Nice breakdown of their work, just let me add that the Britain-US theme is also present in A Matter of Life and Death (the jury's composition and the prosecutor's arguments during the trial) while Black Narcissus touches upon British imperialism (the nuns civilise the locals who are viewed as "primitive" and "children").
Making The Red Shoes sees them clearly move on from war related matters, though it doesn't really belong in the post-war landscape that you've accurately outlined either (I guess there is a possible interpretation if someone was desperate to fit it into its socio-political zeitgeist, but it's too far fetched in my opinion).
Anyway, I'd definitely recommend watching it if you get the chance. Personally, I'd rank it slightly lower than Black Narcissus (for a reason I can't explain without spoiling it), but they share the same strengths and weaknesses for the most part, so odds are it will live up to the expectations.
Good points on Matter of Life and Death and Black Narcissus. The post-war landscape was much more than I briefly covered on the first page, and I omitted a lot. Obviously not all cinema around the globe went pessimistic and noir-ish in the late-40s, and The Red Shoes does not appear to be in that vein. Though coming right after Black Narcissus, I have a feeling it isn't exactly uplifting either. I'll definitely get to it before the deadline.
Anyway, expanding on the Post-War piece from page 1. Again, the war opened people's eyes to humanity's cruelty, and to the fact that cinema could be more than casual light-hearted entertainment. Problem pictures and film noir took off in the US and the UK, victors of the war. However other countries, such as Italy and Japan, had different creative movements of their own, focusing on realism and social commentary. Those two countries were humbled by being on the losing side of WWII, and thus their most significant post-war films were definitely not displaying national pride, but rather how the war affected the everyday lives of their people, especially poor people who lost their homes, loved ones, and/or jobs due to the war. I'm a fan of Ozu's A Hen in the Wind (1948) and Mizoguchi's Women of the Night (1948), two films about Japanese women descending into prostitution just to make ends meet. Over in Italy, directors Vittorio de Sica and Roberto Rossellini got out their cameras right away once the nation fell to the Allies, and produced films about struggling families amidst the rubble. They were characterized by tragic scripts, non-professional actors, and set pieces filled with debris on the streets and bombed out buildings to enhance this realism. It was indeed a sobering time for cinema in those countries. These Neo-realist movements happening simultaneously with very different cinematic trends in other areas of the world make the post-war phase of the 40s the richest and most fascinating in my opinion. And I haven't even brought up the Ealing Comedies. Nor the rise of Kurosawa and Bergman. Maybe on later posts. _________________ on such a winter's day
Problem pictures and film noir took off in the US and the UK, victors of the war. However other countries, such as Italy and Japan, had different creative movements of their own, focusing on realism and social commentary. Those two countries were humbled by being on the losing side of WWII, and thus their most significant post-war films were definitely not displaying national pride, but rather how the war affected the everyday lives of their people, especially poor people who lost their homes, loved ones, and/or jobs due to the war. I'm a fan of Ozu's A Hen in the Wind (1948) and Mizoguchi's Women of the Night (1948), two films about Japanese women descending into prostitution just to make ends meet. Over in Italy, directors Vittorio de Sica and Roberto Rossellini got out their cameras right away once the nation fell to the Allies, and produced films about struggling families amidst the rubble. They were characterized by tragic scripts, non-professional actors, and set pieces filled with debris on the streets and bombed out buildings to enhance this realism. It was indeed a sobering time for cinema in those countries.
There is a telling scene in Bicycle Thieves, where the main character puts up a poster of Gilda/Rita Hayworth, the ultimate symbol of Hollywood Glamour, highlighting the contrast to this new school of filmmaking that goes against established conventions of commercial cinema. Some more characteristics of Italian neo-realism that could be added to those you've already pointed out are improvised dialogue, natural light, real time. One could say that the camera is the narrator, the plot follows the camera and not the other way around.
Cinema definitely played a role in the post-war healing process. Apart from giving prominence to the war's aftermath and the emerging social challenges, it usually left just enough room for a glimpse of hope. (Spoilers for Bicycle Thieves, A Hen in the Wind, Women of the Night) In Bicycle Thieves the boy holds his father's hand, in A Hen in the Wind the husband hugs his wife, in Women of the Night the two women go straight. _________________ Bob Dylan Charles Mingus
It was filmed in the summer of 1944 in Germany (in Berlin and the Havelland region surrounding Berlin), particularly at the Glinick Bridge, which lies between Berlin and Potsdam. It couldn't be shown in the spring of 1945 due to the war and Germany's surrender.[/youtube]
Last edited by Olli on 01/29/2026 17:57; edited 2 times in total
So, good news bad news— I cannot possibly fathom wrapping this poll by January 3rd, let alone posting it shortly afterwards— not sure what I was thinking—
(I'm spending January travelling across Java, and most likely won't have as much time on my hands as that makes it sound)
The poll will unquestionably be extended, most likely until mid-February.
As selfish as this reasoning is, I hope this isn't an issue, and we see a good handful of lists still to be submitted 😄
So, good news bad news— I cannot possibly fathom wrapping this poll by January 3rd, let alone posting it shortly afterwards— not sure what I was thinking—
(I'm spending January travelling across Java, and most likely won't have as much time on my hands as that makes it sound)
The poll will unquestionably be extended, most likely until mid-February.
As selfish as this reasoning is, I hope this isn't an issue, and we see a good handful of lists still to be submitted 😄
Thanks everyone—
Oh good! I'm currently watching His Girl Friday in which I've fallen in love with Hildy Johnson ( I mean who doesn't, right?). I can watch the back & forth banter between her and Cary Grant ENDLESSLY! 🥰
Cary Grant is ... "lovable in a loathsome sort of way." - Hildy 🤣
edit: I would LOVE an edited copy of the movie with just the two of them going at it!
I still need to see Red Shoes, amongst several others. Between work and holidays it's been nuts here. I think I've watched just one movie in the last month. I don't mean one movie from the 40s; I mean one movie in total. Could definitely use an extension. Hoping you liked His Girl Friday, Repo 😁
I still need to see Red Shoes, amongst several others. Between work and holidays it's been nuts here. I think I've watched just one movie in the last month. I don't mean one movie from the 40s; I mean one movie in total. Could definitely use an extension. Hoping you liked His Girl Friday, Repo :D
Loved it! Just finished. Is Rosalind Russel is anything else worth watching?! Her performance drives the movie. (I think I like The Awful Truth (1937) a smidge better though.)
Thumbnail. Click to enlarge.
Repo's '40s Film Rankings
Rebecca (1940)
Casablanca (1942)
The Curse of the Cat People (1944)
The Uninvited (1944)
The Spiral Staircase (1946)
Pinocchio (1940)
Cat People (1942)
Double Indemnity (1944)
His Girl Friday (1940)
Ghost Breakers (1940)
Laura (1944)
The Unseen (1945)
The Killers (1946)
The Devil-Bat (1940)
Stranger on the Third Floor (1940)
The Suspect (1944)
King of the Zombies (1941)
Son of Dracula (1943)
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