Michael Powell’s The Life and Death of Colonel Blimp

Image from BFI

It’s a shame that Michael Powell is known in the US for what seems to be basically only one movie — viagra drug testing https://recyclesmartma.org/physician/viagra-esperance/91/ viagra im urin https://bmxunion.com/daily/quality-thesis-pdf/49/ see http://www.danhostel.org/papers/grammar-check-sentences/11/ The cheapest propecia online https://eventorum.puc.edu/usarx/cialis-patent-expiration-us/82/ enter http://www.naymz.com/thesis-about-peace-and-order-in-barangay/ go essay shark account creation help me write my book youth essay competition 2014 viagra from china https://harvestinghappiness.com/drug/viagra-without-a-prescription-legal/66/ football writing paper jnu english entrance question paper https://thembl.org/masters/coursework-vs-master/60/ https://thedsd.com/staar-persuasive-essay-prompts/ problem solution paper topics se tomar viagra paracetamol write an essay on speech writing writers on the storm stories observations and essays university of wisconsin mfa creative writingВ http://hyperbaricnurses.org/5193-viagra-delayed-ejaculation/ go here viagra kenilworth dissertation on teacher motivation https://chanelmovingforward.com/stories/how-to-write-an-good-essay/51/ how to write creative writing essays viagra md The Red Shoes, a mainstay on TCM’s programming. Or that in 1960, Powell released a movie that many have stated “killed” his career, the bloodless psychological horror movie Peeping Tom, which scandalized anyone who saw it but now… seems mostly a case of “WTF were these people scared of?”

What many of us — me included — did not know is that aside from the fact that Peeping Tom did not “kill” Powell’s career (it may have caused quite the stir, but he still made several pictures in both the UK and Australia; they just weren’t the massive hits that Powell had enjoyed in previous years), Powell had a directing partner in Emeric Pressburger for the most of his time in movies. Their production company was known as The Archers, Powell & Pressburger and both produced movies from 1943 to 1957, when the partnership was dissolved. However, both men would reunite for a few more movies that enjoyed limited success outside of the UK.

Let’s just say that Peeping Tom would not be the first time Powell and Pressburger would cause a stir when trying to make a film. When they focused on Colonel Blimp the newspaper comic strip character by David Low, guess who came calling and not with good news: then Prime Minister Winston Churchill. Him. It seems that his ego was bruised; the strip was known to mock those in higher positions of office and that was a matter that Churchill did not take lightly to. Powell and Pressburger deflected by stating that their movie had no relation to the strip but Churchill was undeterred. It seems that Churchill would make it his mission to stop funding, production, and the acquisition of actors of the stature of Sir Lawrence Olivier all in the name of what Churchill deemed an offensive movie.

But there’s more to the story — there always is. The screenplay that became the movie called for a friendship to develop between a German soldier and a British soldier during the Boer War. Such a friendship would last 40 years. England was smack in the middle of a war against Germany and of course, Churchill not only verbally attacked the film but the actor playing the German (Anton Holbrook).

The film prevailed, but not without the long arm of censorship which forced the movie to be trimmed down considerably and not released to the US public until after the war. The Life and Death of Colonel Blimp, as a matter of fact, did not get restored in its entirety until the 80s, and today, thanks to the efforts of Powell’s third wife, Thelma Schoonmaker and Martin Scorsese, Criterion Collection now can show the movie in its full glory, as it was intended.

Anyone who loves British movies ought to experience Colonel Blimp. It is a hoot and a holler in its first sequence reminiscent of what Monty Python would later do, but as its story moves forward in time, it starts revealing its true face, and what emerges is an exercise in altruism in both the central friendship of Charles Wynn Candy (Roger Livesey) and the German officer (Holbrook) who becomes his lifelong friend. In the middle we see Deborah Kerr, right before her arrival in Hollywood, playing three parts. She is, at least for two-thirds of the movie, the glue that holds the men together. In the first vignette, she is the woman who falls for Candy, but because his German friend has also fallen for Kerr, he gives her away selflessly… and never forgets her. In the second vignette, Candy will marry Kerr again as another character during the First World War but during the Second World War, Kerr plays Candy’s driver, and a spirited young woman with a passion for defending her country.

Viewers of Luis Bunuel’s cinema might see a wink thrown at his direction at casting the same actor in several roles but this may have been incidental; Powell had wanted Wendy Hiller to play the role that ultimately went to Kerr in the final installment, but Hiller was unavailable, so Kerr remained on set.

