Anatole Litvak
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charliechaplinfan
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Re: Anatole Litvak
I watched an early Litvak film, The Sisters with Errol Flynn, Bette Davis and Anita Louise, based on a novel, I liked the return to the pages of the novel as time passed by and being able to read the written word, it helped the flow of the film. It's ages since I watched this movie, there is a contrast of acting styles in the leads but here it works because Flynn's character is as flighty as Flynn must have been in real life, Bette is dedicated to her husband as she was to her craft. By all accounts this was a happy set with Flynn and Davis getting on really well, Bette had an affair at some point with Litvak, I don't know how this corresponds to this film, before, after or during but it had no bearing on the movie. Some of the shots of the earthquake looked like Bette was in real danger, she carried off the role of the eldest Elliot sister well and Errol, well, he's just too handsome and that voice... he acquitted himself well, I always feel he doesn't believe in himself as an actor and as such he's a little too tongue in cheek, it doesn't hurt here, it suits the character and nobody is going to argue with Bette giving up her banker boyfriend for a penniless journalist from San Francisco if he's Errol Flynn.
Failure is unimportant. It takes courage to make a fool of yourself - Charlie Chaplin
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JackFavell
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charliechaplinfan
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Re: Anatole Litvak
They had great chemistry, it can be seen here at about 1min 50 sec
[youtube][/youtube]
[youtube][/youtube]
Failure is unimportant. It takes courage to make a fool of yourself - Charlie Chaplin
Re: Anatole Litvak
You didn't find the climatic earthquake silly? After a few shots of stock footage the entire quake scene is Bette in her one room flat being rocked back and forth as grips dropped ceiling debris from above. I didn't know it was possible to avoid a collapsing building by ducking and weaving.kingrat wrote:It's a charmer, with well-done special effects,
The Warner's budget cheapness was on full display in that moment.
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charliechaplinfan
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Re: Anatole Litvak
I'm not one for effects but I do know what you mean, I wolud rather watch the one or two cheap Warner scenes of San Francisco collapsing than watch the MGM movie but that's just me.
Failure is unimportant. It takes courage to make a fool of yourself - Charlie Chaplin
Re: Anatole Litvak
* WHAT I DID FOR LOVE *
Oh my, what have we here...another unrequited, unconsummated...
“Half my life I’ve been a soldier. Five campaigns, four scars, a shattered hip. And all the time, the Army’s been my wife. A mean old possessive insatiable glorious b*tch. And tonight, I’m cheating on her.”
Oh!
Oh my. Oh my, oh my, oh my!
This movie was fantastic! I am just in awe of screenplays that have the sophistication to successfully show the dichotomy of two different emotions in the same space. How to create that balance is a gift. “THE JOURNEY" has done it, in spades! And a director can’t achieve that without good solid subtle actors.
YUL BRYNNER and DEBORAH KERR are the human embodiment of that dichotomy: ( love - desire ) / ( duty - obligation. ) “The Journey” brought to mind the mighty “CASABLANCA” where a woman’s sense of duty and obligation is sorely tested by an old love. At first I thought JASON ROBARDS, Jr. had the “thankless & boring" Paul Henreid role. But in the scene where after he’s captured and gets the shrapnel taken out of his shoulder, he rose to the occasion, in my eyes. There’s double-double duty going on in that scene. Brynner comforts his competitor while Robards curses and thanks his captor. That scene choked me up. Robards gets to show his stuff. Brynner walks a mighty tightrope when he wipes Robards' brow. That killed me.
I have to admit, I had just the teensy weensiest smidgen of annoyance with DEBORAH KERR who I normally love wholeheartedly in everything I’ve seen her in. ( That is the same actress all rough hewn in “THE SUNDOWNERS” right? ) She tips her thespian hand a little too soon letting us know she knows who Robards is. ( No poker face there ). She’s a little too ladylike, aloof. A little judgmental. C’mon down off the high-horse Debsy and sweat it out with the rest of us; she’s the noble lady ( her backstory is explained to Robert Morley, who I liked here. ) But I might be a bit unfair to her character. After all, her whole raison d’etre is to get Robards out of there. I calmed down my slight annoyance, and went along with the program, even though when you’re making the great escape in a little canoe and a border patrol is nearby, you should be more quiet & stop asking so many questions. Despite it all, I could see the slight glimmer of attraction peeking out from under that redhair of hers. I could see that Yul was getting to her. How could she possibly resist.
ANNE ANNE ANNE!
