A Great New Star to thrill you ! Strange romance to intrigue you !
After a drunken night out, a longshoreman thinks he may have killed a man.
After a drunken night out, a longshoreman thinks he may have killed a man.
Jean Gabin Ida Lupino Thomas Mitchell Claude Rains Jerome Cowan Helene Reynolds Ralph Byrd William Halligan Victor Sen Yung Chester Gan Arthur Aylesworth Tully Marshall Vera Lewis Robin Raymond John Kelly Pat McKee Charles Tannen Max Wagner Ralph Dunn Forrest Dillon Arthur Hohl Paul E. Burns Gertrude Astor Bruce Edwards Robert Milasch Constantine Romanoff Marion Rosamond Roseanne Murray Harry Semels Show All…
Thrillers and murder mysteries Epic history and literature War and historical adventure film noir, femme fatale, 1940s, thriller or intriguing historical, royalty, sumptuous, lavish or drama romance, emotion, relationships, feelings or captivating war, wwii, combat, military or duty marriage, emotion, romance, feelings or relationships Show All…
This review may contain spoilers. I can handle the truth.
Like many, many of the other films gutted by the demands of the PCA, Moontide, too, would have been more effective with its original backstory (Anna as a sex worker) and conclusion (Anna's death), elements that would have allowed the movie to have the consistent tone for which it's crying out. Similarly, such a characterization would have made Anna a more convincing character and, perhaps even most importantly, automatically deleted from the screenplay the truly bizarre, deeply uncomfortable speech to her about how women shouldn't be modest in the home
Even with its weaknesses and occasional lack of focus, however, Moontide remains very watchable, largely because of the performance of Ida Lupino as Anna, the suicidal "hash-slinger" turned hopeful, devoted…
"This world...You know the people in this world, when they do a good thing, maybe it'd be better if they took a bow every time."
Stagger on in to The Red Dot and pull up a chair. What's that you ordered? A Manhattan? Here's a beer. Now get comfortable and pay attention while we tell you the tale of Bobo and Anna.
Bobo's been having a rough go of it for awhile see? Been tryin' to hide that he wants more out of life by drinking too much. Always running away whenever anyone gets too close. So the other night, he's in here and he's really tying one on. So much whiskey down the hatch he can't even see straight. That…
claude rains? jean gabin speaking english and being somehow more charming than ever? ida lupino? TWO asian characters with names that arent Kung Pow and Ching Chang, one of whom speaks perfect english with no racist accent? wow this movie has it all
Lately I've hit a run of melodramatic noirs, probably my least favorite style in the genre. However, Gabin is so likable and Lupino is so hot and talented that the central romance worked enough to keep my attention. The writing’s pretty good, too, and Claude Rains is immensely likeable as Gabins friend (?) constantly covering for Bobo even though his motivations to do so are vague. This isn't a classic style noir, Lupino is no femme fatale as she is all sweetness but a fantastic black and white photography, some fun old timey dialogue (Lupino works at a breakfast place and is refered to as a "hash slinger" and I'll be using that from now on to annoy my wife) and a great murderous revenge finale makes this a fun noirish watch. Extra half star for lead characters named Bobo, Tiny and Nutzy.
there are parts in this where the camera holds on jean gabin's expression and every time just watching him made me involuntarily tear up. like there's something so emotionally raw in all his performances, even here when part of the time he's affable and charming but there are these little turns that just absolutely gut me!!!!
"Some fella named Bobo wants to take me home."
a french ruffian goes on a bender, only to wake up with no memory of the night before and the lingering suspicion that he might have killed a guy. so... it's like THE HANGOVER, but with Jean Gabin instead of Bradley Cooper (upgrade!) and anti-asian racism instead of anti-asian racism *and* homophobia (uh, upgrade?). Jean Gabin speaking English is not Jean Gabin. this banal, atmospherically inert romantic noir probably lost its mojo once Fritz Lang jumped ship (replacement director Archie Mayo brings little to the table beyond some phoned-in comedic chops and a doozy of a drinking montage). Claude Rains = MVP.
deal-breaker: the CONSTANTLY repeated fog horn sound effect sounds *exactly* like a vibrating iPhone, which pretty much renders the film unwatchable for anyone in the 21st century. it's a tough break, but this reason #3,499 why you don't settle for shit sound design.
Bit of an oddity- a novel chosen to adapt as a star vehicle for French actor Jean Gabin, with most of its darker material apparently exorcised in favor of an upbeat ending and a central focus on the romance--original director Fritz Lang quit and was replaced by Archie Mayo, Salvador Dali did work for the opening alcohol-fuelled delerium sequence, but most of his designs were rejected or toaned down, etc --despite being touted as a noir mystery, it's not really, with Gabin's Bobo not so much down and out as he is content living on the margins in his little floating house, with his friends (chief among them Claude Rains, delightful as usual) and welcoming Ida Lupino into his world…
I had pretty low expectations for this because my main motivation for watching it was the novelty of seeing Jean Gabin in an English-language film (it did NOT disappoint on that front, his French accent is so CUTE). However, I was pleasantly surprised to find that the film itself is a very romantic noir-ish story.
The romance here is divine. There's just something about Jean Gabin, on screen he is such a romantic. The relationship between Bobo and Anna is lovely. It felt like something a woman would write: a beautiful whirlwind romance where the man puts it all on the line for the complicated and smart woman he adores. I wanted more scenes of them just being a sweet…
Not as much noir as a romantic drama, but the cinematography is noirish. The description I read said the movie was about a man who may have killed someone while he was drunk, and while that is in there, most of the time is spent on the love between Jean Gabin and Ida Lupino. Thomas Mitchell and Claude Rains also figure prominently. Mitchel plays a warped SOB, quite different from his usual jolly character. Lapino in particular is good here. She captures the spirit of a woman who has had a traumatic past quite well. Fritz Lang worked on this picture for two weeks, but abandoned it and Archie Mayo took over.
It truly has been ages since I've seen a Gabin film. His first Hollywood film, Moontide is a noir that skirts by on Gabin's charms and the moody, fog-shrouded cinematography.
Moontide barely has any plot, and I feel like some backstory got lost along the way. In any case, the main focus is Gabin's romance with Ida Lupino. I love her brittle intensity here. Thomas Mitchell and Claude Rains provide indelible supporting turns, too. But what I find most necessary to mention is that I could gaze at Gabin's bedroom eyes all day long. I love him so much.
Anyway, Moontide's artificial, dreamlike atmosphere is definitely a strong selling point. This film is a great example of how French poetic realism influenced American cinema of the period, noticeably highlighted by Gabin's presence.
Oh, this suited my taste. A very rare chance of seeing the French ruffian master Jean Gabin in Hollywood.... TALKING ENGLISH!!! Good English too! That alone makes Moontide (1942) a must! I liked the minimalistic setting at the pier. Reminded me a little of the atmosphere in Le quai des brumes (1938), though not that great, even if this did receive a Oscar nomination for Best Black-and-White Cinematography. This had more European roots than the usual Hollywood polish.
Match Gabin with Ida Lupino and you got another reason to watch this. She didn't get all that much to do until the confrontation at the end, but there she showed her real flare! All through-out this you have Thomas Mitchell lurking…
Don't think I've appreciated Jean Gabin enough in the past. He's great here in a story that isn't nearly noirish enough for a guy who got so drunk he may have killed a man. I loved it when he's chasing the villain along the piers, shouting after him; "come 'ere". A French accent isn't particularly threatening (plus his name's Bobo for goodness' sake) but his face tells you he means business.