64 of 72 people found the following review helpful
on August 5, 2008
My first introduction to the great French movie star Jean Gabin came not from his French classics like "Grand Illusion" and "Pepe Le Moko," but from this incredible, haunting overlooked gem -- one of the great lost classics of the 1940s -- which, thanks to Fox DVD, is no longer lost!
1942's "Moontide," one of only two American-made/English-language films in which Gabin ever appeared, is not only one of the most powerful and absorbing Films Noir you'll ever see in your life, but it's brilliantly made, as well: While the credited director of the film is Archie Mayo, Fritz Lang ("Metropolis") directed a handful of sequences, and Salvador Dali even contributed a great, surreal "drunk" sequence. The chemistry between Gabin and Ida Lupino is electric and, indeed, I can't speak highly enough about "Moontide," a film which will stay with you long after the final credits have ended. I'm excited that it has finally merited a DVD release, here in the US.
To read more about Jean Gabin and "Moontide," check out my book WORLD'S COOLEST MOVIE STAR: THE COMPLETE 95 FILMS (AND LEGEND) OF JEAN GABIN, VOLUMES ONE AND TWO, which is available at Amazon.com, as well as through [...].
20 of 21 people found the following review helpful
on September 18, 2008
Back in 1941, director Archie Mayo (The Petrified Forest, Charley's Aunt, A Night in Casablanca) faced the unenviable task of stepping in to rescue a 20th Century Fox film project called Moontide, which had been abandoned by the great Fritz Lang not too long after shooting had begun. As one of the pioneering German expressionists, Lang was a key developer of the visual style that eventually morphed into a defining noir "look" (some of his pre-1940s classics like M, The Testament of Dr. Mabuse and Fury are generally considered seminal proto-noirs). Moontide was also to be the American debut for Frenchman Jean Gabin, already a major star in Europe (Pepe le Moko, The Grand Illusion, La Bete humaine). Needless to say, the pressure was on for Mayo to deliver. And "deliver" he did, with this moody and highly stylistic sleeper, ripe for rediscovery.
Gabin stars as Bobo, an itinerate odd-jobber (the type of character Steve Martin might call a "ramblin' guy") who blows into a coastal California fishing community with a parasitic sidekick named Tiny (Thomas Mitchell) in tow. Adhering to time-honored longshoreman tradition, Bobo and Tiny make a wharfside pub crawl the first order of business when they hit port. It is quickly established that the handsome, likable and free-spirited Bobo loves to party, as we watch him go merrily careening into an all-night boning and grogging fest. The next morning, Bobo appears to be suffering from a classic blackout, not quite sure why or how he ended up sacked out on an unfamiliar barge, wearing a hat that belongs to a man who has met a mysterious demise sometime during the previous evening. Taking a stroll along the beach in an attempt to clear his head, he happens upon a distraught young woman named Anna (Ida Lupino) who is attempting to drown herself in the surf. Anyone who has screened a noir or two knows what's coming next. Before we know it, Bobo and Anna are playing house in a cozy love shack (well, bait shop, technically). Of course, there is still that certain unresolved matter of Did He Or Didn't He, which provides the requisite dramatic tension for the rest of the narrative.
John O'Hara's screenplay (adapted from Willard Robertson's novel) borders on trite at times and could have done more damage to the film's rep, if it had not been for Gabin and Lupino's formidable charisma, as well as the beautifully atmospheric chiaroscuro photography (by Charles G. Clarke and Lucien Ballard) and assured direction from Mayo. There are several brilliant directorial flourishes; the montage depicting Bobo's fateful night of revelry is a particular standout. The surreal touches in that sequence were "inspired" by some original sketches submitted on spec by Salvatore Dali, who was slated to contribute art direction, but ended up dropping out for one reason or another. Great supporting performances abound, particularly from a nearly unrecognizable Claude Rains as a paternal waterfront philosopher who could have easily strolled off the pages of Steinbeck's Cannery Row. Moontide would make an interesting double bill with Clash by Night, another character-driven "cannery noir" set in a California fishing town milieu. The Fox DVD sports a great transfer and an insightful commentary track.
