The only time I ever saw this was its "Color Premiere" in France in 1995. Tati wanted it to be the first French feature shot in color, but technology at the time wouldn't allow him to release it that way. Fortunately, he also shot a black-and-white version, and that's all that existed from 1949-1995.
I've never seen the black-and-white version so I can't say with certainty, but it is one of these films where I really remember the colors. I can only think this film's impact and power grew once the re-release happened (it was Tati's daughter, by the way, that did the restoration.)
This is definitely a sibling film for me to Welles' The Magnificent Ambersons. Tati always seemed to have a fascination with the negative effects of technology. But of all his work I've seen, this one affects me the most. Like Ambersons, this movie is obsessed with the idea of our world getting faster and faster, and the dehumanization that comes with choosing this direction.
As I hinted at in my Ambersons post, at this point in my career, this theme is probably more important to me than any other. And Tati gets at it in his own special way, with humor, satire, and in a brilliant style that he made all his own.
Other contenders for 1949: As with other years, there are still some major titles I need to see. These include: Joseph Mankiewicz's House of Strangers, Jean Cocteau's Orphee, Yasujiro Ozu's Late Spring, Max Ophuls' Caught, Jacques Tati's L'ecole des facteurs, John Ford's She Wore A Yellow Ribbon, Max Ophuls' The Reckless Moment, and Michael Powell's The Small Back Room. Joseph Lewis' Gun Crazy is another one of these films that I really need to revisit. The first time I saw it, it did not have the impact I would have expected. This year, there are so many films that I like I have decided to create three tiers of runners-up: films that I really like, films that I love, and films that are extremely close runners-up. The films that I really like are: Howard Hawks' I Was a War Male Bride, Jacques Becker's Rendez-vous de juillet, Carol Reed's The Third Man, and Raoul Walsh's White Heat. The films that I love are: George Cukor's Adam's Rib, Jules Dassin's Thieves' Highway and Robert Wise's The Set-Up. Finally, the four films that would most challenge for my top pick are Robert Siodmak's Criss Cross, Ted Tetzlaff's The Window, Roberto Rossellini's Stromboli, and William Wyler's The Heiress.
I've never seen the black-and-white version so I can't say with certainty, but it is one of these films where I really remember the colors. I can only think this film's impact and power grew once the re-release happened (it was Tati's daughter, by the way, that did the restoration.)
This is definitely a sibling film for me to Welles' The Magnificent Ambersons. Tati always seemed to have a fascination with the negative effects of technology. But of all his work I've seen, this one affects me the most. Like Ambersons, this movie is obsessed with the idea of our world getting faster and faster, and the dehumanization that comes with choosing this direction.
As I hinted at in my Ambersons post, at this point in my career, this theme is probably more important to me than any other. And Tati gets at it in his own special way, with humor, satire, and in a brilliant style that he made all his own.
Other contenders for 1949: As with other years, there are still some major titles I need to see. These include: Joseph Mankiewicz's House of Strangers, Jean Cocteau's Orphee, Yasujiro Ozu's Late Spring, Max Ophuls' Caught, Jacques Tati's L'ecole des facteurs, John Ford's She Wore A Yellow Ribbon, Max Ophuls' The Reckless Moment, and Michael Powell's The Small Back Room. Joseph Lewis' Gun Crazy is another one of these films that I really need to revisit. The first time I saw it, it did not have the impact I would have expected. This year, there are so many films that I like I have decided to create three tiers of runners-up: films that I really like, films that I love, and films that are extremely close runners-up. The films that I really like are: Howard Hawks' I Was a War Male Bride, Jacques Becker's Rendez-vous de juillet, Carol Reed's The Third Man, and Raoul Walsh's White Heat. The films that I love are: George Cukor's Adam's Rib, Jules Dassin's Thieves' Highway and Robert Wise's The Set-Up. Finally, the four films that would most challenge for my top pick are Robert Siodmak's Criss Cross, Ted Tetzlaff's The Window, Roberto Rossellini's Stromboli, and William Wyler's The Heiress.
