The 1940s List: Discussion and Suggestions (Decade Project Vol. 4)

An ongoing project to survey the best films of individual decades, genres, and filmmakers.
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Dr Amicus
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Re: The 1940s List: Discussion and Suggestions

#176 Post by Dr Amicus » Thu Jun 06, 2019 11:01 am

Jane Eyre (Stevenson): I think I liked this a bit more than Rayon Vert several pages ago, but it has to be said it peaks early and declines as the film goes on. Certainly, the later stages of the film start rushing as the film nears the end to get everything sorted out by the end which is a shame as there is much to like otherwise and the gothic atmosphere is turned up to the point of near parody (Thornfield Hall especially is more Dracula's castle than a family mansion) - Welles's influence seems clear throughout (and if he's hamming it up no end, it's still entertaining). It did make me wish for a Jane Eyre with James Mason as Rochester - although it could be argued he played the role elsewhere such as in The Seventh Veil.

Holiday Camp (Annakin): Now, this really was not what I was expecting. The first film appearance by the Huggett family (who would get three more films of their own in the next couple of years), they are one of several narrative strands over the week long stay in a holiday camp - others include Flora Robson's lonely spinster mourning both a lost love and the recent death of her mother and Dennis Price as an ex-RAF officer who fancies himself as a ladies man. Two things surprised me about the film. Firstly, there is quite a lot of pre- and extra- marital sex either happening or being planned - moreso than you might think (but this is a Gainsborough film - so maybe not!). Secondly, one particular narrative strand is definitely not expected:
SpoilerShow
Dennis Price is actually a serial killer and is really searching for his next victim.
It's all rather decent, surprisingly moving at times and offers a remarkably uncondescending view of the camp. Probably the best scene is a quiet moment between Ma and Pa Huggett (Kathleen Harrison and Jack Warner) in which so much is implied in the seeming small talk. I have the other three films in my kevyip and will try and get those watched soon - I suspect they'll lack this film's eccentricities though.

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Re: The 1940s List: Discussion and Suggestions

#177 Post by Rayon Vert » Sat Jun 08, 2019 4:24 pm

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In This Our Life (Huston 1942). Deliciously outlandish dysfunctional family soap opera, a neglected Huston film that I unashamedly rank at least as high as something like Key Largo. Bette Davis holds nothing back in her near-campy portrayal of Stanley, one of the screen’s most detestable pests. (Why the two sisters have masculine names like Stanley and Roy, I have no idea.) There’s also a side story that is surprisingly progressive in its portrayal of racial discrimination. But the main show is Davis as pure Id.


Road House (Negulesco 1948). A very enjoyable noir, maybe something of a guilty pleasure for me. Lupino really gives a committed, nuanced performance, which raises the material and makes it more memorable than it would otherwise have been. I love that road house design and atmosphere and the plot craziness at the end, although Widmark sure didn’t vary his bad guy laugh a lot from one noir to another.


The Uninvited (Allen 1944). Speaking of atmosphere. I don’t find this to be an exceptional film but it’s still a very solid ghost story drama (horror is a bit of a stretch) that’s appealing because of the way it approaches the topic seriously, without any camp or exaggeration. Quite a graceful film and elegantly shot. Gail Russell really had a special quality to her so that there is indeed something magical about her as Roderick says when he meets her.


The Little Foxes (Wyler 1941). Not a contender for me but a fine film nevertheless, that gets better as it goes along. Good thing there’s that lighter Alexandra and David side story to give us a break from the venom, which is quite awesome in its unrelentingness. Some supremely good acting here. Toland is in evidence with some of his deep focus and Citizen Kane-like depth-of-field compositions, although I have to admit I find a few of them distracting, and sometimes wished the long takes to be broken up.

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Re: The 1940s List: Discussion and Suggestions

#178 Post by nitin » Sat Jun 08, 2019 10:01 pm

Haven’t seen any of those except for The Little Foxes which I really like, probably because of that unrelenting venom. Davis is one of my favorite actresses and I have been hoping for a Criterion blu for ages!

Will try to watch the other three before November.

