A blog formerly known as Bookishness / By Charles Matthews

"Dazzled by so many and such marvelous inventions, the people of Macondo ... became indignant over the living images that the prosperous merchant Bruno Crespi projected in the theater with the lion-head ticket windows, for a character who had died and was buried in one film and for whose misfortune tears had been shed would reappear alive and transformed into an Arab in the next one. The audience, who had paid two cents apiece to share the difficulties of the actors, would not tolerate that outlandish fraud and they broke up the seats. The mayor, at the urging of Bruno Crespi, explained in a proclamation that the cinema was a machine of illusions that did not merit the emotional outbursts of the audience. With that discouraging explanation many ... decided not to return to the movies, considering that they already had too many troubles of their own to weep over the acted-out misfortunes of imaginary beings."
--Gabriel García Márquez, One Hundred Years of Solitude

Tuesday, September 3, 2019

This Land Is Mine (Jean Renoir, 1943)


Cast: Charles Laughton, Maureen O'Hara, George Sanders, Walter Slezak, Kent Smith, Una O'Connor, Philip Merivale, Thurston Hall, George Coulouris, Nancy Gates, Ivan F. Simpson, John Donat. Screenplay: Dudley Nichols. Cinematography: Frank Redman. Production design: Eugène Lourié. Film editing: Frederick Knudtson. Music: Lothar Perl.

Charles Laughton plays a cowardly mama's boy schoolteacher in a Nazi-occupied country not unlike director Jean Renoir's native France. Albert Lory is secretly in love with his fellow teacher, Louise (Maureen O'Hara), but she's engaged to George Lambert (George Sanders), the administrator of the local railway yard who thinks the best way to proceed under the occupation is to submit to the Nazis under the command of Major von Keller (Walter Slezak). But Louise's brother, Paul (Kent Smith), is a member of the Resistance who tries to assassinate von Keller, provoking reprisals -- and a good deal of plot complications -- when he fails. Some dubious casting -- Sanders and O'Hara make an odd couple -- and a too-heavy reliance on melodramatic posing undermine a film that seems aimed more at Renoir's compatriots than at American audiences, though it was a box office success. 
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