2025 Blind Spot Series: Notorious

 

Directed by Alfred Hitchcock and written by Ben Hecht, Notorious is the story of a U.S. spy who asks the daughter of a German war criminal to seduce a Nazi industrialist hiding out in South America. The film is a post-World War II spy drama that explores a woman caught in a deadly triangle with large stakes involving the possible return of the Nazis. Starring Cary Grant, Ingrid Bergman, Claude Rains, Louis Calhern, Leopoldine Konstantin, Reinhold Schunzel, Moroni Olsen, Ivan Triesault, Alexis Minotis, Wally Brown, Sir Charles Mendl, Ricardo Costa, Eberhard Krumschmidt, and Fay Baker. Notorious is a mesmerizing and gripping film by Alfred Hitchcock.

Set in 1946, the film revolves around the daughter of a German war criminal who is asked by an American spy to travel to Rio de Janeiro to seduce a former Nazi industrialist who is conspiring to revive the Nazi party. It is a film that that explores a woman who is asked by a government agent to Brazil to uncover a Nazi conspiracy plot that featured one of her father’s former colleagues. Ben Hecht’s screenplay has a straightforward narrative, yet it is more about two people who are tasked in uncovering a plot that would threaten post-war peace as they also must contend with their feelings for one another. T.R. Devlin (Cary Grant) is a government agent for the U.S. who is tasked in recruiting Alicia Huberman (Ingrid Bergman) since her German father had been sent to prison for his Nazi activities by the U.S. government. Huberman is unwilling to help Devlin as she had her own issues with her father as she feels ruined by him though Devlin’s offer to get a second chance is something she could not refuse.

Upon arriving in Rio de Janeiro, Huberman learns her assignment is to infiltrate the home of one of her father’s former colleagues in Alex Sebastian (Claude Rains) while Devlin would learn that his superiors want her to seduce Sebastian. Huberman reluctantly agrees to seduce Sebastian as she would charm and woo him where she learns about what he is doing with a bunch of former Nazi officials. The one person who is suspicious about Huberman is Sebastian’s mother Madame Anna Sebastian (Leopoldine Konstantin) as she becomes troubled by her son’s infatuation with Huberman. Hecht’s script also plays into the sense of tension where Huberman realizes she is in the middle as she and Devlin try to maintain their own secrecy and professionalism but have become infatuated with one another.

Alfred Hitchcock’s direction is entrancing for the way he creates this sense of dread and tension set in largely Rio de Janeiro as well as playing into a lot of the romantic drama that occurs throughout the film. Shot on locations in Los Angeles, California including RKO Studios with rear-projection and second unit shots of locations such as Rio de Janeiro and Miami. Hitchcock would create a film that has an offbeat presentation where its first 20 minutes is set in Miami where Hitchcock’s usage of medium and wide shots at Huberman’s house showcases a house party where she wants to wind down while he does not show Devlin’s face for minutes as he is mysterious party crasher. When the film moves to Rio, Hitchcock does create an atmosphere that feels lively yet there is something off about it when he shoots scenes at Sebastian’s home. Notably as it is a posh house full of people but also secrets with a key being a major prop in the film’s second act when Devlin makes a visit. Considering that the film was made during the period of the Hays Code where kisses could not be longer than three seconds, a scene early in Rio where Devlin and Huberman are in a room where they would kiss each other where it would last a couple of seconds and then another couple of seconds.

It is among these moments in the film where Hitchcock would push the envelope of what could be done while he also employ some unique close-ups to help play into the drama and suspense. Notably in his compositions where he would have something happening in the foreground and something else happening in the background. Hitchcock would also employ some unique visuals during the third function as it play into Sebastian’s own revelation about Huberman where there is a sense of danger that is to happen. Even as characters become compromised with some taking control as its ending is an ambiguous one as it plays into the fates of those involved as well as what Hitchcock does not show that adds more intrigue. Overall, Hitchcock crafts a riveting and evocative film about a German-American woman asked to spy on one of her father’s former colleagues while falling in love with an American spy.

Cinematographer Ted Tetzlaff does incredible work with the film’s black-and-white cinematography with its usage of lighting for some of the interior scenes in the day and night as well as the way some rooms are lit as it is a highlight of the film. Editor Theron Warth does excellent work with the editing as it employ some straight cuts to let shots linger for a bit while there is also a scene that include some fast-cuts that help play into the suspense. Art directors Albert S. D’Agostino and Carroll Clark, along with set decorators Darrell Silvera and Claude Carpenter, do brilliant work with the look of the home that Huberman lives in Miami as well as the American embassy interiors in Rio and the Sebastian estate. Gown designer Edith Head does amazing work with the dresses and evening gowns that Huberman would wear at parties and other social events that play into Huberman’s personality.

The special effects by Vernon L. Walker and Paul Eagler are fantastic for the rear-projects for driving scenes as well as some dazzling visuals that play into a key scene in the film’s third act. The sound work of John E. Tribby and Terry Kellum do superb work with the sound in how things sound in a room as well as a tense scene that play into an event that would add to the suspense. The film’s music by Roy Webb is wonderful for its soaring orchestral score with bombastic string arrangements and pieces that ranges from waltz-like sounds to sambas as it help adds to suspense and drama.