27 of 31 people found the following review helpful
on September 27, 2008
As a big fan of noir and old black and whites, it's fun to still be able to find an old unknown to me movie like this one and be able to enjoy it. And I did enjoy it for some surreal and unpredictable scenes (such as the drunken night, the locker room, and an unusual wedding gift) and some actors (Rains seemingly a perfect fit for his part, lovable character actor Mitchell playing well against type here, Lupino solid given what she had to work with), but I thought Gabin was fairly clunky throughout and calling it a great film is seriously overrating it. I wouldn't call it noir either even though it's got a French actor, night scenes, and fog.
I haven't listened to the commentary yet, but there's a 25 minute documentary about how it came to be the film it is which I found at least as interesting as the actual movie. It talks about why original director Fritz Lang left, the many topics in the original source material which couldn't get past the censor (and yet somehow did in less obvious ways), and how the film is different from the original story as a result.
It's a fun movie and you'll probably like it. Just don't prepare yourself to see a classic masterpiece.
6 of 6 people found the following review helpful
on November 3, 2008
A lovely, lyrical film about the power of the ties that bind us. I see that it was nominated for an Oscar for cinematography, and it definitely shows.
Bobo (Jean Gabin) is a world traveler, a longshoreman who typically comes in to town and leaves with the tide. He is, unfortunately, a very strong man and a bit of a capricious drinker. Due to these tendencies, he has picked up a ramora fish who is unwilling to let go of his meal ticket. When Bobo goes on a bender and an old man ends up dead, the ramora ("Tiny" played by Thomas Mitchell) tucks this nugget into his nasty little pocket to use against Bobo when the time comes. The time comes in the form of lovely frail Anna (Ida Lupino), saved from drowning. Claude Rains shows up as the conscience and soul of the whole affair. "Nutsy" never sleeps ("Not since 1936. Or was it 1937?") maybe because he doesn't want to miss a second of the gorgeous love story unfolding in front of him.
The early drunk scene is truly odd and revelatory. I said to the King of Noirs "looks like German Expressionism". Little did I know how right that was, as Fritz Lang was replaced as the director. That makes sense with the inclusion of both Claude Rains and Jean Gabin...the whole thing rolls like a gently psychedelic germano-french new wave Noir.
Ida is lovely and the performances are first rate all around. The allegory of the sea wall, with the giant anchors along the top, should be inducing film school theses galore. Excellent. Highly recommended.
5 of 5 people found the following review helpful
on October 5, 2008
One thing this film does feature is fine acting. From the supporting actors to the lead stars the performances in this picture are stellar. Jerome Cowan, a character actor whose film credits read like a list of 'who's who' is in top form as the doctor whose chance encounter with the principle characters proves to be life changing. Robin Raymond turns in a solid portrayal of a dance hall hustler. Even Victor Sen Yung in a role that could have played as nothing more than a stereotype is believable as the bait pedlar who more or less adopts the film's leads. Claude Rains is wonderfully empathic as the picture's resident philosopher.
But it's the principles who really shine. Ida Lupino combines a nice mixture of vulnerability and street-wise toughness to form the basis of the troubled 'Anna'. Jean Gabin, in one of his rare North American films, is fabulous. This man comes across as rough and crude, but also sweet and kind. There's never a moment when he isn't believable. Thomas Mitchell comes close to stealing the show. And if it weren't for the calibre of the performances around him, he probably would have. He is magnificent in what proves to be a rare turn as a complete heel who steps away from but never quite loses his humanity.
The cinematography by Charles G. Clarke makes excellent use of the lines the sets provide him with. The film's score (by David Buttolph and Cyril J. Mockridge) is compelling and follows the drama well. The lighting (which is uncredited) alternates between darkly atmospheric and warmly radiant according to the demands of the script. And the Directing by Archie Mayo keeps the story moving at a brisk pace. Most importantly he seems to have encouraged the players to take their characters and flesh them out.
The story, from a novel by Willard Robertson, is a good one. Screenwriter John O'Hara apparently had to change it drastically but he did it well. This is a character driven piece in the truest sense of the word. The people it portrays are flawed. Their stories are never less than compelling. They're strong and weak all at once, kind but selfish, driven by greed but never completely greedy. They're the down and out, the lost souls of society, yet as the film reveals, turn out to be anything but lost. They're characters who can be believed and felt for. Even the worst among them never becomes completely unsympathetic.
