Three Songs About Lenin (1934)

Vladimir Lenin was the leader of the Soviet Union for only six years before he died. Ten years after his death, the Soviet filmmaker Dziga Vertov made a spectacular propaganda film, celebrating the great leader: Three Songs About Lenin (Три песни о Ленине or Tri pesni o Lenine in Russian).

Three Songs 
About Lenin / Three Songs of Lenin / Tri pesni o Lenine / Три песни о Ленине (1934)

As the title implies, the film is based upon three songs. Those songs were, so we are told, written and sung by anonymous Russians in their great love for their lost leader. I have no idea if this is true, but considering the naivete of the lyrics, it just may be. Unfortunately, we hear very little (perhaps nothing) of the original music of those lyrics. The lyrics themselves are presented as intertitles, to the background of a musical score that mostly consists of classical music by Russian composers. In my mind, this produces a somewhat jarring discord. I would much rather have listened to a score based on Russian folk music, which would have made the images come to life in a much more powerful way.

Each song expresses its own theme and its own message about Lenin, but today those messages are subservient to the means of expression. Vertov skillfully achieves a mixture of sentimentality and pride by interweaving images of nature, cities, factories, Lenin himself (from archive footage) and not least fascinating images of people.

This is the second film I have seen by Dziga Vertov, after (Man with a Movie Camera (1929)), and I guess comparison is inevitable. The older film is a playful avant-garde experiment, full of surprises and amusing banalities. Three Songs About Lenin, in contrast, attempts to be much more serious, but because of the heavy propaganda, it has aged much more rapidly, even though it was made five years later. Also, even though it was made well into the sound era, Vertov seems unable to let go of the silent era conventions. He does include a handful of monologues, but instead of using voice-over narration, he sticks to intertitles, which break the flow of the narrative.

The film was apparently re-edited in the 1960s. I suspect that the version available at the Internet Archive is that edited version.

Three Songs About Lenin certainly has its share of weaknesses. If you want to start exploring Soviet cinema, there are better places to go. But it has strengths, too.

This film is best enjoyed for its cleverly woven tapestry, partly made of archive footage, partly of scenes shot especially for this film. The propagandistic themes and symbolism are effective and powerful, and I am sure one could spend a lot of time exploring the depths of Vertov’s artistry in its better moments.

Vladimir Lenin double exposure in Three Songs 
About Lenin / Three Songs of Lenin / Tri pesni o Lenine / Три песни о Ленине (1934)

Three Songs About Lenin
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Year: 1934
Running time: 58 min
Language: English/Russian (English subtitles)
Director: Dziga Vertov
Image quality: Good
Resolution: Medium (549×412)
Sound quality: Good
Best file format: Cinepack (700 M)

X Marks the Spot (1931)

Sometimes, I find myself watching a film for very strange reasons. X Marks the Spot, for example. I was looking at this blog’s alphabetical list of films, and realized that I had blogged about films starting with every letter in the English alphabet, except X. I am a fan of balance, unity and harmony, so I set about to find myself an X film at the Internet Archive (no, not that kind of an X film). This proved easier said than done, but two films eventually turned up with the title X Marks the Spot. Finding that one was a remake of the other, I went for the original, and to my great satisfaction, it turned out to be quite a gem of a film.

Wallace Ford, Sally Blane and Lew Cody in X Marks the Spot (1931)

Before I go on, I should probably mention that there is one big problem with the available copy: image quality is terrible. A good copy may not exist. Apparently, the original negative was deliberately burnt during the filming of the great fire in Gone with the Wind (1939). Sound is not great either, but good enough, especially considering that sound in the early 1930s was not very good even under the best of circumstances.

The plot is difficult to describe without giving away too much, but it involves a reporter who needs money for an operation to save his sister’s life. He puts himself in debt with a criminal, only to find, years later, that he may have to cash the debt in an unexpected and unpleasant way. Wallace Ford plays the reporter and Lew Cody gives us a genre cliché with his hot-tempered editor-in-chief.

The best thing about X Marks the Spot is the snappy and often funny dialogue. Accounts differ regarding when the first real screwball comedies were made, but this is definitely a big step in that direction, even though some say that proper screwball only appeared a few years later.

As I hinted above, a remake with the same title is also available at the Internet Archive. From what I have been able to find out, however, it is not as good as the original.

This film is best enjoyed if you like The Front Page (1931) and want more of the same. X Marks the Spot is not quite as good, especially not the actors, but it shares similar environments, similar dialogue, and there are some parallels in the plot, also. Sensitive viewers will be advised that the film contains some unfortunate racial stereotyping.

Fred Kohler in X Marks the Spot (1931)

X Marks the Spot
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Year: 1931
Running time: 1 h 6 min
Director: Erle C. Kenton
Stars: Lew Cody, Wallace Ford
Image quality: Poor
Resolution: Medium (480×360; not counting black border)
Sound quality: Acceptable
Best file format: H.264 (395 M)

Nancy Drew… Reporter (1939)

Back when I was a kid in Sweden in the 1970s, there used to be a famous series of books for kids. (In fact, that series was published for almost 100 years, and there were over 3,000 titles.) The backs were alternately green, for boys, and red, for girls. I mostly read the green ones, with Biggles as my big favourite. But on occasion I was attracted to one of the red books as well, and in particular the ones about Nancy Drew.