The film’s marvelous ensemble cast feature some notable small roles from Fay Baker as a friend of Huberman in Ethel at the dinner party early in the film, Sir Charles Mendl as another friend of Huberman in the Commodore, and Wally Brown as another partygoer friend of Huberman. In the roles of former Nazi associates working with Sebastian include Friedrich von Ledebur as Knerr, Peter von Zerneck as Rossner, Ricardo Costa as a Brazilian in Dr. Barbosa, Ivan Triesault as the conspirator Mathis, Eberhard Krumschmidt as the conspirator Emil Hupka who would become troubled during a dinner in the film’s second act. Alexis Minotis is terrific as the Sebastian butler Joseph who watches over everything while becomes suspicious about Huberman. Moroni Olsen is superb as a U.S. agent in Walter Beardsley who works with Devlin. Reinhold Schunzel is excellent as a mysterious scientist in Dr. Anderson who is a colleague of Sebastian as he is also one of the leaders of the Nazi group.

Louis Calhern is fantastic as Devlin’s partner in Captain Paul Prescott who works in the Secret Service as he is trying to keep Devlin at bay while ensuring the assignment goes well. Leopoldine Konstantin is amazing as Sebastian’s mother Madame Anna as a woman that is suspicious towards Huberman as she is also a woman that is way more powerful and cunning than people give her credit for when she realizes that she knows something is not right about Huberman. Claude Rains is brilliant as Alex Sebastian as a former colleague of Huberman’s father who had a crush on Huberman as the idea of being with her again gives him a distraction that he craves from his Nazi activities though Rains brings that sense of a man who cannot be fooled easily where he would learn the truth.

Finally, there is the duo of Cary Grant and Ingrid Bergman in spectacular performances in their respective roles as T.R. Devlin and Alicia Huberman. Grant displays that sense of charm as well as a demeanor that makes him tough and cunning. Grant also displays that sensitivity when he becomes concerned about Huberman while aware that he is falling for her as he tries to not to get both in trouble. Bergman’s performance as Huberman is entrancing in her radiance as a woman that knows she is ruined by her father’s activities and a lack of a real future until she is asked to help the U.S. government to clear her own name. Bergman also displays this sense of a woman trying to maintain some control as well as knowing what is at stake where she would later cope with her own feelings for Devlin and what is at stake as it is one of Bergman’s finest performances.

Notorious is a magnificent film by Alfred Hitchcock that features tremendous leading performances from Cary Grant and Ingrid Bergman. Along with its supporting ensemble cast, Ben Hecht’s riveting screenplay, gorgeous visuals, a study of love and secrecy, and a vibrant yet intense music soundtrack. It is a film that is not just an intoxicating and gripping noir film but also a film that also pushes the limits of what could be done to display sensuality and desire. In the end, Notorious is an outstanding film by Alfred Hitchcock.

Alfred Hitchcock Films: (Number 13) - (The Pleasure Garden) - (The Blackguard) - (The Mountain Eagle) - (The Lodger) - (A Story of the London Fog) - (The Ring) - (Downhill) - (The Farmer’s Wife) - (Easy Virtue) - (Champagne) - (The Manxman) - (Blackmail) - (Juno and the Paycock) - (Murder!) - (The Skin Game) - (Mary) - (Lord Camber’s Ladies) - (Rich and Strange) - (Number Seventeen) - (Waltzes from Vienna) - (The Man Who Knew Too Much (1934 film)) – The 39 Steps (1935 film) - (Secret Agent) - (Sabotage) - (Young and Innocent) – The Lady Vanishes (1938 film) - (Jamaica Inn) – Rebecca - (Foreign Correspondent) – (Mr. & Mrs. Smith) – Suspicion (1941 film) - (Saboteur) – (Shadow of a Doubt) – Lifeboat - Bon Voyage (1944 film) - (Spellbound) – (The Paradine Cage) – Rope - (Under Capricorn) – (Stage Fright) – Strangers on a Train - I Confess - Dial M for Murder - Rear Window - To Catch a Thief - (The Trouble with Harry) – The Man Who Knew Too Much (1956 film) - (The Wrong Man) – Vertigo - North by Northwest - Psycho - The Birds - Marnie - (Torn Curtain) – (Topaz) – (Frenzy) – (Family Plot)

© thevoid99 2025

The Invisible Man (1933 film)

Based on the sci-fi novel by H.G. Wells, The Invisible Man is the story of a scientist who tries to reverse an experiment he conducted where he became invisible as he deals with his condition. Directed by James Whale and screenplay by R.C. Sheriff, with un-credited contributions from Philip Wylie and Preston Sturges, the film is about a man trying to fix his condition only to deal with the chaos of his experiments as the titular character in Jack Griffin is portrayed by Claude Rains. Also starring Gloria Stuart, William Harrigan, Dudley Digges, Una O’Connor, Henry Travers, and Forrester Harvey. The Invisible Man is a riveting and compelling film from James Whale.

