Author: Snugglecub

One of Our Aircraft is Missing – 1942

This movie surprised me in a very good way.  Not only was it a really good movie, but the special effects were unlike anything I have ever seen.  Innovative?  You bet your boots!  And I can say that after watching the first few minutes of the film, my expectations weren’t very high.

What I mean is that in the opening sequences, the quality of the film, in general, didn’t seem very good.  The sound seemed off, somehow.  Whenever any of the actors spoke, their voices sounded too high-pitched and nasal, like a cartoon character.  And the picture on the screen looked dark around the edges, almost like some of those really early examples of film from the silent era.  Also, there were no big American Hollywood names in the film, implying to me that there was no big American Hollywood money behind the production.  The cast wasn’t completely unknown, but there were no superstars like Clarke Gable or Myrna Loy.

But as the opening sequence was drawing to a close, the incredible special effect of an airplane crashing into an electric tower and exploding in a fantastic ball of fire blew me away!  My low expectations were proven completely wrong, and over the next hour and a half, I was drawn into a story that was exciting, intense, and incredibly well-told!  It was a film that strove for realism and authenticity, and I think it really accomplished its goal.  In fact, as a form of sound effect, there was no underscoring in the film, adding to the air of reality.

Many of the visual effects made use of the standard tricks of the trade in the 1940s.  Matte paintings, rear-projection, and the like, made the sets and locations seem bigger than studio film lots.  It is also important to note that when the production began filming, the script was unfinished, and was constantly being updated during production.  Apparently, as new wartime technologies kept being invented, the script would be re-written to include them.

But there was one sequence in particular that caught my attention.  The bombing of Stuttgart was incredible.  Even now, I’m not sure how some of their effects were accomplished.  As the Vickers Wellington Bomber flew over the burning city, anti-aircraft projectiles were hurtling through the sky.  The image, on the whole, was fairly dark, but these streams of ephemeral light were streaking through the smoke.  They looked like either focused beams of moving light being projected onto the smoke, or animated enemy fire.  I’ve never seen such a technique used in film before, and it looked phenomenal!

According to Wikipedia, the Bomber was constructed in Riverside Studios, Hammersmith as a large-scale replica.   It filled the entire studio floor and was fitted with lights and explosives for when it got shot down.  It was an incredible special effects sequence that completely caught me off guard and surprised me with its innovative techniques and realism.  Add to that a well-deserved nomination for Best Original Screenplay, and you have yourself some great film-making!

Mrs. Miniver – 1942

Mrs. Miniver may have been a fantastic film, good enough to take home the Best Picture award for 1942.  But while I was watching it, I didn’t quite understand why it was nominated for Best Special Effects.  But then I remembered… Back in the early 40s, Best Sound was not yet a category.  Sound effects were still being lumped in with the visual effects, and a lot of the film’s WWII action took place off screen, leaving the visuals to the viewers’ imaginations.

You see, the movie was not about the war per se, but about a woman’s strength of character as she cares for her family through the hardships of the war.  For example, when Mrs. Miniver’s husband leaves to take part in the evacuation of Dunkirk, we see absolutely none of that battle.  Instead, we stay with Mrs. Miniver and see her encounter with the wounded German soldier, a great sequence that didn’t require any special visual effects at all.

Another example is during an air raid, when Mrs. Miniver and her family are inside an above-ground bomb shelter.  The entire time, the camera stays inside the shelter with the Minivers, and the audience is treated to the sounds of falling bombs, explosions, and gunfire.  The only action we actually see is the walls of the shelter shaking a little, and tins of stockpiled food falling from a shelf.  The destruction of the family’s house is never shown.  That isn’t to say the storytelling wasn’t effective.  It was.  It just didn’t require award-worthy special effects, though the matte paintings of the destroyed sections of the house looked pretty real.