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Re: The 1940s List: Discussion and Suggestions

#179 Post by Rayon Vert » Wed Jun 12, 2019 10:20 pm

Rayon Vert wrote:
Sat Jun 08, 2019 4:24 pm
In This Our Life (Huston 1942). Deliciously outlandish dysfunctional family soap opera, a neglected Huston film that I unashamedly rank at least as high as something like Key Largo. Bette Davis holds nothing back in her near-campy portrayal of Stanley, one of the screen’s most detestable pests. (Why the two sisters have masculine names like Stanley and Roy, I have no idea.) There’s also a side story that is surprisingly progressive in its portrayal of racial discrimination. But the main show is Davis as pure Id.
One thing I forgot to mention that contributes to the quirkiness of this film is the fact that Stanley/Davis enjoys a marked, unsubtle near-incestuous flirtation with her uncle (by marriage) and great defender William (Charles Coburn). Whenever I observe this aspect of the film, and how William is a tall, bulky and extremely forceful man, I can't help but think of a certain parallel with the film's director, and of the role he played in Chinatown. That definitely adds a strange, disconcerting vibe.

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Re: The 1940s List: Discussion and Suggestions

#180 Post by Rayon Vert » Sun Jun 16, 2019 12:07 am

Raw Deal (Mann 1948). A moody film with the melancholic narration by Pat and the use of the theremin, and that ghostly feel with the fog near the end. Stand-out visuals, of course, and the actors are pretty terrific (not just Trevor and Hunt, but also Burr and Ireland as the bad guys). But even though there’s an interesting complexity here with the protagonist and the two competing love interests, it doesn’t really succeed involving me emotionally all that much. This is probably in part due to O’Keefe’s character being pretty stock and us never really getting access to what he’s about. So it all adds up to a good film for me but not anywhere near a masterpiece.


The Wicked Lady (Arliss 1945).
I prefer The Man in Grey because there’s the added dimension of the pulp being hidden behind a veneer of respectability, while here it’s outrageously explicit. But this is nevertheless just as fun – the naughty factor is ramped up several levels but more than that it’s a tightly and smartly written narrative with entertaining twists and turns, and pleasurable performances.


Air Force (Hawks 1943).
I’d seen this only once and that was ten years ago. Yet another Hawks aviation film, but here the size of the plane (Flying Fortress) allows the staging of the Hawksian professional working team onboard the aircraft itself. This isn’t always the director at his best: the acting isn’t always terrific, the drama and personalities not all that engaging. But seen as an actioner - which it basically is, especially as it goes along -, it’s good for what it is, with some potent scenes and an impressive ending. The lead-up to Pearl Harbor at the beginning is kind of interesting because of the closeness in time to the actual events. You don’t get the emotional depth or existentialism of Only Angels Have Wings or that other aviation war film, The Dawn Patrol – apart from a few tough moments, this is just joy and even glee in the job of killing -, but then this is as the history is being made and we’re in propaganda mode. The treatment of the Japanese enemy is pretty racist, but given the time and historical context, that’s to be expected.


Late Spring (Ozu 1949). Just happenstance that I watched this next, as I had already earmarked it for Saturday night. The recent war does feature, with Noriko commented on as being “plump” after previously having been exposed to undernourishment and working in a labor camp. Stillness is always a feature of later Ozu, and it’s especially potent, beautiful and moving here, whether in the Noh theatre sequence or that late night scene where Noriko stares at a vase, as her father sleeps alongside her. It’s kept mysterious why she finds her greatest happiness to be staying with him, but in that last scene where they discuss this you do get the feeling that it isn’t necessarily because he’s her father, or that she’s grateful, for example, but that she seems to find joy in the presence of this specific person. A lot of related themes are woven here, like tradition and new ways, attachment to the past and acceptance of change, but there’s also a recurring shift in perspectives, as evidenced and embodied for example just in how after that meeting with Professor Onodera’s new wife during a trip, she suddenly no longer finds his remarriage “filthy”.


A Matter of Life and Death (P & P 1946). The Criterion blu really boosts the principal strengths of the film, which, along with the originality of the conceits and designs, resides in the impressive visual aspects. All of the creativity and fantasy along a somewhat lighter, often comedic tone, which creates a tone similar to Colonel Blimp, doesn’t end up evoking a lot of emotion though, in contrast to the pathos and poetry that earlier film evoked. Parts of that long trial sequence, especially around the America-England debates, feel precious and a bit tedious. An ambitious film that’s like a meal that is mostly dessert without the necessary sustenance.

