THE BELLS OF ST. MARY'S -- Blu-ray Review by Porfle

Originally posted on 11/20/19

 

Like its Paramount predecessor, "Going My Way", the RKO sequel THE BELLS OF ST. MARY'S (Olive Signature, 1945) was, to that point, the highest-grossing film for its studio. It's easy to see why it was and continues to be so popular, especially for war-weary audiences looking for something uplifting and inspirational.

Both films starred Bing Crosby as unconventional singing priest Father O'Malley, in this case having just been transferred to St. Mary's, an urban Catholic school presided over by nuns. 

Their leader, Sister Benedict (Ingrid Bergman), will establish a fond though often adversarial relationship with the easygoing but opinionated priest, especially in regard to the teaching of their young students.  In time, both their adverse methods as well as their personalities will begin to compliment each other.



Other subplots involve miserly old millionaire Mr. Bogardus (Henry Travers, IT'S A WONDERFUL LIFE) erecting a shiny new building next door and hoping to acquire the school itself to tear down for a parking lot.  Sister Benedict, meanwhile, prays constantly for the mean old coot to have a change of heart and donate the building as the new St. Mary's.

Meanwhile, a woman named Mary Gallagher (Martha Sleeper) implores Father O'Malley to take in her daughter Patsy (Joan Carroll) and give her the kind of secure, decent upbringing she alone can't manage.  Fatherless and withdrawn, Patsy's mental and emotional welfare becomes a major concern for the priest and nun, who will differ greatly  on how to deal with the troubled girl.

It's interesting how the Production Code-era writers clue us in on what's what when Patsy's mother hesitantly tells Father O'Malley she has "done everything she can" to support her daughter.

 

Also of note is O'Malley's warm, non-judgmental response, especially considering that Patsy was clearly born out of wedlock although the dialogue doesn't quite spell it out.  This single element alone elevates our opinion of the priest and of the film's benign intent.

While each subplot is vital, they sort of swirl around each other during the film rather than jostle for attention. There's a good deal of gentle humor to lighten things up along the way, beginning with the very first scene of Father O'Malley moving into his new boarding house as the housekeeper, played by the delightful Una O'Connor (BRIDE OF FRANKENSTEIN, THE INVISIBLE MAN) warns him ominously that the school's previous resident priest had to be carried away in a wheelchair in frightful condition.

Another wonderful scene occurs when the smallest children put on a nativity play. Here, director and co-writer Leo McCarey told the boy playing Joseph the general story of the play and then had him improvise the entire thing, telling the other castmembers what to do. McCarey then secretly filmed this and the result is a charming sequence which ends with the children gathered around a toddler playing Baby Jesus and singing "Happy Birthday To You."

At one point O'Malley and Benedict clash yet again over how to deal with a boy being bullied on the playground. O'Malley praises the victor for having what it takes to make it in a "man's world", while the sister takes it upon herself to teach the other boy, Dickie (Eddie Breen), how to defend himself after reading a book on the art of pugilism.

In what I consider to be the film's most amazing sequence, Bergman improvises a lively boxing lesson composed of several long, largely unedited takes. Keeping up a steady stream of banter about defense, footwork, bobbing and weaving, various jabs, and other tips, she conjures a magical moment for her character with a charm and spontaneity that I found utterly disarming.

With her classic beauty downplayed, Bergman has the chance to create this memorable character mainly through dialogue and presence. Der Bingle, of course, is his usual honey-smooth self, getting to croon a song or two along the way.  Though never getting particularly worked up over anything, his Father O'Malley exudes a gentle caring and empathy even when we may not agree completely with his methods.

The entire film has a noticeably reserved, restrained tone--even the humor often seems rather solemn.  We pretty much know right off the bat how each situation is going to work itself out, so we just settle in comfortably and watch it happen.

I found myself settling in quite a lot during the sweetly sedate THE BELLS OF ST. MARY'S. A bit corny and maudlin at times, it's genuinely heartfelt at its core and even evokes a few well-earned tears. McCarey's vision of a spiritually uplifting family entertainment is exquisitely rendered and, in this day and age, warmly nostalgic.



YEAR: 1945
GENRE: DRAMA
LANGUAGE: ENGLISH (with optional English subtitles)
LABEL: OLIVE FILMS
TOTAL RUNNING TIME: 126 min
RATING: N/A
VIDEO: 1.37:1 Aspect Ratio; B&W
AUDIO: MONO

BONUS FEATURES:
    Mastered from new 4K restoration
    Audio commentary by Bing Crosby biographer Gary Giddins
    “Faith and Film” – Sr. Rose Pacatte on The Bells of St. Mary’s
    “Human Nature” – Steve Massa on The Bells of St. Mary’s and Leo McCarey
    “Before Sequel-itis” – Prof. Emily Carman on the film in the context of Hollywood production history
    Screen Guild Theater radio adaptations
    Essay by cultural critic Abbey Bender

THE BELLS OF ST. MARY'S -- Blu-ray Review by Porfle

CASABLANCA -- Movie Review by Porfle

 

 

Originally posted on 1/22/16

 

CASABLANCA (1942) is one of those films which we can now look back on as an undisputed classic in which everything seems to come together perfectly.  At the time, however, it was regarded by the studio as just another production, whose script, based on the unproduced play "Everyone Comes to Rick's", was being written on the fly and didn't even have a proper ending worked out until shortly before it was shot.