The one failing of the picture is that the quality of the sets doesn't match the quality of everything else that was done. It's not entirely the fault of the production crew. This was supposed to be a 'location' shoot but the attack on Pearl Harbour rendered the intended place off limits. After that the Studio had to 'make do', which is exactly what they did. The backdrops that depict the 'coastline' look like what they are. The basic designs are good enough but most of them lack depth. Most of the scenes set near the ocean look as if they were filmed in a tank. And the walkway that leads to the barge where Lupino and Gabin reside is close to laughable. Only the sets that were supposed to depict the indoors are any good.
That said, this is a piece that transcends its failings. The characters come across as real people and their drama could be real. The transfer to DVD is good and the extra's, especially the documentary about the making of the film, are good. It loses a star for the shoddy backdrops but this is one to have.
11 of 14 people found the following review helpful
MOONTIDE was Jean Gabin's Hollywood debut. It's a nicely-paced noir about a longshoreman who, when sobered up after a drinking binge, fears he may have killed a man. To keep a low profile, the dockworker takes a job on an isolated bait barge, but love comes to him unexpectedly in the form of a woman trying to drown herself.
In Raoul Walsh's HIGH SIERRA (1941), Ida Lupino received star billing over Humphrey Bogart.
Parenthetical number preceding title is a 1 to 10 viewer poll rating found at a film resource website.
(7.2) Moontide (1942) - Jean Gabin/Ida Lupino/Thomas Mitchell/Claude Rains/Jerome Cowan/Ralph Byrd/Victor Sen Yung/Tully Marshall
CAST AND CREW TRIVIA--
Was adapted for the screen by John O'Hara and Nunnally Johnson.
Archie Mayo also directed THE PETRIFIED FOREST (1936) starring Humphrey Bogart, THE ADVENTURES OF MARCO POLO (1938) with Gary Cooper, and the Marx. Bros. last film, A NIGHT IN CASANLANCA (1946).
Long-time star Jean Gabin (Bobo) resisted leaving France for Hollywood, until the German Army's occupation of his native country made the trip almost a necessity. Gabin acted in two American films before returning home in 1946.
Actress Ida Lupino (Anna) was also a successful director.
Thomas Mitchell (Tiny) originated on stage a role later played by Peter Falk on TV-- Lt. Columbo.
Claude Rains' (Nutsy) natural accent was the English dialect known as Cockney.
Ralph Byrd (Rev. Wilson) played comic strip crimefighter Dick Tracy in movies and on early TV.
2 of 2 people found the following review helpful
on November 13, 2011
There are a million ways, a million ways cinematically and maybe in life too, that boy meets girl, crime noir or not. Even if that "boy" is a not so young drifter sailor, Bobo (played by Jean Gabin last seen by this reviewer in the incredible French film, Max Ophuls' Children of Paradise), whose been around, and thinks he wants to stay been around. Except fastened to the California waterfront like glue by his profession he is called upon to save a damsel in distress. A young woman, Anna, who serves them off the arm in some hash house (played here by Ida Lupino last seen by this reviewer in High Sierra with Humphrey Bogart and Pard) who was, at wits end for some unknown reason, sets out to drown herself. Naturally sea-worthy Gabin saves her, and the romance is on.
But wait a minute this is a crime noir as well as a boy meets girl story. And Bobo is set up to fit the frame while he was drunk by his friend Tiny, a serious ne'er do well and slightly psycho, after Tiny has killed a denizen of the waterfront over some trivial matter. So the boy meets girls setting up house (on a barge of course out on the breakwater) part keeps on getting set back by the Bobo frame-up part. All, by the way, done in high 1940s melodramatic style.
But there is more. This film's script is filled with little philosophical reflections by one and all, Bobo most of all. For Bobo about leaving the high seas adventure life and its down time waterfront dive existence and settling down. By Anna about whether she is "worthy" to be Bobo bride and find happiness in their cozy little barge by the breakwater. By other characters like Doc (a boat owner) and the night watchman, Nutsy (played by Claude Rains). Hell, even Tiny makes a pitch that he just needs a new life up north to break out of his psycho ways. Like I said very melodramatic but as always with Gabin you get some incredibly expressive acting and Ms. Lupino does her misspent working class unworthiness existence whine to a tee.
2 of 2 people found the following review helpful
on February 14, 2009
Moontide is a very dark, very romantic, deliberately "artificial" film noir, essentially shot in studio lots. Gabin is really brillant, sometimes acting like one of the later method actors (eg. Paul Newman), with his never quiet hands, body and this french accent. Ida Lupino is typecast as an outcast, but no one can play such roles better than her (you can't believe that she only came in because Joan Bennett got pregnant). The supporting cast is excellent, you will find Thomas Mitchell as the villain (totally cast agains type, but brillant), and last but not least Claude Rains as a "street philosopher", commentator and good friend of Bobo the sailor (Gabin) and later Anna, his girlfried (Lupino). Good technical quality, good extras.
