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An appreciation of...; The forgotten films of great directors
Topic Started: May 11 2015, 02:34 PM (415 Views)
Russ
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I know that everyone here has at least a few films that they really like -- a lot -- and yet the critical acclaim for said films never developed (often for good reason). Hence, although these films may have been the products of renowned, critically-lauded directors, they nevertheless fell through the cracks of cinema history. Sometimes it's a real shame because, without a champion or two, these films will remain relegated to the dustbin of indifference in perpetuity. The purpose of this thread is to afford real champions of cinema the chance to sway opinion -- or to just bring enlightenment -- with regard to the forgotten efforts of acknowledged auteurs.

I'll christen this thread with a recent re-viewing of a film by Victor Sjöström (Victor Seastrom in the credits of this early talky starring Edward G. Robinson and Vilma Banky). The film is 1930's A Lady to Love, While none of my viewings have motivated me to elevate my initial pro rating, they have cemented my appreciation of (and fondness for) all aspects of the film. It's this appreciation that actually has me wanting to revisit it periodically, like visiting a dear friend.

My original capsule review:

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Victor Sjostrom's A Lady to Love turned out to be a very nice surprise after an inauspicious beginning. A word about the two lead performances and those accents (one authentic and one very much not): A good-intentioned Edward G. Robinson as Tony deceives Vilma Banky (Lena) into accepting a marriage proposal, which she originally believed came from his best friend and local hunk. Robinson mugs outrageously, affecting a somewhat clownish Itallian accent of almost Chico Marxist proportions in his over-the-top performance to which Banky's thick Hungarian accent provides a rather startling contrast. The film may begin with a clown and a harpy act but by the end it has transformed into something else altogether. And, afterwards I began to realize that Robinson's exaggeration was not by accident - his role of buffoon plays very much into the narrative and by the end you, like Banky, have grown to love him almost in spite of himself. He also manages to infuse a degree of sincerity into his clownish performance, culminating in an incredibly touching scene near the climax where he begs her not to leave him. The real surprise for me, however, was Vilma Banky herself. What a fabulous actress! Her range was certainly not confined to that of the shrill, overbearing portrait of a bride that served as her introduction. She proved wonderfully adept at not only playing off the humor, but weaving levels of complexity into her character that left me a bit speechless.


I don't think that capsule really touches on all the elements that make this film so endearing. Robinson plays Tony, who owns a large property in Napa Valley, full of the finest vineyards in the area. His fortune is vast and well-earned. The only thing missing in his life is love. When he decides to go to San Francisco to search for a candidate for matrimony, he immediately falls for Lena (Banky), a waitress at a dead-end job. He acquires her name and address and returns home, where he convinces his foreman (and surrogate son), Buck, to ghost-write a letter informing her of his honorable intentions and his marriage proposal. Looking for a better life, she accepts Tony's offer, not realizing it was masked in deception: fearing she would find him too old or not attractive enough, he enclosed a photo of Buck in his marriage proposal.

The day she is due to arrive, Tony starts to get cold feet (knowing that she will immediately realize his trickery). He bolsters his courage with a few glasses of wine and drives to the train station to meet her. When he doesn't arrive, a despondent Lena confides to a friendly local her predicament. He drives her to Tony's where she meets Buck and feels better about the impending nuptials (believing the handsome Buck to be her betrothed). However, it is soon discovered that Tony crashed his car on the way to the train station, severely injuring both his legs. When friends bring him home, Banky is at first horrified at learning Tony's true identity: "Who is this old man?" Slowly she resigns herself to her fate, but on her wedding night, and still feeling the pangs of deception and betrayal, she gives in to Buck's advances, while Tony is fast asleep from the doctor's medication.

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At this narrative point, the film is also at its midway point -- and it is here that something special happens. Feeling guilty, Buck packs up and leaves the estate. Lena is tasked by the doctor to administer care to Tony during his long recuperation process. And this is where Banky and Robinson shine, and the film takes on a different tone, a sweet and gentle texture replacing the preceding harsh and indelicate nature. There is a moving (and funny) scene where Lena is determined to give bed-ridden Tony a sponge bath -- in spite of Tony's acute aversion to water. To say Robinson's hamminess commands this scene would be in error -- he cries and squeals in response to his wive's insistent scrubbing -- but his pleas fall on deaf ears as Banky takes control (you really realize what an accomplished actress Banky was, as she communicated feelings of affection and changing emotion in this scene). Things continue to get better for the couple over the months of Tony's recovery. That is until Buck unexpectedly returns and attempts to extort Lena to resume their long since forgotten affair.

This was one of Victor Sjöström's final films as a director (although one of his first talkies) and you get the feeling that most, if not all, of the film's small successes belong to him. Emotional scenes where Lena, as she prepares to leave Tony over her infidelity with Buck, sews soft fabric onto the tops of his crutches to alleviate discomfort, bears Sjöström's stamp. Even the humorous scene where Tony finds himself repeating the doctor's technical prognosis (while understanding none of the medical terms the doctor uses), is very much Sjöström. And, I realize that Robinson's outrageous accent wasn't merely Robinson playing to the camera -- he understood how the character was written -- one whose broken English was utilized as a defense mechanism: to gain sympathy, to put on different faces, but most importantly, to shield his vulnerability. And to that end, Ms. Banky, along with the film's conclusion, was the perfect antidote.