The film follows a scientist who had become invisible as he hides in a hotel trying to find the formula to reverse his condition while succumbing to madness. It’s a simple premise that plays into a man’s obsession as he would use his condition to wreak havoc on a small town as its people would upset him as he’s trying to work forcing him to reach towards an old friend for help only to create more problems. The film’s screenplay by R.C. Sheriff does play into Jack Griffin’s troubled state where he arrives to this inn hoping for a room to stay and not be bothered as he’s trying to work on an antidote. Yet, he’s interrupted by the people running the inn as he gets upset while they learn who he is as he causes trouble while there are those in Griffin’s life such as his former fiancée Flora Cranley (Gloria Stuart) who is concerned about his whereabouts and state of mind. Even when her father and Griffin’s former employer Dr. Cranley (Henry Travers) reveals that Griffin might have used a substance that has contributed to his troubled behavior.

James Whale’s direction does emphasize on simplicity in terms of the compositions that he creates yet it is in the way he builds suspense and intrigue as it relates to Griffin’s condition that gives the film an edge in its approach to suspense. Shot largely at the studio lots in Universal Studios in Hollywood, Whale would create a world that is set in England where it’s set largely at a small town where there aren’t any cars except for those who are rich. Whale would use some wide shots to establish the locations but emphasizes more on medium shots and close-ups for a look into the inn that Griffin would stay in as well as some of the moments in which Griffin would reveal his condition to those who are trying to bother him. Notably in a sequence where he scares the innkeeper Mr. Hall (Forrester Harvey) while wreaking havoc in the street as he’s invisible and naked.

When a manhunt for Griffin emerges, Whale’s compositions play into the chaos as well as Griffin’s willingness to outsmart them as there is an element of humor into the film. Even as it play into the fact that there’s people trying to capture Griffin but they can’t see him and he’s playing around them as they can’t see him. The element of trickery that Whale creates with the help of his special effects team as well as scenes of Griffin shedding his clothes and bandages to unveil what he’s like as an invisible man. The film’s third act that plays into the manhunt but also Griffin’s increasingly mad behavior where he takes advantage of his condition and creates disarray in cities and small towns. Even as some welcome this element of anarchy that Griffin is bringing but it would eventually become deadly prompting action from those close to Griffin to stop him in embracing his role as the invisible man. Overall, Whale crafts a rapturous and haunting film about an invisible man trying to find an antidote for his condition.

Cinematographer Arthur Hedeson does excellent work with the film’s black-and-white cinematography as it play into usage of low-key lights and moods for the scenes set at night while being straightforward for the scenes set in the day. Editor Ted J. Kent does terrific work with the editing with its stylish usage of transition wipes as a montage as well as rhythmic cuts to play into the suspense. Art director Charles D. Hall does brilliant work with the look of the inn as well as the town exteriors and the home of Dr. Cranley and the home of one of Griffin’s friends.

The special effects work of John P. Fulton and Frank D. Williams is brilliant for the unveiling of the titular character as well as how objects move and what he’s like when he’s wearing one or two articles of clothing. The sound work of Gilbert Kurland is superb for the sound as well as the scenes that play into the chaos that Griffin creates. The film’s music by Heinz Roemheld is wonderful for its orchestral score that play into the suspense with soaring string arrangements as well as a few somber pieces for the drama.

The film’s incredible cast include some notable small roles from Dudley Digges as a chief inspector trying to outwit Griffin, John Carradine as an informer who claims to have seen Griffin, E.E. Clive as Constable Jaffers who immediately dismisses the idea of the invisible man until he sees it for himself, Forrester Harvey as the innkeeper Herbert Hall, Una O’Connor as Hall’s wife, and Henry Travers as Dr. Cranley who is concerned about Griffin’s well-being but also is aware of what Griffin used for his experiment believing it’s the cause of Griffin’s troubled behavior. William Harrigan is excellent as Griffin’s colleague and friend Dr. Arthur Kemp who reluctantly lets Griffin hide out to continue the experiments only to be troubled by Griffin’s behavior leading to Griffin to wanting to save himself.

Gloria Stuart is brilliant as Flora Cranley as Griffin’s former fiancée who is worried about him as she wants to help him get better. Finally, there’s Claude Rains in a phenomenal performance as Jack Griffin as a man trying to find an antidote for his condition while wreaking havoc when he’s completely invisible and naked as Rains spends much of the film hiding under masks and bandages while doing a lot of the talking as it is an iconic performance from Rains.

The Invisible Man is a spectacular film from James Whale that features a great performance from Claude Rains as the titular character. Along with its ensemble cast, dazzling visuals, bombastic score, and lively special effects that were primitive for its time. It’s a film that play into the idea of a man who is given powers to create mayhem as he struggles with his sanity to try and fix himself only to deal with the implications of his experiments. In the end, The Invisible Man is a sensational film from James Whale.

