TODAY'S NUGGET: The Life of Emile Zola (1937) - How to Use a Portrait To Elicit One's Past Courage --> Change One's Mind

[Quick Summary: Famous French muckraking journalist Emile Zola gets involved when an army soldier is sentenced for treason that it is really a political cover up.]

Q: Who is Emile Zola?
A: In the latter 1800s, he rose from poverty to become a celebrated French novelist and journalist. 

Q: Besides his novels, what is he best known for?
A: His involvement in the Dreyfus Affair (approx.1894-1906).  

Q: What was the Dreyfus Affair about?
A: Dreyfus was a Jewish army captain who was jailed for treason. Dreyfus's brother had proof of an army cover up, and asked Zola to help him get the case reopened.

Q: Why was the scene below your favorite one from the script?
A: Zola was older and didn't want to get involved.  I particularly liked the scene below because it captures the swing of emotions as he changed his mind.  

In the scene below:
- Dreyfus's brother has just pled his case and left, discouraged.
- The famous artist Paul Cezanne had given his old school friend Zola a portrait of his younger self, when they were both hungrier and more political.
- Note how the portrait is a touchstone.  It reminds Zola of his youthful ideals, which were shown earlier in the script.
- Notice the sequence in the change of emotions:  First we SEE Zola's upset first --> He sees the portrait and remembers --> Then we SEE him write the open letter that will turn the tide for Dreyfus.

And now ZOLA restlessly, angrily pacing, in dreadful turmoil, picks up the portfolio of evidence. He riffles it through as he walks up and down before the fire. Then the view drawing close, the curiously lifelike eyes of Cezanne's portrait on the mantel seem to follow his movements. With a sudden savage gesture he raises the portfolio to hurl it from him, but as he does his eyes suddenly catch the calm, gazing portrait eyes of Cezanne, and Zola's gesture abruptly is halted. He stares, fascinated, at the picture and slowly his arm drops before that mute but terrible accusation. He straightens suddenly, looks at the portfolio, then again at the portrait of Cezanne, and all indecision, all anger, are washed from his face. His hand reaches out --he touches the picture frame with a gesture at once tender and reassuring. 

ZOLA turns, with the portfolio in his hand, and walks purposefully across the room and into his study. He sits at his desk and swiftly empties the portfolio of evidence before him and examines it, a close view showing him now scanning the document with intent interest, then reaching for paper and pen. He dips his pen in the ink, and the view moves down to the SHEET OF PAPER as Zola's hand, with the pen, pauses for a moment, then -- with a bold, decisive movement -- begins to write: 

"M. Felix Faure, President of the Republic..."

WHAT I'VE LEARNED: One cannot jump from upset --> immediately into a change in behavior.  

One must first show his tussle of emotions --> The portrait that sparked his memories of his younger, fiery self --> Then show the change of decision.

Why? Audiences don't simply want to know what WHAT happened; they need to know WHY.  The portrait helps explain WHY he changed his mind.

The Life of Emile Zola (1937)
by Heinz Herald, Geza Herczeg, & Norman Reilly Raine
Story by Heinz Herald and Geza Herczeg
Based on the book Zola and His Time, by Matthew Josephson

*Interestingly, this script was Oscar nominated for both story and script, but only won in the latter category.

TODAY'S NUGGET: Fury (1936) - What Does "A Haunted, Remorseless Man" Look Like?

[Quick Summary: When a man is unjustly arrested and is attacked by a lynch mob in jail, he fakes his death, and succeeds in framing the mob for his murder.] 

Oooof! This is a biting noir film (maybe satire?) that made me wince!

Spenser Tracy stars as Joe, a mechanic who is traveling to go pick up his fiancee Katherine, and is mistaken for a criminal.  He is jailed and nearly mobbed to death.

It's rare to see a character this remorseless, this focused in his quest for vengeance.  What possibly could make Joe change his mind? *

It turns out Joe does have a conscience, which surfaces in the most inconvenient times as he tries to drink his problems away.

In the scene below:
- Katherine, Joe's fiancee, thinks he died in the jail fire. 
- The mob has been caught and tried in court.
- This scene happens while the jury is deliberating.
- 22 people's lives hang in the balance, hence the importance of 22 number.
- I really liked how the individual hauntings were SPECIFIC only to Joe and how they flowed from one to the other (night club girl --> taxi meter).

