Film Persona

  Roberto Rossellini's "Europa '51" When Roberto Rossellini's " Europa '51 " was released in 1952, there were many divisive reactions to the film from critics. Many critics felt the film was too 'on the nose' and 'superficial' with its thematic concepts. However, there are some critics, like France's Andre Bazin, who understood the film in a way that it was meant to be understood: through the exacting realm of realism.  The film stars Ingrid Bergman as the wealthy wife of an industrialist. After the death of her son, she starts dedicating her life to selfless acts of charity. She helps people acquire medicine for their sick child, she helps a woman get a job at a factory, and even goes to work at the factory on her behalf. However, this new devotion to charity is labeled as insanity, to which she is placed in a mental facility to live out the rest of her life. I think I would agree with the more critical critics if I were to view ...

  Gene Kelly & Stanley Donen's "Singin' in the Rain" The first time I ever saw Gene Kelly and Stanley Donen's 1952 iconic musical " Singin' in the Rain ," I was completely blown away. The second time I watched it was nothing different. In fact, the film only blew me away even more. " Singin' in the Rain " revels in its own lightheartedness. It dances effortlessly through the halls of history with a smile on its face. I love this film. It is perhaps one of the most iconic films ever made. And I will go on record saying it is the greatest musical ever put to screen. The film centers on the transitional period in Hollywood when the industry shifted from silent films to 'talkies.' A group of actors, centering on Gene Kelly's Don Lockwood, all attempt to make a 'talkie' and decide the their leading lady's voice does not suit the new medium, instead opting to make a musical and have Debbie Reynold's Kathy Sheld...

  Robert Bresson's "Diary of a Country Priest" Famed French film critic Andre Bazin once called Robert Bresson's 1951 film " Diary of a Country Priest " a masterpiece. His reason for calling it a masterpiece was "because of its power to stir the emotions, rather than the intelligence." To intellectually analyze the film wouldn't be completely uncalled for. However, the true might of the film's resonance lies in the confusing mess of spirituality and emotionality, not in the breaking down of intellectual concepts. It was a revolutionary film in this way, and in another: it was a film that stripped away any 'genre' elements that had become popular in post-war French cinema. In doing so, it paved the way for the more existential films to come in the 1950s and 1960s (Bergman coming first to my mind). These types of films demonstrated that, despite the horrors of the war being behind them, the resulting Nietzschean collapse of spirituali...

  Jacques Becker's "Casque d'Or" Jacques Becker's 1952 film " Casque d'Or " didn't really provide me with any sort of thematic through-line to grab on to. Not that there wasn't one. I just simply lost track of any sort of digging for anything deeper and simply enjoyed the drama of the film's love triangle. Greater men than I could probably dissect the film in a more meaningful way. However, I won't be providing any great revelations about the film. I will simply be adorning the simplest of adorations.  The film's setting is Paris during the Belle Époque. Marie, a prostitute, is caught in a love triangle between Roland, a brutish criminal, Felix, Roland's boss and the head of a crime syndicate, and Georges, a handsome, lowly carpenter. When Georges actively pursues Marie, the gang leader Felix orchestrates the arrest of Georges and his eventual tragic end.  I very much enjoyed the film and was transfixed by the drama that unfol...

  Jean Renoir's "The Golden Coach" While the 1940s were not as creatively successful for iconic French filmmaker Jean Renoir, the 1950s provided him a second wind. In fact, the addition of technicolor seemed to bring him even closer to the visual prowess of his father, Auguste. The immensity and breadth of his visual creativity would reach its zenith in his 1951 work, " The River ." A year later, his production in Italy of the film " The Golden Coach " would continue this streak of impressive technicolor films that would come to mark his late period. The film stars Anna Magnani, an Italian actress, who arrives with her theater troop to a remote Peruvian town in the 18th century. Her immense beauty causes her to be courted by three men of varying social and economic status: a viceroy, a bullfighter, and a solider.  As previously stated, the late period of Renoir seems to ensure a sense of visual vitality. To aid in this, his thematic point of interest s...

