Man in the Attic (1953)

Man in the Attic is sometimes referred to as a remake of Alfred Hitchcock’s silent classic The Lodger – A Story of the London Fog (1927). But unlike Ivor Novello’s The Phantom Fiend (1932), which in spite of some variations is a retelling of Hitchcock’s film (Novello played the lead in both productions), Man in the Attic seems to actually be closer to the literary source than Hitchcock’s film was.

Jack Palance and Frances Bavier in Man in the Attic (1953)

Here, again, we see the strange and somewhat odd-behaving man who takes lodging in the spare room of a London couple. Again, of course, the man falls for the couple’s niece (daughter in the Hitchcock version). And again there are some very striking resemblances between the new lodger and the serial killer who goes about town murdering young women. In this film, the murderer in question is Jack the Ripper, but is The Ripper and the lodger really one and the same? The wife of the house certainly thinks so, but her husband is not at all convinced, and their lovely niece wants to hear no such nonsense.

An interesting thing with the various cinematic versions of this story is the wildly different endings. Man in the Attic presents yet another variant, and one which makes it a completely different kind of story. In fact, I suspect that this ending is close to the original novel. Hitchcock was always very liberal with how he adapted his sources, as he was more interested in creating the story he wanted to tell than in trying to recreate anything from the original. In this version, however, the producers and writer seem to have taken pains not to stray too far.

Compared with the other versions, Man in the Attic has advantages and disadvantages. Jack Palance does an excellent job, perhaps even better than Ivor Novello in some respects. Even more to the point, the supporting characters are much more finely portrayed here, and with more depth. However, director Hugo Fregonese does not manage to achieve the same feeling of suspense that you get from Hitchcock’s film in particular, and I cannot decide which I disdain the most: unmasked American accents in a Victorian London setting, or Americans trying and failing to speak with a British accent. Man in the Attic will provide you with both.

This film is best enjoyed as a counterbalance to Hitchcock’s The Lodger. If you have to watch only one version of the story, you should make it Hitchcock’s (because it is more important to cinematic history, if nothing else), but if you want another, I would recommend this one before Ivor Novello’s remake, even though that one has its positive sides, as well.

Constance Smith and Jack Palance in Man in the Attic (1953)

Man in the Attic
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Year: 1953
Running time: 1 h 22 min
Director: Hugo Fregonese
Stars: Jack Palance
Image quality: Acceptable
Resolution: Medium (684×480, not counting black border)
Sound quality: Acceptable
Best file format: DIVX (700 M)

The Lost World (1925)

Those of you who follow this blog may have (correctly) come to the conclusion that I like silent film. That is not only because many silents have considerable artistic merits, but also because they provide exciting insights into the history of cinema.

Take The Lost World, for example. It was a movie that truly rocked the young medium, and the repercussions of which you can still feel in the cinematic world today. What the big-budget, special effects-heavy adventure movie would have been without it we shall never know. Not the same, for sure.

Bessie Love, Lewis Stone, Lloyed Hughes, Wallace Beery and Arthur Hoyt in Arthur Conan Doyle's The Lost World (1925)

The Lost World is based on the Arthur Conan Doyle novel of the same name, and tells the story of an expedition that set out to explore a hidden plateau where a scientist was recently reported to have found living dinosaurs. The scientist’s daughter joins the expedition, as does Professor Challenger; his first appearance in both written and cinematic form.

The Lost World is in many ways the archetypal exploration movie. I guess there may have been other similar films before it, but probably none were as influential as this one. The plot introduces us to a team of explorers, including a leader, a reporter, an expert and a woman. Through hardships and adventures they travel to a location that is distant, exotic and hard to find. Many of the plot elements and character archetypes in this film reappear in later films, such as Flight to Mars (1951).

This film is best enjoyed for the special effects, spectacular for their time. Even though the stop motion animation used was considerably improved by later filmmakers, one must really admire the craft and imagination that breathe life into the huge dinosaurs of the lost world.

Triceratops in Arthur Conan Doyle's The Lost World (1925)

The Lost World
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Year: 1925
Running time: 1 h 16 min
Director: Harry O. Hoyt
Stars: Wallace Beery
Image quality: Good
Resolution: Medium (720×546)
Soundtrack: Excellent; synchronized with images
Sound quality: Excellent
Best file format: MPEG4 (580 M)

Dressed to Kill (1946)

Later this week, this blog turns four years. With this week’s post, I therefore take you back to where it all began: Basil Rathbone as Sherlock Holmes in 1946.

That first film I wrote about was Terror by Night, arguably the best of the many Sherlock Holmes films available at the Internet Archive. Later that same year, Rathbone along with Nigel Bruce were to make their last screen appearances as the famous detective and his sidekick. While not quite as good as the earlier film, Dressed to Kill is not a bad pick if you like old-school mysteries.

