The Liberation of Paris

 Eighty years ago today, the German troops occupying the French capital of Paris surrendered and it was the Allies' turn to march down the boulevard toward the Arc de Triomphe.

 

Back when training films were entertaining...

... the Department of Defense produced a series of animated shorts starring Private Snafu, a character who did everything wrong so the enlisted men would not as World War II raged. These were created by top-notch talent who were established writers and artists and filmmakers and animators who had been drafted and then assigned to positions where their talents could do the most good for training and/or propaganda purposes.

The main talents behind the "Private SNAFU" series were director Chuck Jones (with animators he'd worked with at Warner Bros.), voice artist Mel Blanc (another Warner Bros. animation regular), and writer Theodor Geisel, (an old hand at political cartoons and propaganda who is better known under his pen name Dr. Seuss), and it's another series of 1940s-era training films that makes me wish the things I've had to sit through over the years were half as entertaining.

This is the first of several "Private SNAFU" we'll be bringing you over the next many months. We're not leading with the best of them--today's featured cartoon is amusing, but there are far wilder entries in the series--but this one seemed perfect for our Mermay celebration (which the still above probably already clued you into).

Private SNAFU: A Lecture on Camoflage

Starring: Mel Blanc

Director: Chuck Jones

Rating: Six of Ten Stars

They don't make 'em like this anymore!

How to Get Killed in One Easy Lesson (1943)
Starring: Stephen McNally, Barry Nelson, and an Anonymous Narrator
Director: Anonymous
Rating: Seven of Ten Stars

A captured Japanese sniper explains how American soldiers make themselves easy targets.

I've had to sit through many, MANY training films and video presentations over the years... and very few have been as entertaining as "How to Get Killed in One Easy Lesson". Maybe if they were, I wouldn't feel like going to "training" was such a waste of time.

Take a few minutes out of your day to watch this WW2-era short film... maybe you, too, can learn how not to be seen! (I wonder if someone working on "Monte Python's Flying Circus" might have seen this film as a very young man? There are several similarities between it and some of the more famous sketches on the show.)

'Tip Jar' is a great homage to silent comedies

Tip Jar (2016)
Starring: Josh Blaylock, Ellary Porterfield, Amy Johnson, Robert Dill, Richie Stephens, Clinton Jones, and Matthew Arnold
Directors: Freddie Wong and Matthew Arnold
Rating: Eight of Ten Stars

It's World War II. A bartender (Blaylock) who just wants to close the bar and head to the Fun Fair, gets caught between a beautiful Allied spy (Porterfield) and the four Nazis (Dill, Johnson, Jones, and Stephens) charged with retrieving the course-of-history-altering military secrets she has stolen.

"Tip Jar" is a modern-day silent movie that attempts to capture and replicate the feel and frenetic pace of the greatest Buster Keaton or Harold Lloyd shorts. I think it does so mostly successfully, capturing the tone of a 1920s silent comedy via the acting, the general positioning of the camera, and the execution of the slapstick-style action during the second half of the film.

If I were to nitpick this film, I could say that there were a few too many close-ups for the director and cinematographer to have effectively emulated the sources that inspired this effort--and the thought did enter my head, but I immediately dismissed it as both a nitpick and stupid. This is a modern film, so it is entirely reasonable that it uses some elements of modern cinematic language to draw in viewers; especially since every shot in the film is well considered and spot on.

Another nitpick I had is that some of the stage-fighting in the slap-stick routine could have done with a little more practice, since it was obvious that some of the blows weren't connecting. However, as the film progressed and I discovered that the main character's fight against the Nazis was one single, long take, I became forgiving of a couple minor missteps. From time-code 9:40 and lasting until 12:40, there are three minutes of non-stop physical comedy and fighting--and it's at a very rapid pace and very funny. There are big-time filmmakers who could learn from watching this (just like they could learn from watching the films that inspired "Tip Jar".

I also need to mention that "Tip Jar" is a perfect example of why silent movies need to have scores written specifically for them, or the cues that were suggested for use by the original producers should be used, rather than the all-too-common practice of just adding random classical or jazz recordings to them. The action and humor in this film is greatly augmented by an original soundtrack by Igor Neirovsky, and I think I would have assigned the film at least one fewer stars without it.

If you have 15 minutes to spare, and if you want to add some cheer to your day, you need to check out "Tip Jar" by clicking below.

'The Adventures of Tartu' are thrilling!

