I hadn't heard about that. It certainly would be quite a bit different--the whole movie would've seemed different.
I mentioned it about a month ago, when I discovered the Powell and Pressburger Appreciation Society. As much as I like Roger Livesey, I genuinely can't imagine him in the role; I know actors can play successfully against type, but I'm not sure his Colpeper would have had that same initial, glacial charge.
I don't think so.
Maybe I should have used the word "acceptable"? I just remember there seemed to be a whole slew of films where if you needed a villain, hello, Nazis! They were like cinematic shorthand for pure evil, so you didn't need to worry about the ethical implications of blowing them up, or something.
Though for propaganda purposes, I suppose it would have been more important to dehumanise Nazis.
I know. But they're so much scarier when human . . .
There's The Night Porter, which I haven't seen, though I very much want to.
Same. I saw the Criterion DVD in a store last year and, from the cover image alone, wanted to know the story.
Heh. I found it too easy to have pornographic thoughts about young Sheila Sim.
She is beautiful. And she was in surprisingly few films, for her talent: I couldn't find her in anything after the mid-1950's.
Though I sort of liked how Howard let the Nazi unload his gun at him
Yes: and that proves he isn't the coward that Hirth called him, if either he or the audience needed confirmation. But that he then beats the tar out of the Nazi? A little overkill.
Then I looked at The New York Times first thing to-day and saw two Picassos were just stolen.
no subject
I mentioned it about a month ago, when I discovered the Powell and Pressburger Appreciation Society. As much as I like Roger Livesey, I genuinely can't imagine him in the role; I know actors can play successfully against type, but I'm not sure his Colpeper would have had that same initial, glacial charge.
I don't think so.
Maybe I should have used the word "acceptable"? I just remember there seemed to be a whole slew of films where if you needed a villain, hello, Nazis! They were like cinematic shorthand for pure evil, so you didn't need to worry about the ethical implications of blowing them up, or something.
Though for propaganda purposes, I suppose it would have been more important to dehumanise Nazis.
I know. But they're so much scarier when human . . .
There's The Night Porter, which I haven't seen, though I very much want to.
Same. I saw the Criterion DVD in a store last year and, from the cover image alone, wanted to know the story.
Heh. I found it too easy to have pornographic thoughts about young Sheila Sim.
She is beautiful. And she was in surprisingly few films, for her talent: I couldn't find her in anything after the mid-1950's.
Though I sort of liked how Howard let the Nazi unload his gun at him
Yes: and that proves he isn't the coward that Hirth called him, if either he or the audience needed confirmation. But that he then beats the tar out of the Nazi? A little overkill.
Then I looked at The New York Times first thing to-day and saw two Picassos were just stolen.
From his granddaughter? Oh, no points for that.