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Re: The 1940s List: Discussion and Suggestions

#181 Post by domino harvey » Sun Jun 16, 2019 4:09 pm

Rayon Vert wrote:
Sun Jun 02, 2019 12:13 am
Key Largo (Huston 1948). Huston’s recent enough war experience definitely washes over his reworking of the source material and how much it defines the film's spirit. There’s something also a little akin to the arc that Casablanca’s Rick follows in Frank McCloud, although the soldier is a lot less cynical to begin with. This isn’t in the same class as The Maltese Falcon or Sierra Madre, and it suffers just a little from the staginess of its theatrical origins, but it’s more than decent. There’s plenty to like in the atmosphere and in watching these older actors and the meditation over the changes in the U.S. over the last two decades.
I’m surprised you didn’t mention Edward G Robinson, as I think this is his best performance and a great reminder that he could be called upon to do more than just show up and deliver his iconic presence in a film. 1948 was a good year for Robinson, too, as I just watched the turgid Arthur Miller adaptation All My Sons and while the rest of the cast are various degrees of awful (especially Burt Lancaster, who I’ve never seen give a worse performance— and it stretches even Hollywood credibility to buy him as Robinson’s son in the first place!), Robinson is incredible and single-handedly threatens to save the film by sheer will. It’s another textbook contender for best performance in a bad film, and just the range he showed in these two films hints at an alternate history where he was one of our most respected actors and not merely an easily-imitated icon with a funny voice (though generally I enjoy his presence in films even when he does phone it in solely to generate funds for his notorious art habit)

EDIT: And I just looked it up and Robinson’s other 1948 film is Night Has a Thousand Eyes, which is also a great (and starkly downbeat) noir with a moving perf from Robinson as a fake psychic who develops real powers and must use them to save the life of an innocent. What a shame the Academy couldn’t even throw him a nomination for any of these this year

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Re: The 1940s List: Discussion and Suggestions

#182 Post by Rayon Vert » Sun Jun 16, 2019 4:27 pm

Yeah he is terrific here, no question about that.

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Re: The 1940s List: Discussion and Suggestions

#183 Post by knives » Mon Jun 17, 2019 5:18 pm

Blues in the Night (dir. Litvak)
At times this is a warm, arty look at the simple act of staying united. It's gorgeously photographed with a handful of nice touches such as an acknowledgement of Jazz as black music or a quick nightmare montage. Unfortunately Rossen's script mixes these high moments with stuff that all sort of green and square as a box. The movie eventually falls into some Yoko Ono nonsense that just isn't as interesting as where we started. The movie does provide the opportunity for some nice performances from people I associate more as directors though like Whorf and Elia Kazan.

One Night in the Tropics & Buck Privates
It's pretty obvious why Abbott and Costello would become a thing with a stream of imitators after their debut. Everything surrounding them is so terribly dull that the liveliness they present. I roared with laughter with each little bit thanks mostly to the blackhole of charisma that is the rest of the movie. Buck Privates is a pretty massive improvement though it still is working a lot to find the right balance between everything. The best example of this is the film's worst part: that stupid romance. You can see the film slowly start to leave it behind as it realizes nothing is as interesting as the leads punching each other. It's also cool to see where Chuck Jones stole his boxing bit from (Jones does it one better). This also has the best use of the Andrews Sisters I've seen in a film.

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Re: The 1940s List: Discussion and Suggestions

#184 Post by therewillbeblus » Mon Jun 17, 2019 11:23 pm

Rayon Vert wrote:
Sun Jun 16, 2019 12:07 am
All of the creativity and fantasy along a somewhat lighter, often comedic tone, which creates a tone similar to Colonel Blimp, doesn’t end up evoking a lot of emotion though, in contrast to the pathos and poetry that earlier film evoked.
This succinctly summarizes why Blimp is my favorite film of the 40s. The words “pathos and poetry” alone capture the magic of this film, and far better than my usual narrowminded sell to friends of “an optimistic and affecting version of Citizen Kane.” Thanks for sharing this appreciation!

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Re: The 1940s List: Discussion and Suggestions

#185 Post by Rayon Vert » Mon Jun 17, 2019 11:42 pm

You're welcome. Maybe it's because - sorry to spoil the surprise - it's also my favorite film of the decade! :)

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Re: The 1940s List: Discussion and Suggestions

#186 Post by HinkyDinkyTruesmith » Tue Jun 18, 2019 10:42 pm

For any interested, Val Lewton's obscure 1944 Youth Runs Wild is on TCM tomorrow noon EST. James Agee praised it highly when it first came out, and while it's far from a masterpiece, or even a particularly great movie, it is unusual and worth watching.

