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Les maudits (1947)
aka The Damned
Dir. René Clément

Thanks for the interesting write up on this, likewise @edarsenal. I haven't seen the film yet but I definitely will sometime. I've just been doing some interesting research about it. Apparently Clément really went overboard building an accurate replica in the studio for the interior shots, and developed some interesting camera mechanics and filming techniques. Looking at screenshots it's interesting looking at the real life submarine you mention. It appears to be a French type of pre-war design, but with late/post-war additions such as the anti-aircraft emplacements, which make it look like a U-boat actually.

Research reveals that the boat in the script is U-471, an interesting choice considering the real life history there. U-471 was a German Type VIIC with a fairly unremarkable wartime record. She conducted three war patrols with no ships sunk, and was herself sunk in the port of Toulon during an air raid in 1944. However after the war the boat was raised and returned to service in 1946 with the French Navy as Millé, and served there until 1962 before being scrapped in '63. This and another boat of the same type apparently conducted their initial French Navy sea trials with German crews, who were still POWs at the time. I wonder if ideas of a similar escape ever crossed their minds? Look forward to seeing it.


Sub used in the film


U-471/Millé in 1961





Black Sunday, 1960

A woman named Asa Vajda (Barbara Steele) is brutally executed by her own brother on a charge of witchcraft. Years and years later, Doctor Kruvajan (Andrea Checchi) and his assistant Dr Gorobec (John Richardson) arrive in the village and accidentally (while committing some light grave-robbing) awaken Asa. Borobec finds himself drawn to Katia (also Barbara Steele), a descendant of Asa's. But the awakened Asa intends to use Katia's body to return to life.

Usually it's the films I don't like that I don't have much to say about. But in this case, I really liked the film but find myself struggling to have much to discuss.

To begin with, the visuals are awesome. The film is a gorgeous black-and-white, with plenty of stark shadows, ominous lighting, and dramatic sets. It makes the most of Barbara Steele's striking features.

The horror aspect of the film is very solid as well. The execution sequence in the beginning of the film is horrific. But I was also a fan of the way that it showed Asa slowly returning to life--especially the shot of her eyeless corpse with dark liquid writhing on the inside.

The characters themselves are . . . medium compelling. Katia is nice enough, but neither she nor Gorobec are super strong characters. The story is enjoyable, even if some of the characters are a bit flat---the plot progression alone is enough to keep you hooked all the way through.

One slight hesitation I had was the perpetual "treating witches as real" thing. We aren't actually shown what Asa is meant to have done. And the sexualized sequence of her being tortured and then killed, while horrifying, is slightly complicated by the fact that the torturers are meant to be in the right. Frankly, after watching her get branded, taunted, and having a mask nailed to her face, I was kind of Team Asa. Though it would have been much more satisfying to see her get some direct revenge on her smarmy brother.

Mostly, this is a visually splendid film with tons of atmosphere to spare.






About a group of resistance fighters living in German controlled Rome during WW2. Broken up into two parts, part 1 shows what life is like for the citizens under German control while they work to help one of their own, wanted by the Nazi's for leading a revolution, escape the city. Not all movies have a happy ending and part 2 is about the capture and questioning of said leader and his accomplices. Pretty good and I'm sure it'll be even better the second time around.



is thouroughly embarrassed of this old username.
Muzzle Flash: The 666 Case (Benjamin Ruffett, 2021)
Faux-throwback microbudget schlock made locally. Wakaliwood level effects with much less charm unfortunately but it has its moments, mostly later on, and the acting is mostly pretty alright (relatively speaking of course).
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Victim of The Night


Black Sunday, 1960

A woman named Asa Vajda (Barbara Steele) is brutally executed by her own brother on a charge of witchcraft. Years and years later, Doctor Kruvajan (Andrea Checchi) and his assistant Dr Gorobec (John Richardson) arrive in the village and accidentally (while committing some light grave-robbing) awaken Asa. Borobec finds himself drawn to Katia (also Barbara Steele), a descendant of Asa's. But the awakened Asa intends to use Katia's body to return to life.

Usually it's the films I don't like that I don't have much to say about. But in this case, I really liked the film but find myself struggling to have much to discuss.