  Roberto Rossellini's "The Machine That Kills Bad People" While watching Roberto Rossellini's 1952 film " The Machine That Kills Bad People ," I thought to myself, "We al know where this is going." In fact, I believe Rossellini knew the audience suspected exactly the point Rossellini was driving at long before the film's conclusion. The film, which seemed to veer in a different direction that Rossellini's standard adherence to neo-realism, goes into territories of fantasy and surrealism (although not fully).  The film centers on Celestino, who is visited by a homeless man one night claiming to be Saint Andrew. This Saint Andrew fellow gifts him a special camera that, if you take a picture of someone in a picture, they die. Celestino decides that he must take divine justice into his own hands and rid the world of its evil and vile. What he doesn't realize is just how many people that would constitute.  In 1952, the devastations of the w...

  John Huston's "Moulin Rouge" Before I watched John Huston's 1952 biographical drama " Moulin Rouge ," I felt I never quite engaged with Huston's work as much as others seem to. Even his major works like 1941's " The Maltese Falcon " and 1948's " Treasures of the Sierra Madre " weren't as well regarded by me as much as they are regarded so highly in the collective retrospective outlooks. All of the films of his that I have watched thus far seem to not connect with me and I end up finding them boring. So, when I sat down to watch " Moulin Rouge ," I was even more hesitant, especially since it is one of the more lowly regarded works in his heralded collection. However, I seem to have gone against collective consensus once again, as I was very surprised with how much I enjoyed it.  The film centers on the real life French painter Henri de Toulouse-Lautrec. Navigating the bohemian subculture of Paris in the late 19t...

  Anthony Asquith's "The Browning Version" I was very caught off guard by Anthony Asquith's 1951 British film " The Browning Version ." Going into it, I wasn't sure what to expect. Regardless, what I received was something far more emotionally complex than anticipated.  The film centers on Andrew Crocker-Harris, an embittered, middle-aged schoolmaster. He is resigning from his post due to his poor health, his wife is cheating on him, and the person she's cheating on him with is the one replacing him at his post. This sets off a series of emotional and existential reflections on whether his hardnose and authoritarian teaching methods made any difference with the students throughout his teaching career. However, one grateful student forces Crocker-Harris into an emotional reckoning. The film forces reflection on one's life and the difference we make in the lives of those around us. Perhaps you hold too tightly to your ideals and perhaps you've ...

  Emilio Fernandez's "Victims of Sin" I wouldn't exactly say that Emilio Fernandez's 1951 Mexican drama " Victims of Sin " knocked my socks off. I also wouldn't say that it was completely unengaging. Rather, somewhere in the middle. There were many aspects of the film I found interesting. I think Fernandez is a very engaging visual storyteller and his story is full of moral and emotional rummaging that provides a level of interest enough to keep me engaged with the picture. It centers on a Cuban dancer who decides to rescue a baby from being thrown in the trash, raise it, and ultimately pay the price for her heart of gold. I think the film was something of note and worth a watch at the very least.

  Alf Sjoberg's "Miss Julie" A film that won the Grand Prix at the 1951 Cannes Film Festival, Alf Sjoberg's " Miss Julie " is more than just a film about a forbidden romance. It's constant shifts in emotion and tone make for something that is unsettling or destructive within the confines of its themes. Based on the 1888 play of the same name by August Strindberg, " Miss Julie " is an intentionally unruly piece of work that froths with unrest and debauchery.  " Miss Julie " centers on Miss Julie, the daughter of a Count Carl, as she forgoes the family's Midsummer's Eve celebration to "honour" the servants' ball with her presence. She becomes attracted to one of the servants, Jean, whom confesses that he was attracted to her as a boy. The two contemplate escaping the estate, however their drunken discussions ultimately lead to various forms of power plays between the two.  I think the main thing to point out about ...