For anyone who speaks German, see my longer review, also published on the German imdb site:
Nacht im Hafen (1942)
Nachtgestalten im Niemandsland, 29. Mai 2010
*** Dieser Kommentar kann Spielverderber enthalten ***
Es war einmal ein Seemann, der hieß Bobo und hatte nichts als seinen Seesack und seinen Hund... Es war einmal ein Mädchen, das hieß Anna und wollte nicht mehr leben... Es war einmal ein Mann, der hieß Nutsy und wachte des Nachts über die Gestrandeten, dass sie nicht zu Verlorenen werden. Es war einmal ein Mann, der hieß Tiny, der folgte Bobo auf Schritt und Tritt und ward böse, als Bobo Anna liebgewonnen hatte und ihn verlassen wollte... Willkommen im sehr künstlichen, poetischen, wie ein film noir fotografierten "Moontide", der ein moderneres Märchen ist. Die Namen sind - siehe oben - entweder sprechend (Nutsy, der "weise Narr", der ganz und gar nicht niedliche "Tiny", eher ein emotionales Riesenbaby) oder bestehen aus den einfachsten Kinder-Lauten (Bo-bo, An-na). Nachnamen gibt es nicht, im Falle von Anna und Nutsy auch keine Backstorys. Warum Anna sich ertränken will, wird nie geklärt, der oft betrunkene Bobo tut aber ein Mal im Leben instinktiv das Richtige und holt sie aus dem Wasser. Von da an ist Anna einfach da. Der Film spielt in einer abgeschlossenen, auf wenige Orte beschränkten Welt am Hafen. Ob Anna einen Mann, festen Freund, Familie oder Freunde hat, wird nie gesagt. Sie möchte sich zwar wieder "auf den Weg" machen, aber wir erfahren nie, wohin sie denn gehen könnte. Folglich kommt sie zu Bobo zurück, der nach durchzechter Nacht in einer kleinen Holzhütte aufgewacht ist und dort für einen Chinesen Köder verkaufen und wohnen darf. Indem "Moontide" Menschen auf ihre nackte Präsenz zurückwirft und dabei zuguckt, ob sie aus dem Nichts eine Zukunft schmieden können, bekommt er eine elementare Kraft. Er ist ganz auf die wesentlichen Fragen des Lebens reduziert, auch in einer Kunstwelt, in die Menschen hineingeworfen werden, "einen Platz zu finden". Dabei kann auch eine Hütte mit einem Schild "live bait" ein Heim werden. Und ein wilder Außenseiterhaufen ein Mikrokosmos der Gesellschaft. Anna ist (obwohl sie "schon manches erlebt haben wird") die Jungfrau, die nackt in diese Gesellschaft geworfen wird und ausgerechnet in Bobo ihren Prinzen findet. Die schäbige Hütte ist das Schloss. Tiny ist die böse Schwiegermama Bobos, die ihn nicht freigeben will und auch vor Grausamkeiten nicht zurückschreckt (der Film leistet sich hier für 1942 ungewöhnliche homoerotische Anspielungen). Nutsy ist eine Art Gott der kleinen Leute, der nach eigenem Bekunden nie schlafen muss, von dem wir genauso wenig wie von Anna erfahren, ob er ein Leben jenseits des Hafens hat, und der als Gossenphilosoph über das Geschehen wacht sowie gelegentlich unaufdringlich und weise in es eingreift. Dies alles führt zu einer bewusst "einfach" gehaltenen Geschichte, die aber gerade deshalb eine poetische Ur-Kraft entfalten kann, die sehr berührt. Daneben gibt es eine Krimi-Handlung. Bobo soll im Vollrausch einen Mann erwürgt haben, was ihm Leid täte - aber er weiß schon, dass er gelegentlich zu unkontrollierter Brutalität fähig ist. Tiny scheint ein Geheimnis aus Bobos Vergangenheit zu kennen, mit dem er ihn an sich binden kann. Dies alles ist mit Liebe zum Detail inszeniert - wie Bobo am Ende mit Tiny abrechnet, ist eine meisterhafte Choreographie aus Schritten, Gesten und Blicken. Überhaupt, Blicke, man muss einmal auf die Schauspieler zu sprechen kommen: Jean Gabin als Bobo ist eine umwerfende Vorwegnahme guter Method Actors (auch wenn er sich vermutlich viel weniger dafür anstrengen musste). Jede Handbewegung sitzt punktgenau mit einer lässigen Nonchalance, wenn er zu Beginn seine