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)

The Bat (1959)

Between 1922 and 1960, the play The Bat was filmed at least five times. I have previously written about the 1960 TV version, and in that post I also told a bit about how the story is connected with Batman. Now the turn has come to what is perhaps the most well-known version, the 1959 film The Bat, starring Vincent Price and Agnes Moorehead.

Agnes Moorehead and Lenita Lane in The Bat (1959)

In this version, Moorehead plays a mystery writer who has rented a mansion over the summer, but the place scares her hired staff, and things do not exactly improve when rumours of the masked murderer “The Bat” start to go around. The Bat is soon drawn to the mansion for some reason, and so are several other persons, including Lieutenant Anderson, who tries to capture The Bat, and Dr. Wells (Price), a man with some pretty shady background.

Of all the versions, this is perhaps the one that is furthest removed from the original play. While that helps to give it more cineastic integrity (in terms of not feeling quite so much like a filmed play), it also works to the film’s disadvantage to some extent. The play has a really tight and well worked out plot, and though the film retains the major plot elements, it feels somewhat less intense and dramatic. The horror aspects that have been added do not feel all that terrifying fifty-plus years later.

Still, it is a cozy piece of a mystery, one to cuddle up in front of on a dark and stormy night. In addition, of the three versions available from the Internet Archive, it is most definitely the one with the best sound and image quality.

This film is best enjoyed if you are a fan if Vincent Price. He is, as always, excellent, though the other actors deserve praise, too. Oh, and Crane Wilbur’s directing is also very solid.

The Bat's steel clawed glove in The Bat (1959)

The Bat
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Year: 1959
Running time: 1 h 20 min
Director: Crane Wilbur
Stars: Agnes Moorehead, Vincent Price
Image quality: Good
Resolution: Medium (720×480)
Sound quality: Good
Best file format: MPEG2 (2.1 G)

Charade (1963)

I cannot decide whether one should regret or applaud USA’s old copyright law. What it amounted to was that anything that did not have a copyright notice on it was not protected by copyright. So whenever someone forgot to put that fateful © in its proper place, that entire work automatically entered the public domain immediately upon publication. One of the victims of this was the movie Charade.

Cary Grant and Audrey Hepburn in Charade (1963)

We are fortunate to have Charade in the public domain, of course, since it is a gem of cinematic art. Hollywood at its absolute best. Warm, well written, effective scenography, a brilliant score, and not least an excellent cast, spearheaded by Cary Grant and Audrey Hepburn, each doing his and her best to outshine the other. Also, it is filmed on location in Paris, which was unusual at the time.

On the flip side of that copyright coin is the fact that the big companies rarely care about public domain movies. They are hard to make money off, because anyone can go ahead and legally distribute any preserved or restored edition. Such as in this case, where a brilliant Blu-ray copy has been ripped and uploaded to the Internet Archive. In many cases, though, those nice copies never appear.

Speaking of copies, a perfect high-resolution Matroska file is available for download, but if 11.5 gigabytes put you off, you can go for the much smaller MP4 (H.264) file. Lower resolution, but still very nice quality.

This film is best enjoyed when you are unfamiliar with the plot. This interesting and funny story, with all its twists and corny characters, is a bit too complex to sum up in just a couple of sentences. Besides, it may be better to see it with as few preconceived notions as possible. Just sit back, relax, and allow yourself to be carried away. This is cinematic magic.

Cary Grant taking a shower in  Charade (1963)

Charade
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Year: 1963
Running time: 1 h 23 min
Director: Stanley Donen
Stars: Cary Grant, Audrey Hepburn
Image quality: Excellent
Resolution: High (1920×1038)
Sound quality: Excellent
Best file format: Matroska (11.5 G)

The Kennel Murder Case (1933)

I must confess that before I first saw The Kennel Murder Case, I had never heard of the character Philo Vance, and even after seeing the film, it was years before I realized that this was a recurring and well-known character. Well, live and learn. One day I may actually read one of the original novels with the character.