  Vincente Minnelli's "The Bad and the Beautiful" After the wild success of his 1951 musical " An American in Paris ," Vincente Minnelli opted for a film about the Hollywood industry itself. 1952's " The Bad and the Beautiful " and its central storyline is pulled right from real life inspirations of figures in Hollywood. Minnelli, when asked why he would film a movie criticizing Hollywood, replied that he felt the characters were flawed and human, which made the concept of the film far more fascinating.  The film centers on three figures in the industry: a writer, a director, and an actress. Each tell their own individual perspective on their relationship to Jonathan Shields, an exacting movie producer who soiled each relationship by propping them up and then abandoning them for bigger and better prospects. Through their recollection of their experiences with Shields, we piece together the life of a man attempting to get to the top and burn every r...

  Michael Powell & Emeric Pressburger's "The Tales of Hoffmann" With the finale of their 1947 film " Black Narcissus " and the ballet sequences of 1948's " The Red Shoes ," it was becoming evident that Michael Powell and Emeric Pressburger were getting closer to achieving their goal of a 'composed film.' 'Composed image,' a term coined by by Powell, meaning a marriage between image and operatic music. With their 1951 film " The Tales of Hoffmann ," they were successful in their execution of their idealized 'composed image' through a retelling of the 1881 opera " The Tales of Hoffmann ."  The entirety of " The Tales of Hoffmann " is done completely without dialogue. There is only singing. It recounts the tales of Hoffmann, a man who fell in love with an automaton in France, had his reflection stolen by a courtesan for a magician in Venice, and falls in love with a dying soprano singer in Gree...

  Akira Kurosawa's "The Idiot" Kurosawa had grand visions when he adapted Fyodor Dostoevsky's 1869 novel " The Idiot ." Kurosawa had originally crafted a 265 minute version of the film, only for the studio to demand it be cut down. This original version now no longer exists and the stripped-down 166 minute version, is all that remains.  " The Idiot " tells the story of a man suffering from epileptic dementia, and is often referred to as 'an idiot' because of it. However, the man, Kameda, is good natured and endlessly selfless to everyone around him. The film hinges upon an intricate web of relationships that get tangled between Kameda and various romantic interests and their respective suitors. Everyone is drawn to Kameda due to his goodness.  The film intrigued me in various sections. I did feel as though the film had quite a bit of weight with its runtime. It felt like it dragged in several places. But, there are two main sequences that h...

  Mikio Naruse's "Repast" Based on a novel by Fumiko Hayashi, Mikio Naruse's 1951 film " Repast " takes advantage of Setsuko Hara's rising stardom, as she had just done films with Akira Kurosawa and Yasujiro Ozu. Her performance in " Late Spring " is something of a career-defining performance. With Naruse's " Repast ," she plays an exhausted housewife who must reconcile the relationship she has with her husband after his niece comes to visit.  Hara's Michiyo works tirelessly for her husband and now-visiting niece and on one night when she has a dinner with a friend, it becomes clear that no one is willing to put in the work she is willing to put in. The realization that being a housewife is going to completely deprive her of any happiness she may attain breaks her down and forces her to run away to Tokyo to 'think things over.' One of the writing on the film, Sumie Tanaka, wanted the film to end in their divorce. Howev...

  William Wyler's "Detective Story" While watching William Wyler's " Detective Story ," I felt as though, on paper, the story worked very well. It takes place in a single location, over the course of a single night, as Kirk Douglas' character maneuvers through multiple cases he's working on with various suspects, guilty parties, and witnesses. Although it seemed to work logistically and felt interesting enough, I was a bit unengaged with the work. I did mildly enjoy it, but I felt I was enjoying the idea of the story more than the execution of it. That being said, I feel as though the hardened attitude of Douglas' character is the main focal point that I gravitate towards. Sometimes I feel as though I agree with his cynical, hardened stance and other times I feel as though he is being too harsh. There are instances, like the one I just described, that force thought about morality, crime, and other elements of 'justice.' From these notions...

