Film Pairing — Cary Grant Times Two

With the possible exception of To Catch a Thief, these two films may be the best of the Cary Grant films, certainly of those with suspense at the core.  Romance, humor and danger are an entertaining mix for a double feature to snuggle up to some chilly night. In fact, it is such an obvious pairing I’m almost embarrassed to pair them.

Cary Grant And Eva Marie Saint

North By Northwest — As you would expect there is disagreement about which of Alfred Hitchcock’s films is his greatest. This one is toward the top of my list. By fluke, a Manhattan advertising executive (Cary Grant) is mistaken for a CIA agent. He is kidnapped and marked for death by a smuggler, played by James Mason. Grant’s character escapes and the chase begins — trains, planes, cornfields and national landmarks. Enter a love interest.  Eva Marie Saint portrays the smart (smarter than the usual Hitchcock blonde), beautiful, if not devious, damsel in distress.  Martin Landau is strong in a supporting role.  And I always like to see Leo G. Carroll. As usual, watch for Alfred’s trademark cameo                      

Cary Grant And Audrey Hepburn

Charade — A slightly darker film, but not all that dark, Charade is decidedly more of a mystery. A man is murdered, thrown off a train.  His widow (Audrey Hepburn) soon realizes she had no idea who her husband really was. Unfortunately for her, his unsavory cohorts believe she has the money her husband stole from them. And they want it back. When a handsome and charming stranger (Cary Grant) enters her life, she believes he’s there to help her.  Is he?  Stanley Donen directed this 1963 film based on a short story, “The Unsuspecting Wife,” by Peter Stone and Mark Behm. The strong supporting cast includes Walter Matthau, James Coburn and George Kennedy. There are many good reasons to watch this film. One is the score by Henry Mancini. The other is Charles Lang’s stylish cinematography.

As a number of critics have pointed out over the years, Charade seems like a Hitchcock film. If it were, it would be among the legendary director’s best. This alone makes it an interesting double bill. The opening credits on both films are also worth watching.  

Incidentally three years ago, Life Death and Fog polled visitors to vote on their favorite Hitchcock movies.  Click here for this blog’s top ten by the master.

Libations: With the Hitchcock film, try a Gibson. This is the drink he orders on the train. It is really a gin martini, usually served with a small, silverskin onion. Stirred, not shaken. With Charade, we need to drink in the spirit of Paris.  Perhaps now that it’s legal in the U.S., some absinthe.  For those who want to keep a clear head in order to keep track of Grant’s identities, mix tonic, lemon, citrus bitters, and rock candy for a great mocktail.

Film Pairing — Mob Movies Again, Guns And Violins

This is the third (and final for now) post in the gangster movie pairings. These are films primarily of the ‘80s and ‘90s, though Hollywood’s preoccupation with the mob goes way back with major stars like James Cagney and Edward G. Robinson taking the roles big-time gangsters

Al Pacino

Scarface — One of the most violent of the sub genre, Scarface was directed by Brian De Palma based on a screenplay by Oliver Stone.  Al Pacino, who also starred in the first two Godfather films, plays Tony Montana (Scarface), a Cuban refugee who becomes a major player in the drug trade. In fact, when we left the Godfather Part Two, the Pacino character was in Miami and almost moved his mob into Cuba, which is where, though unrelated, Scarface resumed.  Instead of playing a quiet, pensive Italian as he did in The Godfather Pacino plays an explosive Cuban criminal. Scarface was among the throngs of boat people Fidel Castro wanted to dispose of, sending them instead to the U.S. to undermine this country’s stability in what was called the “Mariel crisis.”

Steven Bauer is solid and charming as Montana’s best friend and partner in crime. Michelle Pfeiffer is the forbidden woman Scarface wants for his own. We get both chunk of history during the Jimmy Carter years, and a glimpse of Miami, especially South Beach before it was reclaimed as a hot spot.

Richard Gere and Diane Lane

Perhaps without the depth of The Godfather, Scarface, released in 1983, does ask the question, “how much is enough?” as it relates to wealth and power. It’s important to warn again: This is a violent film. So we might ask the same question about the graphic cinematography. How much is enough?