Robert Barrat and William Powell in The Kennel Murder Case (1933)

The film begins at a Long Island dog show, where, amongst many other dog owners, Philo Vance and Archer Coe exhibit their dogs. The following day, Coe is found dead. The police suspect suicide, but Vance is convinced that the truth lies elsewhere, and cancels a planned trip to Europe in order to investigate the case. It turns out that Coe was not a very well liked man, and many have reasons for wanting to see him dead. Vance starts to investigate the case from many different angles.

The Kennel Murder Case appears to have been the fourth and final time that William Powell played the role of Philo Vance. At least one of the previous films, The Canary Murder Case (1929) is available from the Internet Archive. In addition, there are some old radio episodes available with Philo Vance.

This film is best enjoyed by fans of whodunnits. This is a thoroughly pleasant film with good actors, good photography, and just the right amount of plot twists. If you want to explore Hollywood film from the 1930s, this is a very good place to start.

Eugene Pallette, William Powell and Robert McWade in The Kennel Murder Case (1933)

The Kennel Murder Case
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Year: 1933
Running time: 1 h 13 min
Director: Michael Curtiz
Stars: William Powell, Mary Astor
Image quality: Good
Resolution: Medium (720×480)
Sound quality: Good
Best file format: MPEG4 (680 M)

Ich klage an (1941)

Over 70,000 people were killed as a direct result of Hitler’s Aktion T4 in the early stages of World War II. Some were jews, but many more were mentally or physically handicapped children and adults that, so Hitler said, would have meant an unnecessary cost for the “Vaterland” in times of war. As terrible as it is to think about all that, there was one arguably good thing to come out of that terror, namely the propaganda film Ich klage an, financed and produced to gain popular support for governmental use of so-called euthanasia (mercy killings).

Paul Hartmann and Heidemarie Hatheyer in pro-euthanasia film Ich klage an / I Accuse (1941)

Thomas Heyt is a medical doctor with a good career and a loving wife. But his life is turned upside down when his wife Hanna becomes the victim of severe, painful and potentially lethal mutiple sclerosis. Heyt seeks in vain for a cure, but Hanna’s condition becomes ever worse. She asks him to take her life before her pain becomes unbearable, which he eventually does. This, however, is not the end of the film, because Heyt thereafter has to stand trial for his actions, accused of murdering his wife.

When I first saw the film, I had no idea about its connection with Aktion T4. Nevertheless, I expected a propaganda film, but I was surprised to see how mild the propaganda is. So mild, in fact, that if it were not for its connections with Nazism, it could very well still be used to argue for voluntary euthanasia (and sometimes is, for that matter). The film does not in any way bring forth the subject of involuntary euthanasia that was actually the foremost purpose of Aktion T4, but it stays ethically within what several democratic countries legally allow today, apparently including the state of Oregon.

In an ironic twist of fate, the film came too late to save the project that had spawned it. In what has been described as the only successful popular protest against Hitler, public opinion was so strongly against the project that it actually had to be cancelled in 1941, only five days before Ich klage an premiered, heavily censored due to the criticism. (I am not sure whether the copy at the Internet Archive is the original or censored.) But even though Aktion T4 had been officially cancelled, Euthanasia according to the guidelines adopted by the project continued in many places throughout the war, killing tens of thousands more.

The available copy of this film has a unique feature, one that I have never seen before. The initial frames of the video file contain a slideshow with very interesting background information about Aktion T4 and about the film itself. If you have a player that can freeze the film on the first frame, and then step frame by frame, I can highly recommend these interesting slides, either before or after watching the film itself. The slides are pro-euthanasia, as is the film itself, but regardless of your own opinion on the subject, they provide a good historical background.

This film is best enjoyed in one of two very different ways. It can either be seen from a historical perspective, remembering that it comes from the same ideas and ideals that led up to the holocaust. Or it can be seen purely as a work of art: a film which, though controversial, is rich with excellent dramaturgy and acting. Indeed, these two perspectives may not be possible to disassociate entirely; they certainly complement one another and provide the watching with further depths.