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Re: The 1940s List: Discussion and Suggestions

#187 Post by knives » Wed Jun 19, 2019 6:37 am

Honestly I'd rank it easily as one of his best.

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Re: The 1940s List: Discussion and Suggestions

#188 Post by therewillbeblus » Thu Jun 20, 2019 2:30 am

The Big Steal (1949)
Mitchum and Greer reteam for this lean noir that’s destined to be a disappointment for anyone hoping for anything as perfect a film as Out of the Past, which is arguably not only the greatest noir but one of the greatest films. However, when one surrenders those unmatchable expectations, this is a fun little gem with strong craftsmanship and an entertaining story containing plenty of movement and spitfire dialogue. Like the best noirs, this drops us in on a story without giving any sense of what the hell is going on- though while most entries into the genre draw their entertainment from involving the audience in taking this mystery seriously, this film initiates the action and then sets a clear vibe that has the opposite effect and soothes through assurance that we can engage at a sustained calm baseline heart rate and enjoy the harmless plot twists and turns sans anxious investment.

Siegel wisely chooses to go for low-stakes fun and succeeds in sustaining the lighthearted mood, striking enough differences between this and Out of the Past to help the audience forget the comparison quickly. Also aiding this reframe is the way the leads approach their roles. I like seeing Mitchum play a more fallible and clumsy version of his persona to the point where it borders on self-parody and he pulls off some unexpected slapstick gags while still keeping his cool. Greer again proves herself a worthy opponent, this time not due to the trope of dangerous femme fatale triggering the male sex and death drives, but by exploiting Mitchum’s humanity in different and less intense ways, confidently provoking him (with equal zeal to the femme fatale role no less) into revealing his limitations as he fails to seduce or impress in his early encounters, tail between the legs. She is the challenging force responsible for much of the success in this light area of their dynamic just as she was for the darkness in the previous film, particularly when Mitchum continues to play it cool (and he is cool) and yet his witty comebacks land flat on her half the time (regardless of how impressed we are by his persona, she often one-ups him!). Their continuous shifting of power dynamics play out on some strange spectrum between those of an on-the-run suspense film and screwball comedy mold. In fact one could view this as a polar response to that other film and this view only reinforces the versatile talents of Mitchum and Greer as they play with tone off of one another unbound with freedom in a pool of loose genre constraints.

It took me a few watches over the years to realize the extent to which Siegel plays into the film’s strengths. He deserves a lot of credit for his intelligence and perspective: able, willing, and choosing to act on humility, which opens him up to go places a more egocentric director may be blind to and likely try and fail at attempting to recreate a masterpiece instead. This film’s lack of pretentiousness only makes it more impressive, especially in a genre that thrives on such a quality often infused in style. This is like a relaxed, B-version of North By Northwest, and because it knows exactly what it is, if rated amongst any cinematic cousins in a category created for self-aware genre pieces, it’s a masterpiece itself.

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Re: The 1940s List: Discussion and Suggestions

#189 Post by domino harvey » Thu Jun 20, 2019 7:57 pm

Always enjoyed the Big Steal as well for much of the same reasons as you-- there's something about breezy lightweight diet noirs like this and Two of a Kind et al that hit just the right spot. I've been watching and rewatching a lot of noirs lately and I'm happy to say I've finally come around on Double Indemnity. I still don't think it's one of the best ever, but I enjoyed it much more this time around and I can finally take it off my list of movies I don't like that everyone else loves. Perhaps Lem Dobbs is right in his claim in the commentary that it's a film that ages with the viewer and brings more when you're older... or maybe I've just seen so many awful Fred MacMurray movies in the interim of my first viewing that I enjoy seeing him die on-screen now more than ever before!

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Re: The 1940s List: Discussion and Suggestions

#190 Post by nitin » Fri Jun 21, 2019 12:23 am

What else is on this list domino?

