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
Directors: Anthony Asquith
Stars: John Mills
Image quality: Good
Resolution: Medium (512×384)
Sound quality: Good
Best file format: MPEG4 (700 M)

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)

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)

Thunderbirds Are Go (1966)

My five-year-old daughter enjoys watching the 2015 TV series Thunderbirds Are Go. Little does she know, or care, that the original Thunderbirds series, and also a movie with the exact title Thunderbirds Are Go, are older even than her old dad.

Thunderbirds Are Go (1966)

The plot of the movie is about a spaceship that is sabotaged shortly after liftoff for the first planned mission to Mars. The spaceship crashes before reaching space, but the crew is rescued and a few years later a second attempt is made. This time, the rescue team Thunderbirds are called in to make sure that the crew is safe. They also employ the agent Penelope to ascertain that there is no sabotage this time.

Thunderbirds Are Go ia an animated film, mostly made with puppets and scale models. The scale models, in particular, are extremely detailed and imaginative! Spaceships, houses, cars, not to mention the base where the spaceship takes off for Mars. Those things are still impressive and well made when compared to what a similar production would look like today. At times, I feel myself completely blown away by the imagination and the attention to detail that lie behind this production.

The animation was made with a puppetry technique called supermarionation, which was used in all the 1960s Thunderbirds films and TV series, as well as in several other series made by the same production team. There is no facial movement, except for lip synch, and even though that synch is good, it can be a bit unnerving to watch those completely blank faces trying to express some kind of emotion. In fact, most puppet movements are a bit stiff at times, and unfortunately that is also true of the dialogue, and indeed of the entire plot.

Fans of Cliff Richard and The Shadows will not want to miss this one, since Cliff and the band appear as puppets, performing the song “Shooting Star” during an otherwise too long and somewhat absurd dream sequence.

The aspect ratio of this movie is a bit off, but if you have a good player, you can easily adjust that.

This film is best enjoyed for the magnificent scale models of buildings and vehicles, and for the music by Cliff Richard and The Shadows. Quite frankly, there is little else to enjoy about it, but those things go a long way.

Thunderbirds Are Go
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Year: 1966
Running time: 1 h 29 min
Director: David Lane
Stars: Cliff Richard (singing)
Image quality: Good
Resolution: Medium (640×360)
Sound quality: Good
Best file format: Cinepack (620 M)

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)

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)

The Speckled Band (1931)

The early 1930s was an interesting time for Sherlock Holmes film fans, since there were no less than three actors playing the detective. Clive Brook (who does not seem to be represented at the Internet Archive) made two films in 1929 and 1932, and inbetween those, both Arthur Wontner and Raymond Massey debuted as Holmes within a month of one another in 1931.

Massey, in The Speckled Band, debuted not only as Holmes, but it was for a fact his first-ever appearance on film. And while Wontner’s Holmes (in Sherlock Holmes’ Fatal Hour and four more films) was competent but traditional, Massey’s performance still feels fresh and original.

Raymond Massey (Sherlock Holmes), Lyn Harding and Athole Stewart (Dr. Watson) in The Speclked Band (1931)

This was not only because of Massey’s youthful and vigorous acting, but also because of his surroundings and methods. His Holmes, in addition to his flat at 107(!) Baker Street, has a hyper modern office, complete with a staff of secretaries and a computer-like mechanical database.

The Speckled Band is an interesting and well-crafted film in many other ways as well. In acting as well as photography, many traces can be found from the silent era ideals. This is not at all a problem in this particular case. Especially Lyn Harding’s exquisite over-acting makes him one of the most formidable and enjoyable Holmes villains on the screen ever. The film’s editing is also somewhat ingenious. There is a wonderful sequence where Watson tells Holmes about the various persons connected with a certain case, and each person’s face appears ghost-like in the background, as if listening in on the conversation.

Unfortunately, the version of the film at the Internet Archive is heavily abridged (a full 40 minutes cut out of original 90!), and this is often painfully obvious. Many scenes are so heavily and poorly cut down that the dialogue and plot can be hard to follow. Also, sound and image quality are quite terrible. I have been unable to find a complete and restored version, so for the time being, we shall have to settle for this mutilated one. I find that the film’s many good qualities outweigh the various problems with the available copy.

If you find the dialogue difficult to follow due to the poor sound quality, there are also downloadable subtitles in various formats. I have not tested these, so I cannot guarantee that they are synchronized with the version of the film that I link to.

Another version of this Arthur Conan Doyle tale is available at the Internet Archive. The Adventure of the Speckled Band (1949) was part of the American TV series Your Show Time. Less than 27 minutes in length, it featured Alan Napier (who also played Batman’s butler Alfred in the classic 1960s TV series) in his only appearance as the great detective. This version may be preferable if you cannot stand the poor technical quality of Massey’s The Speckled Band, though it lacks the latter’s playfulness and originality.

This film is best enjoyed by fans of Raymond Massey. Massey was a fantastic actor (as can be seen in classics such as Things to Come (1936) and Santa Fe Trail (1940)), and while The Speckled Band may not have been his best performance, it is nevertheless of more than merely academic interest.

Athole Stewart (Dr. Watson), Angela Baddeley and Raymond Massey (Sherlock Holmes) in The Speckled Band (1931)

The Speckled Band
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Year: 1931
Running time: 50 min
Director: Jack Raymond
Stars: Raymond Massey, Lyn Harding
Image quality: Poor
Resolution: Medium (576×392)
Sound quality: Poor
Best file format: MPEG4 (421 M)