All of the captives had their little moment to shine. They each were a microcosm of their country. Some are ready to name names and capitulate, others want to mind their own business and not get involved; ahhh, true to their citizenship. I liked the blonde French woman who said:
"I don’t like the segregation of the sexes. Men are pigs. But after ten p.m. They are absurdly indispensable, no?”
I enjoyed Robert Morley’s common sense, take charge, British diplomacy. He spoke for the group, tried to keep things smoothed over. But the officer outranking Brynner says of Morley:
"He waves big stick. I’m not impressed by big stick.”
HA. I did laugh out loud at that. No one’s impressed buddy. Siddown and answer questions like ev’rybody else. You're not in charge here. No British empire here in Hungary for the sun to shine on. ( Oooh...I botched up that metaphor, but you know what I mean ). And let me not leave out that harbinger: Anouk Aimee. ( Gr-r-r-r!
)
Recently in the ‘Noir Films’ thread of the ‘Film Noir and Crime’
forum:
There was little bit of “The Secret of Convict Lake” in the movie when Brynner and his officers try to lighten the mood with music and dancing. The bus troupe is stiff and scared, or scared stiff at first. But they loosen up. Interesting how Brynner reached out to the ladies first with alcohol. No, it did not bother me that pregnant Anne took a swig of Vodka. Music usually breaks down barriers. Brynner takes Kerr out on the dancefloor; he's forceful and'll take what he wants. But it doesn’t work out well.
Listen, this is Yul Brynner’s movie all the way. I loved him as Ramses, but here in black leather, as the General, mmmm, he’s ...great. He’s conflicted, tortured actually by his attraction to Kerr. I love Deborah with Cary. I love Deborah with Mitchum. I love Deborah with Lancaster. I love Deborah with Gable. But with Yul...honey, please. Here, he’s commanding; definitely has the respect of his men. He loses his horse ( a la Forio ) and is emotional. He’s a general in a country that doesn’t want him there, but he’s still trying to get honest answers that are not forthcoming b’cuz he instills fear. And, to be as blunt as Mrs. Rhinelander might be, he’s very sexy.
If this is Leslie Howard:
Then THIS is Yul Brynner:
I want to talk about Litvak's directing, but I'd have to see the movie again to pay attention to that. But even before I do that, I shall have to do the first part of my homework and read this entire thread to learn about Litvak. He's great. I especially say "panther" because when Brynner comes into his barracks and glides up the stairs, throws his coat down, gets ready to go into his office, but the scullery maid is there waiting for...what scullery maids wait for, there was a lot of movement in that scene. And the camera follows him. He moves silkily, like a panther...or a dancer. ( Does he have ball bearings in his hips? )
Brynner really broke my heart in this movie. He gave her chances he wouldn’t give anyone else. When he finds that she’s escaped, he feels betrayed. When he gets down to brass tacks and does his duty with the passports and all, I know he was dying inside. When she tries to explain her side of things, he doesn’t listen. That she wanted him to hear her side brought up that annoyance quotient again. Sorry 'bout that. I guess I kept saying: “Now Deborah, you know he likes you. You don’t actively encourage him, but you don’t tell him he doesn’t stand a snow ball’s chance. The guy likes you and you know it. You’re sort of stringing him along. Quit playing.” ( Or words to that effect. ) He becomes very officious all the while hurting inside. Poor guy. Poor poor little General.
And when she comes to his barracks to make her “big sacrifice” he laughs & mocks her, but he’s hurting inside! Sensitive. He doesn’t want her that way. I’m telling you, I was dying. The way he showed her the three cases of how he knows she feels something for him was pointed; how he said he waited like a schoolboy for her to come to his room. (
) His impassioned plea for her was heartbreaking. I think he lived for their one kiss. Frankly, I didn’t know Yul had that in him. I know, I should probably re-visit “ANASTASIA” and any other movie anyone can suggest that shows that heartbreaking side of Yul. To tell the truth, ( Confession #334 ) I haven’t seen many Yul Brynner movies. No, I never saw “THE MAGNIFICENT SEVEN” in its entirety. But he’s opened my eyes in this movie. A little touch of jauntiness, I know he can dance, I know he can be mean and baaaad. But I didn’t know he could love...deeply. I felt so grateful for him that Deborah kissed him back.
The movie ends with a bit of a nod to “BRIEF ENCOUNTER.” Kerr & Brynner both feel something they cannot express aloud. They part with the world watching them...or actually with the world taking no notice.
The finality of his sacrifice is swift and shocking. Like his horse, I think he was actually put out of his misery.
Now for the second part of my homework, can anyone tell me where I can find April's post on "The Journey." I know I've missed something.
