Now With More Than 3600 Reviews! Go Nuts - Read 'Em All!!

WELCOME! Use the search engines on this site (or your own off-site engine of choice) to gain easy access to the complete MAKSQUIBS Archive; over 3600 posts and counting. (New posts added every day or so.)

You can check on all our titles by typing the Title, Director, Actor or 'Keyword' of your choice in the Search Engine of your choice (include the phrase MAKSQUIBS) or just use the BLOGGER Search Box at the top left corner of the page.

Feel free to place comments directly on any of the film posts and to test your film knowledge with the CONTESTS scattered here & there. (Hey! No Googling allowed. They're pretty easy.)

Send E-mails to . (Let us know if the TRANSLATE WIDGET works!) Or use the Profile Page or Comments link for contact.

Thanks for stopping by.

Sunday, March 12, 2017

IN OUR TIME (1944)

Brutally misconceived wartime drama from Warners, continuing their tour of Nazi occupied territories, moving from the lighthearted tone of DESPERATE JOURNEY/’42 early in the war when things looked their worst, toward more somber fare like EDGE OF DARKNESS/’43 once news from overseas began to improve.* By ‘44, the invasion of Poland five years back must have come up in rotation, but what an ill-suited story was concocted for it. It opens as Ida Lupino, assistant & lady’s companion to Mary Boland’s rich, eccentric antique dealer, is swept off her feet after meeting-cute with rich, handsome, older Paul Henreid. Off they go as man & wife to his fabulous estate where Lupino finds she’s instantly in over her head. REBECCA/’40, anyone? This opening turns out to be something of a dodge, since the real drama involves getting new husband Paul Henreid to stand up against his class-stodgy family and work with his plucky bride to make a go of his moribund estate. All told, it's a surprisingly unflattering portrait of Henreid with his growing backbone ultimately tested not by old family traditions (formidable though Nazimova’s mother, Nancy Coleman’s sister and the superstitious peasants are), but by blitzkrieging Nazis. A record farm crop, a beloved estate, all forfeit to the war. It’s really quite an odd film; intriguingly unconvincing.

DOUBLE-BILL: *Probably the best films in this Warners cycle of contemporary WWII films with a European angle are EDGE OF DARKNESS and WATCH ON THE RHINE/‘43. RHINE, barely adapted from Lillian Hellman’s play, is an awfully stiff piece of filmmaking, but it certainly captures the moment, with superb perfs from Paul Lukas & a touchingly subdued Bette Davis. (What a shame they didn’t go with Mary Boland instead of that old fraud Lucile Watson as Bette’s mother.) OR: See Lupino and this film's director Vincent Sherman triumph in the tough-as-nails sisterly sacrifice of THE HARD WAY/’43.

No comments: