Movies Posts Tagged as '1940s'
Welcome to Errattic! We encourage you to customize the type of information you see here by clicking the Preferences link on the top of this page.
In This Our Life (1942)
Respect for its black performers is admirable. The film is sudsy, gutsy and wild. Dennis Morgan emits vapors, Olivia perfects saccharine and even though there is too much evil in Bette, she still stands tall. 14-Jun-2018
Johnny Eager (1941)
Robert Taylor plays a hood hellbent on street cred by subjugating his past and flaunting his fortitude. Lana is an unappreciated diamond whose badboy fangirl status welcomes tragedy and Van Heflin is a dulcet toned philosopher lackey who farts predictions of everyone with words so striking they agitate the heart.
It's gangster mature that celebrates the completion of man when he embraces his soul.
Taylor hunts and kills for the egg, Lana boils and serves the egg and Heflin eats it. 20-Dec-2017
Stormy Weather (1943)
It skimps on storyline and it thins in characterization. What is showcased is neglected and diverse talent that tornadoes toward climactic showstoppers invigorated by Lena and stormed by Bill Robinson and Cab Calloway.
If it had been filmed in color it would have been candied joy. 14-Nov-2017
Slightly Dangerous (1943)
Facile, blustery and well suited, star charm. Lana is Monroe-look instigation. 12-Sep-2017
Little Foxes, The (1941)
Atmospheric, rigorous and contentious. Bette is shatterproof porcelain doll perfection, commandeering the self-destructive avarice of southern family dysfunction. It becomes art when Wyler treats us to a camera hold on Ms. Davis as her husband struggles and she ponders without a blink. Brava.
Ethnicity is represented as it existed in history and the limitations of its time. You have to understand that even though they are not the story, they have a voice because real black actors put a soul to it and they opened the doors for the equality we lost. I'd rather appreciate their contribution than erase them from history. 29-Aug-2017
Musician love triangle in which a lover was allowed to choke a woman for fibbing whilst the other drove her to madness. What's left for Bette to do is to unleash, connive and lacerate to secure love and subsist. There are origin whiffs of Bette's signature beats and enunciations and as much as the men in her life warrant it, we deserve her more. 07-Jun-2017
Mildred Pierce (1945)
Watch on the Rhine (1943)
The best thing Bette did was to acknowledge that the writing and the ensemble were very important to how the story plays. It's not her movie and she serves it by making her case with little flamboyance. The story preserves the heroism and the uprise that existed before the Nazi obliteration. At heart, its all play and as such it didn't need to be bombarded by strings, the actors were accomplishing their task without it. Paul Lukas holds bravery steady and Lucille Watson steals it because her tongue lashes. 26-Apr-2017
Corn Is Green, The (1945)
It may be dated but it does not make the story less remarkable. Being at the forefront of creating community is arduous but when its successful, accomplished. Bette is energized feminism restrained by propriety as most of the support supply warmth and local color. That all must sacrifice to complete one man's success is virtuous but sadly, not of this time. 21-Apr-2017
Letter, The (1940)
The simplest of plots, a letter may or may not incriminate you is the basis for a movie that's short on investigation but high on character exposition. Wyler emblazons the screen with exotic culture, vaporous corners and custom support in almost every division. Bette enriches the screen with acting that opens questionably then upsurges as guile and rectitude try to intermingle. Her eyes convey acuity and Davis is top notch acting class snatch. What actor wouldn't want to steal that. Gale Sondergaard as the Eurasian widow is hushed, extreme and imposingly beautiful. There aren't many actors that can slay and convey with such restraint. 09-Nov-2016
It's A Great Feeling (1949)
Its cheerful and colorful but high pitched and heavy-handed. Plenty of Warner stars crash onboard with little commitment, just because. Our eyes stay on Doris and darts between the 2 squish bears (Dennis Morgan and Jack Carson) until they cross from repetition and elongation. The great feeling never manifests. 03-Oct-2016
It is so refreshing to see adults talking knowingly and developed. The primary player being white playing light skinned black, doesn't deter the virtue of the chronicle or the intentions of the filmmakers. No actor collides with the material but its the tenacity and grace of the women that propels the sentiment and the struggle. Ethel Barrymore liquidates the competition with a nod and a tone, Ethel Waters is a naturally spiritual and impassioned grandmother, Evelyn Varden with her incredulous wit lashes and recompenses the suffering and finally, Jeanne Crain is brave and skilled enough to embody and respect her character's plight against racism and sexism while reserving her white privilege. There are no fraudulent arguments in a world so far ago where people were aware of how demeaning and damaging they could be to others but never caused much change to obliterate it. I left thinking that racism exists in order so that the opportunistic can lay blame on others to continue to unleash sins towards mankind without reparation. 01-Jul-2016
As a Joan Crawford vehicle nothing is downplayed yet all the details are meticulously established. It is intricate to quarantine Crawford's art because she manifests it via fixed commitment and study. She actually evades the idea of crying into a handkerchief for curtains. Did she like the idea it might absorb more water? Her self control is so overwhelming that you must overpass the beats she's counting to make a physical turn successful. The movie never wanes from outwitting us, sometimes to the point of confusion. The crazier things get, the better Joan becomes, the more enjoyable the film. 19-Jun-2016
A Stolen Life (1946)
I'm sure Bette would have admired a more ironic ending. This version is basically a set-up for all the copies that followed and I appreciated the exposition. No one can outact the dame like the dame so yes, two Bettes are great. Four eyes to read. 24-May-2016
Adventures of Don Juan (1948)
It was a pleasure to enjoy the technicolor, those magnificent costumes, sets that seemed to go forth endlessly from above, sideways and towards, the fight choreography and a perfectly cast Don Juan. This is the gayest Errol has been. I mean that in old time speak. He wears those outfits like gloves and he dashes in them like the masculine diva that is not afraid to upstage or flaunt. He is the more beautiful for it. Did I mention there were women. Yes, Viveca gave good face and voice to her Queen. Fun. 12-Apr-2016