However, there were two brief scenes in which some visual effects were needed.  The first was the scene in which the boats are gathering to go to Dunkirk.  We are shown what appear to be dozens of small boats crowding the river.  I believe these shots were composites of several groups of boats shown against some matte paintings.  Compared to other contemporary films, this effect was nothing special.

Then there was the scene in which Mrs. Miniver and her daughter-in-law are in a car, caught beneath an aerial battle.  All we see of the dogfight is when one of the planes catches fire and crashes in a giant ball of flames.  The shot of the burning airplane flying over the roof of the car was pretty cool, but ultimately, it was over in seconds, and not special enough to warrant a Best Special Effects nomination.

So why was this movie nominated for that particular award?  I suspect it was a combination of two things.  First, the sound effects, upon which a lot of the film’s action was based, stirred the voters’ imaginations, almost like a radio program, which was still a popular medium at the time.  After all, what we can’t see is often more intense than what we can.  And second, Mrs. Miniver was such a wonderful and popular film that it was nominated for twelve Academy Awards.  Academy voters loved it so much, they just nominated it for everything they could think of.  Fortunately, it wasn’t one of the movie’s six Oscar wins.  I don’t know.  Maybe I’m missing something here…

Jungle Book – 1942

The Special effects for The Jungle Book weren’t that bad, but I wouldn’t exactly call them great either.  The movie was visually dazzling, but I think that it was mostly due to the production design.  The visual effects relied on several things that, to be honest, were passable, but not perfect.

For example, one thing that this movie had, which other movies rarely used, was animatronics.  It was both the genius and the failing of the effect.  You see, director, Zoltan Korda, decided to use real animals in the wide shots, and either mechanical or stuffed animals in the close-up shots in which Mowgli had interactions with them.  Sometimes it worked and sometimes it didn’t.

Within the hidden treasure room, a real snake is shown slithering into the scene.  Then, a mechanical snake is shown talking to the actors.  That one was done well enough, though a critical eye can still see the difference between the two.  But later, a real Shere Khan is shown chasing Mowgli.  However, when they are fighting in the river, the stiff and motionless stuffed tiger looked really fake.  Another poorly done animal that caught my attention was the crocodile.  Its mechanical movements were clunky, especially when it opened its mouth.

But when it comes down to it, I have to applaud the film for its use of animatronics.  They were unique for movies of the time, and they weren’t all badly done.  The python, Kaa, was done well enough, though even he looked clunky and stiff, at least when he was on land.  He looked better once they got him into the water.  There was a cool shot or two in the river during Mowgli’s fight with Shere Khan, when Kaa reared his head and hissed at the combatants. 

And then there were the matte paintings.  Yes, they were beautiful and colorful, making great use of the Technicolor in which the movie was filmed.  But some of them looked too much like paintings.  It was like the actors were walking through a cartoon.  I would have liked it to look more realistic, though I suppose you could say that its un-realism may have added to the fantasy of the story.

And then I come to the movie’s climax.  When the villain sets the jungle on fire, there were several things that were done incredibly well.  First, they obviously set some real trees on fire.  A few of those shots were really spectacular.  And then they composited some raging flames to consume the ancient temple.  Again, these shots were visually stunning.  There was smoke and fire, and live animals running through the flames.  I really have no complaints about the sequence.

All in all, the special effects for this movie were done pretty well.  It was a fantasy, giving the effects artists and the production design team a chance to stretch themselves.  But I can’t help looking at the movie through my modern eyes.  The animatronic effects may have been impressive back in the 1940s, but I can’t help thinking that, even then, they must have been capable of better realism.

Invisible Agent – 1942

I wouldn’t exactly call this movie a piece of cinematic trash, but I’d come close.  The movie, was pretty bad.  Most of the special effects were awful, especially when seen with my modern TV.  I hope that the audiences of 1942 had such inferior picture quality on the big screen that they couldn’t see all the obvious flaws that I could see.  It was as if Hollywood was just cranking out as many war propaganda films as it could, without regard for story content, continuity, or quality effects.

