Noirvember: So Long at the Fair (1950)

so long at the fair poster

Vicky Barton (Jean Simmons) a young Englishwoman and her brother Johnny (David Tomlinson) travel to Paris for the Exhibition. They check into a nice hotel. They speak to the owner and the porter. The porter is miffed because Johnny gives him an English shilling for a tip.

They go to Montmartre for dinner and the Moulin Rouge for entertainment. They keep bumping into another Englishman, George Hathaway (Dirk Bogarde), and his two companions. His companions are staying at the same hotel and later that night he’ll borrow money from George to pay the cabbie.

Everyone goes to bed and when Vicky wakes up the next morning she finds that George is nowhere to be found. Not only that but his room doesn’t seem to exist. His room number, 19, is a bathroom and not a bedroom at all. No one at the motel will ever admit that they ever saw him. She arrived alone they say.

This story is based on an old urban legend. Usually, it involves a mother and daughter, but they’ve changed it to siblings here. It has been adapted into various stories over the years and it was the inspiration for Alfred Hitchcock’s The Lady Vanishes.

In the Hitchcock film, an elderly lady disappears from a train, and someone she only just met has to look for her. In that film the protagonist starts to think she’s gone crazy, that she only imagined the old lady. Which works because she didn’t really know the woman in question.

It seems much more difficult to convince someone that they don’t have a brother. Luckily, the film finds some clever ways to get past that. When she goes to the British consolute he says he believes her but that she’ll have to find evidence. He suggests finding someone else who saw her with her brother.

She remembers that a woman saw them together and that she was going to be at the exhibition. But something quite unusual (which I won’t spoil) happens to her keeping her from testifying.

The police chief likewise says that he believes her and goes to the hotel to question the owner. But again without evidence, there isn’t much he can do.

Enter George Hathaway again. Naturally, he helps the poor girl sort out exactly what has happened. It all leads to a surprising conclusion that is also somehow disappointing. They find a clever way to explain why they not only had to make Johnny disappear but his room too. It also satisfies questions of why they left her alone (except for the gaslighting).

And yet while it is clever, and it does explain everything, I found it not at all satisfying.

The film doesn’t amp up the mystery angle of the story very much. We know exactly who is involved, we just don’t know why. Vicky never seems to be in any real danger either. Instead, it is a story about a woman placed in an incredibly strange situation trying to understand what has happened and why no one will believe her.

On that front, it mostly worked for me. Jean Simmons is quite good and I always love Dirk Bogarde. He’s one of those actors that every time I watch him in a film I want to find him in other things.

In the end, it was a pretty good film, but I still prefer the Hitchcock version of this legend.

The Night Porter (1974)

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The Night Porter is a controversial and difficult film. Its main story is about a Nazi concentration camp officer and the girl he sexually tortured during the war reuniting for something like a love affair. There is more than that, and it is much more thoughtful than that salacious summation suggests. The Criterion Collection did a nice job of bringing it to Blu-ray with plenty of extras helping viewers to parse what the film is doing. You can read my full review here.

Great British Cinema: Modesty Blaise (1966)

modesty blaise poster

After watching a number of British films from the 1940s all filmed in a more classical style and mostly shot in black and white I wanted something more stylish, more colorful, more ’60s! Modesty Blaise scores highly on all of those charts. Unfortunately, it is also a rather big mess.

Loosely based on a series of comics and clearly trying to cash in on the James Bond craze, Modesty Blaise stars Monica Vitti as Modesty Blaise a criminal mastermind who is nevertheless hired by the British Secret Service to protect a shipment of diamonds headed to the Middle East.

Terence Stamp is her sexy cohort, Willie Garvin and Dirk Bogarde is camp personified as Gabrielle the super-villain.

This is another one of those movies where even though I watched it only a couple of weeks ago I’ve completely forgotten the vast majority of the plot.

It is decked out in those bright, candy-flavored colors certain movies of the 1960s loved. The costumes are amazing and Modesty seems to change clothes every few minutes, even if she’s right in the middle of a scene. The film has a lot of fun with that, actually, allowing her to find a new costume and change in a millisecond even though there is no conceivable way in which this could actually happen.

The music is wild and the plot (what I remember of it) has that early James Bond silliness to it. Part of the reason why I can’t remember the plot is that most of it makes very little sense. It feels very much like they just threw a bunch of stuff together, hoping it would come out really fun in the end. Wikipedia notes that some of this was intentional as they were trying to create a more avant-garde-style film. Whatever the case, it comes out more confusing and obnoxious than interesting and fun.

It is very bright, and camp, and the music is a real treat. I just wish it was a little more coherent. But I’d say it is worth watching if you are a fan of 1960s cinema in the style of James Bond or Rowan and Martin’s Laugh In.