The Adventures of Tartu (1943)
Starring: Robert Donat, Valerie Hobson, Walter Rilla, Glynis Johns, Phyllis Morris, and Martin Miller
Director: Harold S. Bucquet
Rating: Nine of Ten Stars

A British army officer and bomb expert (Donat), who happens to be a chemical engineer who is also fluent in German and Romanian, is recruited by military intelligence for a mission in German occupied Czechoslovakia. Here, is is to pose as Jan Tartu, a Romanian Nazi and chemist, infiltrate a plant where the Germans are making next-generation chemical weapons, and destroy it. Naturally, things go sideways with the mission, and while "Tartu" is improvising his way back on course, things go from urgent to dire: The Nazis aren't weeks or months away from launching a chemical weapons attack on Britain, but mere days!

"The Adventures of Tartu" is a tightly plotted and excellently executed spy thriller. There is literally not a moment of time wasted in the film, with every second spent deftly establishing characters and their relationships, or advancing and/or complicating the plot and the story. And what complications! I can't comment too much on them without spoiling them, but the way the predictable romance between leads Donat and Hobson intersects with the expected elements of a spy movie, as well as a couple of the plot complications, is wonderful and a great source of tension and suspense as the third act opens.

The already great script is brought to brilliant life by excellent, nuanced performances all around; even deeply vile characters like the lead Nazi in the film, played by William Rilla show glimpses of humanity. Every cast member is top-notch here.

Robert Donat is especially impressive since he essentially plays two different characters--Terence Stevensen of the British Army, an officer and a gentleman who loves his mother and visits her on weekends; and Jan Tartu of the Romanian Iron Guard who is a vain and self-centered womanizer. One could even say he plays a third character, since at two different points in the movie, he adopts a persona that's harder-edged than either Stevensen or Tartu, when he first has to show Nazi commanders and then resistance fighters that he "has what it takes" to be trusted by them. While I found Donat charming and lots of fun to watch in the only other film I recall seeing him in ("The 39 Steps", which happens to be another spy thriller), here I found him downright brilliant.

The final elements that makes this film a great joy to watch is the cinematography and the great sets, especially when it comes to the Nazi munitions plan and the secret weapons lab built inside a mountain. (And, boy, can those Movie Nazis build secret bases. Even James Bond villains can't match their ability to build massive and spacious underground labs!

"The Adventures of Tartu" is one of the 50 movies included in the "shovelware" set Fabulous Forties... and it's the original, superior British edit of the film. The American version is available for Streaming via Amazon Prime (and free for members); several scenes that are present just for character building are cut or shortened in the American version. I'm providing Amazon links to both below, but I want to stress that the one included in the Fabulous Forties collection is the superior film AND the digital transfer was made from a better print than the one available via Amazon Prime. (I've already posted reviews of other films included in the set. Click here to see them. and maybe decide if the set is worth your hard-earned dollars.)

While both versions of "The Adventures of Tartu" are worthwhile, and watching both is an interesting exercise, the Nine of Ten Stars rating at the top of this review is for the British version of the film; the American edit drops down to a Seven of Ten. It's still a good movie, but it's not as good.as the original cut.

Moments in History

Sherlock Holmes vs. the Nazis!

In 1942, Universal Pictures retooled Sherlock Holmes. They opened their first movie featuring Arthur Conan Doyle's great detective with a title card that described the character as a timeless figure that works equally well in his "native world" of late 19th century London or the "modern day" of the 1940s. This film, and the sequels that followed--several of which saw Holmes cross wits with Nazis and their agents--show this to be true. (And the recent BBC series "Sherlock" reminded us of the fact, when Holmes and Watson were effectively transported to 21st century London with smart phones, and blogs, and everything.)

The initial Universal Holmes films pitted him against the great evil of the 1930s and 1940s, Nazi Germany and their sympathizers around the world. They are the sort of films I wish Hollywood would make today, instead of churning out crap that portrays those who fight and die for our freedoms--the American military and its allies--as the villains.

This article presents reviews of all the "Holmes vs. the Nazis" pictures in observance of the day Hitler killed himself and thus cemented his reputation as a pathetic little coward.