Nancy Drew, the famous girl detective, has made it to the silver screen on several occasions, but the early films from the 1930s are said to be the best. The only one available at the Internet Archive, and quite a gem at that, is Nancy Drew… Reporter.

Thomas Jackson and Bonita Granville in Nancy Drew... Reporter (1939)

I will be the first to admit that my memories of those juvenile books are far too sketchy to allow any comparisons with this movie version, but whether true to the original stories or not, it cannot be denied that Bonita Granville’s interpretation of Nancy Drew is fresh, charismatic and full of vigour. Sure, she acts something of a spoiled brat, but does so with such charm that you have to forgive her. Her performance is very good for the most part, especially in the dialogues.

The story, briefly, is that Nancy has entered a competition for young people to write the best news story. In order to get the best opportunity, she steals a real reporter’s assignment, which gets her involved in a murder case. But unlike everyone else, Nancy does not believe that the one the police suspects convicted the crime. So with the aid of her sidekick and her lawyer father, she decides to try to find and frame the real killer.

There is a certain similarity between this film and Danger Flight from the same year. Although one is for girls and one is for boys, both were made for juveniles, and both talk to the kids instead of talking down to them. This is certainly not always the case with modern juvenile films.

This film is best enjoyed when you need a feel-good movie. This one provides exactly that, and does it well. Look for no deeper meanings. Nostalgic sentiments for Nancy Drew are not required, but may augment your experience.

Bonita Granville, Frankie Thomas and Larry Williams in Nancy Drew... Reporter (1939)

Nancy Drew… Reporter
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Year: 1939
Running time: 60 min
Director: William Clemens
Stars: Bonita Granville
Image quality: Good
Resolution: Medium (720×540)
Sound quality: Good
Best file format: MPEG2 (2.8 G)

Scrooge (1935)

One year ago, almost exactly, I wrote about Scrooge (1951), one of the many cinematic interpretations of Charles Dickens’ famous story A Christmas Carol. That version is only one of several available at the Internet Archive. Today, the turn has come to the very first sound version of the story, also titled Scrooge.

Oscar Asche and Seymour Hicks in Scrooge (1935)

A Christmas Carol is one of those stories that has been filmed again and again. And quite often, the resulting product has been really nice. Hence, there are a good many actors that have made classic Scrooge interpretations. Alastair Sim in the 1951 version is certainly one, and Seymour Hicks in 1935 is another. Hicks is excellent as the miserly old money-lender, and he is among the very best in his terror of the ghost of Jacob Marley, as well as of the three spirits of Christmas. Like many other Scrooge actors, he lets himself be carried away, and is a bit too manic as the reformed kindly old man. But this is a minor problem and goes with the genre.

I find it difficult to choose between the 1935 and the 1951 versions. Both have good scripts and excellent actors. The former is a bit less advanced in terms of special effects (ghostly apparitions, and that sort of stuff), but since it cleverly avoids many of the technical difficulties, using instead simple means like shadows and good acting, this is not really a problem. The 1951 version is perhaps a trifle stronger in the camerawork, whereas the 1935 movie has many little humourous details. In the end, it may come down to technical aspects, and in that respect the 1951 version is blessed with a better copy at the Internet Archive. However, both are well worth watching.

The 1935 copy mainly linked to from this post is the one at the Internet Archive with the best image quality, but the download file is well over 3 GB in size. Fortunately, there is another version, made from the same source. Image quality is almost as good, and file size is much smaller. This is a good option if your bandwidth is limited.

This film is best enjoyed when you need a bit of feel-good in your life, or when you just want to experience a good old classic British costume film.

Donald Calthrop, Barbara Everest and Philip Frost in Scrooge (1935)

Scrooge
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Year: 1935
Running time: 1 h 18 min
Director: Henry Edwards
Stars: Seymour Hicks
Image quality: Good
Resolution: Medium (720×540)
Sound quality: Acceptable
Best file format: MPEG4 (3.7 G)

Hell’s Angels (1930)

Today, many people argue that the best thing about Hell’s Angels is the dramatic and well produced flight sequences. That may be true, but even though the film would have been pretty much forgotten without the airial stunts, the plot and character portraits hold enough interest to make the film worthwhile. One section of the film, as well as one special effect, are in colour. This was not unique for the time, but due to the high costs it was only seen in high-budget films, so this is another reason why the film remains special.

James Hall, Jean Harlow and Ben Lyon in Hell's Angels (1930)

In Hell’s Angels, we follow the destinies of two brothers, Roy and Monte, during the course of World War I. Their personalities are extremely different, so there is plenty of room for conflict, and especially so when they start to compete for the same girl. Or perhaps it should rather be said that she makes them compete, for reasons known only to herself.

