Are manmade things ever worth dying for? How do you weigh the value of art or artifacts against the value of human life? On the one hand, human life is sacred; things are just things. On the other, the cultural heritage of a people is an irreplaceable treasure that belongs not only to the whole community, but to all future generations.
If the two British twits on the titular train in Carol Reed’s overlooked, entertaining Night Train to Munich seem to have wandered in from another movie, it’s because they have.
How do you weigh the cultural heritage of a nation against the value of human life? That’s the subtext of The Train, a wholly persuasive, intelligent thriller crisply directed by John Frankenheimer (The Manchurian Candidate) with documentary-like realism and emphasis on action and problem-solving.
Although not as nerve-wracking as High Noon, 3:10 to Yuma is even more claustrophobic — the heart of the film is the verbal sparring between Evans and Wade in a second-story hotel room — and the two-character drama is more intriguing than High Noon’s protagonist standing alone.
There’s no spiritual duel, no earned respect and debt of honor. There is just a broken man and a capricious one: one harboring hopeless dreams of being a man again in the eyes of his wife and son but no hope of achieving it; the other larger than life, an implacable force of nature able to kill men and seduce women essentially at will, and who never has any reason to honor or respect the other man, but could conceivably take pity on him and go along with him, if it strikes his fancy.
Somebody has to say it: Made at the height of Disney’s early brilliance alongside Snow White and the Seven Dwarfs, Fantasia, Pinocchio, and Bambi, Dumbo is the odd weak link in the chain.
A mounting sense of dread and inevitability hangs over Fred Zinnemann’s grim, downbeat Western classic High Noon, a black-and-white anti-spectacle about an aging lawman who receives a series of nasty shocks on the day he tries to hang up his gunbelt and begin a new life.
Thanks to the skills of director Patrice Leconte, L’Homme du train (Man on the Train) would have made an excellent silent film, except that we would have missed the enchanting tones of Jean Rochefort’s retired poetry teacher, Monsieur Manesquier. Manesquier talks like a schoolboy who has yet to leave behind his school days — his rich words and phrases touch on his dreams and wishes, and are charmingly tinged with sexual innuendo and self-deprecation. Rochefort’s characterization is perfectly complemented by Johnny Hallyday’s stoic career criminal, Milan, who responds to questions with either silence or sapient, terse words.
Copyright © 2000– Steven D. Greydanus. All rights reserved.