July 05, 1954

Some West German film producers are talking about making movies especially for the American market—another sign of industrial vitality, we may suppose. A few interesting German films have tried to buck the post-war indifference towards things German here: The Blum Affair, and Die Pledermaus, for example. But like most of the British, French and Italian films whose US success the Germans envy, these were made first and most of all for audiences in their own country.

Art, Business, and the Liberals
January 30, 1949

The liberal, as we understand it, is the person who sincerely wants as many of the good things of this world for his fellow man as he does for himself. His credo is the Bill of Rights (still a very revolutionary document), the Roosevelt Bill of Human Rights, the Truman Civil Rights Program, and all legislation stemming from them.

Movies: Troubled Times
July 26, 1948

Faithful to its responsibilities and unintimidated by the constables of church or state, the picture industry continues to battle on the social barricades. In this summer of coups d’etat, assassination, war and the threat of war, Hollywood has discovered that crime never pays and that history has inflicted a vile libel on the memory of the American Indian. The alarming message sent us by J. Edgar Hoover in the preface to “The Street with No Name” is that America is threatened by gangsterism of unprecedented ferocity.

TNR Film Classics: ‘Henry V’ (July 8, 1946)
July 08, 1946

Laurence Olivier’s spectacle-film, Henry V, is a sparkling armor-and-woolen-goods movie about a glorious English leader (Olivier), his smashing, upset victory over the French (who had too much armor, too few archers) in 1415, and his lightning courtship—made up of tricky, beautiful talk and vaudeville—of the French princess Katherine (Renée Asherson). Henry V is a great deal more than almost any other hell-bent-for-armor movie that you’ve seen.

TNR Film Classics: The Case of the Critic (February 2, 1942)
February 01, 1942

I have been on this pitch for quite a long time, and now I should like to inquire why we as the nation which produces the movies should never have developed any sound school of movie criticism. That we haven’t is obvious; read your papers. Why we haven’t is probably owing to the ineradicable ignorance in theatricals of the ordinary writing hack, and to the fact that the ordinary reviewer on a newspaper or magazine is traditionally an amiable chump who has been kicked upstairs.

TNR Film Classics: ‘The Maltese Falcon’ (October 20, 1941)
October 20, 1941

The Maltese Falcon is the first crime melodrama with finish, speed and bang to come along in what seems ages, and since its pattern is one of the best things Hollywood does, we have been missing it. It is the old Dashiell Hammett book, written back in the days when you could turn out a story and leave it at that, without any characters joining the army, fleeing as refugees or reforming bad boys, men or women.

TNR Film Classics: ‘Port of Shadows’ (November 22, 1939)
November 22, 1939

As a film that neither attempts more than it can do nor is satisfied with the trivial, Port of Shadows is a pleasure. It was made in France by Marcel Carné; and apart from the thrills and satisfactions of its story, it is one of those things an occasional French film-maker does so perfectly: an atmosphere created, a mood unbroken.

TNR Film Classic: ‘Les Miserables’ (1936)
November 10, 1936

Those who are selling the French film Les Miserables to the American public are plugging the “challenge” angle; “France challenges comparison with the American version.” While this is a very good way to sell the picture to the kind of trade it will be sold to, there are still going to be some of us who will take a piece of that dare money as fast as anyone will put it up. Just to start with, the old picture made the course in one hour, forty-nine minutes: the present one covers roughly the same material m (counting intermission) two hours, fifty minutes.