The film begins in Moscow, with civilians preparing defences in their streets. Men in civilian clothes with rifles prepare for battle. Women machine shell cases and prepare hand grenades. An apparently huge Stalin makes a battle speech in Red Square to thousands of cheering Red Army soldiers on parade with greatcoats, ushankas, and fixed bayonets.
Moscow Strikes Back was produced as "Project 6004; Information film #5", under the working titles of "Know Your Ally: Russia" and "War in the East".[2] Preparation of the scenario started on 1 April 1942. A print of the completed film was provided to the Russian authorities on 9 July 1943.[2] Much of the footage was new; some was from American sources including newsreels, and some from captured German sources. Existing Russian films including Sergei Eisenstein's 1938 Alexander Nevsky were sampled.[2] Three Russian versions were produced, consisting respectively of 6, 9, and 10 reels of film. The cinema release was in two parts, the first covering events up to 1941, and the second the subsequent events on the eastern front.[2]
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The English version's narration was written by Albert Maltz, with uncredited writing by Jay Leyda,[3] and Elliot Paul.[4] It was distributed by Artkino Pictures and Republic Pictures.[5] The film was first shown in the New York on 15 August 1942 at the Globe Theatre.[6] The New York Times credits it as: "Russian documentary produced by the Central Studios, Moscow, USSR; English commentary by Albert Maltz, narrated by Edward G. Robinson; editing and montage by Slavko Vorkapich; musical score arranged by Dimitri Tiomkin; released here through Artkino Pictures, Inc. At the Globe Theatre."[7] Footage was included in Frank Capra's The Battle of Russia.[2][8][9]
In 1942, the New York Times reviewed the film favourably, stating that the work of "Russian front-line cameramen" would "live in the archives of our time." The review stated that it was not "to be described in ordinary reviewer's terms" as the film was not staged but recorded in actual combat. It had a powerful effect, "sting[ing] like a slap in the face of complacence", and "lift[ing] the spirit with the courage of a people who have gone all-out."[7] The Times reviewer described the film in detail, admitting that words are inadequate, and adds that "The savagery of that retreat is a spectacle to stun the mind." He found "infinitely more terrible" the sight of the atrocities, "the naked and slaughtered children stretched out in ghastly rows, the youths dangling limply in the cold from gallows that were rickety, but strong enough."[7] The review concluded that "To say that Moscow Strikes Back is a great film is to fall into inappropriate clich." Slavko Vorkapich's editing is described as brilliant; Albert Maltz's writing as terse, Robinson's voice-over as moving, "but that does not tell the story of what the heroic cameramen have done", filming "amid the fury of battle".[7]
In the USSR, the film was awarded the Stalin Prize. In America, it was one of four winners at the 15th Academy Awards for Best Documentary Feature.[5] This was the USSR's first Oscar, awarded for the American cut of the film. This had been shortened by 14 minutes, recut, and re-narrated, without much of the Soviet ideology, from the Russian-language original. It gained an American audience of some 16 million.[11] It also won the National Board of Review award for best documentary in 1942,[12] and a New York Film Critics Circle Award for Best War Fact Film.[13]
Back to 1942 is a 2012 Chinese historical film directed by Feng Xiaogang.[2] It is based on Liu Zhenyun's novel Remembering 1942, and is about a major famine in Henan, China, during the Second Sino-Japanese War. On 11 November 2012, the film premiered at the International Rome Film Festival.[3] The film was selected as the Chinese entry for the Best Foreign Language Film at the 86th Academy Awards,[4] but was not nominated.
The film is set in Henan, China in the winter of 1942, during the Second Sino-Japanese War. Master Fan is a wealthy landlord in a village in Henan. When the village is suffering from famine, Fan still has plenty of food to feed his family and the villagers. A group of bandits come and rob the village, eventually burning it down to the ground. Fan's son dies in the process of stopping the bandits.
The plight of Master Fan continues as his family members die one by one. He is eventually forced to sell his daughter into prostitution in return for food. Losing hope on life, he heads back to the east in the hope of dying somewhere near his home. On his way back, he meets a little girl who has just lost her mother. He adopts the girl as his granddaughter and they continue their journey.
