Weeks 43-45

Introduction

It's goodbye to October and hello to November, as the year moves into its final sixth. It'll be over before you know it! And with it, my final total of new films this year. How exciting! It may wind up being lower than some of my previous predictions would've had it though, considering the increasing number of weeks I feel the need to cover, and with increasingly low number of films too...


Weeks Forty-Three to Forty-Five

But anyway, all of that's a whole seven weeks away yet. For now, let's stick to this little (literally) lot:


109a) Manhatta (1921, Paul Strand & Charles Sheeler, download) 2/5
Another '20s city film, showing off (as you might guess from the title) parts of New York. The focus appears to be industrial -- skyscrapers under construction, finished architecture, tug boats, trains near the docks; the people of the city only crop up at the start and close, and then only in faceless crowds. It's interspersed with poetic intertitles, which make for an odd contrast. Once again, I feel that, unless you want to go getting a bit pretentious (and, to be fair, at least some of these films were made for just that), the main interest here is in an historical perspective: it provides another snapshot of a time and place long gone. (Available for legal download and streaming at Google Video.)

110) The Crowd (1928, King Vidor, TV) 4/5
Late silent-era drama -- though you'd be forgiven for thinking it was a comedy until halfway, when the light antics of a young couple in '20s New York give way to some increasingly dark drama (interesting trivia: seven endings were shot for distributors to choose from, some happy and some sad; all chose sad ones. However, the copy we saw (taped from an '80s TV showing) had a happy ending). The first half is gentle but amusing; the sudden shit catches the viewer off-guard, undoubtedly making what follows more effective. The main character is in many ways pretty useless and at least some of the problems that befall him are his own fault, yet his comedic treatment in the first half makes you care for him throughout the second. If you can accept the shifting styles of an age before genre was rigidly defined, The Crowd is a worthwhile experience.

111) Fantomas: In the Shadow of the Guillotine (1913, Louis Feuillade, DVD) 4/5
The first of the silent Fantomas films (I reviewed the second last time) . It's interestingly structured: there's no 'origin story' for Fantomas, he just is an infamous master criminal, who's introduced in what would undoubtedly be a pre-titles sequence today, before the story switches to follow Inspector Juve and his quest to solve the disappearance of Lord Beltham... which of course leads back to Fantomas. Its pulp fiction roots shine through in the entertaining plot that's just far-fetched enough. As I said before, it's not for everyone, but for those who enjoy this sort of thing it's unmissable.

112) The Naked City (1948, Jules Dassin, DVD) 4/5
Police procedural film noir, shot entirely on location in New York (unusual at the time). The story is quite straightforward -- girl is murdered, police investigate -- but it exists mainly as a structure on which to hang perspectives of the city, its criminals and its law enforcement (though in an infinitely less pretentious way than that sounds). The acting is sometimes stilted and some of the direction is actually a little flat, but there are enough enjoyable elements to cover for it -- particularly the chance to see so much footage of a real city at this time. The odd, character-less voice-over narration is more puzzling than any mystery in the plot.