Film Persona

  Irving Rapper's "Now Voyager" Warner Brothers Studio's 1942 film " Now, Voyager ," which was adapted from the 1941 novel of the same name by Olive Higgins Prouty, went on to be the biggest box office earner of Bette Davis' career. Centering on a drab, quiet, overweight, neurotic woman whose life is brutally dominated by her mother, she is suddenly transformed into a healthier, more capable individual. It was the role that Davis herself invested more time and energy into more than any other of her performances. Not only this, it was the film that started to change Davis' power in the film industry, as she got to have far more say in her costars and choice of directors. " Now, Voyager " details the successes of individual pursuit, as well as the pursuit to protect and care for others. Many consider it the second greatest role of Davis' career, behind her iconic role in 1950's " All About Eve ." 

Jean-Luc Godard's "Pierrot le Fou" When you look back over the career of Jean-Luc Godard, the film that many would immediately go to would probably be his 1960 directorial debut, " Breathless ." Perhaps this would be the more revolutionary choice, but after watching his unique 1965 film " Pierrot le Fou ," I feel as though it embodies Godard, his work, France, and the New Wave movement as a whole. It perhaps even brings the New Wave movement to something of a close, despite some films that followed that would still be categorized as such. " Pierrot le Fou " is not a very complex film as far as basic plot. A man named Ferninand, tired of his quaint bourgeois existence with his wife, runs away with a young woman named Marianne after getting fired from his job at a TV broadcasting company. The remainder of the film follows Ferninand and Marianne in the throws of love as they attempt to evade capture from the police and OAS gangsters.  To me, the...

  John M. Stahl's "Leave Her to Heaven" One of the films from the 1940s that has developed a cult following among film historians is John M. Stahl's 1945 technicolor melodrama " Leave Her to Heaven ." In a very " Gone Girl "-before-" Gone Girl " motif, the story centers on a woman so obsessed with her husband that she brings about violence and death in order to keep him. The film has received such a ravenous following due to its multi-blending of genre between noir, psychological thriller, and melodrama, along with its gorgeous technicolor cinematography. Cinematographer Leon Shamroy even ended up winning the Best Cinematography - Color category at the 1946 Academy Awards. Not only this, the film ended up being 20th Century Fox's highest grossing film of the 1940s.

  Michelangelo Antonioni's "L'avventura" Michelangelo Antonioni's 1960 film " L'avventura " seems to live in infamy. The greatest moment of infamy for this widely discussed film is its premiere at the 1960 Cannes Film Festival. At the screening, it received a notorious reaction. The entire film, despite its serious tone, was met with widespread laughter. The laughter was also joined by boos. The boos were usually hurled during scenes and sequence in which is appeared where nothing happens to further the film's plot. The actress and star of the film, Monica Vitti was so distraught by this reaction, she fled the theater. The next day, director Antonioni received a list of signatures from established filmmakers and writers declaring " L'avventura " the best film screened at the festival. After a second screening, the film went on to win the Jury Prize. This hysteria over the film and the disparate reactions were the subject of much pub...

  Mikhail Kalatozov's "The Cranes are Flying" After the death of Joseph Stalin, the Soviet Union entered a new age. The same could be said for Soviet cinema, as a fresh new wave of Soviet cinema took off, which would retrospectively become known as the "Soviet thaw." One of the central figures that reinvigorated filmmaking during this period was Georgian filmmaker Mikhail Kalatozov. Kalatozov's inventive film techniques not only revolutionized Soviet cinema, but global cinema as a whole. The film that sparked this excitement was a film that ended up being the only Soviet film that won the Palme d'or at the Cannes Film Festival. This film was 1957's " The Cranes are Flying ."  " The Cranes are Flying " centers on a relationship between a young woman named Veronika and a young man named Boris during World War II. Right before the war begins, they are in the throws of young love. However, Boris decides to enlist in order to serve and...

  Jean-Luc Godard's "Alphaville" With his 1965 film " Alphaville ," Jean-Luc Godard took a well known French film serial and converted it into a bizarre, sci-fi noir. The serial, which started out as a group of novels from British author Peter Cheyney, were adapted into French films in the 1950s and 1960s. These films starred French actor Eddie Constantine as the famous secret agent named Lemmy Caution. These pulp stories were somewhat of a proto-James Bond. Godard took this famous secret agent character and placed him on another planet for " Alphavilla ," which completely turned the famous stories upside down. When secret agent Lemmy Caution arrives in the galaxy capital of Alphaville, he learns that a computer named Alpha 60 has become a dictator of the human civilians. In a very 1984-esque fashion, humans are prohibited from displaying any emotion, as emotion has been deemed illogical. With the help of a young woman, played by Godard's muse and ...