...the scene dissolves to a CHEAP NIGHT CLUB, and Joe is dancing with a girl in a crowd of dancing men and women, youths, older men, and girls in cheap evening dresses. He is laughing, as if forcing himself to. The music is cheap jazz from a mechanical piano. It finishes, and the crowd returns to the cheap boxes against the wall. Joe takes his girl to a box. There are two half-finished highballs on the table, and Joe drinks.

GIRL (looking at him curiously): Your face is kin o'familiar. Were you ever here before?

JOE: Not me. First time here. But you're okay, baby. What's your name?

GIRL (sliding her chair closer to him): It's "Joyce," here, but -- (intriguingly) -- It's "Katherine," to you.

JOE (jumping up): What d' y' mean, "to me"? Why'd you say that?

GIRL (staring at him): Because Katherine's my real name. Say, what's the matter with you?

JOE (confused and hurriedly explaining): Nothing -- except that liquor y' serve here maybe. It's so hot I think I'll -- go out for awhile.

As the girl gapes at him, he turns and hurries away.

Next Joe comes out of the ALLEY DOOR of the night club. A high wind has risen with the stopping of the rain, and Joe, in his raincoat, bucks against it with lowered head. Joe turns irresolutely, and seeing a taxi, calls.

JOE: Hey -- taxi! (He turns toward it.)

The driver of the TAXI is at the curb now getting out and opening the door as Joe approaches, bucking the wind.

JOE: Say, where can a guy have some fun?

DRIVER: Leave it t' me, Sport! Hop in!

Joe gets into the taxi, and the Driver slams shut the door. A close-up then shows Joe staring straight ahead. As the taxi starts, there is the sound of the Driver clicking the meter on, and the cab moves off. The tick-tick-tick of the meter comes in, until it is the only sound to be heard. Joe suddenly straightens, noticing something ahead of him: A close-up of the TAXI METER comes into view. The figures are 20. The 0 moves up, everything but these numbers growing dizzy as this last number becomes a 2 -- in his head. The 22 looms bigger and bigger as the tick-tick of the meter goes relentlessly on.

A close-up of Joe shows him blinking stupidly. He strikes his forehead with the heels of his palms as if to drive the number out of his feverish brain. He leans forward, calling to the driver:

JOE: Let me out!

The cab grates to a sudden stop. Then Joe piles out of the taxi at a STREET CURB, fumbling for change.

JOE (to the driver): I changed my mind. Rather t-take a walk. It smells good in your face after the rain. (He gives the driver some change and goes.)

DRIVER (looking after him, shaking his head): Screwball.

WHAT I'VE LEARNED: I was impressed that I saw a remorseless man, but felt his interior emotions.  I was able to experience his conscience through the hauntings. 

The setup: Joe cares about Katherine and principles.
The payoff: When his conscience is pricked by external clues (night club girl, taxi meter), we understand what is happening inside Joe.

Fury (1936)
by Bartlett Cormack and Fritz Lang
Based on a story by Norman Krasna**

*As a result of this focused quest, I was rather disappointed by the uplifting, happy ending.  I suspect this was a studio demand, as it doesn't seem to match the rest of the script. 

**FYI: This script was produced under the studio system.  At that time, Oscar categories were split into two categories: "story by" and "screenplay by."  Norman Krasna was nominated only for Best Writing, Original Story (and not "screenplay by").

TODAY'S NUGGET: Little Cesar (1931) - How Ruthlessness FEELS, i.e., Why Threatening an Old Friend Works Here

[Quick Summary: A small time criminal elbows his way into the big leagues with the help of his old buddies.]

Actor Edward G. Robinson is best known playing gangster Cesar Enrico Bandello ("Rico") in this film.* It would follow him for the rest of his life.

I found Rico interesting because he's ruthless, yet has a conscience.  

He's a contradiction: He's loyal to the boss, Big Boy, but has his eye on his job.  He'll shoot strangers, but can't shoot his old friend Joe.

One of my favorite scenes (below) demonstrates his ruthlessness is less about the threats, and more about how it FEELS to the audience. In this scene:
- Rico has finally pushed out Big Boss's right hand man. 
- Rico was promoted and has just moved to a new apartment.
- Rico wants to bring his old buddy Joe back into the fold. He invites him for a visit.
- Joe left the gangster life for Olga, a dancer. They are now professional dancing couple together.
- Notice how Rico first plays to Joe's loyalty, "can't quit the team" mentality. When that doesn't work, he moves to threats on Olga.
- Notice also how Rico shows his own vulnerabilities ("I need somebody I can trust.")

JOE (uneasily shifting in his chair as he is seen closer): We gonna start that again? Can't you just forget about me?