10/23/10 I watched John Ford's She Wore A Yellow Ribbon. A film with great reverence for the US cavalry and one that teaches and reminds us of an important part of ourselves. But Ford gives it, at times, a little too much corniness for my liking and like some of Ford's other work, it can devolve into a cloying exuberance and boisterousness.
10/27/10 I watched Joseph Mankiewicz's House of Strangers. Conte's great and so is Edward G Robinson (in fact, they both deliver two of their more memorable performances). Also another key link to The Godfather and Mean Streets. Doesn't always hum and stay on track, but at times it's downright classic.
11/5/10 I watched Jean Cocteau's Orphee. A strange film with some beautiful, poetic touches where Cocteau demonstrates that he's an inventive and lyrical stylist. But I never fully connected to it in the way that I might have hoped.
11/14/10 I watched Michael Powell's The Small Back Room. Lacks most of the verve and fun of some of my other favorite Powell films. Overall pretty disappointing.
11/21/10 I watched Yasujiro Ozu's Late Spring. Another extraordinarily tender and wise film about life, relationships, and personal growth and evolution. Ozu keeps things minimal and spare, as usual. But whenever he goes outside he reminds us of his strong connection to nature and tremendous feeling and eye for the outdoors. Soft but packs a punch.
3/14/11 I watched Max Ophuls' Caught. Ophuls shows at times his gift at creating space and moving the camera. But the script's creaky in this one, and all in all, I found it to be only a mediocre noir.
3/17/11 I watched Alfred Hitchcock's Under Capricorn. Has anyone endured more psychological torment on screen than Ingrid Bergman? Just Gaslight, Europa '51, and this film alone might earn her the top spot. She's excellent here, as always. And this is an unusually oblique piece from Hitch with some of his most expressive camerawork ever. However, Michael Wilding seems wrong for the role. Too loose when paired alongside two of the most contained actors in the history of cinema -- Cotten and Bergman.
7/2/11 I watched Robert Hamer's Kind Hearts and Coronets. Dry and sometimes quite funny, in a very British way. Also shows off Alec Guinness' extraordinary talents. But it's too deliberate and clean in ways as to come fully alive.
10/5/14 I watched Raoul Walsh's Colorado Territory. A western remake of Walsh's great High Sierra enjoys a strong reputation and it has some wonderful moments even if I much prefer the original Walsh noir. Mayo grates on me more than I find her appealing and the plot sometimes seem to lose some of its urgency and thrust. Of great interest though is the final murder which seems unusually violent for its era and a true precursor for Penn's finale twenty years later in Bonnie and Clyde.
4/4/15 I watched Joseph Mankiewicz's A Letter to Three Wives. As is usual with Mankiewicz the writing is intelligent and the direction is classy and there seems to be a real interest in emphasizing the female point of view. And even though this one gets at some interesting emotional topics such as marital insecurity, I never was as fully captured in it like I have been with some of the director's other work.
3/25/16 I watched Akira Kurosawa's Stray Dog. Kurosawa does noir and he does it fairly well. But it is too long, too meandering and for the most part less raw than the best films of the genre.
1/15/18 I watched Nicholas Ray's Knock on Any Door. Very bottom shelf Ray that never transcends the genre of noir or courthouse drama or even rises close to the level of the genre's just very good films.
4/4/15 I watched Joseph Mankiewicz's A Letter to Three Wives. As is usual with Mankiewicz the writing is intelligent and the direction is classy and there seems to be a real interest in emphasizing the female point of view. And even though this one gets at some interesting emotional topics such as marital insecurity, I never was as fully captured in it like I have been with some of the director's other work.
3/25/16 I watched Akira Kurosawa's Stray Dog. Kurosawa does noir and he does it fairly well. But it is too long, too meandering and for the most part less raw than the best films of the genre.
1/15/18 I watched Nicholas Ray's Knock on Any Door. Very bottom shelf Ray that never transcends the genre of noir or courthouse drama or even rises close to the level of the genre's just very good films.
7/3/22 I watched Gene Kelly and Stanley Donen's On the Town. Most impressive is the way it feels to be dissecting the musical genre, stripping it away and distilling it into something more spare, more modern. The characters nor the musical numbers are nowhere near as memorable as the team's effort three years later with Singing in the Rain.
