Le fond de la bouteille

Woke up in the early-AM with the opening credits to this film just rolling on the screen. Tired as I still was, I couldn't take my eyes off of it and watched the whole thing. Beautifully-shot. Script sensitively handles both Van Johnson's character's alcoholism and the familial-strife at its roots - very adept for it's day. Capably acted by all.

And I agree with previous comments: Ruth Roman is someone whose career is deserving of a serious re-visiting. She rarely seemed to get choice parts, but always managed to impress. Indeed, some of the films she was in may have been bad but from what I've seen, SHE was never the reason.

Here is yet another example of a good, solid 1950's film that is wrongfully ignored/neglected for the simple reason that it doesn't star "Marilyn," "Marlon," or "Audrey".

"Le Fond De La Bouteille" is based on a true story ;Georges Simenon remembered his own past:he was the one who made it big whereas his brother Christian ,his mum's favorite ,was a washout,someone who always failed.Like the movie,the novel takes place on the Mexican border and that's why ,unlike other Simenon American adaptations ("The man on the Eiffel Tower ") it was successful because it' s hard for an American director to recreate the Parisian atmosphere.

And of course there is Henry Hathaway !When will they give this great director the place he deserves?I have seen many of his movies,some are among my favorites ("Peter Ibbetson" "lives of a Bengal Lancer" "Niagara").

Joseph Cotten was ideally cast as the "good " "Abel-like" brother ;and who could play his fallen brother but Van Johnson?Ruth Roman is less cold than usually :the actress is believable as a -apparently- frivolous party woman who helps her husband discover forgiveness and compassion.Hathaway makes a good use of the wide screen ,particularly in the scenes on the river -which recall those of "Niagara" which Cotten's presence reinforces.He also strikingly contrasts the luxury house and the seedy room Mildred and her children pack into.

Georges Simenon spent a part of his life not far from the Mexican border;his book was probably a catharsis.

On the surface Bottom of the Bottle seems like it could be really interesting. I like movies that show the middle 50's, there's a really nifty house with a kitchen right out of a mid 50's design book, it is beautifully shot with some nice scenery outdoors.

The key for me to really enjoy a movie is when I get hooked into the characters. I have to be interested in them, worried about them, find them likable or appealing even if in a sinister way. This movie fell flat for me because frankly I didn't much care for any of the characters. I guess I felt a little sorry for Ruth Roman, the wife who wanted children and her husband (Joseph Cotten) wouldn't 'give' her any... but Joseph Cotten just isn't the kind of person you can generate much warmth for. He's about as appealing as a first-aid cabinet. I like Van Johnson - usually - but his character here is a jerk even when he's sober. While his love and concern for his family makes him seem a little more human, I just couldn't empathize with him. He and Joseph Cotten, brothers in the story, never seemed very brotherly to me and between them it's hard to say which one I cared less about.

What happened to the horses when they crossed the river? I guess they were both just washed away and nobody cared? I didn't like that. They were Cotten's horses; the least he could have done was ask 'are they all right' and look pained when he found out what happened, but not even a mention.

If you want to watch a movie that shows some dysfunctional family life in the middle 50's including people battling the bottle and other demons, I would suggest the real gem 'No Down Payment'. I think it's ten times the movie that this one is. For me, this one is a yawn. If I hadn't been exercising during the time it was on it would have been a total waste of my time. I'll give it five stars because it's not BAD bad, but it's just not that good either. It's just a so-what movie.

Enjoyed this great Classic film from 1956 starring a great cast of actors, namely: Van Johnson, (Donald Martin) who was serving time in Joliet Illinois Prison and seeks the help of his brother, Joseph Cotton, (P M Martin) who is a very successful rancher and well known throughout the community. P M is not very happy about his brother showing up, because he never told anyone about his brother and that he had a bad problem with drinking which caused most of the problems in his life.

Ruth Roman, (Nora Martin) played the role as wife to P M who did not really get along and now that Donald Martin appears, his wife becomes interested in her husband's new friend, not knowing it is his brother. There is plenty of action and this is truly a great classic from the Year 1956, enjoy. Nora Martin teaches her husband about being your Brother's Keeper, the hard way.

This one looks like it's almost lost in the mists of cinematic antiquity, since it doesn't appear to be available on video in a widescreen DVD. About the only place to catch it is on the FOX MOVIE CHANNEL, which occasionally hauls it out of the vaults for a letterboxed showing(e.g., currently during the month of June 2005).

Henry Hathaway was a particularly congenial director when it came to using the CinemaScope frame effectively and his cinematographer on this one, Lee Garmes, did some effectively moody work on the interiors and some first-class use of the exterior locations, as well, including what looked like a sequence that was difficult to shoot - at night in inclement weather on a river bank with floodwaters raging. Joseph Cotten, in a fairly unsympathetic role, led the cast, along with Ruth Roman as his wife. Also among the thespians were Jack Carson and Van Johnson, who was, not for the first time, quite convincing as a man whose addiction to alcohol was a primary focus of the fairly sardonic script by Sydney Boehm. One thing that sticks in my mind, so many years after seeing this film on a theater screen during its first release, is the fact that Peggy Knudsen, playing a rich married woman of the contemporary American southwest, is seen behind the wheel of a Mercedes-Benz 300SL "gullwing" roadster, one of the most desirable upscale cars of that era and an unimpeachable choice to display her character's privileged status.