Related: The Invisible Man (2020 film)

James Whale: (Journey’s End) – (Hell’s Angels) – (Waterloo Bridge) – Frankenstein - (The Impatient Maiden) – (The Old Dark Horse) – (The Kiss Before the Mirror) – (By Candlelight) – (One More River) – Bride of Frankenstein - (Remember Last Night?) – (Show Boat (1936 film)) – (The Road Back) – (The Great Garrick) – (Sinners in Paradise) – (Wives Under Suspicion) – (Port of Seven Seas) – (The Man in the Iron Mask (1939 film)) – (Green Hell) – (They Dare Not Love)

© thevoid99 2018

2017 Cannes Marathon: The Passionate Friends

(Played in Competition for the Palme d’Or at the 1949 Cannes Film Festival)

Based on the novel by H.G. Wells, The Passionate Friends is the story of a love triangle involving a woman with another man as she reflects on the affair as she sees him for the first time in nine years. Directed by David Lean and screenplay by Lean, Eric Ambler, and Stanley Haynes, the film is an exploration of love affairs told through a series of episodic flashbacks. Starring Ann Todd, Claude Rains, and Trevor Howard. The Passionate Friends is an extraordinary yet mesmerizing film from David Lean.

The film follows a woman who arrives to Switzerland for a holiday as she hears the familiar voice of a former lover as she then reflects on the affair she had with this man she was in love with while being married to a powerful banker. It’s a film that explores the idea of affairs and longing as a woman find herself torn for her love for this man and her devotion to her husband. The film’s screenplay begins with Mary Justin (Ann Todd) arriving to Switzerland with her husband’s secretary Miss Layton (Betty Ann Davies) as hearing the voice of her former lover in Professor Steven Stratton (Trevor Howard) forces her to look back nine years earlier when they rekindled their affair as she is married to the powerful banker Howard Justin (Claude Rains). The first half is about the affair that is just innocent as Mary and Steven knew each other years ago but Howard’s discovery of it would end it. The film’s second half begins in Switzerland due to a chance meeting as the two don’t just cope with missing each other but also talking about what happened to them since.

David Lean’s direction is enthralling in terms of the compositions he creates in some of the locations in Switzerland including the Alps as well as some of the more simplistic scenes set in London. While there are some unique wide shots that would Lean would create including a New Year’s Eve party in the film’s flashbacks. Lean goes for something that is more intimate with the usage of close-ups and medium shots to play into the attraction between Mary and Steven as he would create images that are astonishing for the scenes in the second half of the film set in the Alps. Lean would also create moments of fantasy as it relates to the things that Mary and Steven want but it would often collide with reality. Especially in the third act where the story returns to London as it is about the reality of Mary’s encounter with Steven and what she faces due to the anger and heartbreak from her husband. Overall, Lean crafts a compelling yet evocative film about a married woman dealing with the presence of her former lover.

Cinematographer Guy Green does amazing work with the film’s black-and-white photography from the look of the interiors including the scenes at night at the London underground train stations as well as some of the gorgeous exterior scenes in the Alps during the day. Editors Geoffrey Foot, Clive Donner, and Jack Harris do excellent work with the editing as it is straightforward with some dissolves and rhythmic cutting to play into the drama. Costume designer Margaret Furse does nice work with the costumes as it play into the posh look of the characters to play into the world they live in. Sound recorders Stanley Lambourne and Gordon K. McCallum do terrific work with the sound in capturing the sounds of boat and train engines heard from afar that add to some of the drama in some scenes. The film’s music by Richard Addinsell is wonderful for its sumptuous orchestral score that play into some of the happier moments as well as using some heavy orchestration for the dramatic moments.

The film’s marvelous cast include a couple of fantastic performances from Betty Ann Davies as Howard’s secretary Miss Layton and Isabel Dean as Steven’s date at the New Year’s Eve party in Pat. Claude Rains is incredible as Howard Justin as a banker that is trying to be a good husband but feels threatened by the presence of Professor Steven Stratton as he tries to hold on to his love for Mary. Trevor Howard is remarkable as Professor Steven Stratton as a man who is in love with Mary as he is eager to give her a nice life but also is aware what he’s doing to Howard. Finally, there’s Ann Todd in a radiant performance as Mary Justin as a married woman who is forced to recall events of her affair with Professor Stratton as she copes with wanting to be with him but also be loyal to her husband as the sense of anguish and torment gives Todd a performance that has to be seen.

The Passionate Friends is a sensational film from David Lean. Featuring a great cast, gorgeous cinematography, a dazzling film score, and a riveting story on longing and affairs. The film is certainly one of Lean’s more intimate yet character-driven stories filled with amazing imagery as well as intriguing characters. In the end, The Passionate Friends is a rapturous film from David Lean.

David Lean Films: In Which We Serve – This Happy Breed – Blithe Spirit - Brief Encounter - Great Expectations (1946 film) – Oliver Twist (1948 film) – Madeleine (1950 film) – The Sound Barrier - Hobson's Choice - Summertime (1955 film) – The Bridge on the River Kwai - Lawrence of Arabia - Doctor Zhivago - Ryan's Daughter - (Lost and Found: The Story of Cook’s Anchor) – A Passage to India - (The Auteurs #74: David Lean)

© thevoid99 2017

Lawrence of Arabia

Originally Written and Posted at Epinions.com on 7/5/07 w/ Additional Edit  & Extensive Revisions.