RICO (with a certain softness in his voice, as both men are seen in a close-up): How can I forget about my pal, Joe? We started off together -- we gotta keep on goin' along together. Who else have I got to give a hang about? (Now he jumps up and goes over to Joe.) I need you, Joe. Just before you came, I was over to see the Big Boy. He handed me the whole North Side. But it's too big for one man to handle alone...I need somebody -- a guy like you -- somebody I can trust, somebody to work in with me.

JOE (shaking his head): It can't be me, Buddy. I've quit.

Fierce rage takes possession of Rico's face and he grabs Joe by the shoulder:

RICO: You didn't quit! Nobody ever quit me. Get that! You're still in my gang. I don't care how many fancy dames you got stickin' on to you. That skirt can go hang. It's her that's made a softy outa you.

JOE (a menacing look coming into his face): You lay off Olga, Rico!

RICO (furiously): I ain't layin' off her. I'm after her. She an' me can't both have you. One of us has gotta lose -- an' it ain't gonna be me! There's ways of stoppin' that dame...!

As he says the last sentence, he makes his old significant gesture of reaching for his gun.

JOE (terror-stricken as he interprets the movement): You're crazy! Leave her out of this...

RICO (his face distorted with rage now; fairly shrieking): It's curtains for her, see? She's through...she's out of the way...that's what she is!

JOE (drawing back; almost insanely): You're lyin'. You wouldn't...

RICO: I wouldn't? I'll show you...that dirty, painted-up...

JOE (almost shrieking): I love her! We're in love! Don't that mean nothin' to you?

RICO: Nothin'! Less than nothin'! Love -- soft stuff! When she's got you, you ain't safe...you know too much. I ain't takin' no chances You're stayin' here!

JOE: I'm not!

RICO (gripping his shoulder): You move an' it's suicide...suicide for both of you!

A close-up of Joe alone shows him almost paralyzed with fear. He sinks back against the chair and drops into it. He shuts his eyes and puts a guarding hand up against his face.

JOE (hoarsely): No...no, no...

WHAT I'VE LEARNED: What makes this scene stand out is that:
1) It's emotional.  It's not just that Rico pokes at Joe's vulnerabilities, but he reveals his own too.
2) The story continues to rise in tension.  With this promotion, Rico has even more to lose and the stakes are higher. So it's not surprising that he lashes out at Joe when Joe refuses to come along.

Little Cesar (1931)
by Francis Edward Faragoh
Based on the novel by W.R. Burnett

*I myself also found him very compelling in Double Indemnity.

TODAY'S NUGGET: Make Way for Tomorrow (1937) - Show-Not-Tell: A Mother Sacrificing Her Own Comfort in an Uncomfortable Situation

[Quick Summary: After an elderly couple lose their home, they are separated between their five children, who aren't able to take both of them in.]

I think it says something that director Leo McCarey (An Affair to Remember, The Awful Truth) thought that this was one of his best films.* 

It is sad,** but don't be fooled by its simplicity. 

To write emotion this well requires a high level of craft. ***

What makes this story so powerful? Roger Ebert said it best: 

What's so powerful about the film is its level gaze. It calmly, almost dispassionately, regards the situation and how it plays out. No spin.

In the scene below:
- Father and Mother had to sell the house.  Father isn't in the best of health.
- None of their five children could support two additional mouths to feed, so they were split up between children's households.
- Mother is staying with her son George, his wife, and granddaughter Rhonda.
- Mother has already heard that a friend, who is at the Cadwallader Home, is very unhappy there.
- Notice how the writer shows Mother spying the letter (she KNOWS what is up) --> then later, she requests to be placed at Cadwallader Home --> we know she has taken the emotional hit and sacrificed her own comfort.
- Also note the tone that Ebert speaks about.  It is calm, real, without spin, i.e., TRUTHFUL.

RHONDA (without letting up in her dancing):  I'm sorry Grandma, did I wake you up?

MOTHER: That's all right...any mail?

Rhonda, still dancing, points tot he table on which there is some mail, and Mother goes to it. A close-up shows Mother at the table, looking over the mail, rather casually, until she comes to a certain letter. She looks at it for quite a long time. We see the LETTER, which is addressed to GEORGE COOPER, and in the left-hand upper corner is printed the place from which it came, in bold type: CADWALLADER HOME FOR THE AGED.

Mother shakes her head in sober thought. It is all she can do not to open the letter. She finally puts it back on the pile unopened but all too well she senses its contents. All the while out of sight, the radio has been "jazzing it up" and RHONDA can be heard chiming in with the music of the radio. Then Mother mechanically goes over to a chair, sits down, and starts to knit. Her mind is still on the letter...