Hell’s Angels is an early sound film, and much of the silent aesthetics remain, for good and bad. Indeed, the film was first intended as a silent, and much material had to be reshot (with the female lead replaced) when the decision was made to produce a talkie. There are even some title cards left for translating the German airmen’s conversation, where subtitles would be the norm today. On the plus side, it is certainly refreshing to hear German spoken in the first place. Most Hollywood war films in the following seventy-plus years were to use English in place of foreign language dialogue.

If you are used to Hollywood film from the 1940s and 1950s, you will find that Hell’s Angels is surprisingly overt in terms of sexuality and strong language. This is because it was made in the period before Hollywood’s self-imposed production code was created. Indeed, the decades following the early 1930s were to become much more bland and boring in some ways.

This film is best enjoyed by lovers of aviation or war movies. The aerial battles are truly spectacular, and there is plenty of the drama that only the backdrop of war can create. Hell’s Angels is a classic in its genre that is not to be missed.

Ben Lyon in Hell's Angels (1930)

Hell’s Angels
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Year: 1930
Running time: 2 h 11 min
Directors: Howard Hughes, James Whale, Edmund Goulding, Fred Fleck
Stars: Ben Lyon, James Hall, Jean Harlow
Image quality: Good
Resolution: Medium (640×480)
Sound quality: Good
Best file format: MPEG4 (1.8 G)

Jamaica Inn (1939)

Those who are used to Hitchcock’s Hollywood productions will find a great many surprises among the genres of his earlier films made in England. But although very different from his “classic” suspense thrillers, these films should not be dismissed off-hand. Many show excellent qualities and you can see Hitchcock perfecting his skills. The last film of any kind that Hitchcock made before moving to Hollywood was the historical thriller Jamaica Inn.

Charles Laughton in Alfred Hitchcock's Jamaica Inn (1939)

The film centers around Jamaica Inn on the coast of Cornwall (a real place, apparently still in business) which is the base of operation for a band of cutthroats and plunderers, who lure ships to run aground on the rocky shores. To this accursed and feared place, young Mary (Maureen O’Hara) arrives to visit her aunt, who is married to the innkeeper. The plot thickens as one of the gang members (Robert Newton) is suspected of taking loot for himself. From there on it is a sometimes tight, sometimes slightly contrived plot of chases, changing loyalties and secret identities.

It appears that neither Hitchock himself nor Daphne du Maurier (who wrote the book upon which the film is based) liked the finished film. Certainly, it does have a number of shortcomings, but it is nevertheless worth watching. It has a dark and eerie tone which, coupled with some unexpected comic relief, gives the film a unique creepy feeling. Jamaica Inn may not be among Hitchcock’s greatest films, but regardless of what people say, it is far from one of his worst.

This film is best enjoyed as part of Hitchcock’s legacy, but another good reason is Charles Laughton who plays the bad guy. I have seen few films with Laughton, but I find that he is always excellent. Even though Maureen O’Hara (also good) may nominally be the protagonist, Laughton tends to take over and dominate the picture, all for the good. Other films with him at the Internet Archive include The Private Life of Henry VIII (1933) and Captain Kidd (1945).

Charles Laughton and Maureen O'Hara in Alfred Hitchcock's Jamaica Inn (1939)

Jamaica Inn
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Year: 1939
Running time: 1 h 39 min
Director: Alfred Hitchcock
Stars: Charles Laughton, Maureen O’Hara
Image quality: Good
Resolution: Medium (624×480)
Sound quality: Acceptable
Best file format: MPEG4 (1.5 G)

The Little Princess (1939)

Only a handful of Hollywood actors from the 1930s are as well remembered today as Shirley Temple, the cutesey child actor, adored by everyone. At the ripe age of ten, Temple made the film The Little Princess. No-one knew it yet, but already her star was waning. The Little Princess was one of her last major successes.

Shirley Temple in The Little Princess (1939)

The Little Princess is basically the story of Cinderella, with a few twists thrown in. Shirley plays the girl Sara, whose mother is dead and whose father is going into war. He leaves her to a fine boarding school, where she quickly becomes the mistress’ favourite, and the envy of the other girls. She also gets a few friends among the staff. But things take a sudden turn for the worse when her father is reported dead. All her nice things are taken away, and she is forced to work off her father’s debts.

Today, The Little Princess may seem a bit overly cute and sentimental, and Shirley Temple may seem just a little bit too perfect with her smiles and mannerisms. Ah, but she is gorgeous at the same time. She basically makes the entire film, although several of the adult actors are also very good, and the whole piece is exquisitely well produced from beginning to end.

This film is best enjoyed if you want to discover Shirley Temple, arguably the most celebrated child star in all of Hollywood. If you like this film, there is a good chance that you will also like Little Lord Fauntleroy (1936), also available at the Internet Archive. Though Shirley Temple is not in that one.

Anita Louise and Shirley Temple in The Little Princess (1939)

The Little Princess
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Year: 1939
Running time: 1 h 33 min
Director: Walter Lang
Stars: Shirley Temple
Image quality: Good
Resolution: Medium (653×446; not counting black border)
Sound quality: Good
Best file format: MPEG2 (3.1 G)