The 1001 Movies Podcast

From Michael Tapper, 1001 Movies you Must See Before You Die:

"The Phantom Carriage not only cemented the fame of director-screenwriter-actor Victor Sjostrom and Swedish silent cinema, but also had a well-documented, artistic influence on many great directors and producers.  The best-known element of the film is the representation of the spiritual world as a tormented limbo between heaven and earth.  The scene in which the protagonist - the hateful and self-destructive alcoholic David Holm (Sjostrom)  - wakes up at the chime of midnight on New Year's Eve only to stare at his own corpse, knowing that he is condemned to hell, is one of the most quoted scenes in cinema history.

"Made in a simple but time-consuming and methodically staged series of double exposures, the filmmaker, his photographer, and a lab manager created a three-dimensional illusion of a ghostly world that went beyond anything previously seen at the cinema.  More important, perhaps, was the film's complex but readily accessible narration via a series of flashbacks - and even flashbacks within flashbacks - that elevated this gritty tale of poverty and degradation to poetic excellence.

"Looking back at Sjostrom's career, The Phantom Carriage is a theological and philosophical extension of the social themes introduced in his controversial breakthrough Ingeborg Holm (1913).  Both films depict the step-by-step destruction of human dignity in a cold and heartless society, driving its victims into brutality and insanity.  The connection is stressed by the presence of Hilda Borgstrom, unforgettable as Ingeborg Holm and now in the role of the tortured wife - another desperate Mrs. Holm.  She is yet again playing a compassionate but poor mother on her way to suicide or a life in the mental asylum.

"The religious naivete at the heart of Selma Lagerlof's faithfully adapted novel might draw occasional laughter from a secular audience some eighty years later, but the subdued, 'realist' acting and the dark fate of the main characters - which almost comes to its logical conclusion, save for a melodramatic finale - never fails to impress."

Have a comment or question for the host?  Email Sean at 1001moviespodcast@gmail.com or follow him on Twitter via @1001MoviesPC.

Direct download: Episode_84_The_Phantom_Carriage_1921.mp3
Category:general -- posted at: 12:00am CST

From Adrian Martin, 1001 Movies You Must See Before You Die:

"In Michael Mann's telemovie L.A. Takedown (1987), there is a scene in which a cop and the criminal he has been obsessively tracking bump into each other while shopping.  There is a tense pause, and then the criminal breaks the ice with a classic invitation: 'Coffee?'

"That scene reappears in Mann's Heat, a film whose richly deserved cult following has steadily grown since 1995.  Set in Los Angeles, it takes a well-worked theme - the symbiotic relationship between cop Vincent (Al Pacino) and criminal Neil (Robert De Niro) - and meditates moodily upon it.  Mann combines a flamboyant, epic style with a manic attention to realistic detail - resulting in indelible set pieces like the street shoot-out.

"In its exploration of family and intimacy, Heat meets a founding theme of noir fiction: the danger of bonding with another person.  Agonizing scenes dramatize Neil's assertion that a 'professional' should be able to walk away from everything in his life within thirty seconds.  These professional are almost automatons: hard-driven, single-minded, and married to their unsavory work (rather than their teary long-suffering companions).  But they are also proud, stoic men, and in their determination lies a lofty splendor to which Mann pays immortal tribute."

Have a comment or question for the host?  Email Sean at 1001moviespodcast@gmail.com or follow him on Twitter at @1001MoviesPC.

Direct download: Episode_83_Heat_1995.mp3
Category:general -- posted at: 12:00am CST

From Kim Newman, 1001 Movies You Must See Before You Die:

"The Cabinet of Dr. Caligari is the keystone of a strain of bizarre, fantastical cinema that flourished in Germany in the 1920s and was linked, somewhat spuriously, with the Expressionist art movement.  If much of the development of the movies in the medium's first two decades was directed toward the Lumiere-style 'window to the world', with fictional or documentary stories presented in an emotionally stirring manner designed to make audiences forget they were watching a film, Caligari returns to the mode of Georges Melies by presting magical, theatrical effects that exaggerate or caricature reality.  Officials perch on ridiculously high stools, shadows are painted on walls and faces, and unrealistic backdrops and performances are stylized to the point of hysteria.