* P.S. ...because I love Shirley Bassey.
Oh my, what have we here...another unrequited, unconsummated...
“Half my life I’ve been a soldier. Five campaigns, four scars, a shattered hip. And all the time, the Army’s been my wife. A mean old possessive insatiable glorious b*tch. And tonight, I’m cheating on her.”
Oh!
Oh my. Oh my, oh my, oh my! This movie was fantastic! I am just in awe of screenplays that have the sophistication to successfully show the dichotomy of two different emotions in the same space. How to create that balance is a gift. “THE JOURNEY" has done it, in spades! And a director can’t achieve that without good solid subtle actors.
YUL BRYNNER and DEBORAH KERR are the human embodiment of that dichotomy: ( love - desire ) / ( duty - obligation. ) “The Journey” brought to mind the mighty “CASABLANCA” where a woman’s sense of duty and obligation is sorely tested by an old love. At first I thought JASON ROBARDS, Jr. had the “thankless & boring" Paul Henreid role. But in the scene where after he’s captured and gets the shrapnel taken out of his shoulder, he rose to the occasion, in my eyes. There’s double-double duty going on in that scene. Brynner comforts his competitor while Robards curses and thanks his captor. That scene choked me up. Robards gets to show his stuff. Brynner walks a mighty tightrope when he wipes Robards' brow. That killed me.
I have to admit, I had just the teensy weensiest smidgen of annoyance with DEBORAH KERR who I normally love wholeheartedly in everything I’ve seen her in. ( That is the same actress all rough hewn in “THE SUNDOWNERS” right? ) She tips her thespian hand a little too soon letting us know she knows who Robards is. ( No poker face there ). She’s a little too ladylike, aloof. A little judgmental. C’mon down off the high-horse Debsy and sweat it out with the rest of us; she’s the noble lady ( her backstory is explained to Robert Morley, who I liked here. ) But I might be a bit unfair to her character. After all, her whole raison d’etre is to get Robards out of there. I calmed down my slight annoyance, and went along with the program, even though when you’re making the great escape in a little canoe and a border patrol is nearby, you should be more quiet & stop asking so many questions. Despite it all, I could see the slight glimmer of attraction peeking out from under that redhair of hers. I could see that Yul was getting to her. How could she possibly resist.
ANNE ANNE ANNE!
All of the captives had their little moment to shine. They each were a microcosm of their country. Some are ready to name names and capitulate, others want to mind their own business and not get involved; ahhh, true to their citizenship. I liked the blonde French woman who said:
"I don’t like the segregation of the sexes. Men are pigs. But after ten p.m. They are absurdly indispensable, no?”
I enjoyed Robert Morley’s common sense, take charge, British diplomacy. He spoke for the group, tried to keep things smoothed over. But the officer outranking Brynner says of Morley:
"He waves big stick. I’m not impressed by big stick.”
HA. I did laugh out loud at that. No one’s impressed buddy. Siddown and answer questions like ev’rybody else. You're not in charge here. No British empire here in Hungary for the sun to shine on. ( Oooh...I botched up that metaphor, but you know what I mean ). And let me not leave out that harbinger: Anouk Aimee. ( Gr-r-r-r!
)Recently in the ‘Noir Films’ thread of the ‘Film Noir and Crime’
forum:
[u]charliechaplinfan[/u] wrote:...I wonder if anyone can provide an instance of Eli Wallach playing a good guy?
[u]CineMaven[/u] wrote:Why does he have to be a nice guy?
Eli Wallach’d better be nice to Anne Jackson or she’ll wipe the floor with him. She’s brilliant in this role. She’s very plain ol’ American. Made me think of Doris Day in “The Man Who Knew Too Much.” It’s a small role with two redheaded kids in tow, but when she speaks up...she speaks up, plain and simple. And very natural. She basically tells Kerr to ‘take one for the team’ and work those feminine wiles on Brynner. She blames Kerr for the mess they’re in and Annie just shatters or sheds light on the group dynamics that doesn’t say what they mean out in the open. There’s a line reading she does for: “She did to,” that floored me. And how she pushes her husband away ( E.G. Marshall ) when she realizes he dropped a dime on the escape plan of Robards. Overall it’s her naturalness that swept me away.[u]ChiO[/u] wrote:Because he's been married to Anne Jackson for over 60 years?