Considered to be Britain's great director, David Lean was a director whose epic-scope and approach to storytelling made him unique among his peers. From early films like his adaptations of Oliver Twist and Great Expectations to epic-blockbusters like The Bridge on the River Kwai and Doctor Zhivago. Since his death in 1991, Lean has been named after the British Academy Award's Best Director Prize known as the David Lean Award for Best Director. He's also been regarded as an influence among other directors like Steven Spielberg and Martin Scorsese. In 1962, Lean released what was considered to be one of the films ever made. A near four-hour epic based the life of T.E. Lawrence in Arabia during World War I that was known to the world as Lawrence of Arabia.

The adapted screenplay by Robert Bolt and Michael Wilson (uncredited due to the Hollywood blacklist of the 1950s), Lawrence of Arabia tells the story of a man named Thomas Edward Lawrence. A British soldier who goes to Arabia during World War I to serve as a liaison between feuding tribes during the war against the Turkish army. Along the way, Lawrence struggles with his own identity as well as the actions of war. Directed by David Lean, the four-hour epic is considered among to be one of the greatest movies ever made that also included the legendary Peter O'Toole, in his feature-film debut, as the title character. Also starring Omar Sharif, Alec Guiness, Anthony Quinn, Jack Hawkins, Jose Ferrer, Anthony Quayle, and Claude Rains. Lawrence of Arabia is a powerful epic from the late, great David Lean.

The first World War is happening as T.E. Lawrence is asked by General Murray (Donald Wolfit and Mr. Dryden (Claude Rains) to observe a conflict between Prince Feisel (Alec Guiness) and the Turks. The eccentric Lawrence takes the mission where he meets Sherif Ali (Omar Sharif) who kills a Bedouin guide that was trying to trick Lawrence. Realizing that Feisel has retreated following an attack, Lawrence and Ali meet up with Colonel Brighton (Anthony Quayle) where Lawrence suggests an attack on the port of Agaba. With a group of 50 men including Daud (John Dimech), Gasim (I.S. Johar) and Farraj (Michel Ray), they trek to the treacherous Nefud Desert where they barely survive the journey.

While Lawrence's bravery wins over Sherif and his men, they meet a tribe chief named Auda abu Tayi (Anthony Quinn) whom Sherif has a dislike towards though Lawrence convinces Auda to join the war. After an incident over conflict between Sherif and Auda's men where Lawrence settles the matter, the two join forces to capture Agaba where Lawrence goes to Cairo with soldiers about the news. Though the journey through the Sinai desert proved to be horrifying and tragic, Lawrence talks to Dryden and General Allenby (Jack Hawkins) about what happened as Lawrence becomes a major as he takes part of a guerilla outfit with Sherif, Auda, and their men. Though the small missions proved to be successful with American reporter Jackson Bentley making Lawrence a hero, another mission goes wrong forcing Lawrence and Sherif to retreat.

During a recon scout at Daraa, Lawrence and Sherif are captured by Turkish soldiers led by Bey (Jose Ferrer) whose method of torture would nearly destroy Lawrence. Wanting out of the war, he is asked by superiors to launch an attack on Damascus with Sherif and Auda. Lawrence reluctantly takes the mission though Sherif realizes that Lawrence isn't the same man as the aftermath that included a council meeting leaves Lawrence more fragile than ever.

While the film is more of a fictional account of sorts on T.E. Lawrence's life, the story of this young man who made a difference to an entire group of people. Yet, a film with a near-running time of four hours (counting overtures, end music, and an intermission), it's one that grabs the attention of the viewers as it opens with a funeral scene that features a reporter (Jack Hedley) covering the event.

The screenplay by Robert Bolt and Michael Wilson is wonderfully structured, particularly the development of some of the major characters. When we meet Lawrence, he is seen as this eccentric, insolence solider who doesn't have a lot of care for authority. When the film progresses, Lawrence becomes an unlikely leader through his unconventional ideas and manners towards war. When engaged in violence, it's a reaction in how he isn't sure. Yet, when an incident involving Bey happens, he becomes traumatized and descends into madness.

Another character that has a great development is Sherif Ali. We first meet as a man who just killed Lawrence's guide. Once he meets Lawrence again, there's tension between the two as well as cultural differences. When Lawrence becomes this unlikely leader, Sherif Ali becomes interested in politics and as towards the end of the film. He is pretty much a moral conscience of sorts while having to see the danger in politics as he deal with other Arab tribes. It's the script by Bolt and Wilson that really bring these characters to life. Not as one-dimensional caricatures but men who are dealing with these new changes and such as they add a broad dynamic to the film.

Then there's the wonderful direction of David Lean. Lean's approach to the film is unique by opening the film with Lawrence's death and funeral. Then, he just goes to a straight cut of Lawrence during the first World War. Lean doesn't waste time by just going into some straight flashback or something. Instead, he just used the intro to spoil the audience a bit as well as who this man is to other people. When the film really begins with Lawrence in Cairo, the scene is to show the enclosed world Lawrence is in. When he's in the desert and Arabia, it's an entirely different world that Lawrence is trying to discover. When he makes unconventional ideas about capturing Aqaba, particularly through the Nefud Desert, his will wins over his men as he becomes an honorary Arab by wearing their clothing.