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Re: The 1940s List: Discussion and Suggestions

#191 Post by domino harvey » Fri Jun 21, 2019 12:38 am

It's a long list, and to walk back my last post a bit, I've always respected Double Indemnity even though I wasn't wild about it. For this decade specifically, It's a Wonderful Life is surely the most contentious one where I'm on one side and everyone else is on the other-- I like Capra, I like Hollywood schmaltz, I like dark looks at life, I like James Stewart, and I think that film is truly terrible. My (in retrospect a little too brutal) writeup from the Alt Oscars thread:
domino harvey wrote:
Mon Nov 19, 2012 10:59 pm
It's a Wonderful Life I am not unsympathetic to Capra's strengths but this film contains none of them. Like the Wizard of Oz, this is a film that owes its inflated cultural relevancy to its omnipresent presence on television more than its actual merit. Not having seen this since I was a kid and remembering nothing save the same cultural markers we all have ingrained in our shared pop consciousness, I was surprised at how grating and obnoxious the film came across, particularly in James Stewart's annoying protagonist. There was never a moment I liked this film, but I didn't actively dislike it 'til the finale, wherein Capra rips off the single most emotionally moving moment of his oeuvre, the saving of the bank in American Madness, and turns it into stupid, cloying mush. Why are people throwing money on the table when Hee-Haw Industrialist has promised to wire over three times what Uncle Billy lost? Because they just want to feel good about themselves without having to really think about what's going on. That's as good a description as any for this film's fanbase.

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Re: The 1940s List: Discussion and Suggestions

#192 Post by nitin » Fri Jun 21, 2019 3:20 am

I asked precisely because I enjoy the brutal takedowns (even though I don’t necesseily agree)! If there’s other posts for other films, would you be able to PM me some links?

If that would be too much of a hassle, no problems, totally understand.

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Re: The 1940s List: Discussion and Suggestions

#193 Post by domino harvey » Sat Jun 22, 2019 6:44 am

I'm not shy with giving my opinions (and backing them up and/or engaging with those who agree/disagree), but I'm not sure I remember any particularly relevant examples

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Re: The 1940s List: Discussion and Suggestions

#194 Post by Rayon Vert » Sat Jun 22, 2019 12:28 pm

Just looked at the list where I rank every film I've seen, and the five lowest from the decade are: Hughes' The Outlaw (F), Hawks' A Song Is Born (D), Capra's Arsenic and Old Lace (D), Van Dykes' Bitter Sweet (D+), René Clair's The Flame of New Orleans (C-), which I see is getting a blu release (be warned). (I'm sure there are worst films out there, I've generally tended to try to see well-rated or -known films or films belonging to an auteur's canon).

I guess Capra's is the most controversial one here, because it's well liked by some (many?). My viewing notes:
What seems to start off as a classic screwball comedy with dyed-in-the-wool bachelor Cary Grant finally getting married to Priscilla Lane quickly takes another turn into a way-out left-field, frantically paced black comedy. On Halloween, Grant discovers his aunts are killing old, lonely men and burying them in the cellar, and then things go from bad to worse when his murdering Boris Karloff lookalike brother comes into the picture. Grant does his best with the material and goes completely hysterical in this extremely old fashioned, goofy picture where there’s nary a modern laugh to be found and that seems to drag on forever.
The Hawks:
Hawks’ first foray into the musical and his first color film as well. This remake of Ball of Fire is an almost scene-by-scene replica of the former but adaptted to the musical genre (the professors are working on an encyclopedia of music, for example). In terms of quality, it’s a shamefully inferior film and a rare near-total faux pas for Hawks. Danny Kaye is definitely no Gary Cooper, and Virginia Mayo has it even more all wrong, both looking and acting like the girl next door rather than the tramp she’s supposed to be. The film is notable for the appearances of jazz greats Lionel Hampton, Tommy Dorsey and Louis Armstrong, and Benny Goodman as one of the professors, but that’s about all this has to offer. Otherwise the characterizations are all inferior, the jokes are flat and it’s painfully dull most of the time.

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Re: The 1940s List: Discussion and Suggestions

#195 Post by domino harvey » Sat Jun 22, 2019 1:29 pm

I’m with you on that Capra sucking too, but A Song is Born is to my eyes one of Hawks’ greatest films and more successful than Ball of Fire (which is still great) because the premise actually works better and more intuitively as a musical

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Re: The 1940s List: Discussion and Suggestions

#196 Post by Rayon Vert » Sat Jun 22, 2019 2:44 pm

If I'd seen the musical before Ball of Fire my appreciation would probably be different, I gather? My reaction was probably in part just dislike from the start because it was a remake of a film from not many years prior (hmmm... Hawks did that a few times). I like Ball OK but not enough to count it among his best.

