follows the same pattern story-wise, it is made with such charm and skill that I am drawn into the fiction without reservation or hesitation.

The Sherlock Holmes fanatic will be disappointed to learn that the “real” Holmes never shows up in this film, but as a consolation, there is a fictional Arthur Conan Doyle who appears briefly on a few occasions.

The film is set largely in and around the 1910 World’s Fair in Brussels. In addition to the themes of fake identities and romance, we find elements such as rare postage stamps, forgery and a strange inheritance. The whole thing ends with a trial in a gigantic courtroom. A worthy conclusion of a film that, all things considered, must be said to be well worth a watch.

There are no subtitles for this film, so stay away unless you know German.

This film is best enjoyed for the brilliant actors. Hans Albers is often recognized for his excellent portrayal of the fake Holmes, but Heinz Rühmann is perhaps even better as his equally fake Watson sidekick.

Hans Albers in Der Mann der Sherlock Holmes war / The Man who was Sherlock Holmes (1937)

Der Mann, der Sherlock Holmes war
Download link
Year: 1937
Language: German (no subtitles)
Running time: 1 h 46 min
Director: Karl Hartl
Stars: Hans Albers, Heinz Rühmann
Image quality: Acceptable
Resolution: Medium (512×384)
Sound quality: Good
Best file format: Cinepack (701 M)