Lewis Milestone - Edge of Darkness (1943)

Plot Synopsis by Tom Wiener

The Norwegian resistance to the Nazi occupation of their country inspired several wartime films from Hollywood, including this Warner Bros. production, filmed in and around Monterey, California. In October 1942, a German observation airplane discovers a seaside village named Trollness where the Norwegian flag is flying over the town square. A ground patrol discovers an empty town littered with corpses, including a number of Nazi officials. The story of the massacre is told in flashback. Errol Flynn plays Gunnar Brogge, a fisherman engaged to Karen Stensgard (Ann Sheridan), whose father, Martin (alter Huston), is the village physician. Gunnar and Karen are working to undermine the Nazis. The town is divided, with the minister leading a contingent which believes that violence, even against the sadistic Germans, is morally wrong. Karen is concerned about the imminent arrival of her brother, who is known to be friendly to the German occupiers; she fears he may learn of plans by the British to deliver a supply of guns to the resistance. The Nazi commandant, Captain Konig (Helmut Dantine), keeps up the pressure to learn of any opposition to his administration, eventually deciding to execute a selected number of the villagers to force someone to reveal the extent of the resistance's schemes.







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Lewis Milestone - Ocean's 11 (1960)

'Ocean's 11':Sinatra Heads Flippant Team of CrimeA SURPRISINGLY nonchalant and flippant attitude toward crime—an attitude so amoral it roadblocks a lot of valid gags — is maintained through "Ocean's 11," which arrived at the Capitol yesterday. Frank Sinatra, who is the power behind the picture, should have a couple of his merit badges taken away.

The idea is that a bunch of fellows, Danny Ocean's (Mr. Sinatra's) breezy gang of wartime buddies and heroes, are assembled to do a little job of robbing five major casinos in Las Vegas on New Year's Eve. That's all. Ten cheerful, chummy fellows and Mr. Ocean, a stalwart crew, conspire — with Akim Tamiroff as their big boss — to pick up a bundle of dough.

And they do it, too. That's the sad thing. Almost as easy as rolling off a log (or rolling a sequence of "naturals" with loaded dice in a Hollywood film), these eleven guys knock out the power lines, "hit" the cashiers' cages in one fell swoop and rake some $5,000,000 into their convenient little black bags. They're so clever and humorous about it and the casino people are such dopes. Well, why not? Wasn't the crime team schooled together in a lot of Eighty-second Airborne Division "drops"?

That's the way it is: no dishonor, no moral misgivings, no sweat, outside of the normal, natural tension that occurs while the crime is being done. After the whole thing is over and a hijacker moves in to grab the swag, there is no built-in implication that the boys have done something wrong. There is just an ironic, unexpected and decidedly ghoulish twist whereby they are deprived of their pickings and what seems their just deserts.

This is the flaw in the picture—this and the incidental fact that a wholesale holdup of Las Vegas would not be so easy as it is made to look. For the substance is generally amusing — indeed, very funny in spots—the dialogue is cleverly written and the roles are deftly and colorfully played.

Mr. Sinatra is crushingly casual, Mr. Tamiroff is droll with vast despairs and Dean Martin is twitchy with wisecracks as a night-club performer who knows the world. Indeed, all the fellows crackle blithely — Peter Lawford, as a wealthy sybarite; Sammy Davis Jr., as a trash-truck jockey, and Richard Conte, as a cynical ex-con. Ilka Chase, Angie Dickinson and Patrice Wymore are equally cool as some of the girls. Cesar Romero does a smooth job as the hijacker who messes up the job.

Las Vegas looks flashy in color, as naturally it would, and there's plenty of atmospheric detail, such as gaming tables, girls and "one-arm bandits." Lewis Milestone's direction suits the movement of Harry Brown's and Charles Lederer's script, which is entirely centripetal, focusing exclusively on Mr. Sinatra and his gang.

Young people are likely to find this more appropriate and bewitching than do their elders. The latter are likely to feel less gleeful in the presence of heroes who rob and steal.




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Lewis Milestone - All Quiet on the Western Front (1930)

This is an English language film (made in America) adapted from a novel by German author Erich Maria Remarque. The film follows a group of German schoolboys, talked into enlisting at the beginning of World War 1 by their jingoistic teacher. The story is told entirely through the experiences of the young German recruits and highlights the tragedy of war through the eyes of individuals. As the boys witness death and mutilation all around them, any preconceptions about "the enemy" and the "rights and wrongs" of the conflict disappear, leaving them angry and bewildered. This is highlighted in the scene where Paul mortally wounds a French soldier and then weeps bitterly as he fights to save his life while trapped in a shell crater with the body. The film is not about heroism but about drudgery and futility and the gulf between the concept of war and the actuality.

"All Quiet on the Western Front" is one of the first movies to feel like a movie. The camera takes part in the action: it moves in and out, frames people in close up. Some of the most memorable images come when the camera tracks along with the soldiers as they charge the enemy trenches. And though sound in cinema was in its infancy, this movie makes terrific use of it.


- During the film's German release, the Nazis (not yet in power) interrupted screenings by shouting martial slogans and releasing rats into the theaters. This led to the film ultimately being banned by the Nazi party. It wouldn't receive proper screenings in Germany until 1956. Also banned in Italy until 1956.

- Future leading director Fred Zinnemann was briefly an extra on the film, before getting fired for impudence.

- Future great director George Cukor, having recently been brought over from Broadway (where he was already a director) to Hollywood, was employed as a dialogue coach on this film.

- It was Lewis Milestone's first film in sound.

- Lewis Milestone deliberately made the film without music so as not to take away from the seriousness of the subject





The novel author:

Erich Maria Remarque was born in Osnabrück, Lower Saxony. His mother was Anna Marie Kramer and father, Peter Maria Kramer, a bookbinder. He drafted into German army at the age of 18, and was wounded several times. After his discharge Remarque had taken a teacher's course offered to veterans by the government. Remarque began his writing career as a sporting journalist, and assistant editor of Sportbild. Fame came with his first novel, All Quiet on the Western Front, which touched a nerve of the time.



In the 1930s Remarque's books were banned by the Nazis. All Quiet on the Western Front was among the works consigned to be publicly burnt in 1933 by the Nazis. In 1938 Remarque lost his German citizenship, and he left Germany in the late 1930s. First Remarque went to Switzerland and moved later to the United States, where he made friends with Hollywood stars. He died in Locarno, on September 25, 1970.

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