The Black Book (1949) (9/10) The French revolution in its death cramps turned into hardcore action. 30 April 2018
A gorgeous dramatization of the French revolution in its dying phase with all the leaders going down, Danton, Robespierre and St. Just, with Robert Cummings as a kind if French pimpernel working for Lafayette to unsettle the revolutionary establishment that has derailed into terror. It's a marvellous intrigue, with a beautiful lady at the centre, of course, and with some great acting that should be noted, especially Richard Baseheart (!) as Robespierre - it's impossible to recognize him. Can you see Captain Ahab's number one Starbuck or Fellini's jester in “La Strada” in this Robespierre? Equally outstanding is Arnold Moss as Fouché, oiling his ways into and out of intrigues and finally facing Napoleon. To all this comes a terrific score by Saul Kaplan. It's almost expressionistic and gives a very sharp impression of the drama of the French revolution. What then is failing? It's just slightly out of any realism. It's too adventurous, too much turned into an artificial thriller, and unfortunately Jess Barker is totally miscast as St. Just - he is not convincing at all, and St. Just was not like that. He was an effeminate dandy and no soldier. Still, it's a brilliant film with terrific action all the way, that can't disappoint anyone. https://www.imdb.com/title/tt0041796/ Not Wanted (1949) (10/10) Unwed mothers and their lost children 9 May 2018
A gripping drama of motherhood when complications without end set in. Sally has a relationship with an irresistible pianist, he actually plays quite well, but he is to occupied with his work and problems to be able to provide Sally with any proper support. He gets away, and Sally finds herself in the hands of a garage worker with a passion for toy railways. When she is pregnant from her former relationship, she runs away and ends up in a home for unwed mothers. The film is mostly remarkable for being Ida Lupino's debut as a director, and at the time the subject was etremely sensitive and taboo and could not be discussed openly. This taboo situation has in an interesting way marked the film like in a haze of mystery, and you get insights in the lives of unwed mothers and their tough luck that shine with fascinating intimacy. This is a women's film about women made by a woman, and as such it is precious, to say the least.
208