The Story of a Cheat (1936) is a delightful comedy by Sacha Guitry, whom I’d never have discovered if it weren’t for my New Year’s resolution to watch old movies. In T he Story of a Cheat, Guitry plays a suave man who falls into one incident after another where he winds up stealing or conning someone. As a boy, he stole some money from his father’s shop. He got caught and was forbidden to eat the mushrooms served for dinner. As all his relations get poisoned, he lucked out and thus the confusion over whether honesty is the best policy ensues. No matter how bad things get, there’s always some silver lining and this hero winds up doing alright – as long as he’s dishonest. Whenever he’s honest, he gets in trouble.
It’s a fun, entertaining French film told almost entirely through flashback and voice over. Big no-no’s for movies, but this does work. The Criterion Collection provides a nice essay on Guitry’s career.
I wasn’t prepared for the pathos of Charlie Chaplin’s The Kid. I didn’t expect the storyline either. In The Kid a single mother gets out of the charity hospital and doesn’t know what to do. Though it breaks her heart, she abandons her baby in an empty c ar in front of a wealthy home. It’s understandable since her love drops her photo in a fire and when he pulls it out, decides to toss it back to burn.
Yet comedy ensues and much as he doesn’t want the baby, Chaplin’s Tramp is stuck with it. The Tramp lives in a squalid apartment where just about every possession is broken or tattered. Yet he ingeniously manages to care for the baby. I loved how he rigged up a coffee pot to serve as a bottle.
Five years pass and the two are a family. They make money with a scam. The boy, who’s the epitome of a street urchin in looks, throws rocks through people’s windows. A couple minutes later the Tramp appears and he’s in the window glass business so he’ll repair the window right away. However, the local police are soon wise to them.
Meanwhile the boy’s mother has become a successful opera singer and his father, a famous artist. The two meet each other, but since the boy’s gone, there’s no reason for them to rekindle their love.
The story features so much clever slapstick and imaginative moments. It also plays on viewers heart strings big time, yet the film isn’t depressing. Chaplin and little Jackie Coogan are terrific and their story makes a commentary on how orphans and unwed mothers were treated.
- There’s a 50 to 1 ratio between the footage Chaplin shot and what he used.
- Chaplin discovered Jackie Coogan, when he saw Coogan on stage at a music hall with his father.
- Chaplin had been suffering from writer’s block. Then his wife gave birth to a son, who died three days later. That incident sparked this story.
- Chaplin himself spent time in an orphanage.
I wanted to like Price Check starring Posey Parker, but it was just unwatchable. The plot revolves around a dull pricing department filled with people who slog through their lives getting a new vivacious department head with no common sense. She shakes up these folks, particularly a man who’s content to just lay low in his life. This guy’s married with a young son and his home life seems fine. The film tries to be zany and stir people up so they “live it up!” I really felt it was a poor copy of Office Space or The Office with less heart, laughs and satire. I stopped watching after 25 minutes when Parker’s character invited herself to the man’s son’s Halloween party at school and took the stage. I knew that Parker is seen to be someone with trouble with boundaries, but I just felt “so what?”
Price Check will not endure the way Chaplin’s The Kid or Modern Times has.
What do you think? Do you agree with their thesis?
Life in 17th century Japan certainly wasn’t easy for women if The Life of Oharu is anything to go by. I really loved this movie about a beautiful young woman. First Oharu is a courtesan at the Imperial Palace. When she gives in to a lower class retainer’s advances, she’s found out. Then she’s banished from Kyoto. Her parents are also banished because they failed to guide their daughter properly. When they’re led out of the city, soldiers keep back their loved ones separating them with a pole as they proceed to the city limits in tears.
Oharu’s lover did not get off scot-free. He was beheaded after dictating a letter urging Oharu only to marry for love.
After a long banishment, Oharu lucks out. An emissary from an important lord must hunt for the perfect courtesan. The requirements are so specific. Feet must be a certain length, certain earlobes, background, talents. No one fits all the criteria — no one except Oharu. At first she kicks and screams, but eventually she goes to Edo (now Tokyo) where she delights the lord and infuriates his wife. She bears the lord the desired male heir and things are looking up. She finally feels at home, valued. However, the wife, who’s jealous of her husband’s fondness for Oharu, sends her packing with very little cash. Oharu’s father has over extended himself in business thinking he’ll be taken care of for life as his daughter bore the heir. The film continues to show this poor woman’s hardships and to reveal how precarious life could be in this highly structured society. The acting is superb and the story compelling as I had no idea what to expect. I really was shocked that Oharu was tossed out after producing a royal heir.
While the film is melodramatic, there’s humor such as when a prostitute drags a man into an inn, while he’s calling out, “I’ve got to get home to my wife.” Based on the novel, The Life of an Amorous Woman, this film is beautiful with images that will stick with you. For more on the cinematography read this essay on the Criterion Collection website.
I know cute baby and kid videos can be rather too cutesy and maybe this is, but it did make me smile and there are subtitles so you get a glimpse into Chinese culture via the judges and the boy.