It is difficult for me to comment on just the special effects, and not the other poor aspects of the film, but I’ll do my best.  First, I’ll mention the obvious things, like being able to see the wires holding up floating objects, like a piece of chicken, or a key.  Or I could mention the ill-conceived lighting on the man who was supposed to be invisible which made his outline completely visible as he smoked a cigarette, but not when we should have been able to see him in a burning room full of smoke.  But I also have to be fair and mention the film’s climactic escape from Germany when our invisible hero bombs the Nazi airfield.  The explosions were well-done and I had no problem with them.

But there are three things in particular which I feel need to be mentioned, things which took away from the effectiveness of the movie’s illusions.  The first concerns a scene in which the invisible agent puts cold cream on his face to make himself visible to the beautiful woman.  In order for the effect to be realistic, we should only have been able to see the areas to which the cream had been applied, but we could see his teeth and tongue.  Also, when he is spreading the cream on his face, you can see not only his head, but the towel wrapped around it, AND HIS EYES!!  In another shot, when the invisible man was removing a Nazi soldier’s clothes, the soldier seemed to be glowing because of the lighting, especially his polished boots.

Second, there was a scene in which he is captured.  A net fitted with fish hooks is dropped onto his invisible form.  We should have been able to see through the net, but instead, I could see the man in the black body suit.  The director, Edwin L. Marin, should have realized that if you can’t do an effect properly, you should find a way around doing it at all. 

And third, there were a few shots in the film in which a technique was use that always bothers me.  It had nothing to do with the invisible aspect of the movie.  It had to do with a bit of rear-projection and the motion of the film being sped up to make it appear as if the action is happening fast.  It always puts me in mind of either Benny Hill, or worse yet, the Three Stooges.  It makes the movie feel campy or cheap, which I’m sure was not the intent, as other parts of the movie were treated as a serious action film.  Fortunately, this effect was only used sparingly. 

Sorry, I cant find this one.

Sorry, I cant find this one.

The Black Swan – 1942

The Special Effects for this movie were passable, but I’m glad it didn’t win the Oscar.  Unfortunately, I can’t count Tyrone Power with his shirt off as a special effect.  If I could, I would say it was an over-used effect.  But seriously, there were some good composite shots that blended images fairly well, and some of the rear-projection was done well, though not all of it.  The film’s best special effects were the choreography and stunts.  There were also a few nice explosions, some fires, and a couple of really good scale models. 

It all started with the opening sequence, in which a band of pirates attacked Jamaica.  All the fast sword fighting was an exciting way to start the movie.  But after that, there was very little action until the final ten minutes or so of the movie.  Then the pirate ship battle took off.  There were canons firing, blazing explosions, a lot of smoke, and a bit of mayhem.

But one of the best effects was when our hero cuts the rudder line of the Black Swan, causing the vessel to crash against the rocks.  We see it approach the camera which is on the shore, then slam into the land.  Then the camera switches to a shot from behind the galleon, and we see one of the giant masts break in half and collapse onto the deck, sails and all.  It was a great effect!

After that, there was more fast-paced swashbuckling, pistol shooting, and sword-fighting.  There were a lot of extras battling in the background as the two leads, Tyrone Power and George Sanders, madly fenced with each other.  It really was impressive to see the speed with witch the two combatants faced off.  One wrong move and either one of them could have lost an eye!

But as I implied earlier, not all the special effects were perfect.  There was one little sequence in which the fiery damsel is riding in a carriage with one of the villains.  It should have been a simple rear-projection effect as we see the buildings behind them go by.  But it looked terrible, I’m sorry to say.  Other contemporary movies were getting it right, so I don’t know why this little inconsequential scene was so poorly done.  I think what caught my attention and pulled me out of the narrative was the fact that the buildings behind the actors were bouncing slightly, as if the camera filming them were being driven down a cobblestone street.  But the actors themselves were completely motionless, not following the bounce of the projected background.  It should have been the other way around with the buildings being stationary and the actors bouncing a little, right?