[George tells Mother that her daughter Addie can't take her and Father, so he is going to live with Cora, another daughter in California, because of his declining health. Mother is ok, as long as she can see him to say goodbye.]

[George] turns to an ashtray to put out his cigarette, then lights another one immediately. He gets up and starts to pace the floor, puffing nervously at his cigarette.

Mother, seen alone, suddenly know that the hour of doom has struck. Everything has become painfully, blindingly clear to her. For a moment she looks frightened and heartsick - but while GEORGE smokes, she gets herself under control. Then they are seen together, Mother watching him closely. She is ready.

GEORGE (sitting beside her on the couch): Mother, I've something else to tell you, too.

MOTHER (after studying his unhappy face): There's something I'd like to tell you first.

GEORGE: Let me while I can, Ma. Tell me later.

MOTHER: It's simply this. I don't want to hurt your feelings, but I haven't been too happy here. It's lonesome in this apartment all day with everyone gone. Would you mind terribly if I decided to leave you and go to the Cadwallader Home?

GEORGE (thunderstruck): Mother!

MOTHER: It's a fine place and I'd make friends my own age --

GEORGE: Mother, I--

MOTHER: Let me finish, dear. Once I thought your father and I would be able to get together again. I see that it's never going to turn out that way. And so I want to go to the home. (He looks at her with his heart in his eyes - as Mother smiles bravely.) I'm glad that's over. I hated to tell you as much as you would have hated to tel me anything like that. (After a pause) Oh, there's just one thing more, dear. I'd like to stay here till your father's on his way to California. He's funny about some things, you know. He'd never believe that the home's a grand place. He's a little old-fashioned, your father is. Those places seem terrible to him. (After pausing) Don't let him know I'm going. Tell Nellie and Cora and the others that he must never know. This is one thing that has to be handled my way.

GEORGE: Yes, Ma. Anything you say.

MOTHER: Let him think I'm staying on with you and Anita. You can always forward my letters to the home. It'll be the first secret I've ever had from him and it'll seem mighty funny. (She looks at George but he does not meet her gaze. He is too miserable. Mother is silent for a time, but when she speaks it is with the same lightness she has used throughout the scene.) I think I'll go to bed now if you don't mind, dear. I'm very tired. (She stands up and stoops to kiss him on the forehead.) Here's another secret just between us two. You were always my favorite child. Goodnight. George, weak and looking beaten, stares up at her.)

Mother stands, straight and strong, with courage in her eyes and on her smiling mouth. She turns and starts from the room. But she sways a little as she reaches the archway. George sees this - leaps to her side and puts an arm about her. Mother smiles a little apologetically.

MOTHER: Floor's a little slippery, I guess.

In the hallway, George leads her gently to her room, and she goes in without a word.

WHAT I'VE LEARNED: Because it was opposite of what I expected, Mother's calm, dispassionate reaction showed me more about her emotions than if she'd spoken them.

Make Way for Tomorrow (1937)
by Vina Delmar
Based on the novel, The Years Are So Long, by Josephine Lawrence, and a play by Helen and Nolan Leary

* When director Leo McCarey received his Oscar for The Awful Truth (1937), he reportedly said he had gotten it for the wrong film, i.e., it should've been for this film. 

**Orson Welles gave this film the highest compliments: "that [it] would make a stone cry," and “the saddest movie ever made."

*** I want to note that this story was battle tested and worked on by THREE sets of writers (play, novel, script) before it reached the screen.   

TODAY'S NUGGET: This Land is Mine (1943) - "I Don't Love You" Moment That's Really "I've Never Seen You Before" (Aha! Moments in Subtext)

[Quick Summary: In WWII, a cowardly school teacher, who lives with his domineering mother in a German occupied town, is tempted to join the Resistance.]

This script takes awhile to get to the point.

It's due to a rather intricate set up and the close connections between characters:
- Albert Lory, the timid protagonist, and his neighbor, Louise Martin are grade school teachers.
- Albert has a secret crush on Louise.
- Their principal and mentor is Prof. Sorel.
- Louise is engaged to George Lambert who works in the railroad terminal office.
- A member of the underground Resistance has been plaguing the town with bombs.

