St Martin’s Lane (1938)

I wonder if I would have ever discovered Charles Laughton if it had not been for the Internet Archive (search this blog for “Laughton” and you will find a number of his many great performances). Sure, I would have seen a couple of his classics, such as The Hunchback of Notre Dame (1939), and then I would have dismissed him as typecast. Typecast? Ha! Nothing could be more wrong.

Vivien Leigh and Charles Laughton in St Martin's Lane / Sidewalks of London (1938)

St Martin’s Lane, also known as Sidewalks of London, is yet another example of Laughton’s versatility. Here he plays Charles, a “busker”, essentially a sort of street musician, making his living by playing for the people standing in line for the theatres along St Martin’s Lane in London. He discovers the young and talented Libby (Vivien Leigh) and not only makes her part of his act, but also gives her a place to stay.

Libby pays him back by saying good-bye at first opportunity for a break on the big stages, and as she goes on to ever greater fame, Charles sinks lower and lower into mediocrity and alcoholism.

Laughton and Leigh, and also Rex Harrison as Libby’s playboy sponsor, all make excellent performances, even though it is rumoured that Laughton and Leigh got on each others’ nerves during production.

This film is best enjoyed for the high-quality drama and acting. The story is good and captivating, but the ending is perhaps a little bit dissatisfying. Ah, well. This piece is still well worth watching.

Vivien Leigh in St Martin's Lane / Sidewalks of London (1938)

St Martin’s Lane
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Year: 1938
Running time: 1 h 26 min
Director: Tim Whelan
Stars: Charles Laughton
Image quality: Good
Resolution: Medium (640×482)
Sound quality: Good
Best file format: MPEG4 (814 M)

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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)

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!
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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
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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)

Rembrandt (1936)

Alexander Korda was a very solid British director, perhaps best known for participating in the 1940 remake of Douglas Fairbanks’ The Thief of Bagdad (1924), which is considered to outshine even the spectacular silent original, and which was a major source of inspiration for Disney’s Aladdin (1992).

In the 1930s, Korda made three films that are so thematically similar that they must be considered as a trilogy. The Private Life of Henry VIII (1933) and The Private Life of Don Juan (1934) have already been reviewed on this blog, and the turn has now come to the third film, Rembrandt.

Charles Laughton in Rembrandt (1936)

All three films are biographies of various European personalities in the 16th and 17th Centuries, two historical and one fictional. All three can be traced in various ways to the reformation and counter-reformation, although admittedly this is a theme that does not shine through in the films. All three films also deal with lost loves and with the agonies of growing old.

Rembrandt begins with the death of famous painter Rembrandt van Rijn’s wife Saskia. The film then follows Rembrandt’s remaining life with its numerous sorrows, but most of all it is a powerful portrait of a strong and gifted artist, who at all costs stayed true to his own vision and character. When his friends implore him to paint nobles (who can pay good money) in the traditional style, Rembrandt prefers to develop his own personal technique on motifs of his own choosing. For example, he picks a beggar off the street and dresses him as a biblical king.

This film is best enjoyed for Charles Laughton’s exquisite performance as the famous painter. The film is well made overall, but the story lacks that extra edge that would have secured its place as a great classic, partly because it is a bit shattered and out of focus. As it stands, Laughton makes it well worth the effort of watching, but you may want to go for The Private Life of Henry VIII first, also with Laughton in the lead. Comparing these two films with one another will give a good picture of Laughton’s great versatility as an actor.

Charles Laughton in Rembrandt (1936)

Rembrandt
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Year: 1936
Running time: 1 h 24 min
Director: Alexander Korda
Stars: Charles Laughton
Image quality: Excellent
Resolution: Medium (666×509, not counting black border)
Sound quality: Good
Best file format: MPEG4 (814 M)

No Man’s Land – Hell on Earth (1931)

When the Nazis came to power in Germany in 1933, they immediately banned a number of films that they perceived as spreading “dangerous” propaganda. One of them was Niemandsland, known in English under different titles; the copy at the Internet Archive is called No Man’s Land – Hell on Earth.