But aside from that, the effects were not too bad.  The matte-paintings of the harbor at Maracaibo, which served as the backdrop for the climactic battle, was very pretty and looked good in the Technicolor film.  Sure, the lighting effects were sometimes off, way too dark in the close-up shots and bright as day in the wide shots, but that is a minor complaint in an exciting pirate movie that was fun to watch!  Eat your heart out, Erol Flynn!

A Yank in the R.A.F. – 1941

This movie had some pretty spectacular special effects.  In my book, the seemed to really outshine the special effects in most of the other films that were nominated for the category in 1941.  Now, that being said, I must also mention that they were pretty average until about an hour and twenty-five minutes into the hour and thirty-three minute movie, at which time they became absolutely spectacular!

Before the point, most of the story was a romance, and a pretty creepy one, at that.  So two military men are interested in the same girl.  The British officer, played by John Sutton, was the nice guy who the female lead, played by Betty Grable, should have ended up with.  In fact, in the original draft of the film, The Yank, played by Tyrone Power, was supposed to get killed in the final battle sequence.  But the real R.A.F. felt that the death of the film’s lead might have been bad for military morale.  So Power lived, and in the end, got the girl to boot.

During most of the film there were only a few very short battle sequences.  In the first, the bombers were only dropping leaflets.  The effect of the German searchlights was pretty interesting.  In the second, there is a little action and we see a plane get shot down.  The effect of the plane falling from the sky were a little shaky.  The burning aircraft looked very much like models on wires.

But that final battle sequence, which was the famous Battle of Dunkirk, the special effects became amazing.  The sequence only lasted about four minutes, but had some incredible battle effects that rivaled any great war film, even by today’s standards.  One shot in particular gave us a very exciting aerial view of the battlefield.  There were explosions, billowing smoke, burning buildings, ships escaping into the water, and trucks speeding along the beach.  Just don’t look too closely.  Nobody on the beach was moving, and neither were some of the ships in the water.  But the shot was over so quickly, and the moving parts of the image was so attention-drawing, I barely had time to notice.

Also, I haven’t seen any other war movie from the 1940s that features such a complex and busy aerial battle as this one.  The image contained at least thirty Spitfires and Luftwaffe fighters battling it out in the air, all on the screen at the same time!  There were over a thousand extras on the ground!  There were explosions, machineguns, men running, swimming, screaming, shouting.  And men dying.  There were fires, burning planes and boats, aerial crashes, and complete chaos!  It was an intense and exciting sequence that, in my book, really made up for the lack of special effects in the rest of the film.

After watching that scene, I understood why this movie had been nominated for Best Special Effects.  The battle sequences were brief, but the movie’s climactic battle at Dunkirk was really a pleasant surprise.  It woke me up and got my heart pumping.  I can’t say enough about how really well done those four minutes of battle were.  Very cool, and very worthy of the nomination!

Topper Returns – 1941

The special effects on this film weren’t bad at all.  They contained your standard issue of matte-paintings, rear-projection, composited shots, and even a fair amount of double exposure shots, creating effects like those seen in the Invisible Man.  It all made for some fun visuals, and a delightful little film.

Topper Returns is the third movie in the Topper franchise.  As a zany, supernatural, screwball comedy, the jokes and witty one-liners were plentiful, and once the story got going, the effects were just as numerous.  The plot revolves around a woman who is murdered.  She enlists the help of Cosmo Topper, a man who can communicate with ghosts, to help her learn the identity and motives of her killer, and in doing so, save her friend from sharing her fate.  The whole silly adventure takes place inside a mysterious old mansion with creepy servants, secret passageways, trap doors, and an underground lake.

