The Man Who Made the Best Movie Ever
Those who hold to the American Film Institute’s view will assume the subject of this piece is Orson Welles, who, at the tender age of 25, made Citizen Kane (1941), a film that both cursed and immortalized the young man. This admittedly brilliant feature heads their much scrutinized list of the top 100 movies ever made.
Personally, I think the A.F.I’s number two pick, Casablanca (1942) should have won top honors. Though it’s almost absurd to compare them, Kane today feels more self-conscious, more eager to show off its virtuosity and originality than Casablanca, a film that, viewed once or a hundred times, simply seems to have nothing wrong with it.
So this piece will instead concern Michael Curtiz, a Hungarian-born director who never commanded the adulation of a Lubitsch, Hitchcock, Ford or Welles. Part of his relative obscurity came from being so thoroughly enmeshed in the intricate machinery of the studio system in the thirties and forties. Unlike Welles, Curtiz was never known as an auteur, innovator or maverick, but simply put, he knew his business. A superb film craftsman, from roughly 1933-1945 he was widely acknowledged as the best director on the Warner lot (along with William Wyler). And today we have his pictures to prove it.
Born in 1886, he’d been in movies almost as long as there’d been movies. By the time he landed at Warners, he had established a signature style anchored in crisp pacing and frequent camera movement. Curtiz also knew how to use unusual compositions and camera angles to heighten tension. Just as important to Jack Warner, Curtiz was adept at running a disciplined set and moving a production along.
He would never have claimed to be an “actor’s director”. Still, he was unfailingly courteous to Ingrid Bergman on the Casablanca set (how hard could that have been?), and got on well enough with the unruly Errol Flynn to make twelve pictures with him. When asked about the importance of “character” in his films, Curtiz replied that character was secondary for him; audiences need hardly be concerned with it since he kept his stories moving so fast.
What humanized Curtiz most was his thick accent and scant understanding of proper English, which often made him incomprehensible on set. The memorable title of David Niven’s memoir Bring On The Empty Horses was an actual Curtiz quote, referring to a group of riderless stallions Curtiz needed to shoot. Then, of course, there’s this hilarious rant which Niven once endured from the director: “You think you know f**k everything! Well, you know f**k nothing! And I know f**k all!”
On the set of Casablanca, the director made an unexpected but urgent request for poodles. When the dogs were ushered into his presence, Curtiz went volcanic and screamed: “No! I said poodles! Poodles of water!!!”
After the Second War, Curtiz broke with the Warner studio that had been his home for so long, and in the roughly fifteen ensuing years until his death in 1961, the director’s output would rarely equal the quality of his pre-war features.
But in his hey-day, what fine work he did. Beyond his universally admired masterpiece, just behold some of the other enduring classics Michael Curtiz bequeathed to future generations:
Captain Blood (1935) - In this lusty recounting of the Rafael Sabatini tale, Errol Flynn is Peter Blood, a doctor unjustly sentenced to servitude by the British Crown. Chafing against captivity, Blood escapes and becomes a pirate on the high seas. He makes as good a pirate as doctor, wielding a sword in a way they don't teach you in medical school. Beyond zesty sword fights, there are grand sea battles, and of course, romance, as Blood falls for Arabella Bishop (Olivia de Havilland), daughter of Colonel Bishop (Lionel Atwill), cruel master of the penal colony where Blood is initially sent. Blood made an overnight star of the Tasmanian Flynn, and no wonder. His combination of good looks, athleticism, and sheer personality brought back the swashbuckler in one fell swoop. Curtiz's direction is predictably assured, and both Atwill and pirate nemesis Basil Rathbone make truly despicable villains. Finally, young de Havilland is the perfect match for Flynn; it's easy to see why they'd be paired in seven more Warner pictures.
The Adventures Of Robin Hood (1938)- Robin of Locksley, a noble Saxon (Flynn), sees the people of England exploited by the Normans and their leader, Prince John (Claude Rains), who's seized the throne in his brother Richard's absence. Robin and his followers work to undermine the corrupt regime until King Richard's return. With Maid Marion (Olivia De Havilland) as love interest and Sir Guy Gisbourne (Basil Rathbone) as nemesis, Robin is kept constantly occupied. This rousing, gorgeously photographed adventure movie exemplifies the magical heights Warner Brothers attained in the Golden Age of the studio system. Bolstered by a consistently clever script, with both humor and romance complementing the derring-do, Curtiz’s Robin Hood is a milestone in Hollywood cinema -- the first, and perhaps best, color swashbuckler.