The Life and Death of Colonel Blimp is now available in its full running time in both physical DVD and via Criterion Channel and I suggest you take a look into it. This is quite a remarkable film, one of historic value, and if Churchill would be alive now he would probably have to agree.

The Death of Innocence: Elem Klimov’s Devastating Come and See

There probably will never be a war movie quite like Elem Klimov’s traumatizing Come and See. No amount of hero-worship, no amount of action set pieces, pyrotechnics, or simple wartime nostalgia will replicate the horror of innocence lost to time and devastation. I saw Come and See through the suggestion of a friend and while I don’t shy from difficult pictures I almost wish I hadn’t seen this. That is a compliment, not a complaint. This is not a movie for beginners or people with weak stomachs. This is the movie Spielberg saw before filming his own Schindler’s List and even that movie had a few moments where the audience could breathe before the horror would pick up again.

I’m not sure I want to write anything too detailed because at one point I was so disturbed by what I saw that I had to stop the movie — thank goodness for DVD remotes — take a break, get settled, and tackle the rest of it, even when I knew that the worst was yet to come.

In a nutshell, Come and See is about a young Belarussian boy of fifteen, Flyora Gaishun (Aleksei Kravchenko), who wants to join the partisans during the Nazi occupation of Russia in 1943. The event that seals his conscription is the finding of a rifle buried in the sand, but once he joins the partisans he is left behind due to an unfair exchange of footwear. He encounters a young girl named Glasha (Olga Mironova) and becomes smitten with her, not before they undergo a blitz attack from German bombers that leaves them both disoriented. Once they arrive home Glasha realizes Flyora’s family — indeed, the entire village — has been killed. Flyora, convinced they are still alive, states he knows where they are located and attempts to walk through a bog while a terrified Glasha follows. The actions result in Flyora reconnecting with villagers who now see him as the cause of their miseries, a thing that basically makes Flyora lose the last of his mind.

However, survival still remains, and hunger sends Flyora and a small group of partisans in search of food. In a scene that has to be experienced to be believed, there is an exchange of machine guns that basically leaves Flyora again, alone and destitute. If you thought that things are about to get better, think again. Come and See dives into the abyss and right into the face of the Fuhrer himself in an agonizing shot of reverse chronology that pulls the rug off of you and leaves you speechless.

Last year I saw a Romanian movie called I Do Not Care if We Go Down in History as Barbarians, and while that film was mostly comedic, its finale and that of Come and See are inextricably linked through the massacre of a people by the hands of the military. Come and See has a much longer and cringing sequence, and itself was the moment I had to stop viewing the movie due to the sheer level of horror that leaped from the visuals. All the anguish, all the agony gets carried out in a young boy’s face as it morphs from that of a teenager with dreams to a rictus of pain and fear. This is not Empire of the Sun. This almost qualifies as a documentary — it’s that horrifying. Klimov, if he wished to make a commentary on how barbarous this event was in which 628 Belarussian were slaughtered by the Nazis needn’t worry.

On the 30th Anniversary of WHEN HARRY MET SALLY…

WHEN HARRY MET SALLY… Country: USA. Director: Rob Reiner. Screenwriter: Nora Ephron. Language: English. Cast: Billy Crystal, Meg Ryan,, Carrie Fisher, Bruno Kirby, Harley Jean Kozak, Steven Ford, Lisa Jane Persky. Runtime: 95 minutes. Rating: CLASSIC.

Jane Austen once wrote how difficult it is for a man and a woman to establish a relationship not based in sex with her timeless classic Pride and Prejudice. Unless you’ve lived under a rock, or plain skipped every literary assignment you were given in high school, you’ll definitely know at least the bare-bones premise of the story and the development of its characters who for the most part remain blind around the fact that they love each other.

Flash-forward almost two centuries later and Nora Ephron, an author known for her acerbic, razor-sharp wit, developed, in conjunction with director Rob Reiner, a movie based on themselves to a degree (even when neither of them had been in a relationship with each other, which makes me wonder how that would have ended). The result… well… it’s made cinema history, thirty years later, as it gets re-released to either new audiences who might walk into theaters and watch it out of hearsay or moviegoers suffering from a case of nostalgia who, like me, saw it when it came out on cable in 1990, and want a shot at experiencing it — love in New York! oh, so romantic — on the big screen.

