The Remembered

As I mentioned in my big Siodmak piece, SOMEONE TO REMEMBER is very hard to see and very little known… and is among Robert Siodmak’s most rewarding films. Read all about it at The Daily Notebook, and comment there, or here.

16 Responses to “The Remembered”

  1. David, I hope you don’t mind that I moved from Mubi over here since I didn’t want to dominate that thread, and I had one more thought I wanted to add about your clip.

    After watching that opening for a second time, I’m even more impressed with it. It moves from a general, congenial view of humanity, although one that may be fading, using the “you form of address to bring us into the world and sweeping long shots that call to mind a sort of peacefulness or contentment. Then the camera moves in to a medium shot when introducing Mrs. Freeman and our view of the world becomes personalized and directed, before finally moving into close ups of machinery and the letter evicting the tenants signed by a stamp which abruptly ends our reverie and suggests a sort of negation or erasure of everything that came before. It hints that the story may not come to a happy ending, or that Mrs. Freeman will suffer before it concludes, but it gets the attention and certainly makes one want to watch the rest of the film to see what happens.

  2. That’s it. Siodmak uses the moving camera and the edit almost like music, creating a rhythm which has its own dramatic significance. It’s the spectacle of screenplay, director and cinematographer in perfect accord.

  3. This looks lovely. Thematically remindful of Make Way For Tomorrow and most of Ozu.

  4. David Boxwell Says:

    Mabel Paige has some sparky, amusing cynical by-play with George Raft in Marin’s NOCTURNE (46). She plays his mother, although they were just 14 years apart in actual age. She is always a pleasure to watch in her late 40s film noir appearances.

  5. David Boxwell Says:

    Paige is 62 here, 8 years younger than Raquel Welch is now. 62 used to be DECREPIT!

    Around the same time as this heart-warming, gentle look at female old age, Preston Sturges was mocking old women unmercifully (i.e. SULLIVAN’S TRAVELS).

  6. Sturges’s humour isn’t devoid of affection, mind you. This is perhaps clearer in the widow and spinster pairing in his script for Remember the Night, than in the similar team in ST. And he was always very sentimental about mothers…

    I’m certainly keen to see more Mabel after this, she owns the film!

  7. Mabel Paige is also in the Siodmak film that precedes this one — filmed at the same time? “My Heart Belongs To Daddy.” (*Not* a title that evokes Siodmak, at least to me …)

  8. Like West Point Widow, which is fairly dire, MHBTD is written by the deadly F Hugh Herbert (no relation to “Woo Woo” Hugh), which usually spells “Avoid At All Costs.” But FHH contributed to the script of Fly By Night, and that one’s quite a perky Hitchcockian romp.

  9. Christopher Says:

    Ah…this looks like just the thing…I wanted to see more after that clip and was able to score a copy from
    Seems a little like Make Way For Tomorrow with a little To Each his Own thrown in..

  10. A pretty good comparison! It’s a smaller, more modest film than those, but has similar emotional impact.

  11. FHH did the screenplay for the most incoherent of the Perry Masons, but also the story to If You Could Only Cook. Seeing his credits, it appears his work was pretty uneven.

  12. I don’t much like IYCOC — in a farce where somebody impersonates or disguises, I require a strong pretext, and I could never figure out why Herbert Marshall was pretending to be a cook, or whatever he was doing. So I think the story is the weakest part there.

  13. Perhaps, but that sort of story (rich person has big problem due to riches/business, so goes incognito) was in its heyday in the ’30s. The Millionaire is another that follows that line, as did The Richest Girl In The World. FHH also had a hand in the script for Traveling Saleslady, which at least shows women having the same abilities as men, even beating them at their profession. Other writers were involved, so I haven’t a clue if he was responsible for that. Looking at the rest of the IMDb list, his films seem somewhat lesser in writing quality

  14. His contribution to The Great Gabbo is ineffable, however. That’s an astonishing artifact (I hesitate to call it a “film”) and the unending cross-talk routines are a big part of its pixillated air of neglect.

  15. […] comes DIVORCE, then SOMEONE TO REMEMBER, the forgotten masterpiece that gives Mabel Paige her one starring role. Then comes SON OF DRACULA […]

  16. […] I regret to say I have only scratched the surface of Siodmak's extraordinary career.  So many of his films, especially the European ones made before and after his American phase, are near impossible to see.  High on the list of Siodmak films that I still need to view are Christmas Holiday (1944) in which Deanna Durbin plays a prostitute married to a murderer played by Gene Kelly (!), The Dark Mirror (1946) with Olivia de Havilland as a pair of good and evil twins, Nachts, wenn der Teufel kam/Nights When the Devil Came (1957), a German-made film about a serial killer operating under the nose of the Nazis, and Someone to Remember (1943), made at Republic, which Cairns intriguingly describes as something like McCarey's Make Way for Tomorrow as if filmed with the sinuous camera movements of a Max Ophuls.  (He also posts an amazing clip from the film here.) […]

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