Lean's direction definitely observes the difference of Arabia and British imperialism in which the latter is discussed throughout the film. The Daraa sequence is one of the most haunting scenes where it seems Lean is suggesting of what happens to Lawrence based on legend. Lean doesn't actually show but if he did at the time of 1962, it would've been extremely controversial and taboo. Still, through his epic-scope and in Super Panavision 70mm film, Lean knows how to capture his audience through images. With many exterior settings, the film couldn't be seen in a full-screen format. In the widescreen, even in a theater, the epic-scope of the film is just jaw-dropping. The compositions of those scenes plus the battle sequences are wonderfully staged. It's the kind of filmmaking that isn't seen in today's world of computer imagery and fast-cut edits. Lean takes his times in watching the action and emotions unfold. It's in Lean's amazing direction where the film really shines.

Cinematographer Freddie Young does some amazing camera work, particularly in the film’s exterior scenes. Young's cinematography, especially in 70mm film, is just extraordinary to how he shoots long shots of the desert, camels, and horses riding onto that hot desert. The look of Arabian desert is just awe-inspiring through Young's camera where on full-screen, it would lose it's imagination. The interior scenes are more intimate to convey the differing atmospheres that Lawrence is in. Young's cinematography is just exquisite in every scene shown.

Production designer John Box and art directors John Stoll and Anthony Masters created some wonderful interior sets including the lavish tents of Auda and Prince Feisel while creating more straightforward sets in the scenes in Cairo. Costume designer Phyllis Dalton creates some wonderful costumes from the straight-laced officers uniforms to the more lavish clothing of Arabians decked out in different colors and such.

Editor Anne V. Coates does some amazing work on the film's editing. With a pacing that isn't too slow or too fast, not even relying on style. Coates' editing is wonderful on the way it captures the intensity of the film's action as well as the shifting of sequence to sequence, notably the intro. Sound editor Winston Ryder does some great work on the film's sound from capturing the winds in the Sinai Desert sequence to the sounds of guns, bombs, and horses in some of the battle sequences.

Music composer Maurice Jarre creates what is considered to be one of cinema's finest and most memorable film scores. The orchestral music of Jarre is truly sprawling and epic with its sweeping melodies and Arabian tone. The drums are in display for the film's intense, action scenes while the film's title theme just captures the beauty of Arabia. It's a magnificent film score by Jarre and truly one of the best.

The film's cast is amazing, and most notably for the fact that there's no large or supporting female parts in the film. Smaller performances from the likes of I.S. Johar, Michel Ray, John Dimech, Henry Oscar as Feisel's servant, Norman Rossington as Corporal Jenkins who is seen in an early scene, and Donald Wolfit as General Murray. In a small role, Jose Ferrer gives an excellent performance as Bey, a man who doesn't have much dialogue but brings a very terrifying presence to the scene itself.

Arthur Kennedy is great as photojournalist Jackson Bentley who captures all of Lawrence's exploits as by the near end of the film, he isn't sure what to think or how to portray in that current state. Claude Rains is wonderful as Mr. Dryden, an advisor who is trying to figure what the French would gain from the Arab alliance. Anthony Quayle is good as Colonel Brighton, Lawrence's superior in the deserts who finds himself being upstaged by the insolent protagonist.

Jack Hawkins is great as General Allenby, a more sympathetic yet cynical general who enjoys Lawrence's exploits while pushing him back to get into war again despite his own political motives. The late yet legendary Alec Guiness (aka Obi-Wan Kenobi) is wonderfully charming and philosophical as Prince Feisel. Guiness, sporting makeup and such manages to steal every scene he's in as the wise Prince Feisel. The late Anthony Quinn is magnificent as Auda abu Tayi in an over-the-top manner in which, it seems that Quinn is having a lot of fun in his character. Quinn really sells the character's struggles of change while sticking to his old tradition as he becomes aware that he's an old horse in a changing world.

The film's best supporting performance goes to Omar Sharif as Sherif Ali. In his international breakthrough performance, Sharif manages to bring depth as Feisel's lieutenant who questions Lawrence's own motives while later becoming a moral conscience as he sees Lawrence's descent into madness. Sharif is just amazing while being a wonderful presence in every scene he's in, especially with O'Toole.

In his feature film debut performance and what a debut, Peter O'Toole truly gives an iconic performance as T.E. Lawrence. O'Toole truly captures the eccentric, unconventional personality that is Lawrence with a witty charm, compassion, and loyalness to everyone including his servants and fellow soldiers. When the film progresses, he is seen as a leader who doesn't take himself to seriously but when he encounters troubles and becomes traumatized. O'Toole sells the despair and madness of Lawrence and how he tries to deal with everything around him. A performance that has to be seen, it is indeed one of the greatest ever captured in cinema.

When it was released in late 1962, the film was a huge critical and financial success winning seven out of ten Academy Awards that year including for Best Picture and Best Director for David Lean. O'Toole was nominated for Best Actor but lost to Gregory Peck for To Kill a Mockingbird though over the years, it is considered to be one of the greatest performances ever. In 2007, 45 years after its release, the film was ranked seventh in the AFI 100 Greatest Films ever made. Its influence has also captured the likes of many directors including Steven Spielberg who called it his favorite film ever made.

