audiemurph
Se unió el oct 2011
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Comentarios73
Calificación de audiemurph
There is a reason Audie could play a troubled, haunted young man so convincingly: as a WWII veteran with post-traumatic stress disorder, he suffered from headaches, nightmares and vomiting ever since leaving the service. Thus he perhaps had a chance to play himself here as he really was, more than he ever did in any Western, more than anyone really wanted to realize. Was he troubled and haunted in real life? He slept with a loaded gun under his pillow till the end of his life.
Only 24 when he made Bad Boy, Audie fools us for a bit into thinking he is just a wooden young actor: he fails to connect emotionally with anyone in the film, or with the viewer, for quite a long time; we think, is this going to work? But, stunningly, the boyish charm appears out of nowhere when he meets and interacts with Jane Wyatt. The sudden reversal is surprising, and pleasant, if too brief. But it demonstrates that he was a little more talented than many gave him credit for.
James Gleason is hilarious as the strong-arm of the boy's camp; weighing in at what I imagine to be no more than a painfully thin 110 pounds, he dominated by sheer personality. Lloyd Nolan is quite good, if a bit one-dimensional.
Finally, I have to wonder if those kids working with Audie must have been in terrified awe of this troubled young veteran; after all, he killed at least 240 Germans, confirmed, in the war; and had earned the right to wear every medal the Allies had to offer. And here he was, trading fake stage punches with teenagers. Amazing.
Only 24 when he made Bad Boy, Audie fools us for a bit into thinking he is just a wooden young actor: he fails to connect emotionally with anyone in the film, or with the viewer, for quite a long time; we think, is this going to work? But, stunningly, the boyish charm appears out of nowhere when he meets and interacts with Jane Wyatt. The sudden reversal is surprising, and pleasant, if too brief. But it demonstrates that he was a little more talented than many gave him credit for.
James Gleason is hilarious as the strong-arm of the boy's camp; weighing in at what I imagine to be no more than a painfully thin 110 pounds, he dominated by sheer personality. Lloyd Nolan is quite good, if a bit one-dimensional.
Finally, I have to wonder if those kids working with Audie must have been in terrified awe of this troubled young veteran; after all, he killed at least 240 Germans, confirmed, in the war; and had earned the right to wear every medal the Allies had to offer. And here he was, trading fake stage punches with teenagers. Amazing.
Miss Mend is a 4-and-a-quarter hour sprint that will leave you breathless in its sheer epic expanse and non-stop running, driving, swimming and horse-back riding action - surely the most athletic silent movie ever!
Some of the other reviewers have guessed at the historical context of the film, albeit inaccurately. The Bolshevik revolution was over by 1926; the post-WWI Civil War in Russia actually had ended in 1922 (16 million Russians died between WWI and the Civil War). The Bolsheviks were in sole power, but it would still be 4 more years before Stalin consolidated and took sole dictatorial control of the Soviet Union. Stalin would ultimately micro-manage much of Russian film production - but not yet. Thus, and here I am guessing, Russian film makers probably had more freedom for these few years to experiment, and be less heavy-handed in their propaganda, then they soon would be. Hence, a Western-style series of films, including a lot of explicit criticism of Communism, which I doubt Uncle Joe would have allowed later, even if it is expressed by the bad guys.
And who are the "bad guys" exactly? We have to play along with the fact that those who see the Communists as evil are the bad guys; those looking to help the Soviet Union the good guys.
The plot is absurd, and one has to really over-look a lot of sloppiness in the details; just a few examples: 2 reporters locked in small coffin-shaped boxes in the hold of a ship for its entire journey from America to Leningrad - a 10 or 14 day trip - without food or bathrooms; the improbability that the Westerners and Russian people would be able to communicate with each other, given the unlikelihood that the Russians spoke English or the English Russian (French was the preferred second language of early 20th century Russia). And so on.
One scene appears to be the inspiration for "Weekend at Bernie's": one of the reporters grabs and nods the head of the unconscious Arthur Stern as he is questioned by his co-horts. He remains unconscious as he is carried from the car he is in - but not before opening his eyes and looking around just before being removed from the car.
The attempts at recreating Western or American life are hilarious - others have mentioned the reference to "Rocfeller and Co."; how about the "Police Office" sign, instead of Police Station? However, these are more than made up for by some outstanding visions of lovely Leningrad (today back to St. Petersburg).
Finally, the funniest title card in the history of Silent Film may have appeared in this film: "Who's next in line for an enema?" Fascinating film history. Try to watch at least some of it.
Some of the other reviewers have guessed at the historical context of the film, albeit inaccurately. The Bolshevik revolution was over by 1926; the post-WWI Civil War in Russia actually had ended in 1922 (16 million Russians died between WWI and the Civil War). The Bolsheviks were in sole power, but it would still be 4 more years before Stalin consolidated and took sole dictatorial control of the Soviet Union. Stalin would ultimately micro-manage much of Russian film production - but not yet. Thus, and here I am guessing, Russian film makers probably had more freedom for these few years to experiment, and be less heavy-handed in their propaganda, then they soon would be. Hence, a Western-style series of films, including a lot of explicit criticism of Communism, which I doubt Uncle Joe would have allowed later, even if it is expressed by the bad guys.
And who are the "bad guys" exactly? We have to play along with the fact that those who see the Communists as evil are the bad guys; those looking to help the Soviet Union the good guys.
The plot is absurd, and one has to really over-look a lot of sloppiness in the details; just a few examples: 2 reporters locked in small coffin-shaped boxes in the hold of a ship for its entire journey from America to Leningrad - a 10 or 14 day trip - without food or bathrooms; the improbability that the Westerners and Russian people would be able to communicate with each other, given the unlikelihood that the Russians spoke English or the English Russian (French was the preferred second language of early 20th century Russia). And so on.
One scene appears to be the inspiration for "Weekend at Bernie's": one of the reporters grabs and nods the head of the unconscious Arthur Stern as he is questioned by his co-horts. He remains unconscious as he is carried from the car he is in - but not before opening his eyes and looking around just before being removed from the car.
The attempts at recreating Western or American life are hilarious - others have mentioned the reference to "Rocfeller and Co."; how about the "Police Office" sign, instead of Police Station? However, these are more than made up for by some outstanding visions of lovely Leningrad (today back to St. Petersburg).
Finally, the funniest title card in the history of Silent Film may have appeared in this film: "Who's next in line for an enema?" Fascinating film history. Try to watch at least some of it.