Sherlock Holmes and the Voice of Terror (1942)
Starring: Basil Rathbone, Nigel Bruce, Henry Daniell, Thomas Gomez, and Reginald Denny
Director: John Rawlins
Rating: Six of Ten Stars

As Hitler's armies devour mainland Europe, Sherlock Holmes and Dr. Watson (Rathbone and Bruce) are retained by British Intelligence to stop the activities of Nazi saboteurs being coordinated by the mysterious Voice of Terror in radio broadcasts that hijack the British airwaves once a week. Holmes soon comes to suspect that the broadcasts portent something far more sinister and dangerous than the horrific acts of terrorist... and that the enemy within England itself is more powerful than dreamed of in the worst nightmares.



Loosely based on Conan Doyle's "His Final Bow" (where Holmes came out of retirement to catch a German spy at the beginning of WW1) and the real-life Nazi propaganda broadcasts that overrode BBC signals during the early 1940s, "Sherlock Holmes and the Voice of Terror" is the first of a dozen Holmes movies starring Basil Rathbone and Nigel Bruce that transports the Great Detective and his loyal sidekick to modern day England. (Modern-day being the 1940s.)

Holmes' methods receive a slight upgrade--the key to unlocking the mystery behind how the Voice of Terror is able to coordinate the broadcasts and the sabotage involves analyzing different types of broadcast with cutting edge audio equipment--he trades in his deerstalking cap and tweed cape for an fedora and overcoat, and the speed of modern travel and communication also impacts the story, but overall the character of Holmes is as it's found in the pages of Doyle.

Although partly a war-time propaganda movie--the kind that I've lamented aren't made anymore, what with American filmmakers preferring to glorify those who would take away their freedom rather than those who defend it--with the patriotic speeches and dastardly Nazi villains that encompasses, the film sets the tone for most of the Universal efforts that will follow. Holmes is a renegade genius, Watson is a doddering moron that seems like he is going senile (even if he isn't quite as dimwitted here as he seems in later pictures), and the villains are of a stripe that would make even the worst of the worst that inhabited the pages of pulp fiction magazines in the 1930s give them a wide berth. But the stories are exciting and fun, so the bad treatment of Watson can be overlooked... as well as the absolutely rediculous hair style that Holmes sports in these early Universal films. (Transporting Holmes to modern-day was the idea of Basil Rathbone who felt the Victorian era was too old fashioned, so I wonder if he was also the genius behind that awful hair.)

While Watson as a ninny didn't originate with the Rathbone/Bruce pictures--there were hints of it as far back as the Arthur Wontner pictures--but it was these pictures that solidified the approach as "standard." The same is true of Holmes as nearly 100% hands-off as far as physical altercations go; when a brawl breaks out between Nazi agents and Limehouse ruffians hired by Holmes as muscle, you almost get the sense that Holmes is afraid to get in the middle of the fight. The Rathbone Holmes seems like he would never throw a punch but would instead leave it to others even in the most dire of situations, so it is with these films that the idea that a "action-oriented" Holmes isn't truthful to Doyle began.

The strong presence of these somewhat legacies aside in this film doesn't really harm the entertainment value, however. The story is too fast paced for anything but Holmes bad hair to distract from the fun, and excellent performances by the stars and supporting cast only made it that much better.


Basil Rathbone is excellent as always as Sherlock Holmes (even if I will always prefer Peter Cushing's portrayal) and Nigel Bruce is solid as the comic relief, perhaps even moreso than in future sequels as less of the humor is at the expense of his character than will become the norm. Other standout performances are delivered by Henry Daniell (who will return to the series again and again, as a different villainous character almost every time) and Reginald Denny as power-brokers in British Intelligence, either of which could be a double-agent and the Voice of Terror himself. Finally, Evelyn Ankers has a small but important part as a Limehouse bar girl who helps Holmes track the Voice of Terror's main operative for deeply personal reasons.


Sherlock Holmes and the Secret Weapon (1943)
Starring: Basil Rathbone, Nigel Bruce, Lionel Atwill, William Post Jr, Kaaren Verne and Dennis Hoey
Director: Roy William Neill
Rating: Seven of Ten Stars

Sherlock Holmes (Rathbone) is charged with rescuing a Swiss scientist (Post) and his revolutionary new bomb-sighting system from the Nazis and bringing him safely to England. However, when the scientist turns out to have too high an opinion of himself and his intelligence, and he falls into the hands of British Nazi agents, Holmes finds himself in race against his old nemesis Professor Moriarty (Atwill) to unlock a coded message that reveals where the prototype of the bomb-sight is hidden.