The Cotton Club — Raves from me. Apparently, the screenplay had dozens of rewrites with Francis Ford Coppola, William Kennedy and Mario Puzo, contributing. The result is a remarkably entertaining film. We’ve got a love triangle. We have a lovely vixen, a legendary gangster, Dutch Shultz and a handsome musician/actor playing dangerously at the edges of mob business. And most of the film takes place in a Harlem nightclub in the ‘30s, with top-notch music and dance. It is also a fine drama with excellent cinematography by Steven Goldblatt.

The cast is golden: Richard Gere, Gregory Hines, Bob Hoskins and Gwen Verdon.  Fred Gwynne almost steals the show.  Nicholas Cage has a supporting role.  Also appearing: Maurice Hines, Joe Dallesandro, Laurence Fishburne and Tom Waits. James Remar plays Shultz and Diane Lane plays the love interest.  She was nominated for a Razzie as worst supporting actress.  That’s absurd. She was absolutely charming and right as Gere’s and Remar’s love interest.

Maurice And Gregory Hines

The film was based on James Haskins’ book and was released in 1984, a critical and box office success.

How to imbibe during this gangster double feature: Scarface develops a lust for Scotch before burying his face in cocaine. All sorts of cocktails as well as bottles of champagne would be appropriate for a party at The Cotton Club. For the many who avoid alcohol or who have to drive home, there are alcohol free bubblies available everywhere.

Film Pairings — The Young, The Pretty And The Mysterious

You’ve met the young, haven’t you?  If you haven’t this double feature will go a long way to making introductions.

Wicker Park — Though not exactly a crime film, it is a mystery.  Adapted from the French original, L’Appartement. We follow Josh Hartnett as he bounces around from his wife-to-be, his former lover and an interloper.  Flashbacks are dizzying as we are theoretically given all the pieces we need to figure out what’s going on.  It’s fascinating and frustrating, if not altogether fulfilling to watch. In the end it is a somewhat clever exercise.  Hartnett is good, sexy and vulnerable. Rose Byrne is sexy and loony and Diane Kruger is lovely and cool, just short of cold.  Paul McGuigan directed this 2004 film with critics not necessarily fully on board. I suspect those watching at home will find it entertaining enough, having not spent the going rate for in-theater viewing. Wicker Park is officially set in Chicago, where there is a Wicker Park.  But you will be forgiven if you recognize a glimpse or two of Montreal.

Jack Ryan, Shadow Patriot — Also sporting young and pretty main characters, this 2014 release was a pleasant surprise.  Not a big fan of movies based on Tom Clancy novels despite the usually excellent plotting. However, this one had a touch of warmth as well as all the hallmarks of a thriller.  It is a solid and under rated film starring Chris Pine and Keira Knightly. It also has strong supporting performances by Kevin Costner and particularly Kenneth Branagh, who also directed. Given the current visibility given to Russia’s increasing involvement in U.S. and world affairs, including Vladimir Putin’s keen interest in covert and overt aggression, the film is also timely.  Ryan is embroiled in a Soviet plot to destroy the U.S. economy through stock market manipulation and terrorism.

Tonight’s double feature is a perfect compromise for those couples whose preferences are split between romance and action thrillers. I think the drink to accompany the entertainment should be wine.  A sweet white for the first and a hearty red for the second.  (I’d also advise watching Wicker park first, and not just because of the wine selection.) For the non-imbibers, try fruit-infused sparkling water.

Film Pairing — Inner Directed, Outer Directed Movie Making

I grew up with adventure movies. The action was the plot.  The characters were essentially good or essentially bad.  We rooted for a good outcome. Good prevailed after a suitable period of doubt and fear.  This is the core of American movies in particular, which was all I saw before my teens and a little independence fueled by curiosity. The French not only introduced me to nudity, but to more complex characters.  Lately, American audiences have fallen in love with the cold, barren landscapes of Scandinavian countries and the complex emotions emanating from the darkness of the soul, sometimes ameliorating the significance, or enhancing the understanding of good and evil. Unlike the American products that focus on the external circumstances, the meat of many Scandinavian dramas comes from plunging into depth of character.

Point Break — This is an American film and surprisingly good, though relatively superficial.  I say surprisingly “good” because it is also a surfing and sky diving film with a series of powerful bank-robbing scenes.  Director Kathryn Bigelow makes the odd mix work, putting together an exciting couple of hours of adrenaline-infused sports adventure with Patrick Swayze and Keanu Reeves as criminal cat and FBI mouse on the thriller side.  The film, also featuring Gary Busey and Lori Petty, was released in 1991.  It was a major financial success and has evolved into a cult favorite. Ample male and female pulchritude. This is not to be confused with the remake.