To begin with, the visuals are awesome. The film is a gorgeous black-and-white, with plenty of stark shadows, ominous lighting, and dramatic sets. It makes the most of Barbara Steele's striking features.

The horror aspect of the film is very solid as well. The execution sequence in the beginning of the film is horrific. But I was also a fan of the way that it showed Asa slowly returning to life--especially the shot of her eyeless corpse with dark liquid writhing on the inside.

The characters themselves are . . . medium compelling. Katia is nice enough, but neither she nor Gorobec are super strong characters. The story is enjoyable, even if some of the characters are a bit flat---the plot progression alone is enough to keep you hooked all the way through.

One slight hesitation I had was the perpetual "treating witches as real" thing. We aren't actually shown what Asa is meant to have done. And the sexualized sequence of her being tortured and then killed, while horrifying, is slightly complicated by the fact that the torturers are meant to be in the right. Frankly, after watching her get branded, taunted, and having a mask nailed to her face, I was kind of Team Asa. Though it would have been much more satisfying to see her get some direct revenge on her smarmy brother.

Mostly, this is a visually splendid film with tons of atmosphere to spare.

It's funny you say this, I'm a fan of this movie and seen it several times, but the thing I think that's interesting is that one does end up kind of being on Asa's side in this, it's almost like she ends up as the anti-hero. And I don't think it was intentional. But the way she was brutalized and the fact that you only get moment there where they give you a sense that she was really dangerous and may have done some awful **** we don't see, before the movie started, added to the weakness of the protagonists who are endangered by her, you end up kinda being like, "Well, we'll just see how this plays out, I could kinda go either way here."
I mean, Katia doesn't deserve her possible fate but otherwise who cares about these people?
Fortunately, I think the movie and Steele start to give you the sense toward the end that she's real evil and you don't want her around.





Documentary about a guy, Mike Diana, who was charged and convicted of obscenity in Fl. for his raunchy comics. Okay, his comics were a bit more than just raunchy - they were extremely rough, kind of in poor taste, totally offensive, gross, many would say sick, displays of sex and violence. The film, directed by Frank Henenlotter of Brain Damage, Bad Biology, Basket Case fame, is a first amendment film questioning what, if anything, is obscene. The irony, as is usually the case, is that had the prosecution never happened this guy probably never would have been heard of.



It's funny you say this, I'm a fan of this movie and seen it several times, but the thing I think that's interesting is that one does end up kind of being on Asa's side in this, it's almost like she ends up as the anti-hero. And I don't think it was intentional. But the way she was brutalized and the fact that you only get moment there where they give you a sense that she was really dangerous and may have done some awful **** we don't see, before the movie started, added to the weakness of the protagonists who are endangered by her, you end up kinda being like, "Well, we'll just see how this plays out, I could kinda go either way here."
I mean, Katia doesn't deserve her possible fate but otherwise who cares about these people?
Fortunately, I think the movie and Steele start to give you the sense toward the end that she's real evil and you don't want her around.
I agree with you that Steele does a great job of conveying that Asa is evil.

I guess for me there is a two wrongs don't make a right mentality. Fine, say someone is evil. The whole self-satisfied ritual of branding her and tormenting her and, again, nailing a mask to her face, is just so extreme. That relationship--between Asa and her brother--was the one I felt was lacking. Something is missing in terms of closure, for me, in the treatment of Asa.

I agree that the tepid characters make it easy to go with the flow. It would have been nice to have a more compelling narrative to go along with the fantastic look and feel of the film.




Dead Reckoning (1947)

If you’re a fan of film noir, this production features all of the notable tropes characteristic of that style in full display: a jaundiced central character, a sultry femme fatale, a refined gangster boss, flash backs, a voice-over narration, and palpable nocturnal settings. Even the music score was reminiscent of the score in Double Indemnity.

In flash back told to a priest, Humphrey Bogart relates the story of two soldiers (Bogart and William Prince) who are traveling to Washington, D.C. where Prince is scheduled to receive the Congressional Medal of Honor. Prince said he doesn’t want the medal, and during a stop over he flees on another train. Bogart is tasked with finding Prince. Later Prince turns up dead, which leads to Bogart learning a possible motive for Prince’s wanting to decline the medal.