 The story takes place in 1942 in the Vichy-controlled Moroccan city of Casablanca, which overflows with refugees desperately struggling to gain passage to America and elsewhere in the free world to escape Nazi encroachment in Europe .  Exiled American (and ex-freedom fighter) Rick Blaine, played to perfection by Bogart , runs a nightclub called "Rick's Café Américain" in which many of these people meet to buy and sell the hope for freedom. 

 Also on hand is Rick's friend, Captain Louis Renault (THE INVISIBLE MAN's Claude Rains in one of his best performances), the head of the local police and an opportunist of the first order whose greatest pleasure is accepting bribes both monetary and sexual.  Renault openly admires Rick's similarly self-serving qualities and even displays a platonic crush on him ("If I were a woman, and I were not around, I should be in love with Rick," he admits). 



We wonder how Renault would react if Rick started reverting back to his old, noble self, especially in the presence of the vile German officer Major Heinrich Strasser (Conrad Veidt, THE CABINET OF DR. CALIGARI,  THE MAN WHO LAUGHS), newly-arrived and on the trail of famed Czech resistance leader Victor Laszlo (Paul Henried). 

 While Rick starts out as an anti-hero, he gradually and without really meaning to becomes more heroic as the story progresses.  Early on, Peter Lorre's oily Ugarte--who recently killed some German soldiers to attain two letters of transit to sell in Casablanca--begs Rick for help before he's captured ("Hide me, Rick!  Hide me!").  Rick's terse response: "I stick my neck out for nobody." 

And indeed, Rick seems grudgingly content to sit out the current world war as manager of his bustling nightclub until one night, when an old flame named Ilsa (the utterly radiant Ingrid Bergman) comes through the front door with her husband, none other than Victor Laszlo.  Rick, once an idealistic crusader himself but now cynical and disillusioned, has never forgiven Ilsa for inexplicably running out on him during the fall of Paris, at the height of their love affair--not knowing that Laszlo, whom they both thought dead, had turned up alive.

 When Rick obtains the two letters of transit from Ugarte, he has the means of whisking Ilsa back to America with him and resuming their love affair while leaving Laszlo behind to carry on alone and devastated.  But will he do something so selfish and immoral?  Or regain his soul and commit the supreme act of sacrifice for the sake not only of Ilsa and her husband but of the free world itself?

 This is the dilemma which gives CASABLANCA much of its power to effect us emotionally while simmering with a growing suspense.  As a film, everything clicks-- Michael Curtiz' sharp direction, the gorgeous black-and-white photography, great performances by a stellar cast, a powerful musical score by Max Steiner, and a story that's always totally engaging. 

 Action and romance are perfectly balanced and compliment each other, while comedic touches abound, especially from the delightfully corruptible Renault,  the antics of Rick's eccentric staff (including S.Z. Sakall), and a fez-topped Sydney Greenstreet (again) as a competing club owner who wants to acquire Rick's place along with his loyal piano-playing band leader Sam (Dooley Wilson, who croons the classic "As Time Goes By").




But when Laszlo exhorts Sam and his band to strike up a stirring rendition of "La Marseillaise" in response to Strasser and his fellow German officers belting out "Die Wacht am Rhein", the move (which Rick okays with a subtle nod of his head) not only stirs the patriotic fervor of everyone else in the club but may bring the viewer to tears as well.  (Steiner uses this same anthem as a fanfare for his own musical credit during the main titles.)

The climax of the film takes place at the airport, a focal point for dreams of freedom throughout the story.  Rick now literally holds the ticket to a new life with Ilsa, who will join him if he asks her to.  Yet his newly reawakened sense of duty to humanity now fights for precedence.  Meanwhile Renault, his own duty to Strasser  putting him at odds with his friend, awaits Rick's decision. 

 When the plane fires up its engines, Steiner's music swells, and there comes a stunning, perfectly-edited series of  closeups of Bogart,  Bergman, and Henried which generate a dramatic tension few films could ever attain.  It's pure, undiluted Hollywood magic at its most sublime, and the resolution which follows couldn't be more perfect.  CASABLANCA is an intricate jigsaw puzzle of seemingly disparate pieces which fit together to form a beautiful picture.

Read our review of THE BEST OF BOGART COLLECTION

CASABLANCA -- Movie Review by Porfle

Two Optical Printer Matte Zooms In "The Bells of St. Mary's" (1945) (video)

Among the technical achievements of "The Bells of St. Mary's" (RKO, 1945)...

...are some lovely matte shots which combine live action with paintings.

These are used to simulate much larger sets.

In two of these matte shots, an Acme-Dunn optical printer is used...

...to create artificial camera zoom-ins.

The effects are beautifully done.  And yet, by design...

...they are not noticeable to the average viewer.


Optical printer developed by Linwood Dunn
Special effects by Vernon L. Walker


I neither own nor claim any rights to this material.  Just having some fun with it. Thanks for watching!

Two Optical Printer Matte Zooms In "The Bells of St. Mary's" (1945) (video)