The Absent One — Unlike the outer-directed Point Blank, this intense crime drama is focused on and propelled by investigating the depth of its characters, particularly a neurotic and obsessive cop brought in for cold case murders and a witness traumatized by the murder who is in hiding.  The film, released in 2014, is based on the novel by Jussi Adler-Olsen. It was directed by Mikkel Norgaard, and stars Nikolaj Lie Kaas, Fares Fares, Pilou Asbaek, David Dencik and Danica Curic, is set in Denmark. As we have come to suspect of Scandinavian crime films, the movement is slower, the screen is darker and the emotions richer than most of its American counterparts. Incidentally, there are three films in the Department Q series.

What to have while watching these two films: Akvavit or for something lighter, Carlsberg beer, which, very chilled, would also work for the beach scenes in Point Break. For the non-imbibers, we can always fall back on lemon and tonic water.

Film Pairing — How About A Nick And Nora Holiday Film Festival?

At least once a year, I watch all six Thin Man movies.  It is my own little festival.  I have a comfortable chair and a relatively large flat screen TV in my small apartment in San Francisco. I am the only festival attendee, so it’s just me, an orange and a bowl of popcorn.  

I don’t come to this subject with any particular expertise, no deep knowledge of Dashiell Hammett.  It’s as much nostalgic as anything else. When I was young these films were on the late-night movies that followed the local news.  A shamelessly self-promoting Indianapolis used car salesman who called himself “The King” hosted the program.  He stood in front of a blackboard (as high-tech as it got in those days) slashing prices on various automobiles as he yelled, “The King don’t care.”  Then we would go back to a grainy but charming Nick and Nora Charles and that wonderful blend of suspense and comedy, bright wit and dark shadows, the high life and the low life.  If that wasn’t the birth of my love for private eye stories, it certainly enhanced it. Such was the life of the young me in a hide-a-bed, with the black and white television flashing noirish shadows on the wall.

If you want to have your own holiday festival, here are the Nick and Nora Charles films in the order they were made, noting that Hammett had decreasing influence on the final cut and virtually none for the last couple of movies.

Nora, Asta, Nick

The Thin Man — This is the one that started them all, the one based on an actual Dashiell Hammett novel and made William Powell as Nick Charles and Myrna Loy as Nora Charles one of America’s favorite film couples.  The film has a Christmas-New Year’s holiday theme, though I’m happy to say, it’s nothing sappy.  Maureen O’Sullivan plays the only sane member of a crazy family and a young and debonair Cesar Romero plays a gigolo. What else?  The film is a fantastic reflection of the times.  We get a glimpse of post-depression, post-prohibition 1934.

After The Thin Man — This is one of my favorites.  One of the reasons is that the lovely couple return to San Francisco and also because it takes place on New Years Eve.  Jimmy Stewart co-stars. Look for the usual brawls, a few red herrings, a great nightclub in Chinatown, and glimpse of the city’s bustling Market Street of 1936.

Another Thin Man — Baby makes three.  Sheldon Leonard plays the heavy in this film set in Manhattan and Long Island. A creaky old mansion and creaky old people, says the creaky blogger, as well an elaborately designed murder and a slew of petty ante gangsters inhabit the whodunit.  Watch for the big production number.

Shadow Of The Thin Man — We’re back in San Francisco and off to the races. Donna Reed, Stella Adler and Barry Nelson are in the cast of this mystery featuring such characters as Spider Web and Rainbow Benny (they may be the same person, I’m not sure). Pay attention to the wrestling match scene.  Nice twist at the end.   This time the big brawl is at an Italian restaurant at Fisherman’s Wharf.

The Thin Man Goes Home — Maybe because it’s the small town backdrop.  Maybe it’s because Nick has given up his martinis for apple cider and it seems to have turned him into Ozzie Nelson.  Whatever the cause, this is my least favorite.  While all the films offer some wonderful silliness, this one just seems contrived without redemption of a knowing wink.  If you had to cut one from this list, this would be it.  Otherwise, it’s worthwhile just to know you saw them all. 