I hope others might feel compelled to use this thread for similar purposes of salvaging worthwhile forgotten films.
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Mister Jiggy, Esq.
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Russ, saw this post last night and refrained from reading it and instead popped the movie in (got it from a kind friend :) ). I only got about 20 minutes in before the boss beckoned me to bed (had already watched my new Blu-ray of Breaking Away with my son - who said it may be his new favorite movie). Couldn't resist reading the post given I was luke warm on what I'd seen late last night curious as to your perspective. Your post confirms that the best of the film remains to come. I'll start from the beginning and watch tonight.
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Russ
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Yeah, I remember being pretty much underwhelmed with the opening third of the film, which introduces characters and sets wheels in motion. The lackluster performance of a key supporting player (Robert Ames as Buck) didn't exactly help matters. A side note -- I would really like to see the German language version that was filmed, retaining Robinson and Banky, but replacing Ames with Joseph Schildkraut (an Oscar winner for The Life of Emile Zola). Anyway, I hope my modest praise won't be confused with critical merit -- no one, not even me, would call this a great film. Possibly not even a very good one. But in my mind, it's solid enough to warrant attention, especially the screentime that Robinson and Banky share. Sjostrom took risky material and managed to turn it into a sincere portrait of devotion, trust, and the inception of genuine, lasting love. Hopefully you'll take something positive away from it like I did.
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Dirt
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After all.....
I went to check my rating and was surprised that there wasn't one. I don't think I bailed on the film but I might have. I certainly remember everything you describe. I also remember having a hard time with Robinson's accent.

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I would really like to see the German language version that was filmed, retaining Robinson and Banky, but replacing Ames with Joseph Schildkraut


Would that be Robinson speaking German playing an Italian? Good lord.

I seem to recall commenting here on Robinson's acting and Vilma's good looks :) but I can't find that either. O well. Time for a rewatch. It seems to be available in three parts on YouTube
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Mister Jiggy, Esq.
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Dirt,May 12 2015
03:04 PM
Would that be Robinson speaking German playing an Italian? Good lord.

Indeed - though he's done Chinese (The Hatchet Man) and Norwegian (Our Vines Have Tender Grapes)....and whatever that was in The Ten Commandments

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Russ
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Crazy Eddie G. and those wacky accents!


[dohtml]<iframe width="560" height="315" src="https://www.youtube.com/embed/b-49aGiReEI" frameborder="0" allowfullscreen></iframe>[/dohtml]
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YancySkancy
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Banky was wonderful opposite Valentino in The Eagle (1925). I'd be happy to see this one for her alone. I always assumed the accent is what put the kibosh on her sound career, but Wikipedia says she mostly just wanted to quit acting and be Rod La Rocque's wife. They were married in 1927 and were together until his death in 1969. She died in 1991 at age 90.
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Dirt
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After all.....
Russ,May 12 2015
06:40 PM
Crazy Eddie G. and those wacky accents!


:like:
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vornporn
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A Ryan Seacrest type.
A good piece on the films of Antonio Pietrangeli, who has some fans hereabouts, and whose work is getting a retrospective at MOMA. Hopefully this means the impending Criterion release of I Knew Her Well is just the beginning.
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vornporn
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A Ryan Seacrest type.
Also, here is my appreciation of Jet Pilot, a forgotten film from the great director Josef von Sternberg:

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Janet Leight WTFIU
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Mister Jiggy, Esq.
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vornporn,Dec 4 2015
12:12 PM
Janet Leight WTFIU

another appreciation

https://www.youtube.com/watch?v=oVYJ09NBp1I
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Maxime G.
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I don't think I've ever seen a more attractive woman than the young Janet Leigh.
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Maxime G.
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Watched Jet Pilot earlier today...I'm in love!

Also, good film! Probably only of interest to auteurists, though.
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Mister Jiggy, Esq.
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Maxime G.,Dec 4 2015
06:31 PM
I don't think I've ever seen a more attractive woman than the young Janet Leigh.

Check her out in Scaramouche!

It seems that despite its 1957 release date Jet Pilot was filmed circa 1950. Was wondering why Leigh looked so incredibly young. Not that she didn't look terrific in 57 and after...
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Maxime G.
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Mister Jiggy, Esq.,Dec 7 2015
07:44 AM
Maxime G.,Dec 4 2015
06:31 PM
I don't think I've ever seen a more attractive woman than the young Janet Leigh.

Check her out in Scaramouche!

It seems that despite its 1957 release date Jet Pilot was filmed circa 1950. Was wondering why Leigh looked so incredibly young. Not that she didn't look terrific in 57 and after...

Ha, that explains why Wayne also looks quite young and handsome for the time period! I just assumed Sternberg's gaze worked its magic.
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