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Salient. An Organ of Student Opinion at Victoria College, Wellington, N.Z. Vol. 11, No. 4. April 7th, 1948
Thoughts on Two Foreign Films
Thoughts on Two Foreign Films
German
"Kameradschaft" is a German film, made, believe it or not, as long ago as 1931, and produced by N. Pabst. It is so good in its own way that I cannot help comparing it with a Greek tragedy, because it has little that is superfluous and all the incidents add to the total effect. It shows man, struggling not with other men, nor against his Gods, but with the forces of nature he is trying to control. And this elemental conflict is portrayed so sternly, so imaginatively, and so truthfully that the film, although it is in many way a narrative only, does not become tedious. There is no ornamentation, no sub-plot, and the characters have a sharpness and urgency common to us all when overtaken by a great disaster. But although "Kameradschaft" is about a mine disaster and how a German rescue unit helped trapped French miners, it does I think ask us the question, "Why does it need something as terrible as this to show us the real meaning of the phrase, 'the brotherhood of man'?" This film has faith in humanity, not so common a thing nowadays, and faith in the possibility of international understanding. It is a film to see, not only because of its theme, but also because of its occasionally brilliant photography, and sparing but most effective use of sound. It will be shown again later in the month by the Wellington Film Society at the Public Library Concert Hall.
French
The other foreign film, "Retour a l'Aube," at the Embassy, has left a negative impression on me. There is the usual visual pleasure in French films, but having praised the freshness and charm of this, there is nothing left. One could blame Vicki Baum and go into a detailed analysis of the melodramatic improbability and shallowness of the plot, but this hardly seems worth while. The reader of "Grand Hotel" or "Grand Opera" will be familiar with the method, and if you saw "Week End at the Waldorf" you will appreciate how banal this attempt at profundity can become. No matter what the characters themselves may have thought about their sudden precipitation into "real-life" (whatever that may be), the effect on at least one member of the audience was very real disinterest and disbelief in their motives. They were not real people. It is kindest to say that this is a melodramatic story of young love awry—for it is certainly not real disillusionment, which is a much more moving and sometimes even tragic affair—and that it is not one of the better French films, which is a pity, because we see so few French films that to sniff one's nose seems not only discouraging but also bad taste. Still there it is.
—J.M.T.