Basil Rathbone as Sherlock Holmes and Nigel Bruce as Doctor Watson in Dressed to Kill (1946)

Dressed to Kill begins with two preludes. First is a scene from a prison, then one from an auction hall. Both involve music boxes, and this is of course no coincidence. Later, we find ourselves on home turf, as far as Holmes mysteries go. Holmes and Watson sit in the 221 B Baker Street apartment, the one playing the violin, the other musing over some old cases that have recently seen print. Watson’s old pal “Stinky” calls for a visit, and of course he brings a somewhat intriguing mystery. A mystery with a music box. Well, who would have imagined?

In an attack of lacking imagination, the producer and writer here re-used the plot of the Arthur Conan Doyle story “The Adventure of the Six Napoleons”, which had already been filmed with Rathbone two years earlier as The Pearl of Death. But there is a twist. The music boxes that are featured in place of the original’s Napoleon busts are not exactly identical; the music they play has slight variations, and in those variations is a code. A code that only Sherlock Holmes can crack. We are also treated with a number of memorable crooks, including a femme fatale well played by Patricia Morison.

With this film, I consider myself to have mined the Internet Archive for worthwhile Sherlock Holmes films, except for one little bonus feature that I saved for next week. There are several other Holmes-related films in the Archive, but all are either too poor or too short, usually both. Of historical interest is, for example, a series of silent shorts.

In addition to this one and Terror by Night, two of the fourteen Rathbone/Bruce films are available for download at the Internet Archive, and in the intervening years since my first post I have written about both. They are Sherlock Holmes and the Secret Weapon (1943) and The Woman in Green (1945).

This film is best enjoyed whenever you are in the mood for some good, classic, Holmes. Few are better than Rathbone, and add to that solid scenography, dialogue and directing. I still think that Terror by Night is the best Holmes film at the Internet Archive, but when you have seen that, you will want more, and Dressed to Kill is not a bad next selection.

Nigel Bruce as Doctor Watson and Basil Rathbone as Sherlock Holmes in Dressed to Kill (1946)

Dressed to Kill
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Year: 1946
Running time: 1 h 12 min
Director: Roy William Neill
Stars: Basil Rathbone, Nigel Bruce
Image quality: Excellent
Resolution: High (960×738)
Sound quality: Good
Best file format: MPEG4 (3.1 G)

A Diary for Timothy (1945)

It is 1945. The tide of war has finally turned in Great Britain’s favour. The Germans are retreating on all fronts, and victory is now more than just a vague dream. But many cities in southern England are in ruins, and the V2 rockets are still a very real threat. It is into this world that Timothy is born. As a tribute to him, director Humphrey Jennings tells the story of A Diary for Timothy.

A Diary for Timothy (1945)

I am not sure if Timothy actually existed, but whether he did or not is of minor importance. In this film, the infant baby is a storytelling device, and an effective one. Though the film is not really about Timothy, or his mother, the film repeatedly returns to them and their home in Oxfordshire.

But the stories told in this film are about other people. About the Air Force pilot recovering from his wounds. About the coal miner doing his best to produce as much coal as possible for the war effort.

This is pure propaganda, and well made. It stresses how both military and civilian personnel must work together to take Britain through the war. As a factual documentary, A Diary for Timothy has very little to offer, even though many factual events are doubtlessly recorded.

This film is best enjoyed for its effectively woven image of a strong and resilient country. A country that will not give in, no matter what. Additionally, it is interesting because of its narration, written by famous author E. M. Forster.

A Diary for Timothy (1945)

A Diary for Timothy
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Year: 1945
Running time: 37 min
Director: Humphrey Jennings
Stars: Michael Redgrave (narrator)
Image quality: Good
Resolution: Medium (768×576)
Sound quality: Acceptable
Best file format: MPEG2 (1.4 G)

The Battle of Britain (1943)

Frank Capra’s famous World War II propaganda series Why We Fight has been justly praised for its high drama and impact. I have previously written about The Nazis Strike, the second part, and the turn has now come to part four, The Battle of Britain. I have seen most of the series, and in my humble opinion, this part is perhaps the best of the lot.

The Nazi whale about to devour Great Britain in Why We Fight: The Battle of Britain (1943)

There are several reasons why I like this film. One is the large amount of genuine aerial footage, both from British sources and from captured Nazi propaganda films. Another is the exciting story it tells. Not the least important reason is the excellent narration by Walter Huston, with brilliant lines like this one: “The Nazi plan called for the RAF to be knocked out of the air, but the men of the RAF hadn’t read the Nazi plan.”

Sure, this is propaganda. It cannot be trusted for historical facts. But it will give you at least a partial glimpse of the reality behind the facts and figures of World War II.

If you are interested in some more facts about the series as a whole, do check my post on The Nazis Strike.

This film is best enjoyed if you are interested in old combat aircraft. The pictures do not lie about these magnificent machines and their performance in the air.

Spitfires in Why We Fight: The Battle of Britain (1943)

The Battle of Britain
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Year: 1943
Running time: 53 min
Directors: Frank Capra, Anatole Litvak
Stars: Walter Huston (narration)
Image quality: Good
Resolution: Medium (720×540)
Sound quality: Good
Best file format: MPEG2 (1.9 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)