  John Huston's "The African Queen" By 1951, John Huston had racked up success in Hollywood with films like " The Maltese Falcon ," " The Treasures of the Sierra Madre ," and " The Asphalt Jungle ." Because of this, he was given the liberty to use the technicolor technology only afforded to the most trusted of filmmakers. With this technicolor technology, Huston made " The African Queen ," which centers on two people attempting to traverse the rivers of East Africa in order to escape the Germans during the first World War.  The film itself is a technical mastery, as the technicolor images are so crisp and astonishing that it renders the visual spectacle of the film worthy of viewing. This was the most impressive element to me. However, the film is mostly an adventure romance of which the sole concern is entertainment. There wasn't really anything to grab on to for me in this film, albeit I recognize the visual mastery at play.  ...

  Sacha Guitry's "La Poison" After Sacha Guitry's tumultuous experiences in the war and his arrest and detainment after the war, he was in a state of disillusionment. The French government was profiting off of the misery of its citizens and providing an environment of distrust and melancholy. Once he began to make films again, he finally was able to collaborate with one of France's greatest screen performers, Michel Simon, on his 1951 film " La Poison ."  " La Poison " centers on an older couple, Paul and Blandine, who are miserable together and spend all day contemplating the other's death. One day, Paul tricks a defense lawyer into constructing the perfect situation that would yield the best defense against the murder of his wife. After killing his wife, Paul is arrested and learns that his wife had poisoned his wine. During the trial, Paul begins to get overly confident of his victory and yet is still acquitted.   One of my first takeawa...

  Charles Crichton's "The Lavender Hill Mob" Charles Crichton's 1951 British comedy film " The Lavender Hill Mob " has some of the most British sensibility of any film I've seen in a while. That being said, the film is straight up a comedy, so British comedy, mind you. There were quite a few moments in the film that had me genuinely laughing out loud. There were also some moments of mild suspense and elements that kept me fully engaged.  The film centers on a Henry Holland, a London bank clerk, played incredibly by Sir Alec Guinness. For the past twenty years, Henry has been in charge of gold bullion deliveries. One day, he devises a scheme to steal a consignment of gold bullion with the assistance of foundry owner and two small-time criminals. Through a series of ups and downs in their plan, we watch as Henry and his 'Lavender Hill Mob' pull of a heist of the gold and attempt to get it across the border. As I said previously, I was thoroughly en...

  Yasujiro Ozu's "Early Summer" After watching Yasujiro Ozu's 1951 film, " Early Summer ," I couldn't help but notice the striking similarity to his 1949 film, " Late Spring ." Both films center on a family trying to arrange a marriage for one of their members who is resistant to it. The resistor in both films is played by Setsuko Hara. Both films hint at dramatic generational gaps taking effect in a post-war Japan. Both films conclude with characters making sacrifices in their own lives for the sake of the happiness of the collective family. Because of these similarities, I found myself slightly wavering while watching " Early Summer ."  That being said, the film still has individual merits that warrant its own individual viewing. Ozu once again manages to create a sense of domestic comfort in his work, while also dissecting the miscommunications that occur between family and how each family member wants different things out of each ...

  George Stevens' "A Place in the Sun" George Stevens had been a studio director in Hollywood for the better part of twenty years by the time he made 1951's " A Place in the Sun ." Adapted from Theodore Dreiser's 1925 novel " An American Tragedy ," the story's plot centers on the real-life murder of Grace Brown by Chester Gillette in 1906. Stevens' adaption of this novel would provide him a second wind in Hollywood, as the film's success would grant him a few more Hollywood classics in the 1950s. He was able to accomplish this with the help of two of the hottest young actors working in the industry at the time, Montgomery Clift and Elizabeth Taylor. The plot follows George, a hard-working, lower-class young man who arrives to get a job at his wealthy industrialist uncle's factory. Upon receiving a job in the packing room, George falls in love with co-worker, Alice. However, after meeting Alice, George meets the beautiful, young ...