Bogart then goes on a winding path to find both Prince’s murderer and also to clear his friend’s name from a crime he was thought to have committed. Along the way Bogart finds Prince’s girlfriend (Lizabeth Scott): the femme fatale who is seemingly under the spell of a casino boss. There are several twists which follow, but everything is nicely tied up in the end.

Bogart essentially plays the character type that he established in The Maltese Falcon: a pragmatic, jaded soul who tends toward wise cracks. And without his presence the picture would have probably flopped. Scott’s role had been designed for Rita Hayworth after the success of Gilda, but Hayworth declined due to contractural disputes. Scott, as the replacement, seems distant, almost stiff in the role. But Lizabeth Scott fans won’t be disappointed.

Reportedly there were five writers on this picture, and as a result the continuity suffered. Bogart and Scott didn’t have much chemistry together, so at a point in which they fell in love, it was lacking in authenticity. This picture is not in the highest tier of noir films, but yet the plot holds one’s interest. And who could not like seeing the dame, the shamus type, and the threatening gangster go at it in a dark and steamy plot?
You didn't rate the film and I was curious as to how you would rate it, it's hard to tell from the review.





Good movie, but rambling. Did not need to be 2-1/2 hours long.

I LOVED this movie...no argument that its a little longer than it needs to be. This is the film that Russell Crowe should have won the Oscar for, not Gladiator.





Act of Violence (1948)
Frank (Van Heflin) has got a really good life. A really wonderful wife, Edith (Janet Leigh) and a baby boy. He's a war hero and a successful business man that everyone likes.
But, ya see, during the war, in a POW camp, Frank made a mistake. We all make mistakes, right? Well, it was a pretty hefty one and Joe, (Robert Ryan) is coming to kill him for it.

Surprisingly, this tense noir-thriller is sort of unknown. With a cast that, along with those mentioned, includes Mary Astor playing a drifter who finds Frank at his worst and tries, in vain, to help. Along with Phyllis Thaxter playing Joe's girlfriend, Ann who tries and tries to dissuade Joe from this hellbent vengeance.

Along with all the cinematic shadowing and twisting roads of a truly good noir, we also are treated with not only the tormented "prey" (Heflin), but also the tortured "hunter" (Ryan) as the chase draws to a close. Both men haunted by what happened and how this will have to end.

Good review, this film sounds really interesting...LOVE the screen shot you posted.



SAS: Red Notice (2021)

Like a modern Under Siege 2 but not as good. Very 80s in both good and bad.

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Knight of Cups (2015)

I've been meaning to watch more Malick and this was on a local TV's streaming service. Definitely worse than The Tree of Life, but visually exciting, and sorta intriguing in its poeticism. Just like a poet, Malick is just self-reflecting in all his movies, and this makes them a little repetitive. Still a director I respect but don't necessarily like that much.
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I REALLY like The 39 Steps.
I'm curious as to whether or not you've seen the Hitchcock that immediately preceded this, The Man Who Knew Too Much. I watched the 1956 remake with Jimmy Stewart and Doris Day but from what I've read the '34 version is considered Hitchcock's first big success. It might also be a more fitting example of what was to come. Plus it's got Peter Lorre in it. I don't know if I should make a point of checking it out.



Women will be your undoing, Pépé
Good review, this film sounds really interesting...LOVE the screen shot you posted.
Thanks Gideon. I think you'd enjoy this one. CR had seen it previously and enjoyed it as well.
The cinematography was really great in this. In fact, the mood of the shots shift from the opening scenes of a very bright, beautiful life, to a more darker tone as the story focuses on the two tortured men and their inevitable collision. The transition of which is so subtle that the realization of it, adds to the tension even more so.
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Maria Candelaria (1944)




AKA Portrait of Maria was an early Cannes' winner and is one of the most popular movies in the history of Mexican film. I liked the story, and it's an easy watch with an affecting ending. Despite the subtitles, locale, and cast, it didn't feel much different than an American film. It was good.



Women will be your undoing, Pépé

Les maudits (1947)
aka The Damned
Dir. René Clément

A French language film for fans of Hitchcock and for those who thrill to terse thrillers.

