1940s

Mark Donskoy, the Russian filmmaker whose fame rests upon his brilliant “Gorky Trilogy” of the late 1930s, came up with another artistic triumph in 1944’s Rainbow (originally Raduga). With understandable creative rage, Donskoy depicts life in a Nazi-occupied village at the beginning of World War 2. The German conquerors are above nothing, not even the slaughter of small children, to break the spirit of their Soviet captives. Suffering more than most is Olga (Nataliya Uzhviy), a Russian partisan who returns to the village to bear her child, only to endure the cruellest of arbitrary tortures at the hands of the Nazis. Eventually, the villagers rise up against their oppressors-but unexpectedly do not wipe them out, electing instead to force the surviving Nazis to stand trial for their atrocities in a post-war “people’s court.” (It is also implied that those who collaborated with the Germans will be dealt with in the same even-handed fashion). Brilliantly acted by virtually everyone in the cast, Rainbow is a remarkable achievement, one that deserves to be better known outside of Russia.Read More »

Quote:
My Universities (Moi universiteti) is the last installment of Russian director Mark Donskoy’s “Maxim Gorky” trilogy. Having endured a painful youth in My Childhood (1938) and a torturous sojourn as a serf in My Apprenticeship (1939), future writer Gorky (Alexei Lyarsky) reaches maturity with an insatiable desire for personal and artistic freedom. The “university” of the title is actual the school of Hard Knocks, as Gorky goes to work in the shipyards and commisserates with the hard-drinking, philosophical dockworkers. Donskoy’s depiction of street life under the Czarist regime of the late 19th century as unrelentingly depressing, filled with disenfranchised derelicts. This, of course, was meant to be a contrast to the “perfection” of the Stalin years. We can forgive this propagandizing in the light of Donskoy’s indisputable cinematic brilliance. In 1941, a considerably edited version of My Universities was released in the US as University of Life. (Hal Erickson, Rovi)Read More »

Quote:
Of the four movies Humphrey Bogart and Lauren Bacall made together, Dark Passage is the forgotten stepchild. Sandwiched between The Big Sleep and Key Largo, Delmer Daves’ innovative and suspenseful mystery-thriller caused barely a ripple at the box office upon its initial release. Maybe the gritty, post-war themes of isolation and paranoia hit too close to home, or the use of a subjective camera alienated audiences. Whatever the reason, Dark Passage got a bum rap from critics and public alike. And while it may not rank up there with the best of Hollywood noir, the film flaunts enough style and substance to merit appreciation.Read More »

Quote:
Albrecht Froben, though married to Octavia, falls in love with his neighbor, Äls Flodéen. She, however, is slowly dying from a debilitating disease. During an epidemic, Albrecht goes to bring her daughter to safety but he catches typhoid and is quarantined in hospital. Octavia, realising the love match, and hearing that Als is now bedridden and dying, dresses up as him and rides by her gates every day to keep her spirits up – her bed is next to the window. Albrecht returns. Äls has a dream in which she talks to her projection of Albrecht and concludes that she does not wish to take part in this union and accepts death. Albrecht is reconciled with his wife.Read More »

Synopsis
Things spin: amusement park rides, a phonograph record. A man wakes, shaves, and takes a phone call. Another man, in a kimono, walks in the woods, stops, and opens a small decorative box on the forest floor. People at an amusement park called Little Harlem enjoy themselves. A man walks through another amusement park, called Cavalcade Worlds, as midway rides spin. At a house, an older woman cleans; a pre-teen girl sets the table; a teenaged boy showers. After he dresses, he holds a candle high above his head and walks swiftly toward a young man standing bare-chested, his arms extended. A man arrives home where the girl has set the table. The youth sleeps. Christmas?Read More »

German-Finnish coproduction documentary which has not been published before 1999. Film is an accurate description of the Finnish Waffen-SS volunteers from 1941 to 1943. Recruited in spring 1941, trained in Germany and all the way to the Caucasus. Narrated by a young TK man, front radio commentator Veikko Itkonen (1919-1990).Read More »

Quote:
The film shows the revival of Warsaw after the war. The city slowly rises from the fall, mainly thanks to the people who work hard to rebuild their capital. The documentary, despite its obvious propaganda message, has been made for heart-rending, and today its paintings represent an undeniable historical and archival value.Read More »

Review Summary
A post-WWII romantic comedy that explores the effects of the war on American marriage, this film stars Fred MacMurray and Paulette Goddard as Peter and Mary Morley, a pair of constantly fighting attorneys. They are on the verge of breaking up their marriage when the war breaks out. Mary goes into the Women’s Army Corps, and when she returns after the war, she’s no longer sure if she wants a divorce. In her absence, however, Peter has hooked up with Gloria Fay (Arleen Whelan), who demands that he sign the divorce papers. In turn, Jack Lindsay (MacDonald Carey, one of Peter’s clients, has fallen for Mary, but he doesn’t want to move in with her until the divorce is official. ~ Michael Betzold, All Movie GuideRead More »

synopsis
One Night in Lisbon is one of several pre-1942 films which used the screwball-comedy form to comment upon the raging war in Europe. While transporting American warplanes to the beleagured RAF, Texas flyboy Dwight Houston (Fred MacMurray) is caught in a London air raid. Scurrying to a shelter, Dwight meets icy, well-bred Briton Leonora Pettycote (Madeleine Carroll), with whom he falls in love–a feeling that is far from mutual at first. Eventually responding to Dwight’s charms, Leonora agrees to join him for a night’s revelries (as soon as the Nazi bombers head home, that is), but their budding relationship is complicated by the unexpected presence of Dwight’s ex-wife Gerry Houston (Patricia Morrison and Leonora’s erstwhile sweetheart, Cmdr. Peter Walmsley (John Loder). Escaping their respective suitors, Dwight and Leonara end up in neutral Lisbon, only to land in the middle of a Nazi spy ring.Read More »