  Vincente Minnelli's "An American in Paris" After the war, cinema became a reflection of the tattered souls of all the countries ravaged by war and horror. The Japanese were contemplating a post-truth landscape with their Golden Age of cinema and the Europeans were excelling at themes regarding morality in a Godless world with their post-war cinematic boom. And the Americans continued to hash out their doll of pulpy noir pieces that was ponderous of the corruption of our soul. However, the Americans also had the great machine of Hollywood to enact its post-war global presence. While all the other countries were trying desperately to reestablish themselves economically, culturally, and politically in these post-war times, the United States were really in a position of power to start a brand new enterprise of 20th century colonialism. American exceptionalism and new technological innovation was the name of the game. And the U.S. was empowered to spread the good word, as it...

  Henry Cass' "Last Holiday" In the late 1940s and early 1950s, Alec Guinness was on a roll of hits in the United Kingdom. He had already worked twice with the iconic David Lean in his two adaptations of Charles Dickens novels. In 1950, he worked with director Henry Cass on " Last Holiday ," a film penned by black comedy writer J.B. Priestley. The film centers on an unassuming agricultural implements salesman who is told he has a terminal illness. He then spends his final days at an expensive hotel, where he becomes acquainted with a various cast of characters.  I did enjoy the film very mildly and felt that its central theme revolves around the class system, as a micro-class system can be seen in the hotel. Many thematic comments are made on the subject, as the Guinness character starts to learn how to fit in with the upper-class and how easy it actually is, along with how easy it is to attain a high-paying job and make good with wealthy people when it is belie...

  Anthony Mann's "Winchester '73" With the 1950 film " Winchester '73 ," actor Jimmy Stewart and director Anthony Mann started a collaboration that would last another seven films. The story centers on a cowboy, played by Stewart, in search of a prized rifle and a murderous fugitive. Mann shows us the journey of that rifle and the various ill-fated hands it falls into.  While the film has a mild entertainment value, there wasn't much for me to chew on. I felt relatively bored by the film and its Western aesthetic seemed only that, an aesthetic. There does seem to be deeper themes that parallel a sort of Homer-esque odyssey through the late 19th century Old West. However, the film chooses not to expand on that theme and chooses the safer option of Western aesthetic entertainment value instead.

  Robert Bresson's "The Trial of Joan of Arc" While watching Robert Bresson's 1962 film " The Trial of Joan of Arc ," it was very difficult not to compare it to the monolithic silent masterpiece of Carl Theodor Dreyer's " The Passion of Joan of Arc ." For one thing, Dreyer's version of the historical trial is without dialogue, save for the title cards. It's mostly about the emotion of Joan, whom is facing her execution at the hands of a corrupt state. In Bresson's version, the film is completely dialogue, without much visual action to accompany anything.  The film only consists of the direct conversations between Joan and the bishops of the church. Joan is continuously tortured, interrogated, and molested. Everything she says is scrutinized and warped by the corrupt judges. Because this is a Bresson picture, the characters are played by non-professional actors and thereby, there is little emotionality to the performances. The drynes...

  Anthony Asquith's "The Woman in Question" I suppose one of the primary things I could say about Anthony Asquith's 1950 film " The Woman in Question " is that it holds one's interest. It centers on the investigation into the murder of a woman in her flat. The police question various people who've interacted with the woman and each have differing views on her. Through flashbacks, we see the ways in which each person saw her and each flashback offers a different take on the same woman. It is very " Rashomon "-esque, but without the complexity. Regardless, it was able to hold my interest in who the murderer could have been. The end result does not create much adoration of the film for me, but the experience was still adequate.

  Federico Fellini's "8 1/2" After the universal success of 1960's " La Dolce Vita ," many were wondering what Federico Fellini would do next. The filmmaker had just made a masterpiece and the pressure to follow it up with something was mounting. How could anyone top " La Dolce Vita " and why would anyone want to try? With all this pressure and the chaos of both personal domestic life and modern life in general, Fellini was having trouble trying to arrange any sort of production. The issue came to a head in the spring of 1962 when Fellini felt like he had 'lost' his film. He had outlined a film about a man named Guido suffering from some sort of block, some sort of existential confusion. He hadn't yet settled on Guido's profession or the circumstances of how the story would play out. Fellini even had a crew and set constructed, all the while no story revealing itself. He was made to arrive on set and celebrate the launch of producti...