Song Of The Thin Man — It’s nice the series didn’t end on a sour note. This one bounces back. New producers, directors and writers. Though the last couple of films were only based on “characters created by Dashiell Hammett,” this one finds the formula. The film also benefits from a great supporting cast that includes one of my favorites from the “B” picture cast of characters, Gloria Grahame, plus Keenan Wynn, Jane Meadows, and a very young Dean Stockwell as Nick and Nora’s son.  We are treated with ‘40s jazz, a floating casino and nightclub (Shades of Mr. Lucky), wet, foggy nights, and a telltale necklace.  One of the pleasures is to see the stylish couple thirteen years after the first film, still elegant, still funny.

If you are so inclined, think about a Thin Man Holiday Festival. Light-hearted, celebratory and certainly auld lang syne. Because it is a festival and especially because it is The Thin Man, martinis and champagne are nearly mandatory accompaniments. Chances are Nick and Nora will be drinking with you. Not to insult my hard drinking friends, but if you want something non-alcoholic, follow Nick’s lead, maybe Martinelli’s sparkling cider. A Wonderful Life and Miracle on 34^th Street step aside.

Note: This is a repost, revised to be more timely.

Film Pairings  — Heading Out On The Cinema Back Roads

I have no problem with well-made mainstream, even formula films.  I like a few hours of pure escape from time to time.  I think Indiana Jones is one of the greatest B movies ever made, for example. But as regular readers of this blog (both of you) know, I also like off-the-wall cinema. Though I’m not attracted to gratuitous violence sex or blood and guts, I like taboo topics and quirky themes, and I especially like psychological thrillers.  What I expect though is what I’d expect from any good film — fine acting, a compelling story and professional though possibly unusual cinematography. The movies in the double feature I comment on here will make some squeamish, some flummoxed and some angry.  So, having read this, watch the films at your own risk.

Several posts back I posted film commentary on films by Joseph Gordon-Levitt called “A Thousand Shades of Crazy.” Eddie Redmayne, like Gordon-Levitt, is now a certifiable top-list actor. Though their charms are different, both were fiery comets from the beginning, often playing deeply troubled young men. I reviewed one of Redmayne’s early films in this post.  Here are two other of Redmayne’s early works.

Tom Sturridge And Eddie Redmayne

Murderous Intent:  There is a sense that the bones of the drama are vey much like the current glut of mythical/romantic tales of vampires and legends and destiny and castles and blood. Tom Sturridge, in this British boys’ school drama, is cast as either a crazed loon or a descendant of an ancient tribe who must occupy his contemporary counterparts’ mind in order to realize the myth. That mind belongs to an already troubled schoolmate played by Eddie Redmayne.  It is destiny. Or it’s murder.  And the police have Redmayne’s rebellious character under arrest for the deaths of three likely killed by the eerie Sturridge character, including the eerie Sturridge character himself. Toni Collette helps steady the film as a valid crime drama despite its not quite integrated medieval roots.  She plays a forensic psychologist trying to help homicide sort things out. Gregory Read directed this 2006 film that, other than Redmayne’s extraordinary performance, needed a good bit more sorting. Setting this modern story against a Gothic boarding school background kept reminding us of the murky subplot. But for those up for a bit of a challenge, Murderous Intent, also known as Like Minds, is worth it. And it’s quite possible that the murkiness is a product of my own murky mind.

Julianne Moore And Redmayne

Savage Grace: This is a true story, though there is some dispute about some of the scenes. However the film about the heirs of the Bakelite fortune – the incest and murder aspects, anyway — is purportedly accurate. Redmayne plays the dangerously schizophrenic son of an absent father and a clueless mother, played by Julianne Moore. The film was based on the book of the same name, written by Natalie Robbins and Steven M. L. Aronson.  It was directed by Tom Kalin, and released in 2007. Kalin also directed Swoon, another psychological thriller based on a true story.

Many will find the two films add up to a disturbing evening  — each film for different reasons.  However, those viewers who appreciate masterful performances need to look no further than Eddie Redmayne and Julianne Moore.

To have at hand during the evening if you’re staying in might be some hearty red wine for the first of the two features. Because we move to a sunnier climate (and fewer clothes) for the second, maybe a white wine from Greece or Portugal. My new personal favorite non-alcoholic drink is merely a chunk of lemon or lime with tonic.