There was little bit of “The Secret of Convict Lake” in the movie when Brynner and his officers try to lighten the mood with music and dancing. The bus troupe is stiff and scared, or scared stiff at first. But they loosen up. Interesting how Brynner reached out to the ladies first with alcohol. No, it did not bother me that pregnant Anne took a swig of Vodka. Music usually breaks down barriers. Brynner takes Kerr out on the dancefloor; he's forceful and'll take what he wants. But it doesn’t work out well.
Listen, this is Yul Brynner’s movie all the way. I loved him as Ramses, but here in black leather, as the General, mmmm, he’s ...great. He’s conflicted, tortured actually by his attraction to Kerr. I love Deborah with Cary. I love Deborah with Mitchum. I love Deborah with Lancaster. I love Deborah with Gable. But with Yul...honey, please. Here, he’s commanding; definitely has the respect of his men. He loses his horse ( a la Forio ) and is emotional. He’s a general in a country that doesn’t want him there, but he’s still trying to get honest answers that are not forthcoming b’cuz he instills fear. And, to be as blunt as Mrs. Rhinelander might be, he’s very sexy.
If this is Leslie Howard:
Then THIS is Yul Brynner:
I want to talk about Litvak's directing, but I'd have to see the movie again to pay attention to that. But even before I do that, I shall have to do the first part of my homework and read this entire thread to learn about Litvak. He's great. I especially say "panther" because when Brynner comes into his barracks and glides up the stairs, throws his coat down, gets ready to go into his office, but the scullery maid is there waiting for...what scullery maids wait for, there was a lot of movement in that scene. And the camera follows him. He moves silkily, like a panther...or a dancer. ( Does he have ball bearings in his hips? )
Brynner really broke my heart in this movie. He gave her chances he wouldn’t give anyone else. When he finds that she’s escaped, he feels betrayed. When he gets down to brass tacks and does his duty with the passports and all, I know he was dying inside. When she tries to explain her side of things, he doesn’t listen. That she wanted him to hear her side brought up that annoyance quotient again. Sorry 'bout that. I guess I kept saying: “Now Deborah, you know he likes you. You don’t actively encourage him, but you don’t tell him he doesn’t stand a snow ball’s chance. The guy likes you and you know it. You’re sort of stringing him along. Quit playing.” ( Or words to that effect. ) He becomes very officious all the while hurting inside. Poor guy. Poor poor little General.
And when she comes to his barracks to make her “big sacrifice” he laughs & mocks her, but he’s hurting inside! Sensitive. He doesn’t want her that way. I’m telling you, I was dying. The way he showed her the three cases of how he knows she feels something for him was pointed; how he said he waited like a schoolboy for her to come to his room. (
) His impassioned plea for her was heartbreaking. I think he lived for their one kiss. Frankly, I didn’t know Yul had that in him. I know, I should probably re-visit “ANASTASIA” and any other movie anyone can suggest that shows that heartbreaking side of Yul. To tell the truth, ( Confession #334 ) I haven’t seen many Yul Brynner movies. No, I never saw “THE MAGNIFICENT SEVEN” in its entirety. But he’s opened my eyes in this movie. A little touch of jauntiness, I know he can dance, I know he can be mean and baaaad. But I didn’t know he could love...deeply. I felt so grateful for him that Deborah kissed him back.The movie ends with a bit of a nod to “BRIEF ENCOUNTER.” Kerr & Brynner both feel something they cannot express aloud. They part with the world watching them...or actually with the world taking no notice.
The finality of his sacrifice is swift and shocking. Like his horse, I think he was actually put out of his misery.
Now for the second part of my homework, can anyone tell me where I can find April's post on "The Journey." I know I've missed something.
* P.S. ...because I love Shirley Bassey.
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Sue Sue Applegate
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Re: Anatole Litvak
Wonderful analysis. Brynner as Colossus... 
It was all there...Brief Encounter...the panther...the woman who knows everything as opposed to The Man Who Knew Too Much. The sexual repression in The Journey counterpoints with the sexual liberation of her marriage in The Sundowners....
And Kerr was much more liberated in Heaven Knows, Mr. Allison as a Catholic nun, than the prim character she effuses in The Journey.
It was all there...Brief Encounter...the panther...the woman who knows everything as opposed to The Man Who Knew Too Much. The sexual repression in The Journey counterpoints with the sexual liberation of her marriage in The Sundowners....
And Kerr was much more liberated in Heaven Knows, Mr. Allison as a Catholic nun, than the prim character she effuses in The Journey.
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Thelma Ritter: Hollywood's Favorite New Yorker, University Press of Mississippi-2023
Avatar: Ginger Rogers, The Major and The Minor
Re: Anatole Litvak
Thx Christy.