What makes The Damned so damn unique is it's a French film about Nazis escaping Europe days after the fall of Berlin. Even more unique, this was made in 1947 a scant two years after the end of WWII. It was very interesting seeing how the recently free French cinema would portray their previous enemies. If that isn't enough to convince you that this film is worth 90 minutes of your time...they also shot some of the scenes on a real submarine, so it looked authentic too.

Besides all that it's a psychological thriller with a captured French doctor shanghaied onboard the Nazi sub to treat an woman in a coma. Once he's treated the woman he knows his usefulness has come to the end and the brutal SS officer will execute him. But, how in the hell does one escape from a submarine in the middle of the ocean?

I've recently watched a number of WWII submarine movies so I feel I know something about the sub-genre (ha get it) and The Damned is one of the most exciting and unique sub films I've seen.

++


glad you enjoyed this sub-genre It was a great little find.
Thanks for the interesting write up on this, likewise @edarsenal. I haven't seen the film yet but I definitely will sometime. I've just been doing some interesting research about it. Apparently Clément really went overboard building an accurate replica in the studio for the interior shots, and developed some interesting camera mechanics and filming techniques. Looking at screenshots it's interesting looking at the real life submarine you mention. It appears to be a French type of pre-war design, but with late/post-war additions such as the anti-aircraft emplacements, which make it look like a U-boat actually.

Research reveals that the boat in the script is U-471, an interesting choice considering the real life history there. U-471 was a German Type VIIC with a fairly unremarkable wartime record. She conducted three war patrols with no ships sunk, and was herself sunk in the port of Toulon during an air raid in 1944. However after the war the boat was raised and returned to service in 1946 with the French Navy as Millé, and served there until 1962 before being scrapped in '63. This and another boat of the same type apparently conducted their initial French Navy sea trials with German crews, who were still POWs at the time. I wonder if ideas of a similar escape ever crossed their minds? Look forward to seeing it.


Sub used in the film


U-471/Millé in 1961
Hope you do get a chance to check it out James and I'd love to hear what you think when you do.
Great little bit of technical there, very much enjoyed that, thank you!



Sure. All of the Oscars deal with popularity and in party politics. That doesn't stop me from judging the merits of the performance against other winners as a metric of "worthiness."

If Boseman wins, did his death likely contribute to that win? Sure.

Was his performance better Oldman in Churchill or Malek in Bohemian Rhapsody? Absolutely.

I think Boseman would have won anyways...Riz Ahmed is good in Sound of Metal but it's not the sort of performance that really lends it's self to an Oscar. Minari might get several acting noms and Steve Yeun is a little to subtle for the academy.



I still have to see The Father though but they don't normally double down on old white guys.







Judas and the Black Messiah (2021)


This film is a bit of a mixed bag, in a lot of ways this should be an all-time Scorcese style crime film that runs for three hours. Daniel Kaluuya is the "supporting" role and Lakeith Stanfield is the "lead" though really you could easily reverse the titles. Jesse Plemons is also very good in this and could have used more of a character arc with more screen time. Had the director had the guts to give us a three hour epic what is a 4 star film could have been a 5 star classic. Maybe we'll get a directors cut next year.


The film is visually interesting, the characters aren't just victims but complicated characters with actual stories to tell. The last few scenes in the film are heartbreaking and crushing which is impressive seeing as how the story is so well known.





Maria Candelaria (1944)



AKA Portrait of Maria was an early Cannes' winner and is one of the most popular movies in the history of Mexican film. I liked the story, and it's an easy watch with an affecting ending. Despite the subtitles, locale, and cast, it didn't feel much different than an American film. It was good.
That was on my possible choice list for the upcoming PRIII. I can't remember who I considered it for, maybe it would be a good choice for me?



I'm curious as to whether or not you've seen the Hitchcock that immediately preceded this, The Man Who Knew Too Much. I watched the 1956 remake with Jimmy Stewart and Doris Day but from what I've read the '34 version is considered Hitchcock's first big success. It might also be a more fitting example of what was to come. Plus it's got Peter Lorre in it. I don't know if I should make a point of checking it out.
You didn't ask me, but yes you should check it out.