Paul Hartmann in pro-euthanasia film Ich klage an / I Accuse (1941)

Ich klage an
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Year: 1941
Language: German (English subtitles)
Running time: 1 h 51 min
Director: Wolfgang Liebeneiner
Stars: Paul Hartmann
Image quality: Good
Resolution: Medium (640×480)
Sound quality: Acceptable
Best file format: MPEG4 (661 M)

The Hands of Orlac (1924)

The classic The Cabinet of Dr. Caligari (1920), which I wrote about last week, was to my knowledge the first cooperation between director Robert Wiene and actor Conrad Veidt. Four years later, they were to repeat the success in The Hands of Orlac (originally titled Orlacs Hände).

Conrad Veidt in The Hands of Orlac / Orlacs Hände (1924)

Even though both films are firmly rooted in the German Expressionism, The Hands of Orlac, when compared with the earlier film, is in many ways very different. Take Veidt’s role for starters. He is the protagonist, and he is a good person at heart. But he is also somewhat weak, perhaps even cowardly. When he loses both his hands in an accident, and his career as a concert pianist is threatened, his doctor decides to graft a new pair of hands, a pair that previously belonged to a convicted murderer. When confronted with this, Orlac fears that the evil in these hands will take over his mind. This fear, that body parts from another entity will infect the new host with the mind of the old one, is a theme that can be seen in many later films, such as Wolf Blood (1925) and Frankenstein (1931).

The scenography is also very different when compared with The Cabinet of Dr. Caligari. In the earlier film, the surroundings were nightmarish, bent and twisted, filled with dramatic shadows. Here, the nightmare and the shadows remain, but the rooms are gigantic, with straight, looming walls and pillars, and with very few decorations. This creates an image of small and powerless characters, desperately trying to grasp control from a relentless world. So again, Wiene has created a dramatic masterpiece, but the drama is achieved with different means.

This film is best enjoyed when you want to explore the themes that lead up to the great Hollywood horror films of the early 1930s. It is definitely an important part of that legacy.

Conrad Veidt in The Hands of Orlac / Orlacs Hände (1924)

The Hands of Orlac
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Year: 1924
Running time: 1 h 53 min
Language: English
Director: Robert Wiene
Stars: Conrad Veidt
Image quality: Acceptable
Resolution: Medium (608×464)
Soundtrack: Good; synchronized with the images
Sound quality: Excellent
Best file format: Cinepack (1.1 G) or Matroska (1.1 G)

Das Cabinet des Dr. Caligari (1920)

If you investigate the history of the horror movie, you will find that sooner or later the tracks lead back to Das Cabinet des Dr. Caligari, or as it is known in English, The Cabinet of Dr. Caligari.

Werner Krauß and Conrad Veidt in Das Cabinet des Dr. Caligari / The Cabinet of Dr. Caligari (1920)

Das Cabinet des Dr. Caligari is one of the defining works of the German Expressionism, and it is also one of the most thoroughly expressionistic films ever. The sets are twisted, looming, threatening, and induces a dream-like, or perhaps rather nightmarish, feeling into the film. The acting, by several great actors of the time, is on par, as is the plot.

I will not spoil your experience by telling you much about that plot. Suffice it to say that it deals with a somnambulist who is on display as a fair showcase, a mad doctor, and several gruesome murders. Also, things are rarely what they seem.

While not generally considered the first film in the German Expressionism, the film nevertheless had a tremendous impact on the genre, an impact that directly and indirectly carries on to other genres, not least the modern horror genre.

The copy I otherwise link to in this post is the best I have found at the Internet Archive. However, it is a German version with no subtitles. Another good version with English title cards is available, in case your German is out of practice.

This film is best enjoyed with a good musical score. With poor or random music, or no music at all, much of the nerve and intensity of the film will be lost. Fortunately, both the versions I link to are good in this respect. It is much easier to oversee with some defects in the visual quality.

Elsa Wagner and Friedrich Feher in Das Cabinet des Dr. Caligari / The Cabinet of Dr. Caligari (1920)

Das Cabinet des Dr. Caligari
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Year: 1920
Running time: 1 h 14 min
Language: German (no subtitles)
Director: Robert Wiene
Stars: Werner Krauß, Conrad Veidt
Image quality: Acceptable
Resolution: Medium (576×432)
Soundtrack: Excellent; synchronized with the images
Sound quality: Excellent
Best file format: Matroska (673 M)