Who would have thought that this little movie which was a surprise hit back when and would have garnered more had it been considered for Oscar nominated performances by its two leads (who anchor the movie with their chemistry and those lines written by Ephron), would by now have entered our lexicon with that the line, “I’ll have what she’s having?” If only anyone knew back then, what comedic material they had in their hands. This is why you owe it to yourself to experience this movie. Rent it, buy it, or go check it out again in any retrospective near you. It’s that good of a film, you can watch it over and over and the entire film feels fresh and up to date. Much of what was true then rings true now, as men and women continue to circle each other and attempt relationships with each other.

[Heck, entire series have been created based on this “let’s be friends only” rule. Most of “Friends” was angled at this type of dynamics, and “Seinfeld” offered yet another example of a woman and a man being friends with no interest in each other whatsoever. “Sex and the City” brought this setup to the late 90s and the start of the new millennium, and “Will & Grace” took it a whole other direction by flipping sexuality and establishing a solid friendship with hints of sexual tension not just in its two main leads (Will and Grace) but in its two other leads (Jack and Karen).]

In short, When Harry Met Sally is timeless and the best movie Woody Allen never made (although it does bear some slight relation to Allen’s Annie Hall). With not only Carrie Fisher and the criminally underrated Bruno Kirby on board to produce a solid foursome, but also, as I mentioned earlier, the brilliance of New York City a its own character, to provide ample scenery for the clueless couple at the center to fall in love. And with a killer view of the Empire State Building (as seen in Harry’s character’s loft apartment), or with those walks both Harry and Sally take throughout the Upper West and Central Park, who wouldn’t want to meet someone and fall in love?

ON DVD: A BRIEF VACATION (1973)

Hooked on Film rating:

5 out of 5 stars (5 / 5)

 

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People in Italian Neo-realism films don’t usually take vacations; they barely have any money to even get on by, and Vittorio De Sica’s next to last movie deviates only very slightly from his usual topic. While not as brutally draining of hope as his 1948 classic Bicycle Thieves (I Ladri di Bicicleta), and not quite as emotionally powerful as his 1970  The Garden of the Finzi-Continis (Il Giardino dei Finzi-Contini), A Brief Vacation is both a return to his his core topic, and a welcome departure as well.

The movie focuses on Clara Mataro (Florinda Bolkan), a woman working in a factory, providing for her disabled husband Renato. At the opening of this film, Clara is at her last rope. Nothing works properly in her house and on top of that she is expected to go to work under long commutes and still put food on her family’s plate. Things take a turn for the worse when she starts fainting at work; a visit to the doctor discloses that she has become tubercular and must cease work at once and get some much needed recovery.

This doesn’t bode well for her family, who view Clara as a money-making machine, and an exchange with a young man who is also at the doctors leads to accusations of infidelity bordering on spousal abuse from her husband. Still, against her husband’s wishes, she takes the decision and boards a train that takes her to the mountains of Italy far north to start a new chapter of mental and physical recovery.

Once there she befriends an interesting group of women: one, a famous singer (played by Adriana Asti) with an advanced stage of cancer who maintains a strong front while collapsing on the inside, a trophy wife (Teresa Gimpera), and a young woman who won’t eat. Clara, herself a victim of a hard life, slowly finds her footing in ways she could not have while living with her family. Somehow, these wounded women see a subtle strength that Clara herself probably didn’t know she possessed and come to depend on her for support when they themselves have to confront their inner pain.

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The one thing that lingers a tad plastic in the movie is that the young man she met at the doctor’s office also comes to visit for an indefinite stay. This seems a tad fabricated for the purpose of romantic drama, (and for some reason it made me think of how romance also happened to Cecilia, another lonely woman who escapes reality by via of a movie heartthrob in Woody Allen’s 1985 The Purple Rose of Cairo) However, this new man also works to Clara’s favor: she discovers passion, and with that, her own beauty. De Sica, however, doesn’t go the route of giving her a makeover, and Bolkan is marvelous in depicting the subtle nuances that she herself is perhaps more confident than she initially let on. Perhaps an actress with less presence may have required this treatment — typical of Hollywood — but Bolkan, it’s always there, flickering, like an inner light.

It’s because of this that Clara’s slow evolution from battered, sick housewife to a woman who is becoming more herself even when she may have to return home when her family comes to fetch for her, that one realizes just how strong and independent she really is. A Brief Vacation may not have all the answers into resolving her quandary as of what comes after recovery, but as a character study of a woman coming back from the edge of darkness, A Brief Vacation is a movie that while has its feet firmly entrenched in its Neo-realist roots also offers a core element: a glimmer of hope. You couldn’t ask for more evolution than that in a director.