Back to 1942 received mixed reviews. It has a 40% approval rating on the review aggregator website Rotten Tomatoes, based on 10 reviews with an average rating of 5.2/10.[6] Metacritic gave the film a score of 41/100 based on six reviews.[7]
An imposing, technically sophisticated achievement, Back To 1942 (Yi Jiu Si Er) covers a lot of ground and deals with a large cast of characters, but somehow, as if to confirm the old saying that one man dying is a tragedy but a million deaths is a statistic figure, it is rather the size of his film and the dexterity that went into its making which will affect Western audiences more than its contents.[9]
Clearly a huge undertaking, the film is a relatively even-handed account of a famine which killed three million people. But the storytelling in Back to 1942 is so careful that it fails to build much interest or emotion.[11]
In 1942, Henan province was devastated by one of the most tragic famines in modern Chinese history, resulting in the deaths of at least three million people and tens of millions of refugees. Although the primary cause of the famine was a severe drought, it was exacerbated by locusts, windstorms, earthquakes, disease, and the corruption and incompetence of the Nationalist party who had imposed harsh taxes and seized grain to feed the army.
Based on a novel by Liu Zhenyun, Back to 1942 is a powerful and moving historical epic film, based on eyewitness accounts of Pulitzer Prize-winning Time Magazine journalist Theodore H. White (Adrien Brody). White's scathing report on the extent of the famine embarrassed Chiang Kai-shek (Chen Daoming). As the story unfolds, the Chinese government must decide who is fed: their troops or their people.
Liu Zhenyun is a frequent collaborator with acclaimed film director Feng Xiaogang, who has put many of Liu's novels on to the screen. Back to 1942, however, is a unique project that took them and their team 19 years to complete. Liu is a famous Chinese writer with many of his novels adapted into TV dramas or films, such as One Sentence Worth Ten Thousand, Chicken Feathers Everywhere, to name just a few.
I should note that while the acting in the film is second rate when delivering dialogue, I did like the performances of the supporting actors which include Tom Conway as Dr. Louis Judd and Elizabeth Russell as other the sister Serbian cat woman in restaurant. While you only see Elizabeth on the screen for a few shots, she really manages to steal the scene.
My favorite scene in the film is where Alice Moore is walking quickly away from Irena Dubrovna Reed through Central Park. Jacques Tourneur does a wonderful job of building up suspense through the use of tight paced editing, shadows, and sound (and all on a sound stage, shot in Hollywood, which gives you the feeling of being in Central Park in NYC).
As the story begins, a great drought is in progress and the walled village of Yanjin in central China is running out of food. When a band of hungry farmers threatens to attack, rich property owner Fan (Zhang Guoli) agrees to feed them, but secretly sends for the guards. This sets the stage for the first big action sequence, a spectacularly filmed fight for food in which many are killed and the village is torched.
The Cinema Judaica Collection consists of posters, lobby and photo cards, scene stills, pressbooks, trade ads, programs, magazines, books, VHS tapes, DVDS, and 78 rpm records relating to films about World War II and the Holocaust as well as Jewish, Israeli, and biblical subjects, from 1923 to 2000, from the United States, Europe, Israel, Canada, Mexico, and Argentina.
Poster: for the film "The Search" with autograph by Jarmila Novotn. This object is one of more than 1,200 objects in the Cinema Judaica Collection of materials related to films about World War II and the Holocaust as well as Jewish, Israeli, and biblical themes.
Pressbook for "Confessions of a Nazi Spy"; Two newsprint ads for "Confessions of a Nazi Spy"; Lobby card for "Women in War." This object is one of more than 1,200 objects in the Cinema Judaica Collection of materials related to films about World War II and the Holocaust as well as Jewish, Israeli, and biblical themes.
Two newsprint ads for "Confessions of a Nazi Spy." This object is one of more than 1,200 objects in the Cinema Judaica Collection of materials related to films about World War II and the Holocaust as well as Jewish, Israeli, and biblical themes.
A couple of weeks ago I wrote about the Ginger Rogers film ROMANCE IN MANHATTAN (1935) and how much I'm enjoying catching up with more of her films thanks to the Warner Archive Collection.
As promised at the end of that review, I've now watched Ginger with Cary Grant in ONCE UPON A HONEYMOON (1942), also available from the Warner Archive. It was originally made available by the Warner Archive in March 2009, and it continues to be easily available over a dozen years later thanks to being MOD (manufactured on demand).
According to the records I've kept since I was young, I saw ONCE UPON A HONEYMOON on TV once, circa 1978. Despite starring two favorites, I honestly have no memory of anything that was in this film; its 117-minute running time was doubtless cut up to fit into a two-hour time slot, so I probably saw a lot less of the film back then than I did this weekend! I believe it was probably shown on Los Angeles station KHJ Ch. 9, which had films from the RKO library. KHJ, incidentally, is today known as KCAL. 006ab0faaa