Das schwarze Buch

I watched REIGN OF TERROR, aka, THE BLACK BOOK a while back and I just loved it! It's one of the most unusual films I have come across and an equally strange hybrid of genres or sub-genres. The great Anthony Mann takes a film that would probably play mostly as a colorful, sweeping, epic piece dealing with the French revolution and turns it, with the help of cinematographer John Alton, into a dark, shadowy and claustrophobic film noir/adventure/spy/suspense tale period piece featuring excellent performances from a cast that includes Robert Cummings, Richard Basehart and Arlene Dahl. The plot is pretty simple actually, Cummings plays an operative of the newly formed republic who infiltrates the inner circle of dictator wannabe Basehart. You see, Basehart thinks Cummings is a regional tyrant as bad as he is called the "butcher of Strasbourg" and he wants Cummings to find his black book which contains the names of friend and foe alike who will eventually be lead to execution once Basehart becomes dictator. However, if the book falls into the hands of his enemies, Basehart is dead meat. Cummings is assisted in his quest by the lovely Dahl. Even though the plot may be thin, the suspense and action are on high as danger and one confrontation after another awaits around every dark, gloomy and shadowy Parisian corner. The look of the film is outstanding. Atmospheric, gritty and dark with shadows everywhere in the great noir tradition. Mann's camera is everywhere as we receive his trademark high angle shots, low angle moments and jarring and disjointed facial close-ups. A truly unique and highly entertaining film with a look and feel that just has to be experienced. I loved it and would recommend it highly to anyone with even the slightest interest in the work of the wonderful Anthony Mann.

I watched REIGN OF TERROR, aka, THE BLACK BOOK last night and I just loved it! It's one of the most unusual films I have come across and an equally strange hybrid of genres or sub-genres. The great Anthony Mann takes a film that would probably play mostly as a colorful, sweeping, epic piece dealing with the French revolution and turns it, with the help of cinematographer John Alton, into a dark, shadowy and claustrophobic film noir/adventure/spy/suspense tale period piece featuring excellent performances from a cast that includes Robert Cummings, Richard Basehart and Arlene Dahl. The plot is pretty simple actually, Cummings plays an operative of the newly formed republic who infiltrates the inner circle of dictator wannabe Basehart. You see, Basehart thinks Cummings is a regional tyrant as bad as he is called the "butcher of Strasbourg" and he wants Cummings to find his black book which contains the names of friend and foe alike who will eventually be lead to execution once Basehart becomes dictator. However, if the book falls into the hands of his enemies, Basehart is dead meat. Cummings is assisted in his quest by the lovely Dahl. Even though the plot may be thin, the suspense and action are on high as danger and one confrontation after another awaits around every dark, gloomy and shadowy Parisian corner. The look of the film is outstanding. Atmospheric, gritty and dark with shadows everywhere in the great noir tradition. Mann's camera is everywhere as we receive his trademark high angle shots, low angle moments and jarring and disjointed facial close-ups. A truly unique and highly entertaining film with a look and feel that just has to be experienced. I loved it and would recommend it highly to anyone with even the slightest interest in the work of the wonderful Anthony Mann.

This is a low budget masterpiece, far more intriguing and suspenseful than most epic films dealing with the same subject. The film noir quality and acting are superb. As mentioned earlier, T-Men also made by the low budget studio Eagle-Lion, were and are memorable films. The cast is first rate . Robert Cummings, Richard Basehart, and Charles McGraw are standouts.

Thank goodness for Turner Classic Movies... it had been many years since I had seen it for the first time on television. Thanks to DVR I was able to record this film when it was played on TCM recently. This movie shows that with good acting, literate dialogue, and a great screenplay are what makes for an entertaining movie, which are in short supply today which too often offer computerized graphics, amateurish acting, and repetitive and crass dialogue instead. Kudos to Anthony Mann and the cinematographer for a great movie.

This exciting and very interesting period drama makes very good use of its setting in the French Revolution, blending history and fiction together in a believable fashion. The atmosphere is particularly effective, with the dark photography and claustrophobic settings helping to establish the rampant fear, uncertainty, and paranoia that characterized the era.

At one time, the French Revolution (and the subsequent Napoleonic era) captivated numerous novelists and film-makers alike, and they could comfortably assume that their readers and audiences were familiar with historical figures like Robespierre, Danton, Barras, and the others of the period. In more recent decades, all this seems to have been replaced in the public's imagination by Hitler, the Nazis, and the other figures and events of the Second World War, but in many respects the history of France in the late 18th century and early 19th century is even more fascinating and compelling. And beyond a doubt, its impact still affects the world.

The scenario here has Robert Cummings impersonating a notorious public prosecutor, in order to get close to the bloodthirsty Robespierre, as part of an underground's desperate plans to replace Robespierre's tyranny with the more moderate influence of Barras and his party. The story is well-written, combining action, intrigue, and some Hitchcock-like touches with Robespierre's "Black Book", on which the fate of so many lives depends. Only the lack of a first-rate cast keeps it from being one of the best movies of its time and genre.

The best performances come from Arnold Moss, who is excellent as the slippery, conscience- free Fouché, and Arlene Dahl, who is appealing as the ex-lover of Cummings's character, with whom he has to work closely. The rest of the performances are all at least solid, but often miss the extra depth that could have raised the movie another notch.

Nevertheless, it all works quite well, and it's well worth seeing for its story, atmosphere, and for the intriguing period setting. It represents fine craftsmanship from director Anthony Mann and his cast and crew.

This film, beautifully wrought (cinematographer John Alton must be responsible for much of this), makes me long to return to the days of black and white films and the stunning art that can be made in shades of gray.

From the first shot of a tiny distant rider silhouetted against massive lowering storm clouds, we are pulled into the mood of the film. The smallness of the rider is the smallness of the protagonist in the face of the overpowering events of the French Revolution. The use of light and shadow, the low shots and unusual closeups of actors: all of this made me feel I was in the hands of a master of his art. My breath was literally taken away by many of these images.

The story is serviceable and the acting quite good, but what sticks with me is the imagery of the film, the beauty of it.