No Man’s Land is set during World War I, and begins by telling the background stories of five different men of different nationalities. Stories that are perfectly everyday, until the men are drafted into World War I. These men come together when they seek cover in the cellar of a bombed-out house in the middle of no man’s land. They each have their own loyalties, and their own families back home, yet have to cooperate in order to survive.

World War I soldiers going over the top in Niemandsland / No Man's Land - Hell on Earth (1931)

The film sends a strong anti-war message. This may have been one reason why it scared the Nazis, but probably more importantly because one of the five men is a Jew, a Jew depicted as a perfectly normal and honest human being. Imagine the threat.

Just like last week’s Vampyr (1932), No Man’s Land is a film from the period just after sound film had broken through, and again an example of inexperience with sound technology. As a result, the poor sound detracts somewhat from the enjoyment of watching, though this film is still good enough that such a small detail can be overlooked.

I saw a comment somewhere on the Internet that this film is pointless, because five men cannot stop a war anyway. It takes the will of an entire civilization to do that. Well, that is exactly the kind of attitude that means war will never come to an end, because first and last, it always comes down to the individual. Sure, there must be powerful political leaders to sign the treaties, but they will never do it unless they feel popular demand behind them; they will never be elected in the first place unless the people support their opinions. So, yes, five men’s stand, or even one man’s stand, counts. Because as long as everyone sits on their behinds waiting for someone else to act, nothing is ever going to change.

This film is best enjoyed for its warm and deep humanism. The five men in the cellar all come through as living, three-dimensional characters. As a viewer, I care about each of them, and therefore the film’s message also comes through as meaningful and interesting.

Ernst Busch, Vladimir Sokoloff, Hugh Douglas, Georges Péclet and Louis Douglas in Niemandsland / No Man's Land - Hell on Earth (1931)

No Man’s Land – Hell on Earth
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Year: 1931
Language: English, German, French, Yiddish
Running time: 1 h 6 min
Director: Victor Trivas, George Shdanoff
Image quality: Acceptable
Resolution: Medium (720×480)
Sound quality: Poor
Best file format: Cinepack (517 M)

We Dive at Dawn (1943)

The submarine film is an interesting genre, and We Dive at Dawn is a good representative. Here you will find everything to be expected from a good submarine film. The closed spaces, the comradeship and conflicts among the crew, the sounds of machinery and exploding depth charges, the excitement of the hunt and the tense waiting as the hunter turns to prey.

John Mills and Reginald Purdell in We Dive at Dawn (1943)

The British submarine Sea Tiger has just come back after a long time at sea. We get to see the various crew members as they go ashore for a presumed lengthy leave, but we barely get a glimpse of their private troubles before they are ordered back to ship for another important mission. As the somewhat disheartened lot take their vessel out again, they are told that they are going after the German battleship Brandenburg, as they should be able to catch up with her before she enters the Kiel Canal in northern Germany.

But when they take aboard some Germans from a rescue buoy, they learn that the Brandenburg is farther ahead than expected, and they will not be able to catch up. The ship’s captain (John Mills) then makes the decision to enter the Baltic and search for the German battleship there. But the decision is a foolhardy one. Not only because the Baltic is full of German ships, but also because they are running low on fuel.

Judging by its looks, We Dive at Dawn was a pretty cheap film. The submarine interiors look convincing enough to my untrained eye, but many small details, such as John Mills’ fake stubble, lack the attention which marks a really well-produced film.

Nationalism and propaganda naturally lurks in the background of a wartime production such as this. But it is never allowed to surface (pun intended) in the same way as in, for example, In Which We Serve (1942) or One of Our Aircraft Is Missing (1942).

This film is best enjoyed if you like either submarines or British 30s/40s films. Though not the best representative of either category, We Dive at Dawn nevertheless has enough good qualities to satisfy your hunger for more of those kinds of films. The story, while a touch on the sentimental side, is good and the actors are adequate.

Turkish S class (Oruç Reis class) submarine P 614 in We Dive at Dawn (1943)

We Dive at Dawn
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Year: 1943
Running time: 1 h 33 min
Director: Anthony Asquith
Stars: John Mills
Image quality: Good
Resolution: Medium (512×384)
Sound quality: Good
Best file format: MPEG4 (700 M)