  Ingmar Bergman's "Winter Light" Although I have not yet seen 1961's " Through a Glass Darkly " and 1963's " The Silence ," Ingmar Bergman's renowned 1963 film " Winter Light " is meant as a second piece of a three part unofficial trilogy. All three films deal with interpretations of God and humanity's relationship with God. " Winter Light " finds the certainty of God being penetrated and existential nihilism seeping out of the gaping wound of uncertainty.  The film centers on pastor Tomas Ericsson, who is dealing with a crisis of faith. All the while, his relationship is falling apart, one of his church members commits suicide, and he is dealing with a sickness. The film follows his reconciliation with his own nihilism in his faith and certainty about God. Bergman was inspired to make this story after talking to a clergyman, who told Bergman how he had offered spiritual advice to a fisherman who later killed himsel...

  Dorothy Arzner's "Dance, Girl, Dance" Dorothy Arzner's 1940 musical comedy " Dance, Girl, Dance " deals with the ideas or art versus commerce and does so through a very feminist lens. Centering on two young women, played by Maureen O'Hara and Lucille Ball, who both try to make it as dancers, but in very separate ventures. O'Hara's Judy wants to be a ballet dance, while Ball's Bubbles wants to be a burlesque star. What's evident in both cases is that both have a deep love for their profession, but also must get entangled in the very notions of the male gaze, as both dance for the sake of entertaining or titillating men. When the film was released in 1940, it received very mixed reviews. However, in retrospective appraisal, many have noted the feminist backbone of the picture and have praised it for its enduring themes and commentary of art, commerce, entertainment, and feminism. 

  Victor Fleming's "Gone with the Wind" Considered one of the biggest films in the history of classic Hollywood, 1939's " Gone with the Wind " is monumental in its technical achievements and its box office reputation. Watching the film, it's easy to see why there is so much fervor over the film, for both its technical prowess, along with its controversial romanticism of the Old South. Regardless, the film stands as a monolith of film history and is the discussion of much recognition and debate today. The film centers on a young, Southern belle named Scarlett O'Hara who lives on her family's estate in 1860s Atlanta. As discussion of war is spoken about amongst the local populace, Scarlett is mainly focused on her spoiled life and her attraction to Ashley Wilkes. However, after war breaks out between the North and the South, Wilkes ends up marrying Scarlett's cousin, Melanie Hamilton, while Scarlett is left to marry some other lowly man she kno...

  Elia Kazan's "On the Waterfront" In 1952, Hollywood filmmaker Elia Kazan made the controversial decision to identify eight Communists in the film industry to the House Committee on Un-American Activities. Now a part of history, this betrayal by this titan of the film industry hurt his career and his reputation, along with putting him in bad graces with other filmmakers and artists. Kazan is now synonymous with being a rat. I think Kazan, at the time, was aware of this moniker that would be placed on him and decided to erect a film that answered these concerns. That film would become one of the most iconic Hollywood films in history, 1954's " On the Waterfront ."  The film stars Marlon Brando in one of his most memorable roles, Terry Malloy. Terry was a New York Prize Fighter whose career was cut short when we purposefully lost a fight at the request of mob boss Johnny Friendly. Terry now works for Friendly's labor union as a longshoreman while his olde...

  George Cukor's "The Women" After George Cukor was fired from directing duties on " Gone with the Wind ," he instead turned to adapting the 1936 play by Clare Boothe Luce's stage play " The Women ." What's unique about this film is that the entirety of its 130 speaking roles are all played by women. Considered an ensemble piece, the film centers on a group of high society women as they deal with their respective romances and relationships. The film stars a group of the most recognizable and famous actresses of the 1930s and 1940s, including Norma Shearer, Joan Crawford, Rosalind Russell, Paulette Goddard, and Joan Fontaine.

  William Wyler's "Wuthering Heights" Before I start speaking on William Wyler's 1939 adaptation of the 1847 Emily Bronte novel " Wuthering Heights ," I would first like to say that I have not personally read Bronte's original source material. I have neither seen any other adaptation for the novel. So, my only basis for understanding of the film's plot rests entirely with this 1939 Samuel Goldwyn production. That being said, this film made me want to read the Bronte novel even more, as I felt myself being fully engaged and enraptured by the story. The story revolves around a pair of star-crossed lovers, the aspiring upper-class Cathy and the gypsy stable boy Heathcliff. As youths, they are inseparable. They muse about the nature of their class and status and understand that wealth and privilege does not reveal humanity. However, after Cathy is courted by the wealthy Mr. Linton, she begins to disavow Heathcliff as a commoner. After she marries Mr. Lin...