But one thing this movie did that even bested the effects in The Invisible Man, was that the ghost of Gail, played by Joan Blondell, had the ability to appear and disappear at will.  In some shots where, for example, she was holding a glass of wine, the glass would appear to be floating in mid-air.  When she appeared, the image of the glass shifted a tiny bit as the image on wires disappeared and the woman holding the glass appeared.  Still, the placement of the glass was pretty closely matched and the illusion, while not perfect, was pretty good.  The same thing happened when the ghost is changing her clothes.  We see the dress standing on its own, and then we see it visibly shift as the woman appears inside of it.  Again, the transition from one image to the other was not perfectly aligned, but it was close enough for horseshoes and hand-grenades.

Being a screwball comedy, there were a few running gags that had me laughing, one of which was the various ways in which Topper’s chauffer kept falling down secret shafts into the underground lake.  Of course, they were obviously dropping a mannequin, but even its slightly poor quality actually helped to add to the campy nature of the movie as a whole.

And then there was an effect where the ghost of Gail was driving a car, so it appeared to be driving itself.  There were several ways in which they could have accomplished this.  I’m not sure they had the technology to drive the car via remote radio-control, so I’m guessing they had to have a guy crouching on the floor, pressing the pedals and turning the wheel.  However they did it, it was a convincing effect.

And they made good use of things like seats that depressed by themselves whenever the ghost sat in them, or the fur rug that moved by itself when she walked across it.  Doors opened and closed by themselves and curtains magically separated as the spirit moved between them.  Fun effects for a fun movie!

That Hamilton Woman – 1941

This movie’s special effects surprised me.  Even while I was watching the movie, I was surprised.  You see, there were virtually no special effects in the film other than some pretty good matte-paintings and a bit of rear-projection.  The movie was all about the romance between the two leads, and not much else.  For the most part, grand special effects were just not really needed.

Lord Horatio Nelson, played by Sir Lawrence Olivier, was a great military leader, fighting against the infamous Napoleon Buonaparte, which opened the door for some spectacular battle sequences.  But the film’s final climactic sea conflict almost seemed like nothing more than a vehicle to facilitate Horatio’s death for the purpose of the romance story, like the battle might not have been in the movie at all if Lord Nelson didn’t have to die.  Ultimately, I was disappointed that it was the only battle sequence in the whole movie. 

And more than that, it felt a little like an afterthought.  In a film that was almost two hours long, there was no action or impressive effects until the last fifteen minutes or so.  Now, granted, that battle was pretty spectacular, but it felt like too little, too late.  In a movie in which one of the leads is a larger-than-life Naval Commander like Lord Nelson, I expected more military sequences.  Especially since, at its core, the movie was really another propaganda film, made with the goal of getting the United States to join the fight in WWII.  But all I got was the romance between the Admiral and Italian Ambassador’s wife, Lady Hamilton, played by Vivian Leigh.  You see, it wasn’t a bad movie.  I actually liked it.  It just had very few special effects for a movie that was nominated for Best Special Effects.  So what else did the movie have to offer?

Well, there were three things that I can think of.  First, there was a very short sequence in which some of those huge clipper-style sailing vessels were caught in a storm.  Again, the effect, or what little there was of it, was very well-done.  There was ocean spray, heavy mist, dense fog, and gale-force winds that drove the ships onto their sides.  It was an exciting, though brief effect.

Second was the great composited shot of the British Armada, right before the climactic battle.  The front four vessels had sails that were flapping majestically in the wind, though I noticed that all the ships behind them were completely motionless.  Yes, their sails appeared full, but they were as still as paintings… or should I say matte paintings.  Still the shot made for an impressive visual.

And third was the little effect done on Lord Nelson.  Early on in the film’s narrative, he lost two things: the use of his right eye, and his entire right arm.  These effects might have been attributed to the film’s director, Alexander Korda, for his use of clever camera angles and shot blocking to hide the actor’s arm.  Either way, it was a neat little effect which was appropriately maintained for most of the movie.