Film Pairings —Pierce Brosnan: One Comedy, One Not So Funny

Salma Hayek With Brosnan

I’m a Pierce Brosnan fan. Not obsessive, but I have the sense that if he is in a film, while it may not be a classic, it will be entertaining.  Ghost Writer, and Matador were examples of Brosnan at his best. For me – and I know how debated this is – he made a fine Bond, splitting the difference between Sean Connery’s earthy and Roger Moore’s tongue-in-cheek portrayals.  The two Brosnan movies tonight do not tap any deeper level of acting skill than a Bond film requires, and the movies will not give you any greater understanding of the universe, but if you are looking for an escape from the daily grind you could do far worse:

After The Sunset — Lots of fun.  We have a charming diamond thief, a beautiful and smart woman, a rogue FBI Agent, an exotic local island, a quirky local gangster and an extremely desirable diamond.  In addition to Brosnan, we have Salma Hayek, Woody Harrelson and Don Cheadle, all of whom perform admirably in roles that fit well, but are not especially demanding. Released in 2004, this heist comedy was directed by Brett Ratner.

Brosnan As The November Man

November Man — The film opens in a sunny seaside town. In moments, the fun is over. This is a gritty violent, spy film. Reviews when it was first released in 2014 were not entirely favorable. That may be explainable.  It is not as splashy as a Bond film and not as subtle and wily as movies based on John le Carré novels. November Man, based on a series of spy novels by Bill Granger, falls somewhere in between and works just fine on a smaller screen. The story raises questions about the use of killing as part of the exercise of some larger justice. Pierce Brosnan is the central figure, an ex-spy lured back into the game to protect a loved one.  It wouldn’t be a spy plot if there weren’t enough twists and betrayals to fill a couple of hours and keep us guessing. Turns out we can’t trust the Russians or the Americans. Who knew?  Directed by Roger Donaldson, the cast includes fine performances by Luke Bracey as an ambitious young CIA agent who sees Brosnan’s character variously as a hero and a devastating disappointment, and Olga Kurylenko as the hunted, the only one who is able to put all the pieces together.

If you want an accompaniment to the evening’s entertainment, something light and tropical (don’t forget the umbrellas) is suitable for After The Sunset. However you may wish to switch to something darker and more sinister for the November Man as the setting eventually moves from a lush tropical isle to a bleak Eastern Europe.  If your spirits need to be unspirited, switch from coconut water to a good, strong Coca Cola.

Film Pairings – To Die For and A Kiss Before Dying, Dillon Times Two

As I’ve mentioned too many times before, much of my youth was spent or misspent in the darkened auditorium of downtown Indianapolis movie palaces. My brother and I could catch a an early matinee double feature, then brave the blinding Saturday afternoon sunlight, walk a couple of blocks and take in another double feature. Usually the theater would show one major film, often in color. The second would be a low-budget affair with less famous actors and actresses. That’s how I feel about this pairing.  One is a nearly perfect dark comedy about murder.  The other takes itself quite seriously. Though I liked them both – I’m easy to please – if you have high standards, doing off might not be the worst thing you can do, though the film improves toward the end.

Kidman & Phoenix

Murderous comedies don’t come any better than To Die For. Nicole Kidman plays a beautiful ambitious, marginally bright woman who would do anything to achieve fame.  She marries a handsome young man (Matt Dillon). He turns out to be a major roadblock on her road to stardom. She plots his death. The film is shot in a mock-documentary style that in the hands of others might be disastrous, but with Buck Henry writing the screenplay and Gus Van Sant directing, To Die For is to die for.  Joaquin Phoenix joins the superb cast as Kidman’s lovesick puppet. Casey Affleck is a young tough. The film, based on the book by Joyce Maynard, was released in 1995.

Matt  Dillon

Whereas Kidman’s surprisingly good performance was honored with a couple of awards for playing the shallow narcissus, Sean Young had the dubious honor of picking up two Razzies, one for worst actress and another for worst supporting actress for her performances as twins in A Kiss Before Dying. A reminder:  This is the second feature. You may drift off before they roll the credits.  However this turns out to be mostly worthwhile, largely due to Matt Dillon’s solid portrayal of a man’s obsession to succeed by hook, crook or murder. This is the second film based on Ira Levin’s book of the same name. The earlier (1956) version starred Robert Wagner and Joanne Woodward. This one (1991) was directed by James Dearden, who also wrote the screenplay. The story had a Hitchcock-like sensibility, but played out even more mechanically than those by the master. There are some clever twists and it’s a pleasure to watch the young Dillon at work after his turn in Drugstore Cowboy, and especially after watching him as a more mature character in To Die For.