  Louis Malle's "Elevator to the Gallows" There is one thing for certain that every film historian or critic agrees with about Louis Malle's debut directorial effort, 1958's " Elevator to the Gallows :" that its significance and place in film history is far more important that the film itself. The film itself is still an entertaining and engaging watch, mind you. However, what's even more interesting is the film's approach to filmmaking and the varying stylizations and aesthetics that Malle uses to tell his story.  The story itself plays off American film noir. A man, Julien Tavernier, assassinates his boss with the planning of the victim's wife, Mrs. Carala, as the two of them are secret lovers. However, after getting stuck in an elevator with his car running outside, Mrs. Carala is left waiting at the diner they agreed to meet at. After a street punk and a local flower shop girl steal Julien's car, Mrs. Carala sees them drive by believi...

  Jean-Luc Godard's "A Married Woman" Every time I watch a Jean-Luc Godard film, I feel as though there is always something to engage with. There is always a level of intellectualism and post-modernism that allows for actual contemplation with the film you're watching. His 1964 film, " A Married Woman ," is perhaps my least favorite film of his filmography thus far. That being said, it is still an incredibly engaging and interesting watch that forced me to evaluate 'modern life' and all its mechanical and consumerist employs.  It centers on a married woman (hence the title) who lives in modern Paris. She is married and plays step mother to a young boy. At the same time, she sneaks away to pursue an affair with a theater actor. After finding out she is pregnant, she is torn between the two men. The story is relatively straight forward, but like all Godard films, the style in which the story is told is utterly unique. Godard has a way of inverting trad...

  George Stevens' "The More the Merrier" The 1943 romantic comedy " The More the Merrier " signaled an end to an era for both director George Stevens and lead actress Jean Arthur, who made the film to finalize their contract with Columbia Pictures. After making this comedy, George Stevens traveled to North Africa with the U.S. Army's combat photography unit. After returning from the war, he would never make another comedy again and instead would focus on dramas and westerns. As for Jean Arthur, who is the one who got the production for the film off the ground, finished her contract with Columbia and only made 4 more films after. She ended up retiring from film all together in 1953.  The story centers on Jean Arthur's Connie Milligan, who agrees to rent part of her apartment to wealthy retiree, Benjamin Dingle, and soldier Joe Carter, due to the housing shortage in Washington D.C. in the middle of World War II. Although Connie is engaged to the unexciting...

  Preston Sturges' "Sullivan's Travels" After the release of Preston Sturges' 1941 film " Sullivan's Travels ," many critics felt that Sturges did not live up to the quality he had produced in his previous efforts, like " The Great McGinty ," " Christmas in July ," and " The Lady Eve ." Many critics felt that Sturges was missing the very point that " Sullivan's Travels " was making. However, in retrospect, " Sullivan's Travels " is widely considered Sturges' greatest film of his filmography. The story centers on a Hollywood director named John L. Sullivan. Sullivan is tired of making comedies and wants to make the next great Capra-esque film that deals with real world issues of social and political importance. He decides to spend life as a travelling hobo to better help him understand poverty and low-economic living circumstances. However, after an incident at a train station, he gets arre...

  Julien Duvivier's "Panique" The final film I will be watching in the filmography of French filmmaker Julien Duvivier is his post-war 1946 film " Panique ." I've got to say that I was completely enthralled with his picture and felt that Duvivier had reached the pinnacle of his creative peaks. That is to say, however, that it is not my personal favorite of Duvivier. But, I do think that " Panique " is perhaps his most interesting, his most explorative, and the bleakest film of his career. " Panique " centers on a young woman named Alice fresh from jail for taking the rap for a crime committed by her lover, Alfred. She then discovers that he has broken the law once again, this time more serious. After a botched holdup, Alfred brutally murdered an elderly woman. The only thing standing in their way from escaping the murder is town outcast, Monsieur Hire, who thinks he's trying to save Alice from Alfred by telling her he has proof of the...