Just a reminder. Next Wednesday morning:
11 Wednesday
6:00 AM SULLIVAN'S TRAVELS (1941)
A filmmaker masquerades as a hobo to get in touch with the little people. Dir: Preston Sturges Cast: Joel McCrea, Veronica Lake, Robert Warwick. BW-91 mins, TV-G, CC,
Be there or forever hold your piece.
Just a reminder. Next Wednesday morning:
11 Wednesday
6:00 AM SULLIVAN'S TRAVELS (1941)
A filmmaker masquerades as a hobo to get in touch with the little people. Dir: Preston Sturges Cast: Joel McCrea, Veronica Lake, Robert Warwick. BW-91 mins, TV-G, CC,
Be there or forever hold your piece.
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moira finnie
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Re: Anatole Litvak
Very entertaining account of your experience with The Journey, CM! Thanks for all the insights. I always feel sorry for E.G. Marshall being married to Ann Jackson in this movie. Poor guy probably half-hoped that he would get caught in the cross-fire between Anouk Aimee's insurrectionists and Yul Brynner's commies. That was one way out of Hungary and that marriage.
There's an intrepid quality about the way that Williams drew Stuart as small but adventurous that shone through in Howard's screen persona in his best films (NOT Gone With the Wind).
But I agree about Yul Brynner's panther-like qualities. I don't believe Mr. Brynner had "ball bearings in his hips" as you described it, but he did consort with gypsies and trained circus performers during his youth in Paris, becoming an accomplished trapeze artist with the legendary Cirque d’Hiver Co.--which probably helps to explain some of his grace.
http://silverscreenoasis.com/oasis3/vie ... 4&start=30
Well, now. I only meant that Leslie Howard was Stuart Little as drawn by Garth Williams--not as seen by today's soulless animators...but that's probably just meCineMaven wrote: If this is Leslie Howard:
There's an intrepid quality about the way that Williams drew Stuart as small but adventurous that shone through in Howard's screen persona in his best films (NOT Gone With the Wind).
But I agree about Yul Brynner's panther-like qualities. I don't believe Mr. Brynner had "ball bearings in his hips" as you described it, but he did consort with gypsies and trained circus performers during his youth in Paris, becoming an accomplished trapeze artist with the legendary Cirque d’Hiver Co.--which probably helps to explain some of his grace.
You can see Miss G.'s comments on The Journey on page one of this thread, found here. Just scroll down to her comments about mid-page:CineMaven wrote:Now for the second part of my homework, can anyone tell me where I can find April's post on "The Journey." I know I've missed something.
http://silverscreenoasis.com/oasis3/vie ... 4&start=30
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charliechaplinfan
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Re: Anatole Litvak
She's quite interesting in Night of the Iguana too, a much underrated actress. From what you've all said The Journey sounds like it's a film to look out for.
Failure is unimportant. It takes courage to make a fool of yourself - Charlie Chaplin
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JackFavell
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MissGoddess
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Re: Anatole Litvak
I'm so glad you enjoyed The Journey as much as I could have hoped, T! Loved reading your impressions of this favorite of mine. Yes, it is the sensitivity that is the counter-point within Yul's authoritative "Major Surov" that really pulls this film together. His reactions are quicksilver yet deeply felt and thought out, for he is a very intelligent man. I thought his sacrifice at the end, letting them go, reminded me of, yes I have to say it, The Man Who Shot Liberty Valance. He knew even if there were no Mr. Fleming (Robards), he could never be part of Deborah's world, nor she his.
And I do know what you mean about feeling impatient with Deborah's character at times. I do, too. But she can't help being well-bred, I suppose.
All the actors are great. I agree about Ann, she was hilarious to me. "Oh, Come on! We all know the Major's got a yen for her!" lol Poor E.G. Marshall.
Earlier in this thread we all talked a bit about another favorite Litvak film of mine, Goodbye, Again. There is a Yul-connection, since he was on set a good deal of the time in Paris, wooing and photographing Ingrid.
And I do know what you mean about feeling impatient with Deborah's character at times. I do, too. But she can't help being well-bred, I suppose.
All the actors are great. I agree about Ann, she was hilarious to me. "Oh, Come on! We all know the Major's got a yen for her!" lol Poor E.G. Marshall.
Earlier in this thread we all talked a bit about another favorite Litvak film of mine, Goodbye, Again. There is a Yul-connection, since he was on set a good deal of the time in Paris, wooing and photographing Ingrid.
"There's only one thing that can kill the movies, and that's education."
-- Will Rogers
-- Will Rogers