L'arca di Noè

So many people were injured in shooting the biblical sequences for this film that star Delores Costello always referred to it as "FLOOD, MUD AND BLOOD"

This film was made in the transitional period between silent and sound film so talking sequences were added to keep the film contemporary.

In a two-story movie, George O'Brien is in love with Dolores Costello, both as World War One breaks out, and as the evil-doers of olden days incite G*d to smite the world with a flood.

It's clearly inspired by Demille's epics, with modern stories paralleling those of ancient days. The two of them make an inspiring couple, especially in the Biblical sequence when O'Brien is topless. However, this one definitely leans more to the Bibical part, with some spectacular stunt and camera work as the evil-doers try to sacrifice Miss O'Brien to their false god, while the Flood pulls the monumental structures down upon their ears. It should look spectacular, as the reports are that three of the extras were killed outright.

Director Michael Curtiz had a reputation that way. Although there were no more reported human fatalities on his sets -- especially after this resulted in new and stringent safety regulations -- animals kept dying, at least through Curtiz' production of THE CHARGE OF THE LIGHT BRIGADE. After that one, they stopped using tripwires to bring horses down.

The film which cemented versatile director Curtiz' reputation in Hollywood is a part-Talkie spectacular which, despite the title, is not entirely concerned with the famous holocaust depicted in the Old Testament. Rather, it purports to parallel the Deluge with the massive losses in human life incurred during the so-called Great War; in that respect, NOAH'S ARK survives not merely as a solid example of late 1920s film craftsmanship but also as a heartfelt morality play delineating the long-lasting effect of that particular combat upon society – pity that, for all its good intentions, a second (and infinitely harsher) World War would be waged in the space of just 11 years! Anyway, to get back to the topic at hand, I knew the film enjoyed a considerable reputation among epic productions of the Silent era but, aware of the fact that the Biblical tale was only illustrated in the form of a vision (lasting for about 40 of its 100 minutes) embedded within the main plot, I had expected to be disappointed by it. However, we open on a remarkably elaborate prologue (superbly-edited in the contemporary Soviet style) and the WWI sequences themselves are well done (featuring even a spectacular train crash early on) and prove surprisingly absorbing in their own right (especially the interaction between the four protagonists – Noah Beery, Dolores Costello, George O'Brien and Guinn "Big Boy" Williams). Incidentally, all four (and a few others) play additional roles in the Noah story; this section is done on a truly grand scale, in clear imitation of Cecil B. DeMille (with a couple of obvious nods to THE TEN COMMANDMENTS [1923] which, coincidentally, I watched 2 days later!) – with the flood itself still highly impressive after all these years and undoubtedly deserving to be ranked among the finest sequences in all of cinema (though controversy still rages about the apparent disregard for the consideration and safety of those involved – with three extras reportedly drowning and several more getting injured during its shooting)!

One year before Jean Harlow caught the eyes of two war-embittered soldiers in "Hell's Angels" (1930), this gigantic, vivacious, masterfully scored drama hit theaters. It was the most expensive film of the early sound era up to that time. Thanks to TCM and numerous film archives who pitched in for the restoration, we are now able to treasure it further for future generations to behold. Mike Curtiz was a tyranical perfectionist and put everything he had into this picture as he did with every such as "Casablanca" (1942), "The Adventures of Robin Hood" (1938), "Mystery of The Wax Museum" (1933), etc. There is always

something big in his pictures, whether it cost $2 or $2,000,000 to produce, his imaginative genius and careful observation make his end results all the more astonishing. One of the even greater things about this picture is it's score. God bless Louis Silvers for writing it. Silvers also conducted the same Vitaphone orchestra that scored "The Jazz Singer" (1927) which also sported some pretty awesome tunes. The love theme is definitely one to behold. The cast is very nicely cast. George O'Brien makes a nice talkie transition with his suave and cunning voice that makes him sound 5 years younger. Noah Beery's voice was even better; deep, deceptive, conniving. Dolores Costello?

She's alright, nothing eye-candyish about her but, she's alright. Altogether, this picture is one that I believe needs more frequent distribution because of how important it was in it's time as a form of entertainment, but now for a play in modern-day morality. A must for everyone!

The conclusion of the movie leaves a bitter taste in the mouth .In his remake of his classic silent "J'accuse" (1937) ,Abel Gance too proclaimed universal peace.It was not to be the last of all the wars and men are still fighting at my time of writing.And there's another flood "in which we are engulfed which is more treacherous and persistent:the deluge of the mass production (and consummation)moves inexorably forward ,capturing everything that walks in whirlpools" of frozen food,rusted cars,DVDs and CDs,cans ,boxes ,hamburgers ,tons and tons of Bumf (papers) ,growing in an exponential way...

Curtiz's movie was obviously intended to match the scale and quality (and commercial appeal)of De Mille'' "the ten commandments " .The structure is the same:a fine mixture of two stories ,a modern one (WW1,the deluge of blood)and a "biblical story" ,reversing De Mille's order .The connection between the two stories is perhaps tighter than in the 1924 work although in the first part of the movie the viewer may sometimes wonder what Curtiz is driving at.

The biblical story has been " expanded " ,which was necessary for Noah's story is rather short and not particularly eventful if spectacular. Curtiz borrowed a lot from De Mille in the scenes of the deluge and when God "writes" to Noah (using thunderbolt).But his deluge is superior to John Huston's "the animals went in two by two" sequence in "The Bible" (1967)

All in all,this is a very exciting show ,which features talking scenes ,including a whole version of "La Madelon" the Poilus' songs during WW1.The parade on the Champs D'Elysées with a painted Arc De Triomphe in the background and women throwing flowers when Travis sees Al marching on to war is a great moment.Melodrama reaches peaks of kitsch when the same is to execute ...his own wife ,condemned in mistake for spying.

When will we see Noah's dove?