In the end, Lawrence of Arabia is a triumph in not just international cinema but the history of films itself. Thanks to David Lean's great vision and an amazing cast led by Peter O'Toole, it's a film that has to be in everyone's film collection. No doubt is this film considered one of the greatest while those new to both Lean and O'Toole or even Omar Sharif. There is no doubt this is a great way to start. In the end, for an experience that is unparalleled with some of today's films. Lawrence of Arabia is the film to see.

David Lean Films: In Which We Serve - This Happy Breed - Blithe Split - Brief Encounter - Great Expectations (1946 film) - Oliver Twist (1948 film) - The Passionate Friends - Madeleine (1950 film) - The Sound Barrier - Hobson's Choice - Summertime (1955 film) - The Bride on the River Kwai - Doctor Zhivago - Ryan's Daughter - (Lost and Found: The Story of Cook's Anchor) - A Passage to India - (The Auteurs #74: David Lean)

© thevoid99 2011

Casablanca

Originally Written and Posted at Epinions.com on 2/19/09

Among considered to be one of the greatest films ever made, Casablanca is always mentioned in the list of great films. The story of an American expatriate who is torn in helping the woman he loves while wanting to free her Resistance leader husband escape Casablanca during World War II. Directed by Michael Curtiz based on the play by Murray Bennett and Joan Alison. Screenplay by Howard Koch, an un-credited Casey Robinson, Julius J. Epstein and Phillip G. Epstein. The film is a romantic drama that has captivated audiences since its release in 1942. Starring Humphrey Bogart, Ingrid Bergman, Paul Henreid, Peter Lorre, Conrad Veidt, Sydney Greenstreet, and Claude Rains. Casablanca is an entrancing, entertaining, and romantic masterpiece from Michael Curtiz.

It's the 1940s as Casablanca remains one of the few unoccupied French areas in Morocco. The most popular club is Rick's Café Americain, a club with entertainment and a secret gambling area owned by a cynical American expatriate named Rick Blaine (Humphrey Bogart). In a club full of a mixed clientele of refugees, Vichy French officers, Nazi officials, and other posh regulars. The club features an African-American piano player named Sam (Dooley Wilson), Hungarian waiter Carl (S.Z. Sakall), Russian bartender Sascha (Leonid Kinskey), and croupier Emil (Marcel Dalio). One of the club's regulars is Captain Louis Renault (Claude Rains), who is accompanying Major Strasser (Conrad Veidt) over an incident involving two dead German couriers, is conducting an investigator. Rick is later confronted by Ugarte (Peter Lorre) asking him to keep some letters of transits that he took from the two German couriers. After Ugarte's arrest, two people arrive into the club which is Victor Laszlo (Paul Henreid) and Ilsa Lund (Ingrid Bergman).

Ilsa recognizes Sam as she asks him to play an old song that annoys Rick until he sees Ilsa. The two hadn't seen each other since Paris got occupied by the Germans as it brings Rick some sad memories of their life back in Paris before the occupation and Ilsa's departure. With Laszlo, a Czech Resistance leader sought by the Germans, trying to get out of Casablanca to go to America. Rick isn't sure if he wanted to help Laszlo as Laszlo and Ilsa go to a rival club owner in Ferrari (Sydney Greenstreet) for help but couldn't. With Strasser trying to capture Laszlo by any means with help from Renault, tension between the French and Germans rise during a singing of national anthems at Rick's club. Renault forces the club to be closed as Laszlo turns to Rick for help but Rick remains unsure still dealing with the bitterness of the dissolution over his relationship with Ilsa. Ilsa finally comes to Rick for help as he makes his decision over his own future and everything for Ilsa and Laszlo with some unexpected help.

The film is a bending of genre of sorts with all sorts of genres crammed into one. There's adventure, romance, drama, suspense, and some humor all rolled into one. Yet, it's a remarkable film that swoons in its bending of genres as its done with such style and rhythmic dialogue from screenwriters Howard Koch and the Epstein brothers. The screenplay is filled with wonderful set-ups, twists, turns, and back stories about the Rick-Ilsa relationship in Paris to how they broke apart and why leaving Rick very bitter. Yet, the film is about what Rick would do for the woman he loves and what would happen afterwards. The film also delves into his own background working for resistence causes for other wars in previous years as he now claims he fights only for himself. His motivation to fight for himself and then be helpful for a cause is Ilsa as she reveals why she left and her own conflicts for her feelings for both Rick and Laszlo.

The script is truly brilliant in its plotting, set-ups, motivations, and development as it's all well told in the direction of Michael Curtiz. Curtiz's direction is very stylish in playing to the script's structure where the first act is largely told in Rick's club leaving the other two acts to wander in various locations and setting along with Rick's club. It's also because that since the story was based on a play, Curtiz sets it up as if it's a play in all of its intimacy and staging. With shots to emphasize the drama and tension with close-ups providing a soft look, Curtiz's direction is truly amazing in its look, tension, and compositions. Overall, Curtiz creates a film that is truly spectacular in its drama and staging.

Cinematographer Arthur Edeson does superb work with the film's black-and-white photography with dark shades of black and grey to convey the bitter mood of Rick along with more lighter colors to reflect his happiness. Even in some scenes at the club where everything is fun as Edeson's photography is exquisite. Particularly in its shading and set-ups to create moods for some of the film's dramatic moments along with its final scene with soft touches for the film's romantic portions. Editor Owen Marks does a fantastic job with the film's editing in the use of dissolves and wipe-transitions to give the film a nice rhythm as well as emphasizing its structure. Marks' editing is wonderful in playing up the drama and intensity of the romance between Rick and Ilsa.

