The Silver Screen Oasis

I've never seen The Exile. I guess we will find out how it is tonight.

kingrat wrote:SueSue, it was great to share PANDORA with you at the festival!

These comments are especially for feaito and CCFan, who didn't get a chance to record THE DIARY OF A CHAMBERMAID (1946) from TCM. I hope you can find it on the Internet.

Given that Jean Renoir has been admired by almost every critical faction, how can THE DIARY OF A CHAMBERMAID be such a little-known film? Perhaps the notion of a Hollywood version of a classic French novel automatically lowered its reputation. Paulette Goddard plays Celestine, who goes to work as chambermaid for an eccentric (to put it mildly) family. The father (Reginald Owen) is ineffectual; mama Judith Anderson is the one in charge; and Hurd Hatfield is the handsome weakling of a son who suffers from unnamed problems. The rather sinister valet, Joseph, is played by Francis Lederer; Elmira Sessions is the cook who raves about Joseph's technique for killing geese; Irene Ryan is the timid scullery maid, though there's nothing timid about Ryan's enjoyable hamming. Burgess Meredith, also credited with the screenplay, plays the wacko captain next door who will always be a "baby boy" to his mama, Florence Bates. In his introduction Robert Osborne raved about the cast, and why not? Francis Lederer is superb, and despite the starry supporting cast, vecchiolarry's dear friend Paulette has no problem letting us know whose film this really is.

In a weird way, the necessary Hollywood compromises may have helped the film. Both Renoir and Goddard bring a light touch which to me is most welcome. Much of Renoir's directing is transparent, but it consistently feels right. Celestine is both naive and calculating, cynical but with a desire for love, and Paulette Goddard catches all of these aspects. When she's admiring the rubies and diamonds on an antique snuffbox, I couldn't help thinking of Larry's comments about Paulette's fondness for jewels in real life! The story could have been developed as an attack on the aristocracy and as a Freudian exploration of twisted family relatinships, but it's more comparable to the TV series Soap, which was scarcely an attack on the American bourgeoisie.

Much more could be said about this film, and perhaps it will be when more of you have seen it. The ending is problematic (Hollywood again?), but this has become one of my favorite Renoir films.

I've only just seen your write up, it sounds fabulous, I really like Paulette Goddard, I've never heard a bad thing said about her and have heard all Larry's lovely stories about her, she sounds like my kind of woman.

Kingrat, I have just seen your very thorough review of Renoir's "Diary of a Chambermaid" (1946). It sounds exactly as the type of film I enjoy. Thank you very much for taking the time to do it. I'm not sure, but I think that it has been hailed by some critics as containing Paulette's best performance-ever.

Ophül's "The Exile" (1947) is another film I've wanted to see for a time. I'll be waiting for my fellow SSO members' opinions...

feaito wrote: Ophül's "The Exile" (1947) is another film I've wanted to see for a time. I'll be waiting for my fellow SSO members' opinions...

I enjoyed this film very much! How can you not like Doug Jr. in swashbuckler mode, bounding about much as he does in SINBAD; gorgeous B&W cinematography, a few noticeable Ophuls camera touches, and a very pretty leading lady. Henry Daniell plays the main villain, and I really got a kick out of Robert Coote as an actor going around impersonating Charles II - quite funny when Doug as the REAL Charles II comes upon him. A sort of historical romance, with aspects of The Student Prince thrown in. I did not record it, but would recommend seeing it if you can.

Thanks for the feedback Jez!

The Professionals 1966 Western

Here is the IMDb Link to this great Western
http://www.imdb.com/title/tt0060862/

This Movie is coming our way next Thursday 8pm Eastern Standard Time ... I've been wanting to see this movie for 2 decades Starring ... Burt Lancaster, Lee Marvin, Robert Ryan, Woody Strode, Jack Palance, Claudia Cardinale, and Ralph Bellamy.

I learned of this after I watched the Invisible Man and Frankenstein for the 2nd time in the past 6 months on Turner Classic Movies.

This Western is one of my favorites ... its full of action and if I recall correctly its has a very fast pace for a western.

Kingme,

Please let us know what you think of The Professionals.

I think it's a rollicking fun western and Lee Marvin (he talks and I melt) and Burt Lancaster ('Hello, Baby' he says and smiles and I say 'oh my') are terrific together. Woody Strode is the glue that holds them together.

Robert Ryan plays a mean guy (I was thinking of a different word, totally) really well.

And the Valley of Fire just outside of Las Vegas is a beautiful location. We have a neon cowboy on the front of the Pioneer Club on Fremont Street in downtown Las Vegas, Vegas Vic. When I was a kid, Vegas Vic not only glowed neon but he blew smoke rings and said, "Howdy, Pardner" every few minutes, 24/7.

During the making of The Professionals, the cast and crew stayed at the Mintn, a casino/hotel on Fremont Street near the Pioneer Club. The voice box in Vegas Vic used to keep Lee Marvin awake.