However, it's worth the wait.  I liked how it delivers an emotional punch, often through nuanced subtext, such as this aha! realization in the scene below:
- The police have just jailed Prof. Sorel as the suspected bomber.
- Louise now goes to see George, who speaks against the bomber.
- However, the secret bomber is actually Paul, Louise's brother.  He works at the railroad switch tower under George.
- I liked that Louise is working out her confusion in real time. ex. She admits her confusion to George ("Maybe I'm still in love with you.")
- This conversation about the bomber has brought Louise to an aha! revelation emotionally, i.e., she sees that she and George do not think alike.
- Notice the button on the scene (last few lines), which: a) show how far George and Louise are; and b) are ironic, as Paul is the bomber George has just been dissing.

INTERIOR GEORGE LAMBERT'S OFFICE - AT FRIGHT TERMINAL - DAY

...[Paul] leads [Louise] over to his chair and she sinks into it, glad to be weak for a change and have someone to comfort her. He takes his handkerchief and dries her eyes.

GEORGE (continued)(as to a child, tenderly): There now, is that better?

LOUISE: George, I'm frightened. I'm scared to death. Life is getting horrible. I don't know what to do. I need you.

GEORGE: Of course you need me, darling. That's what I'm here for. I love you.

As she relaxes, comforted:

GEORGE (continued): I know all about Sorel. They also took that fellow that runs the store across the street from you - Lorraine, and eight other men. One of them worked here in the yard. (petting her comfortingly) But nothing can happen for a week. If they find the man who threw the bomb they'll all be released.

LOUISE (half out of her mind): But that's just it. You don't understand. The man who threw the bomb -- Oh, George, I'm in an awful situation.

GEORGE (comfortingly): I know, dear, I know. The man who threw the bomb is a criminal.

Louise draws back and looks up at him as if she couldn't have heard right but in his indignation he doesn't notice it.

GEORGE (continued): If he has a spark of courage he'll come forward and admit his guilt - save innocent men.

LOUISE (staring at him): You really think he's a criminal?

GEORGE (righteously): Look Louise, all fo us hate this Occupation. I stood up to Major von Keller and told him to his face I didn't like it. But we have to face facts: They have the power. If one of us wants to resist, and get killed, that's foolish but courageous. He takes the risk and punishment himself. But the man who secretly resists, with acts of sabotage, is a coward; he escapes and innocent people die.

LOUISE (staring at him): You believe that?

GEORGE: It's obvious, darling.

LOUISE (looking at him strangely): You mean everyone who resists the enemy should give himself up, George?

GEORGE: I think so.

LOUISE: Then there is no more resistance.

GEORGE: Then we'd have peace. Wouldn't we be better off? Our duty now is to keep alive. To exist. What becomes of a nation if its citizens all die? Do you want to die? Do I want to die?

LOUISE (quietly; looks at him as if she had never seen him before): I saw them take Professor Sorel. He's not afraid to die.

She gets up and looks out the window, suddenly a million miles from him.

GEORGE: But he's old. We're young. Life means everything to us.

LOUISE (looking out at the switch tower): I know young men who aren't afraid to die. [She means her brother Paul.]

GEORGE (goes to her): Nothing is worth the sacrifice of your life, Louise. We have everything ahead of us - love, marriage, children --

LOUISE (turns on him): No, George.

He looks at her blankly as she takes off the ring and drops it on his desk.

LOUISE (continued): I was in love with you. Maybe I'm still in love with you. But I begin to feel as if I'd never looked at you before. This is the first time you've been frank with me. My mind's confused -- I haven't the right answer yet for the things you've said, but I feel -- I know you're wrong.

Her eyes widen as the door swings open and Paul walks in, his usual gay self.

PAUL: Hello, folks. (grins) I don't know how you do it, George. I can't get my girl to come down here and visit me.

Louise walks straight past him and exits. He looks after her curiously, then at the discomfited George.

PAUL (continued): Hey, what's the matter?

GEORGE (trying to cover up, hiding the ring in his hand): Oh, she's just upset. She'll get over it. You know women.

PAUL (laughs): I sure don't.

FADE OUT

WHAT I'VE LEARNED: The subtext here works because:
- George and Louise fundamentally have opposing views on the Resistance.
- George is missing information (doesn't know the secret about Paul).
- This moment comes at a crucial turning point (there are stakes).

In addition, I also liked how the subtext is also about other things: the bomber (surface); Prof. Sorel; young vs. old; the line of sacrifice; vulnerability; need; status.

This Land is Mine (1943)(anthology with only the script)
This Land is Mine (1943)(script + introduction)*
by Dudley Nichols

*This is a stand-alone publication includes the script plus an introduction with interesting details about where this film falls in history, the RKO studio, the director Renoir, and star Charles Laughton.