On the Loose in Amsterdam

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The Italian film poster for THE GIRL IN THE PICTURE WINDOW (1961), directed by Luciano Emmer.

The controversial problem of immigration in Italy has been a problem for decades, not just with internal migration of workers from the south to the north, but also with the influx of refugees from Africa and other areas around the Mediterranean. Not surprisingly, there have been numerous Italian films to address this situation over the years but only a handful of them have received praise and recognition outside their own country. Among them are Pietro Germi’s Il Cammino della Speranza (The Path of Hope, 1950), in which a group of Sicilian workers try to emigrate illegally to France, I Magliari (The Swindlers, 1959), Francesco Rosi’s drama about an out-of-work Italian miner (Renato Salvatore) in Germany, and Lina Wertmuller’s Tutto a Posto e Niente in Ordine (All Screwed Up, 1974), which focuses on immigrants from southern Italy trying to find work in Milan. To this short list, I would like to add Luciano Emmer’s rarely seen La Ragazza in Vetrina (The Girl in the Picture Window, 1961), a tale about two immigrant miners in Belgium who enjoy a weekend getaway in Amsterdam.

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Masks Are Powerful

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The demonic mask featured in ONIBABA (1964), Kaneto Shindo’s classic tale of murder and retribution set in 14th century Japan.

There is one cinema gimmick that always works for me and can sometimes lift a movie out of the ordinary and take it somewhere unexpected. This usually occurs when someone either puts on a mask or appears in one. The simple act of doing this immediately brings something theatrical and visually arresting to the scene that taps into our subconscious on an almost primeval level.    

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Behind the Scenes on Bonjour Tristesse

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When Otto Preminger announced in 1957 that his next project would be Bonjour Tristesse, based on the best-selling novel by Francoise Sagan, and that it would star Jean Seberg, colleagues and fellow members of the film industry were astonished. After all, his previous film, Saint Joan (1957), which featured Seberg in her film debut, was probably the biggest critical and commercial disaster of Preminger’s career with most of the negative reviews focusing on the inexperienced newcomer whom Preminger had “discovered.” Was Bonjour Tristesse (1958) his attempt to prove to everyone that he was not wrong about Seberg and that her performance in his new movie would validate all the time and effort he had poured into making her an actress? The real reasons, of course, were more complicated than that. 

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Leon Klimovsky’s Pothead Noir

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The Argentinean exploitation film poster for THE MARIHUANA STORY (1950).

Among the many anti-marijuana films made over the years, it is generally agreed that the most famous of them all is Reefer Madness (1936), which earned a huge cult following in the 1960s due to its outrageously over-the-top depiction of marijuana use and its effects. Most of the anti-pot movies were false, exaggerated presentations of how the herb turned users into addicts and rivaled heroin as a gateway into sin, debauchery, violence and death. The U.S. was not alone in turning out these anti-drug scare films and one of the lesser known but historically significant releases for its time was Marihuana (U.S. title, The Marihuana Story, 1950), directed by Argentinian filmmaker Leon Klimovsky, who would later relocate to Spain and specialize in horror movies, spaghetti westerns and other low-budget genre efforts.

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Safe Harbor

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When did the immigrant situation become an international crisis? Anyone who follows the news knows that immigration has been on the rise for the last 20 years or more but, beginning in 2020, the number of fleeing people seeking asylum in Europe, the U.S. and other more affluent countries has tripled and is reaching catastrophic proportions. This situation was addressed in a small but personal way back in 2011 by the great Finnish auteur Aki Kaurismaki in his film Le Havre. Instead of trying to tackle the whole immigration problem, Kaurismaki uses it as the background for a story about Idrissa (Blondin Miguel), a young African immigrant, and how his plight spurs a working-class French community to protect and aid him during his journey.

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The Old Dark House of Cyrus West

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Some believe “Old Dark House” thrillers began with J.B. Priestley’s 1927 novel Benighted, which was adapted for the screen by James Whale as The Old Dark House in 1932. The reality is that the template had already been created by Mary Roberts Rinehart in her 1908 novel The Circular Staircase, which she reworked into a highly successful 1920 Broadway production entitled The Bat with playwright Avery Hopwood. Author and actor John Willard also had a Broadway smash hit with his 1922 play The Cat and the Canary, which shared a number of familiar horror/mystery elements with Rinehart’s creation, most significantly the gloomy mansion in an isolated setting with a menacing character prowling the corridors.

