B&W gems from the 50's
by Robin Simmons
July 22, 2010



THE HIDDEN FORTRESS

Exotic adventure, historical myths, moral themes and knight-like chivalry are the prime elements in Akira Kurosawa's 1958 magnum opus of heroic action and self-discovery. In countless interviews, George Lucas has cited this film as an inspiration for his STAR WARS saga. The plot concerns a general and a princess who must escape enemy forces while smuggling royal treasure out of hostile territory with two inept, conspiring peasants at their sides. Kurosawa's uses all the cinematic tools to deliver a spectacular blend of epic action, wry humor and human compassion. Man in nature, man against nature, man against man and man fulfilling his destiny or fighting fate are all played out in rain and fog, on rock and sand, in woods and water. The superb visual composition and lighting make this among the better black and white films. Rich grays, velvety blacks and silvery glints of dazzling light abound in the deeply evocative cinematography in this stunning, restored, widescreen (2.35:1) Tohoscope transfer. The disc includes an exclusive interview with George Lucas. From Criterion. (1958, Not Rated, Widescreen, Japanese with optional English subtitles, 139 Minutes)


RIFIFI

"Wake up dog, I want you to be afraid."

The archetype of all caper films arrives on DVD from the esteemed Criterion Collection. If you have never seen this film, or only recall it as a washed-out, scratchy print, you will be stunned -- not only at its beauty, but also with the mesmerizing story of four thugs who plan one last heist. The film, shot in and around an often shimmering, wet Paris at night, has a naturalistic, almost documentary feel that perfectly evokes the moral ambiguity of the postwar period. The famous set piece in the middle of the film is an almost silent, dialogue free, 34-minute break-in. Dark humor, unbearable tension and betrayal abound in this fable about four bad guys who meet much worse guys. Dassin himself plays Italian safecracker Ceasar le Milanais (in the credits he's listed as Perlo Vita). At the end of the 1940s, Jules Dassin fled America because of the blacklist. Exiled in Paris with his family, he soon became desperate for work. But when he attempted to direct films for European companies, he was told Hollywood would block their distribution in the U.S. When his French agent sent him, "Rififi," Auguste le Breton's crime thriller, he tried to read it, but couldn't understand a word -- it was written in an argot that made no sense even though Dassin spoke fluent French. Finally he asked his agent to come over and read it aloud and translate as he went. However, when Dassin understood the story, he hated it. But it was a solid offer to write and direct -- alas at a ridiculously low budget. Dassin wrote the screenplay quickly. During a meeting with le Breton, the novelist put a pistol on the table and said, "I read your screenplay. Where's my novel?" Dassin loved him for that tough guy gesture. They became fast friends and le Breton worked on shaping the trez authentic dialogue. By the time the movie was presented at the Cannes Film Festival, Dassin was again broke. In a casino, the producer was throwing his money around and Dassin asked for a few dollars so he too could have some fun. The producer handed him some money. Dassin was about to bet on a roulette number when he asked the producer what was the first day of production. The producer told him and Dassin put all his money on that number and won. He and his family lived on those winnings for almost a year! Dassin also won Best Director for his film and the movie became an international hit. In French slang, rififi mean "rough 'n tumble." The superb DVD transfer with fully restored sound and picture (23,235 pieces of dirt removed or scratches repaired) as well as a newly-improved English subtitle translation makes this about as perfect as a film can be. The bonus material includes a riveting interview with Jules Dassin (who died in 2008 at the age of 96). From Criterion. (1955, Full Frame French with optional English subtitles, 118 Minutes)


MR HULOT'S HOLIDAY

Before Mr. Bean (Rowan Atkinson), there was Jacques Tati's Monsieur Hulot, a carefree, weirdly graceful but nevertheless maladroit twit who unknowingly leaves pandemonium in his wake. This 1953 comedy introduced the Hulot character and is a beautiful digital transfer with nicely restored black and white image and sound. The thin plot is really only a series of set pieces and sight gags at a quaint seaside vacation spot. Don’t miss this balmy satire of people working hard to enjoy themselves. Tati writes, directs and performs with great precision. Perfect lighting, artful composition, minimal dialogue and sly use of sounds with repetitive music coming from within the scenes themselves add greatly to this carefully choreographed classic of gentle slapstick. By any standards, this ranks among the comedic gems of world cinema. Some cinema scholars suggest the original French cut may have been almost 30 minutes longer, but this version is perfect. Woody Allen said comedies don't work well past 88 minutes. From Criterion. (1953, Not Rated, Full Frame, French with optional English subtitles, 87 Minutes.)


SOME LIKE IT HOT

“Zoweeee!”
The American Film Institute ranks this Billy Wilder gem as funniest of all American movies. And it's hard to imagine any film, foreign or domestic, that could top this timeless masterpiece about two skirt-chasing Chicago musicians (Jack Lemmon and Tony Curtis), on the run from the mob who don drag and discover love while hiding -- and performing -- with an all woman band headed to Florida.

The screenplay by director Wilder and I. A. L. Diamond is unerring as it mixes desperate comedy and a convoluted battle of the sexes. Marilyn Monroe, though often half-naked, maintains her innocent, sexy and vulnerable personae as disappointed-in-love lead singer Sugar Kane. (With what's on the screen, it's hard to believe Monroe was on her worst behavior during the troubled shoot.) Lemmon starts tightly wound, becomes ever more unhinged and then snaps into a dangerously comfortable mode as his "Daphne" character is pursued by the amorous and enamored retiree Joe. E. Brown Curtis, in his perfect Cary Grant-voiced alter ego, is feckless as he tries to get Sugar to help him feel passion. The pristine Special Edition disc features a revealing conversation with Tony Curtis and Leonard Maltin, a featurette on all-female bands (for more on girl bands, read the sensational "Swing Shift" by Sherrie Tucker, Duke University Press, 2000), behind-the-scene images, press book gallery and trailers from Billy Wilder films. A perfect, must-own film. From MGM. (1959, Not Rated, Widescreen, 122 Minutes.)

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