Angels With Dirty Faces (1938)- Rocky Sullivan and Jerry Connolly, two young hooligans on the make, are caught stealing, and only Jerry gets away. As the years go by, the reform school-hardened Rocky (James Cagney) enters a life of crime, becoming a famous and feared gangster, while Jerry (Pat O'Brien) ultimately sees the light and enters the priesthood. While maintaining affection for each other, criminal and priest must compete for the souls of a new generation of hoodlums in the neighborhood, played by the Dead End Kids. Angels represents the peak of the gangster picture genre which Warners developed and refined in the thirties, when the age of Capone was still fresh in people’s minds. Cagney, whose screen career had been launched seven years before in The Public Enemy, perfects his rendition of the crook with a heart of gold, and his close real-life friend Pat O'Brien counters him perfectly as the mellow, morally upright Father Connolly. Meanwhile Humphrey Bogart, in full villain mode, is deliciously slimy as Rocky’s “business partner”. Whatever you do, don’t miss that ending!
The Private Lives Of Elizabeth and Essex (1939)- Based on Maxwell Anderson's play, Elizabeth The Queen, this opulent drama profiles the uncoventional relationship between aging Queen Elizabeth I (a heavily made–up Bette Davis, in a rare character role), and the handsome Earl Of Essex (Flynn). Their obvious mutual affection creates an interesting dynamic, with the Queen's age and position forcing a measure of restraint, and the Earl's awareness of her true feelings making him bolder than your average subject. A sterling supporting cast includes Flynn's frequent co-star de Havilland (in a featured role), Donald Crisp, and a young Vincent Price as Sir Walter Raleigh! In this handsome production, historical accuracy is sacrificed to achieve an intelligent and intriguing character piece, shot in glorious Technicolor. The film admirably showcases its two stars, whose on-screen chemistry never hints at their off-screen disdain for each other. Davis is forced to stretch more in her part, and bravely foregoes any vanity in playing the spinster queen, while Flynn's Essex fits the actor's breezy, effortless charisma like a glove. Another direct hit for Curtiz and Flynn.
The Sea Hawk (1940)- Captain Thorpe (Errol Flynn), a British privateer, seizes the bounty on Spanish ships to help thwart that country's hostile intentions towards Britain and fill England's coffers. On capturing a vessel carrying the Spanish Ambassador (Claude Rains) and his niece (Brenda Marshall), he returns to England and advocates for greater preparedness against Spain with Queen Elizabeth. To get him out of the way, the Spanish capture Thorpe at sea and the buccaneer must escape to warn his queen of the advancing Spanish armada. Along with Captain Blood, this remains Flynn’s best pirate film -- it’s a good old-fashioned sword-fest, with plenty of intrigue. Joined by Warner character players Claude Rains, Donald Crisp and Flora Robson (superb as the Queen), Hawk remains an exhilarating experience, with a lusty Erich Korngold score and incredible sets (two full-size ship replicas were built for the production). You’ll find it’s as bracing as the sea air.
Yankee Doodle Dandy (1942) - Curtiz's homage to patriotic songwriter/entertainer George M. Cohan was perfectly timed to stir our spirits as we entered World War II. A meeting with F.D.R on the eve of the conflict prompts an aging George M. (James Cagney) to look back on his colorful life, from the lean early days touring the country with his parents and sister in vaudeville, to later heady, happy times as our country's most prominent songwriter/performer, who stirred love of country through the first several decades of the twentieth century. This exuberant slice of Americana is Cagney's show entirely, netting him his only Oscar (after all those gangster roles!). The actor actually began his career as a song-and-dance man, and here he gets to prove it, in a series of rousing, nostalgic numbers that keep the rich Cohan legacy alive. Walter Huston stands out in a sterling supporting cast playing George's loving Dad. Good enough to watch any old time, but a must for Independence Day.
Mildred Pierce (1945)- This timeless, tawdry Joan Crawford melodrama is based on the James Cain story of a ruthless career woman (Crawford), who will do anything to ensure her daughter Veda (Ann Blyth) gets all the advantages she never enjoyed. Veda grows into a spoiled monster, but the other characters surrounding the hard-working Mildred aren't too sympathetic either, whether it's the oily Monty Berrigan (Zachary Scott) whom Mildred thinks she loves, or lascivious realtor Wally Fay (Jack Carson), who just might help Mildred if she becomes friendlier. There's a foul odor in this town, and it may be the scent of murder. Here Curtiz the master creates a diabolical murder yarn. Crawford resuscitated her fading career with the driven Mildred, a part she was born to play. The Oscar- nominated Blyth grates as the hateful Veda (hard for her not to), and Scott and Carson each ooze their particular brand of acid as the calculating men in Mildred's life. For a vicarious glimpse into seamy small town intrigue, you can't beat this one. Joan won an Oscar.