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Deciphering a French Film Icon

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In 1969 French actor Jean-Louis Trintignant had three films in competition at the Cannes Film Festival, Costa-Garvas’s Z, Giuseppe Patroni Griffi’s Metti, Una Sera a Cena (Love Circle) and Eric Rohmer’s My Night at Maud’s, with the actor garnering critical praise for his performance in all three movies. When asked by an interviewer how it felt to be a potential prize recipient, Trintignant replied, “I’m not an award winner. I don’t have that affect to win Best Actor. You need a mad scene or a drunken scene or something like that. And in the films selected I don’t have any like that. All these roles are rather underwhelming. They’re ambiguous. They are complex but not remarkable. I’m not remarkable.” Typical of Trintignant, his response was self-deprecating but also shrewdly self-aware. The irony is that he did win Best Actor at Cannes for Z that year for playing the steadfast, non-partisan investigator of a highly political case. In fact, he built a career playing characters who were often hard to read, repressed or quietly self-possessed, and he made them endlessly fascinating for the viewer. This is just one of many insights shared by director Lucie Caries in Trintignant by Trintignant, an intimate documentary portrait of the actor that was made for French television in 2021, the year before he died. Even though the documentary is barely an hour in length, it pulls from more than 70 years of archival material, photos, interviews, TV and film clips and comments by fellow actors and directors to help dissect the enigma that is Jean-Louis Trintignant.

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Swinging Down the Street So Fancy Free

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A frumpy woman in her early twenties dreams of being loved but despite her continual attempts to have a romance finds herself observing life from the sidelines, barely noticed by those around her. Reduced to a one sentence description, Georgy Girl (1966) sounds dreary and depressing but on-screen this tale of a desperately lonely woman unfolds as a madcap, often irreverent farce which at times is cruelly indifferent to the sad-sack characters it parades before us. This is a film where tone is everything and Georgy Girl, directed by Silvio Narizzano, is distinctively different in this respect, standing out from countless other cinematic tearjerkers about ugly ducklings and lonely spinsters. The film also captures London at the height of the Swingin’ Sixties when everything seemed like a put-on or a come-on.

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Saboteur, Pawn or Hero?

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Orzechowski (Kaimierz Opalinski), a retired railroad employee, tries to prevent an impending disaster in the 1957 Polish drama Czlowiek na Torze (English title: MAN ON THE TRACKS), directed by Andrzej Munk.

A train rushes through the night somewhere in Poland and the engineer receives an all-clear signal from the local lineman as it moves full speed ahead through a rural crossing. Suddenly a man appears in the train headlights and seems to be warning the engineer of some impending danger but is struck down before the train can be stopped. The victim is Wladyslaw Orzechowski, a former railroad employee who was recently goaded into retirement. Czlowiek na Torze (English title: Man on the Tracks, 1957) is, in some ways, a mystery except that we know the identity of the victim and how he died. The big question is why and Polish director Andrzej Munk presents the facts of the case in the form of a crime procedural crossed with a flashback structure seemingly influenced by the 1950 Japanese film Rashomon. Four people, including three witnesses, give their versions of the event, and each one adds another level of insight and complexity to the tragedy.

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Steve Reeves as The Thief of Baghdad

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One Thousand and One Nights also known as the Arabian Nights is a collection of stories from the Middle East and India that can be traced back to the 9th century although the author or authors of the tales are anonymous. What is known is that the stories introduced such famous fictional characters as Sinbad, Aladdin, Ali Baba and others, all of whom have inspired numerous film versions of their exploits. One of my favorite Arabian Nights fables is The Thief of Bagdad but the first movie version I encountered was the 1961 Italian fantasy-adventure Il Ladro di Bagdad (released in an English dubbed version as The Thief of Baghdad in the U.S.) starring Steve Reeves. First seen at a kiddie matinee during its original release, it made a strong impression on me as a ten-year-old, even if it is not the best known, most lavish or critically respected of the many film versions. 

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