A white wine, bubbly or not might be an appropriate accompaniment to the first film. Step it up for the second. Or a latte followed by an espresso.

Film Pairings — Exposing The Flaws In Our Legal System And Ourselves

The adversary system we use as the means to determine guilt or innocence may be the best we can do. But much like the rest our democratic process, there is considerable room for improvement. These two courtroom dramas deal with the inherent problems and collateral damage of our deeply flawed justice system.

The Verdict — While this tough, taut film focuses more on one attorney’s personal redemption, it also provides a good look at what money can buy. Paul Newman plays the troubled lawyer caught between conscience and success, between alcoholism and altruism.  The cast is superb. In addition to an incomparable Newman, we are blessed to have Charlotte Rampling, James Mason and Jack Warden. Based on the novel of the same name by Barry Reed, The Verdict was turned into a screenplay by David Mamet and directed by Sidney Lumet.  This 1982 film is highly recommended, especially for its uncanny sense of realism.

… And Justice For All — The Verdict is single minded, intensely focused, dark and gritty. Justice exists in a thinner atmosphere, but has a broader vision. There are moments of humor.  We almost don’t notice as lives are destroyed by injustice, corruption, ambition and greed. We almost don’t notice, much like real life, as the bodies pile up and souls sour. Al Pacino is the prime character in this ironic drama, about an attorney who can’t quite believe there is nothing he can do to make things right. This 1979 courtroom drama was written by Valerie Curtin and Norman Jewison, who also directed. The supporting cast is superb: Lee Strasberg, Jack Warden, John Forsythe, and Jeffrey Tambor.  Recommended

In addition to the courtroom setting and the similar morality tales, we have two of this country’s finest actors as East Coast (Boston and Baltimore) lawyers in somewhat similar roles in movies only a few years apart. For those who imbibe, whiskey was popular then and perhaps even more popular now.  For many, something like a Pomegranate Spritzer might work.

Film Pairings — Two Excellent Films Reluctantly Recommended

I put these two on the list because I had been ignoring foreign films and these crime garnered several awards. I put off watching them because they were about pedophilia.  I’ll admit I usually avoid movies with a lot of on-screen violence and especially those involving children or dogs.  A wimp, I know.  I also know it’s called fiction and what the characters do is called acting.  Even so, I had a moment early in each film when my finger hovered over the “stop” button. In these two, on-screen violence is at a minimum, though the effect is nonetheless powerfully and sadly moving.

The Hunt — There must be something in the Scandanavian air that keeps its storytellers from rushing things.  This Danish film takes its time, slowly revealing character before getting to the heart of the matter.  Patience is rewarded with nuanced performances examining a sensitive subject. Has a young girl been molested?   And what does the mere suspicion of this emotionally charged crime do to the suspect? The Hunt, directed by Thomas Vinterberg and starring Mads Mikkelsen was released in 2012 and went on to gather a number of international awards.

The Silence

The Silence — In this German film, the question isn’t whether a crime has been committed, but if the perpetrators can be caught. The Silence, in a way, is the flip side of The Hunt. Because the film begins with the crime and the two men who committed it, it is not a spoiler to reveal that one is a hardened pedophile and the other is confused by his own feelings and even more perplexed by the actions of his violent friend. One is reminded throughout the film of the toll such crimes take on everyone involved, from family and friends to the police.  The Silence was released in 2010 and also won several international awards.  It was based on the novel, Das Schweigen by Jan Costin Wagner.  Directed by Baron bo Odar, the film features a strong cast.

If you approach film only as an escape from the drudgery or the horror of our lives and the visions brought to us by the six o’clock news, you may wish to pass on these. There are billion dollar blockbusters out there that will take you to galaxies far away. If you wish to try to understand the nature of our little species, these two may prove worthwhile.  For an evening accompaniment, the Danes might suggest you try Akavit, distilled from potatoes, to help you through The Hunt.  For those who avoid alcohol, how about egg coffee? Beer of course will work with both the Danish and German films.