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Re: The 1940s List: Discussion and Suggestions

#197 Post by domino harvey » Sat Jun 22, 2019 2:46 pm

I definitely saw it after Ball of Fire as well. But I’m also aware I’m in the minority in loving it, so I’m not too pressed or surprised, though I wish I lived in a world where the fifth worst film I saw from a decade rated as highly as C-minus!

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Re: The 1940s List: Discussion and Suggestions

#198 Post by Rayon Vert » Sat Jun 22, 2019 2:55 pm

:D

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Re: The 1940s List: Discussion and Suggestions

#199 Post by therewillbeblus » Sat Jun 22, 2019 3:54 pm

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Blood on the Moon (1948)

After seeing this again, the film noir comparisons often thrown around become clearer, mostly in the sharp dialogue beyond the shadowy expressionism, though other similarities feel interchangeable between genres. Many years ago a film professor of mine taught an entire class on the overlap between the western and noir genres, and while I remember very little of his thesis, vaguely speaking they can both contain an existential antihero navigating systems in an attempt to restore some sense of order to the uncontrollable world, be it of a traditional or personal kind. In this way, some westerns share more similarities with noirs than others, but that doesn’t indicate that it’s a hybrid as much as naturally staying true to that type of western. What I appreciate about this film is the way Wise focuses on real complex situations, plots of the economic variety that appeal to common motives for criminal behavior, and deaths aren’t flashy or morally rooted. A death that occurs by a man falling off a horse and dragged behind in a stampede is an accidental causality but the effect is felt in non-manipulative scenes by characters ranging from those who loved him to those who didn’t know him at all, with equality in the depth of their humane responses.

For the first half, nothing here subscribes to a restrictive black-and-white view of the circumstances of the characters as they traverse the plot and thus fits better than most westerns with the grey nature of that world, absent of societally assigned morals via law yet not without the empathetic drives that guide our morals. Our heroes possess this capacity to feel for others, which is what defines them as ‘heroes’ -and while this empathy is what separates characters in other westerns I would argue that here it is not as apparently derived from institutions as those other films. These institutionally-driven empathetic or moral behaviors are woven throughout the Hays code westerns (well all films), be they political affiliations (one possible reading of many westerns, including this film, could be that the characters become heroic by choosing the ‘correct’ side of capitalism), or most frequently, in line with the ‘ways of the church’ with Christian overtones and biblical dialogue or often direct citations. Even the rugged individual usually finds some institutional mantra to hold onto in the solution to their arc, thus venturing into collectivistic society.

In Blood on the Moon, instead their empathy works as an absolute power in and of itself, by exercising an ability for psychological flexibility to see outside of oneself rendering all other cultural morals useless. By authentically choosing to act upon this virtue for philosophically utilitarian reasons devoid of creed, this film becomes the ultimate western in a sense, yes by way of the dark existentialism common in noir, but embodying all that makes the western genre great through its relationship with complexity in moral judgment in the absence of law and order.

For a while this appears to be on the road to fulfilling this worldview of the genre that often ends with half-measures, less ambiguous than promised with a last minute message from the studio, government, and comfortable codes of the times… but alas this too slows down and succumbs to those tropes. Wise caves in providing more polarized reasons to settle into siding with one party over the other, and the film begins falling into some of those simplified perspectives due to contrived character twists that take complicated people and categorize them as ‘evil’ - which mutes the ambivalence and merges several possible perspectives into one vision. Don’t get me wrong, I love the classic western mold as much as the next guy- but it was refreshing to see a western bordering for a while on the “revisionist” edge decades before they had the ‘right’ to be made. Still, I really enjoyed this film for its psychological and philosophical boldness, expressionist style, and Wise’s direction, which are three great reasons to see it. I’ll be curious to see how this ranks in my esteem when watching it alongside other westerns; but regardless of undermining its own complexity of rationale in the end, the film never surrenders its emotional source to institutional forces, with characters remaining free pushing this film into original territory that, flaws and all, qualifies for greatness.

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Re: The 1940s List: Discussion and Suggestions

#200 Post by nitin » Sat Jun 22, 2019 7:31 pm

Big fan of the Capra myself and have been patiently waiting for Warner Archive or Criterion to put it on blu.

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