In retaliation late one night, after, perhaps a few (!) too many Lee and Woody, from Lee's hotel room, took bows and arrows (from the movie's prop dept) and shot at Vegas Vic. The next day the production manager spun the story to the city fathers that Vegas Vic kept Lee awake with his constant "Howdy, Pardner" and Lee and Woody retaliated.

Shortly after that, Vegas Vic was silenced forever.

But, despite my love for Vegas Vic, my love for Lee and Woody is stronger.

What a great story!

Jezebel38 wrote:

feaito wrote: Ophül's "The Exile" (1947) is another film I've wanted to see for a time. I'll be waiting for my fellow SSO members' opinions...

I enjoyed this film very much! How can you not like Doug Jr. in swashbuckler mode, bounding about much as he does in SINBAD; gorgeous B&W cinematography, a few noticeable Ophuls camera touches, and a very pretty leading lady. Henry Daniell plays the main villain, and I really got a kick out of Robert Coote as an actor going around impersonating Charles II - quite funny when Doug as the REAL Charles II comes upon him. A sort of historical romance, with aspects of The Student Prince thrown in. I did not record it, but would recommend seeing it if you can.

I loved this movie and thought that Doug Jr. was at his best throughout the beautifully filmed "what if..." story, which was only slighted rooted in reality. That didn't faze Max Ophuls or his star in the least. Instead of straining to replicate the real world of the rural Netherlands, they reveled in the Hollywood's studio-bound ability to create cinematic flights of fancy, using the tools before them like a box of tinker toys to render imaginary landscapes, crowded marketplaces, canals, a crumbling, abandoned windmill and inns in fascinating detail, enlivened by Ophuls signature mobile camerawork (aided, no doubt, by cinematographer Franz Planer, production designer Howard Bay and the art direction and set decoration).

This may have been one of Fairbanks best later roles, allowing him to convey his smoothly crafted unapologetic Anglophilia, that apparently natural nonchalance, and an ability to convey his weary character's foibles and strengths as he tries to enjoy life without giving up his hopes completely.

It was wonderful to see Nigel Bruce as one of Charles loyalists demonstrating his quiet, retriever-like understanding of his master's position while reminding him of his duty. The splendid Henry Daniell as the roundhead assassin oozed malevolence, though I do think it a bit of a stretch to believe in him as a fanatical religious zealot. I particularly liked the sword fight between Daniell and Fairbanks on the decrepit staircase too. The only off note for me was the presence of Maria Montez in her cameo as a Machiavellian courtesan--though I did like the scene when she carried on a conversation with Doug while she was encased in a copper bath with little showing--this must have seemed quite naughty at the time.

I found the "cavalier" attitude tinged with sadness and concern infused the film, particularly during the scenes when the romance between Charles and the blonde Paule Crosset aka Rita Corday tenderly unfolded until the inevitable parting caught me by surprise with its unexpected emotion--but I should have known. That is always the way with Ophuls: delight the eye with beauty and style, and quietly unveil the sometimes painful truth behind the gossamer curtain of his stories.

I wonder why Paule Crosset didn't have a better career? too doll-like? or didn't fit into the Hollywood mold?

Now if only TCM can get the right to show State Secret (1950) someday...DF Jr. thought it may have been his best movie.

Moira thanks for the womderful insight on "The Exile" (1947); this film as well as Fairbank Jr.'s "The Corsican Brothers" (1942) should be on DVD!

moirafinnie wrote: * ...they reveled in the Hollywood's studio-bound ability to create cinematic flights of fancy, using the tools before them like a box of tinker toys to render imaginary landscapes, crowded marketplaces, canals, a crumbling, abandoned windmill and inns in fascinating detail, enlivened by Ophuls signature mobile camerawork...

* It was wonderful to see Nigel Bruce as one of Charles loyalists demonstrating his quiet, retriever-like understanding of his master's position while reminding him of his duty.

* The splendid Henry Daniell as the roundhead assassin oozed malevolence, though I do think it a bit of a stretch to believe in him as a fanatical religious zealot.

* That is always the way with Ophuls: delight the eye with beauty and style, and quietly unveil the sometimes painful truth behind the gossamer curtain of his stories.

You are a master gunslinger with your bon mots, Moira. Whoa!!!

feaito wrote:Moira thanks for the womderful insight on "The Exile" (1947); this film as well as Fairbank Jr.'s "The Corsican Brothers" (1942) should be on DVD!

Oh, if only they could be issued on a double disc, Fernando!


Above: Max Ophuls and Douglas Fairbanks, Jr. together on the set of The Exile.

CineMaven wrote:You are a master gunslinger with your bon mots, Moira. Whoa!!!

Thanks, T. I can't help loving the inspired combo of Doug, Jr. and Ophuls. Now about State Secret (1950)...has anyone seen this one?

At first I thought that was Gilbertito sitting there with Max...

MissGoddess wrote:At first I thought that was Gilbertito sitting there with Max...

They could both carry off that insouciant style back then...