Drinks ordert und anschließend ohne großen Aufwand - obwohl angetrunken - einen stärker wirkenden Seemann niederschlägt, aber ihm dann kumpelhaft aufhilft, weil er es schätzt, dass der andere wenigstens versucht hat, für sein Mädchen zu kämpfen. Später kann Gabin aber auch mit stummen Blicken alles sagen, wenn er etwa in Gesellschaft einer Hafennutte in die Kamera blickt und feststellt, dass das nicht alles in seinem Leben sein kann. Oder wenn er in Annas Schoß versinkt und damit einräumt, auch einmal jemanden zu brauchen. Ida Lupino ist Anna in einer ihrer vielen Outcast-Rollen, bei der man sich gar nicht vorstellen kann, dass sie eine Ersatz-Besetzung war (Joan Bennett war schwanger geworden). Thomas Mitchell als Tiny ist gefühlte 100 kg unterdrückte Wut, Homosexualität und kaum zu bändigender Frust, ein überzeugender Antipathieträger und brutaler Widerling, dem man aber auch das Tragische dahinter ansieht. Claude Rains ist der äußerlich zunächst kaum wiederzuerkennende, etwas schrullig gekleidete Nutsy, dem man schon der markanten Stimme wegen seine Rolle als weiser Herr über die Geschicke der kleinen Leute abnimmt. Auffällig ist ferner, dass der Film eine Reihe origineller Skurrilitäten aufweist, die dem Jahr 1942 voraus waren. Tiny verdrischt Nutsy in einer Art s/m-Szene unter der Dusche mit dem Handtuch. Bobo schenkt Anna zur Hochzeit ausgerechnet das gebrauchte, auf etwas eindeutige Art aufreizende Kleid der Hafennutte (und wir empfinden das keine Sekunde als geschmacklos - die Barschaft ist begrenzt, und längst haben wir akzeptiert, dass man auch zum Einkaufen aus dieser geschlossenen Welt nicht herauskann). Bobo hilft ab und an einem Arzt, dessen Motorboot zu reparieren - obwohl für die Handlung unwichtig, wird darauf hingewiesen, dass dessen schöne Begleitung nicht des verheirateten Arztes Frau ist und seine Geliebte schon jetzt genervt ist, dass sich der Mann als Möchtegernseebär entpuppt. Außerhalb des Mikrokosmos ist die Welt auch nicht in Ordnung. Aber in "Moontide" den Menschen dabei zuzusehen, wie sie mit der ihren fertig werden, ist ein ungewöhnliches, poetisches und spannendes Filmerlebnis.
2 of 2 people found the following review helpful
on October 12, 2012
Moontide is a strange and great film from 1942 that the world forgot. The mood and atmosphere of Moontide are most interesting, and the viewer will find it to be a dark story with some excellent characters. It's hard to think of another film to compare it to. It's a film that the studio put a lot of resources into producing, even though so many factors were threatening Moontide's survival (Fritz Lang quitting, Pearl Harbor happening, Jean Gabin being mostly unknown in the U.S.)
It's certainly worth watching for any one who enjoys films of the 40's. However, Moontide is not really a "Film Noir". For one thing, it preceeded many of the most famous Film Noirs by a few years. Second, the story doesn't exactly live in the Film Noir realm (no private detective, no Femme Fatale, no insurance fraud). And lastly, Moontide isn't meant to be a Film Noir. It's being marketed as such because of the more recent popularity of anything "Film Noir". But, Moontide is an excellent film regardless.
PS - The cover image on this Amazon page shows the tagline "There's Fear In The Night!". However, the copy we received shows the tagline "Romance, Blackmail and Betrayal On The Waterfront!". The rest of the cover art is the same. But we expected "Fear In The Night!". We also thought that there was an airplane below it.
3 of 3 people found the following review helpful
on November 27, 2010
I had never seen this movie before but found it to be very enjoyable. I do like Ida Lupino so I gave it a chance. Loved the story.