  Kenji Mizoguchi's "The Story of the Last Chrysanthemum" After the two films that Mizoguchi considered his initiation into artistic maturity, " Osaka Elegy " and " Sisters of the Gion ," he created something that took considerably more effort and perhaps even more maturity to make. That film would be 1939's " The Story of the Last Chrysanthemum ." The film would have relatively the same political and social outlook of the previous two, but Mizoguchi went on to expand those ideas into more of a broader, sweeping story that takes place over years and years.  The film centers on a young man, Kiku, who is the adopted son of a famous kabuki actor. Kiki, whom is failing as a successful actor, connects emotionally with his infant brother's wet nurse, Otoku. Kiki's father disapproves of his union with Otoku, so Kiki and Otoku go to Osaka to start a new life. In Osaka, Kiki attempts to start from the ground up as an actor. However, he is ...

  Jean Gremillon's "Remorques" Before this week, I was completely unaware of who Jean Gremillon was. After watching three of his films, I can definitely say that he is by far one of the more remarkable poetic realists in French cinema. After my superb viewing of his 1937 film " Lady Killer ," I sat down and watched the film that came out right at the onset of Germany's occupation of France. And I dare say that 1941's " Remorques ," despite its straightforward story, somehow feels very suited to the tone of this chaotic moment in French history. The film stars Jean Gabin as tugboat captain who spends his days rescuing cargo ships from dangerous storms. He has been married to his wife for a decade, but his wife is starting to feel restless with the life they are living. Gabin's Andre is completely stressed due to his wife's obsessions with a lifestyle change, his continued fatigue over his dangerous job, and the recent incident of a vesse...

  Jean Gremillon's "Lady Killer" Another fine example of in the canon of the French poetic realism of the 1930s, Jean Gremillon's " Lady Killer " enlists Jean Gabin in yet another incredible performance. I felt very ambivalent about this one going in, and boy was I certainly caught off guard by how much I was sucked in to this picture. As the 1930s started coming to an end, I feel as though the French poetic realist movement started borrowing a lot more from the German Expressionist movement from the decade prior. It certainly proves effective, as the subject matter, like with " Lady Killer ," started to get more and more fatalistic.  " Lady Killer " stars Jean Gabin as a military under-officer whom everyone knows by the nickname " Gueule d'amour ." The reason for this nickname is because he has such an affect over women, and is considered to be a typical 'womanizer.' " Gueule d'amour " also happens to ...

  Jean Gremillon's "The Lighthouse Keepers" Jean Gremillon's 1929 silent film " The Lighthouse Keepers " is an interesting work that sets itself apart from the other films in the final days of silent cinema. Adapted from a stage play by Jacques Feyder, " The Lighthouse Keepers " follows a father and son who arrive to spend their next month attending to a lighthouse. However, things get bad after the son is bitten by a rabid dog. He starts hallucinating and experiences what can only be described as a form of rabies. Gremillon is able to edit sequences together to make them feel surreal. The claustrophobia of the lighthouse, along with some dizzying editing, and psychedelic sequences make for an interesting watch of a young man descending into insanity. 

  Leo McCarey's "Love Affair" Well, gosh darn if Leo McCarey's 1939 romance film " Love Affair " isn't one of the most sweetest and delightful films of the 1930s. The film stars Charles Boyer and Irene Dunne as two star-crossed lovers who agree to meet at the top of the Empire State Building in 6 months time after they leave their current partners. However, tragedy strikes when one isn't able to attend, leaving the other to wonder about the circumstances of the one that got away. I have to say that I went into the film not really excited nor interested in such a premise or with this certain director. Don't get me wrong, I've liked a couple of McCarey films before, namely 1933's " Duck Soup " and 1937's " Make Way for Tomorrow ." However, McCarey isn't a director that strikes a lot of interest in me, and can have unremarkable duds. That being said, " Love Affair " really pulled me in with its utter cha...

  Jean-Pierre Melville's "Le Silence de la Mer" It has been explained to me that Jean-Pierre Melville has the same philosophy about cinema that the New Wave directors did. Perhaps this is why he is called the spiritual father of the French New Wave movement. He considered cinema to be 'done,' in a sense. There was nothing left to do in the realm of cinema that hadn't already been done before. The only thing left was to go inward and examine the subconscious through the art of cinema. Sure, stories needed narrative and plot, along with traditional means to capture this narrative. However, Melville took a very minimalist approach to this. This minimalism is how he was able to hit a more existential tone with his work. With his debut feature film, 1949's " Le Silence de la Mer ," he began his filmmaking career by creating a minimalist piece that dove into the soul of a Nazi officer.  Based on the 1942 book by the same name written by Jean Bruller, ...