"Writers Carl Mayer and Hans Janowitz conceived the film as taking place in its own out-of-joint world, and director Robert Wiene and set designers Hermann Warm, Walter Roehrig, and Walter Reimann put a twist on every scene and even intertitle to insist on this.  Controversially, Fritz Lang - at an early stage attached as director -  suggested that Caligari's radical style would be too much for audiences to take without 'explanation'.  Lang devised a frame story in which the hero Francis (Friedrich Feher) recounts the story - of sinister mesmerist charlatan Dr. Caligari (Werner Krauss), his zombielike somnambulist slave Cesare (Conrad Veidt), and a series of murders in the rickety small town of Holstenwall - and is finally revealed to be an asylum inmate who, in The Wizard of Oz (1939) style, has imagined a narrative that incorporates various people in his daily life.  This undercuts the antiauthoritarian tone of the film as Dr. Caligari, in the main story an asylum director who has become demented, is revealed as a decent man out to help the hero.  However, the asylum set in the frame story is the same 'unreal' one seen in the flashback, making the whole film and not just Francis's bracketed story somehow unreliable.  Indeed, by revealing its expressionist vision to be that of a madman, the film could even appeal to conservatives who deemed all modernist art as demented.

"Wiene, less innovative than most of his collaborators, makes little use of cinematic technique, with the exception of the flashback-within-a-flashback as Krauss is driven mad by superimposed instructions that he 'must become Caligari.'  The film relies on theatrical devices, the camera fixed center stage as the sets are displayed and the actors (especially Veidt) providing any movement or impact.  Lang's input served to make the movie a strange species of amphibian: It plays as an art movie to the high-class crowds who appreciate its innovations, but it's also a horror movie with a gimmick.  With its sideshow ambience, hypnotic mad scientist villain, and leotard-clad, heroine-abducting monster, The Cabinet of Dr. Caligari is a major early entry in the horror genre, introducing images, themes, and characters that became fundamental to the likes of Tod Browning's Dracula and James Whale's Frankenstein (both 1931)."

Have a comment or a question for the host?  Email Sean at 1001moviespodcast@gmail.com or follow him on Twitter at @1001MoviesPC.

Direct download: Episode_82_The_Cabinet_of_Dr._Caligari_1920.mp3
Category:general -- posted at: 12:00am CST

From Ernest Mathijs in 1001 Movies You Must See Before You Die:

"Paul Verhoeven's most elaborate Dutch film - and the most spectacular and expensive film from Holland at the time - announced themes that the director would return to later when he was working in Hollywood (notably in 2006's Black Books).

"Soldier of Orange sketches the experiences of a group of Dutch students during World War II, initially reacting with a shrugging 'a bit of war would be nice,' they soon find themselves forced to make choices - joining the Germans, the resistance movement, or going underground.  Throughout the film, Erik Lanshof (Rutger Hauer) is at the center of things.  While others around him are compelled to choose between different paths, Erik enjoy the freedom of letting chance make his decisions for him, jumping from one adventure to another.

"The movie is at its best when it addresses, in minute detail, the social issues dominating wartime Holland.  Each character is a microcosm of Dutch society during the war.  They are made human by connecting them to real people (among the film's characters is Dutch monarch Queen Wilhelmina), but also used as a detailed reflection on how war changes people and their opinions - as if the film is asking us not to judge but to understand the motives of friend and foe."

Have a comment or question for the host?  Email Sean at 1001moviespodcast@gmail.com or follow him on Twitter at @1001MoviesPC.

Direct download: Episode_81_Soldier_of_Orange_1977.mp3
Category:general -- posted at: 12:00am CST

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