The Black Book (1949)

[Mr. Arkadin]

Some call it Film Noir, to others it’s costume drama. But what's the point of having all those beautiful period clothes when the screen is mostly pitch black? Anthony Mann chases his demons wherever he finds them; in dark urban streets, wide open ranges, or here in the French Revolution. Whatever it's genre, The Black Book aka Reign of Terror is refreshingly different and laced with undertones that have much to say about the political game.

Showing this afternoon on TCM. Stick your neck out for something a bit different.

[ChiO]

Amen, my brother! The first time I saw it, I lost my head. The most underappreciated of Anthony Mann's movies. And John Alton at his darkest...figuratively and literally.

[Dewey1960]

"The most underappreciated of Anthony Mann's movies. And John Alton at his darkest...figuratively and literally."

Not only is this true, but it is so despite the ludicrous casting of Bob Cummings and Arlene Dahl in the leads. And while it might not have anything new or interesting to say about the French Revolution, it is clearly a classic example of the primacy of the visual, an absolute triumph of style and energy.

[MikeBSG]

When I saw "The Black Book" back in 1989 (the Cleveland Museum of Art had a film series on movies about The French Revolution) what struck me about "The Black Book" was its Cold War attitude. The originally okay Revolution is being highjacked by a secret band of extremists (proto-Commies). To me, the movie seemed to be rather influenced by the 1948 Communist seizure of power in Czechoslovakia.

[moira finnie]

Happy Bastille Day!

Though I'd liked to have seen actual French movies on TCM today, I guess the guys at TCM knew that subtitles during the day might be a kiss of death for their viewership today, so instead we get two versions of A Tale of Two Cities (sorry, Dirk Bogarde, but Mr. Colman is Sidney Carton), Scaramouche (1951) and, of course, Mrs. Thalberg's Marie Antoinette (1938)...aargh!!

I really wouldn't have minded dubbed French movies, guys. Not the ones that many Americans might find heavy sledding, but how about René Clair’s Le Million, Cocteau's La Belle et la Bête, or the broadcast premiere of Melville's L'Armée des Ombres? Yeah, I know: get real, Moira.

But out of the bunch that are actually scheduled, I would probably single out The Black Book (on TCM today at 1:45pm EDT) too, guys.

Reign of Terror aka The Black Book (1949) was reportedly one of those productions that was originally planned as an A production with Joan Crawford, Alida Valli & Victor Mature as possible leads and wound up with Arlene Dahl, Robert Cummings and Richard Basehart. The great noir cinematographer John Alton probably made this film so murky in part to reflect the confused loyalties/values of this period of The French Revolution, but also to save a few sous for Walter Wanger's production.

Director Anthony Mann always excelled showing the rampant paranoia in the world that his characters inhabit, and was particularly effective showing the delusions of wrong-headed patriarchs.

The outstanding performance here is that of Richard Basehart as Robespierre, as a would-be father of revolutionary terror, and his truly grisly end, from what I've read of French history, is, for once, fairly accurately presented. Basehart is interesting because he makes his revolutionary firebrand so cold, you actually expect his breath to appear when he speaks. He never pulls any punches creating a portrait of this leader as someone who, until the moment of his death, seemed to believe he was right.

Of course, people who are certain of what they do, and who seem to be unable to experience a moment of self-doubt, as history has repeatedly shown, are among the most destructive. As ol' Will once said "The evil that men do live after them, the good is oft interred with their bones."
I'll try to catch this one, though it isn't the kind of movie to watch on a bright summer day, is it?

[Mr. Arkadin]

The outstanding performance here is that of Richard Basehart as Robespierre, as a would-be father of revolutionary terror, and his truly grisly end, from what I've read of French history, is, for once, fairly accurately presented. Basehart is interesting because he makes his revolutionary firebrand so cold, you actually expect his breath to appear when he speaks. He never pulls any punches creating a portrait of this leader as someone who, until the moment of his death, seemed to believe he was right.

Just don't call him Max.

[MissGoddess]

I got interested in the few minutes I was able to see...see through the blackness. Was it really photographed that way? I thought perhaps it was a poor print.

Basehart was the best one, of course. He made a very cute Robespierre, too. And I don't believe I ever saw Arlene Dahl look so beautiful. She looks as though she could start a revolution.

Cummings, on the other hand, very nearly ruined every scene for me. He can never escape his innate smugness. It bothers me to no end. For some odd reason, I pictured Spencer Tracy in his role instead and it would have been so much better. I know, I know, less of a Frenchman, but Cummings is less than anything.

[Dewey1960]

Was it really photographed that way? I thought perhaps it was a poor print.

Yes, MissG, it was an exceptionally poor print. I've seen this great film in a theater and it looks just great. The print they ran yesterday on TCM was a grainy 16mm TV print. Too bad; it deserves better.
And yes, I agree, Cummings almost ruins the film. Almost, but not quite.

[Mr. Arkadin]

I keep hoping The Black Book will be reissued in a nice remastered print rather than the current junk that's available these days (Criterion are you listening?!).

For an equally interesting dark twist on the French Revolution, you might check out Marat Sade (1971).

The Trailer:
[youtube][/youtube]

[jdb1]

Ugh, Mr. A. I saw Marat/deSade on Broadway, back in the day. I was so thrilled to have great seats right in the front row (a rarity in my youth, when we usually all sat in the last balcony). I spent the entire show getting spit on by the "mad" actors, who sat down at the edge of the stage. Yuck.

[Mr. Arkadin]

The front row is actually one of the worst places to sit in the theatre. It's referred to by those in the biz as "The Spit Section". You're also sitting way too close to be able to take in everything on stage. Also,the moves and make-up look far too pronounced from such a close proximity. Would you sit so close at a Gallagher show?

I don't know anything about the production of Marat Sade you saw (which can make all the difference), but it's definitely off the beaten path of most theatre and not for everyone (Shakespeare in Bizarro world? ). The film version is actually well done and all the actors do a great job. Check out the DVD sometime--you can sit right up close to the screen and no raincoat is necessary!

[jdb1]

I saw the very production that you've posted, the Peter Brooks version. That was back in the 1960s, and I was young and inexperienced - what did I know? I thought front-row seats were a good thing.

That play is particularly spit-filled, anyway.

I've sat in the first row for many other productions over the years (because I'm so nearsighted and short), and I've never had any unpleasant events like I had at Marat/deSade. Besides, I know better now, and I wouldn't get front row seats for something I suspected was going to be icky. However, I'd probably want to see it again, from a safe distance, since I'm sure I didn't get much what was going on the first time I saw it.

[Mr. Arkadin]

Did anybody see TCM's recent airing of this film? A nice clean print with sharp images! Can a restored DVD release be far behind?

[moira finnie]

I saw a few minutes of this and the restoration is wonderful, finally doing justice to the visual power of John Alton and Anthony Mann's original approach to this story. I have heard that there are some rumblings that The Black Book aka Reign of Terror may be headed for DVD, but seeing is believing on such rumors. It is definitely being shown at archives all around the country in the last few years.