Art director Carl Jules Wyle and set decorator George James Hopkins does an excellent job in recreating the look of the Casablanca shops and bars in its exteriors along with a wonderful look in Rick's club. Notably the atmosphere as it's a hotbed of different cultures and people where things could go right or wrong as the art direction is truly worth noting. The costume designs Orry-Kelly on the gowns that the women wear, notably the white gown that Ilsa wears on her arrival to Rick's club is gorgeous. With Anthony Gasbarri on the tuxedos that Humphrey Bogart wears, the close have a classy, sophisticated look that is truly divine. The sound work of Francis J. Scheid and recordist Edward Ullman are excellent for the atmosphere of the club in all of its grandeur and chaos. It's also great for its suspense, notably the last scene of the film that's a wide mix of emotions and tension.

The music score by Max Steiner is phenomenal in all of its arrangements and styles. From its suspenseful, intense pieces to more light-hearted scores for some of the film's non-dramatic, non-suspenseful scenes. Steiner brings versatility to the music while creating sweeping, somber arrangements for the film's romantic portions. Steiner also brings unique touches to the French national anthem with its triumphant arrangements and pieces. The soundtrack includes standards that plays up to the club scenes with one notable song is As Time Goes By that serves as romantic piece for Ilsa and Rick to hear.

The casting is phenomenal with its array of small performances and standout characters that are memorable throughout the film. Notable small roles from Ludwig Stossel and Ilka Grunig as the Leuchtag, a German couple who are friends of Carl, Gregory Gaye as a German banker refused to enter the casino, Helmut Dantine as a young Bulgarian casino player, Curt Bois as a pickpocket, Madeleine LeBeau as Rick's discarded girlfriend Yvonne, and John Qualen as Laszlo's Norwegian contact. Other memorable small roles include Marcel Dalio as the croupier Emil, S.Z. Sakall as waiter Carl, Leonid Kinskey as bartender Sascha, Joy Page as a young Bulgarian refugee who breaks Rick's cynical persona, and Dooley Wilson as Rick's longtime friend and piano player Sam.

Conrad Veidt is excellent as Major Strasser, a Nazi official who is trying to nab Laszlo for his government while hoping to get more support from Captain Renault. Peter Lorre is great as Ugarte, a slimy thief who tries to get Rick to hide some transit papers as he makes a memorable appearance. Sydney Greenstreet is very good as Ferrari, a club owner who is a friendly rival of Rick's who tries to help out Laszlo and Ilsa while making some deals with Rick. The film's best supporting performance is easily Claude Rains as Captain Renault. A shady police captain who is corruptive but only willing to play on a side that he feels will win as Renault brings a complexity and charm to his character who is an anti-hero that doesn't play by the rules. Renault's performance is truly the standout character of the film.

Paul Henreid is superb as Laszlo, a Czech resistence leader trying to go to America as he reveals what he knows about Rick and Ilsa. Henreid doesn't play the kind of guy who wants to go into conflict with Humphrey Bogart but rather as someone who needs Bogart's help. He's also the guy you kind of don't want to root for but want to help his cause which represents a great duality to his role. Ingrid Bergman is amazing as Ilsa Lund, Rick's former lover who is in conflict over her loyalty for Laszlo as well as her love for Rick. Bergman's radiant beauty and fierce performance is truly spellbinding to watch in all of her torment and desperation as Bergman truly captivates in her performance. Finally, there's Humphrey Bogart in a phenomenal performance as Rick Blaine, the cynical club owner not wanting to be involved in anything. Blaine is a great anti-hero who is in it for himself and not wanting to help anyone until he faces Ilsa. Bogart shows great depth into his own emotional torment without dabbling into any kind of theatrics as it's a great performance from the legendary actor.

Released in New York City in November of 1942 around the time the city of Casablanca had been captured by the Allies. The film went into wide release in January 1943 to great acclaim as a year later, it won three Oscars for Best Picture, Best Director, and Best Adapted Screenplay. Though its box office reception was modest, the film since its release has remained influential and powerful. The film has been considered a classic in American cinema as it places itself in the top 5 greatest films of all-time by the American Film Association along with several other lists where it would top some. The film has been released in several formats in VHS and DVD where it recently got a recent Blu-ray DVD release in late 2008 to great acclaim for its high-definition transfer.

More than 65 years since its release, Casablanca is a timeless classic that still holds up with today's films. Thanks to Michael Curtiz's stylish direction, a fantastic script filled with memorable one liners, great technical work, and a superb cast led by Humphrey Bogart, Ingrid Bergman, Paul Henreid, and Claude Rains. It's a film that is romantic, suspenseful, and thoroughly entertaining. Audiences who haven't seen this film should see this as it lives up to its hype and acclaim while audiences who have seen this film should get a chance to see it again. It's a film that truly lives up to its brilliance. In the end, Casablanca is a brilliant film that ages gracefully since its 1942 release.

(C) thevoid99 2010