Note: several other Curtiz titles would have made this list but either are not on DVD, or available only on inferior “public domain” editions. Among them: The Kennel Murder Case (1933), The Sea Wolf (1941), and Life With Father (1947). Another winner, Four Daughters (1938), has just been released on the Warner Archive Collection.
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I'm a fan of all of this director's movies mentioned. The old Cagney pics and Flynn's flix were fun movies from our grandparents days that we kids watched and enjoyed. Casablanca was the best of the lot, but they all were great entertainment.
Casablanca is indeed my favorite movie of all time. However I have doubt my ability to judge it fairly given the presence of Ingrid Bergman, who's beauty so dominated the screen when she was on, that I could possibly be missing tons of flaws of the film that I'm failing to register.
What a lower lip.
I'd like to put my two cents in and mention the flawless direction of Fred Zinneman, responsible for such fine films as A Man for All Seasons, The Day of the Jackal, High Noon, From Here to Eternity and many more.
Casablanca is among those films containing multiple great and quotable lines. Genuinely a perfect movie. I love that the montage sequences were crafted by Don Siegel, who went on to direct a few films of his own that might be considered flawless, among them the original Invasion Of The Bodysnatchers and the most awesome Charley Varrick.
I agree with you regarding Charley Varrick, a gripping film, and one of Matthau's best performances.
Another recommendation for Charley Varrick.
One of those movies you stumble on, never having heard of it, and wind up amazed at how good it it. Matthau is perfect.
It would never make it near one of these high-falutin' top 100 lists, but it might make mine.
I've seen four "great" movies in my life: "Gone With the Wind," "Dr. Zhivago", "The Adventures of Robin Hood" and the "greatest" movie of all time, directed by the greatest director of all time, Steven Spielberg, "Saving Private Ryan."
When debating the greatest film maker of all time for me the debate ends with the name John Huston.
I thought Citizen Kane was lame and bombastic, save for the innovative filming techniques. Sorry.
Dear Mr. Farr,
I know very little about critiquing a movie but I do know what I like. My favorite is an Orson Wells picture but not CK , it is The Magnificent Ambersons.
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a fine film.
a shame the studio chopped it up so much.
Kane and Casablanca - my TWO favorite films of all time!
And two of VERY few films that I can find not a single flaw contained therein.
I would hate to have to choose between them!
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well, in fact we really don't have to!
He is one of the top directors ever. Right there with anyone, and I agree. But there are so many other great directors from that era. For an action picture that you can't leave your seat?
I will have to add George Cukor and Alfred Hitchcock to the greatest ever.
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to be c lear, I wasn't claiming him as best director- only that he made the best movie.
A brilliant director for sure. A man who knew his craft. Thanks for shining a light on him. I work with some folks who consider themselves "movie buffs" but I'll bet that none of them know who Michael Curtiz is!!!! As a matter of fact, I don't think any of them could name 5 movies made before "Fast Times at Ridgemont High" !!!!!!
I'd also like to throw a shout out for "Treasure of the Sierra Madre" for number one all time. Shameless plug....
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it's right up there- agree.
While the films you list are favorites of mine and I too believe Curtiz was a brilliant director, it must be said that he also had some brilliant actors to work with. Errol Flynn might have been difficult to work with but I never saw him give anything but a terrific performance. The same can be said of the inimitable Bette Davis and multi-talented James Cagney!
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no argument here!
And don't forget the writers. If there's one thing the listed films have in common, aside from Curtiz, is each of them has an airtight script. They say that "Casablanca" was written by the Epstein brothers on the fly--new scenes were being written the night before shooting, no one knew what the ending would be. It's hard to believe with such a perfectly paced and plotted movie, but all of Casablanca's key players said that it's so.
Totally agree! The writers never get the credit they deserve, do they? Puts me in mind of another great classic film "Sunset Boulevard" which illustrates your point!
Thanks for the memories from those of us film buffs who live in the timeless cinematic past with no apologies. There's something uniquely civilized about black and white classics.
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no kidding...
words were important, and everything did not have to move at 120 MPH.
This is not to mention the 1958 film King Creole, an almost-adaptation of the novel A Stone for Danny Fisher by Harold Robbins, author of The Carpetbaggers. This film starred Elvis Presley and along with his first film Love Me Tender was a real dramatic film. Shot in terrific B&W by Curtiz, it was serious work in the otherwise tawdry film career of the King.
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also liked jailhouse rock.
Thanks - nice to see some recognition for a brilliant director.
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