"Sherlock Holmes and the Secret Weapon" is the second of Universal's "Holmes vs. the Nazis" flick, and it is not only a fun Holmes adventure but a passable espionage thriller. The opening sequence where Holmes outsmarts the Gestapo agents who have crossed into Switzerland to kidnap genius inventor Franz Tobel is a great bit of filmmaker--and the only part of the film that stuck with me from the first time I saw this film at some point in the distant past. (I have no memory of watching this film before, but that opening bit, the revelation of Holmes, and the get-away was all very familiar to me.)

Like many movies of this type, the villains initially benefit from the fact that Holmes' charge may be a genius when it comes to inventing military hardware, but he's otherwise an idiot who ends up in Professor Moriarty's clutches because he had sneak out for a clandestine booty call and because of irrational demands placed on the British security forces regarding the production of his bomb sights. This is what leads to the race to decrypt the code. Apparently, Dr. Tobel is SUCH a genius that he knew the clandestine booty call was a bad idea, so he wrote a code he thought only Holmes would be able to help build his bomb sight should he come to a bad end. Too bad for Tobel that a man almost as part as Holmes is the one who grabbed him.


Speaking of Moriarity, Lionel Atwill gives an excellent performance as Holmes' evil opposite. The script writers also do a nice job of demonstrating his sinister genius by having him and Holmes discover the key to unlocking a particular complicated part of the code only by accident. (I suppose this means that neither are as smart as Tobel gave them credit for... but at least neither Holmes nor Moriarty would sneak out for booty calls while Nazi agents are prowling the streets looking for them.)

In some ways, actually, the film makes Moriarty out to be a bit smarter than Holmes in some ways, but ultimately too crazy to be as effective an evil genius as he might be. Twice during this picture, Holmes places himself completely at Moriarty's mercy, presumably assuming that the evil professor won't just kill him. A pretty stupid thing to do, and one that almost backfires at one point and leads to a more chilling portrayal of Moriarity than I've ever seen. Still, if he had just killed Holmes instead of being duped into killing him slowly (by Holmes playing off Moriarty's ego and sadism), he would have won the day AND the war for his Nazi paymasters.

Then again, if Moriarty had been as smart as Holmes, he wouldn't have teamed up with Nazi losers to begin with... and there wouldn't have been a movie.

"Sherlock Holmes and the Secret Weapon" is a film that you'll enjoy if you get a kick out of old-time thrillers and pulp-fiction style detective tales. Hardcore Holmes fans will probably mostly enjoy the film for it being a sequel of sorts to Doyle's "The Dancing Men" short story, but only if they aren't too annoyed by Holmes and Watson being transplanted to 1940s London instead of 1880s London. (And all of us will have to ignore the goofy looking hair-do on Holmes. I will have to get around to researching that. It is so stupid looking there HAS to be story behind it.)


Sherlock Holmes in Washington (1943)
Starring: Basil Rathbone, Nigel Bruce, Marjorie Lord, Henry Daniell and George Zucco
Director: Roy William Neill
Rating: Eight of Ten Stars

When a British secret agent vanishes while on a mission to Washington, D.C., the British government sends Sherlock Holmes and Dr. Watson (Rathbone and Bruce) to the United States to uncover what happened to him and to learn if valuable secrets have fallen into the hands of the Nazis.


"Sherlock Holmes in Washington" is the final and best of the Universal "Holmes vs. the Nazis" trilogy of films. It features a well-crafted and suspenseful plot that takes full advantage both of Holmes' legendary deductive powers as well as the modern (early 1940s) setting, with the mystery revolving around missing documents that unbeknownst to heroes and villains alike have been duplicated on microfilm and hidden inside a matchbook that is then passed from character to character and almost lost for good on more than one occassion. The fact that the audience knows exactly where the documents everyone is looking for adds greatly to the suspense (and fun) of the film as it unfolds.

In addition to its expertly constructed plot, the film also features well-written dialogue that is delivered by a cast that are all at the top of their game. Rathbone's Holmes is the best I've ever seen itm Bruce's Watson is comedic but not annoyingly dimwitted, and Daniell and Zucco are excellent as the Nazi secret agents. From the film's opening scenes to the closing anti-fascism remarks from Holmes, this is a film that provides top-notch and classy entertainment. It's a move that fans of Sherlock Holmes and classic crime dramas will enjoy equally. (Heck, even if you're some sort of misguided moron who admires Nazis, you'll enjoy this flick. The ones in this story are smarter than the average bunch, be they fictional or real.)