Christ in Concrete / Give Us This Day (Edward Dmytryk, 1949)
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Napier
- Joined: Wed Nov 03, 2004 1:48 pm
- Location: The Shire
Christ in Concrete / Give Us This Day (Edward Dmytryk, 1949)
I was wondering if anybody else has seen this film? I was absolutely floored when I watched this last night. This is an excellent pic, I wonder how films like this could just (fall through the cracks)? The Image dvd is quite nice considering how the film was suppressed. I would not have known about it if Gary Tooze didn't review it on the Beaver. I am sooo glad to have this one in my collection. All Day Entertainment seems to have some really great titles in their catalog. Here's the link to the Beaver review. http://www.dvdbeaver.com/film/DVDReview ... ncrete.htm
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javelin
- Joined: Sun Dec 05, 2004 8:21 pm
- Location: Berkeley, CA
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I watched it a couple weeks ago. I liked it a lot, but wasn't floored by it. It is a really fascinating film that reminded me very much of the literary works of Upton Sinclair (I imagine that parallel is both obvious and tired.) It is a film that definitely "fell through the cracks," possibly due to the lack of dvd. Here's hoping that more people jump on the bandwagon.
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Scharphedin2
- Joined: Fri May 19, 2006 11:37 am
- Location: Denmark/Sweden
Having just finished watching this film, I can't help but pull this thread to the surface. This is surely a film that deserves to be seen by many more people, and All Day Entertainment has provided a beautiful transfer of the film with a host of extras.
One of the more impressive aspects of the film is that it was shot in England (by a team of black-listed filmmakers led by Edward Dmytryk), and still manages to come across as one of the more authentic films set in New York that I have ever seen. The story concerns first and second generation Italian-Americans, struggling to forge a life for themselves during the depression as bricklayers and construction workers in New York. There are similarities along the way with the neo-realist movement that was ongoing at the time in Italy, and apparently both Rossellini and Visconti were approached to direct, before Dmytryk came into the picture.
Additionally, the film very much has the look and feel of a film noir (not surprisingly perhaps, since Dmytryk was fresh off the noir classic Crossfire). So, it is a film that has not only social and historical interest, but also tells a gripping story in a manner that draws on several cinematic movements of its time.
One of the more impressive aspects of the film is that it was shot in England (by a team of black-listed filmmakers led by Edward Dmytryk), and still manages to come across as one of the more authentic films set in New York that I have ever seen. The story concerns first and second generation Italian-Americans, struggling to forge a life for themselves during the depression as bricklayers and construction workers in New York. There are similarities along the way with the neo-realist movement that was ongoing at the time in Italy, and apparently both Rossellini and Visconti were approached to direct, before Dmytryk came into the picture.
Additionally, the film very much has the look and feel of a film noir (not surprisingly perhaps, since Dmytryk was fresh off the noir classic Crossfire). So, it is a film that has not only social and historical interest, but also tells a gripping story in a manner that draws on several cinematic movements of its time.
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Gregory
- Joined: Tue Nov 02, 2004 8:07 pm
I hadn't seen this thread before but there was some discussion of the film in another one that should be of interest. I loved the film (and the DVD) and commented on it there.
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Scharphedin2
- Joined: Fri May 19, 2006 11:37 am
- Location: Denmark/Sweden
Sorry, I should have looked in the All Day thread of course.
I like that you describe the opening sequence at some length... I had actually done the same above, but then decided against it. But, it is an amazing sequence that completely has you in the movie from the first moment, and unless you have prior knowledge of the plot, that beginning could lead anywhere. Very "noir-ish" indeed.
In fact, equally impressive, even before the opening sequence, the very first shot taken from a boat going down the Hudson river, taking in the line of massive constructions facing the river. And, then Benjamin Frankel's music (which continues over the sequence you described) kicks right in from the first second of the picture, and it is very loud and dramatic... a very strong opening to a powerful film.
I like that you describe the opening sequence at some length... I had actually done the same above, but then decided against it. But, it is an amazing sequence that completely has you in the movie from the first moment, and unless you have prior knowledge of the plot, that beginning could lead anywhere. Very "noir-ish" indeed.
In fact, equally impressive, even before the opening sequence, the very first shot taken from a boat going down the Hudson river, taking in the line of massive constructions facing the river. And, then Benjamin Frankel's music (which continues over the sequence you described) kicks right in from the first second of the picture, and it is very loud and dramatic... a very strong opening to a powerful film.
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HerrSchreck
- Joined: Sun Sep 04, 2005 3:46 pm
Now for a double swift kick in the pants-- buy the book. You'll note how much was done to adjust the story and make it more user friendly to a cinematic telling. The narrative taken up in the film is merely the first bits of the novel. See the moment at the end of the film where the camera focuses on Geremio's boy?
That's Pietro DiDonato, and CHRIST IN CONCRETE the book is 80 percent about him picking up the slack and being forced to work construction for his family since
Actually the book gained life as a stunning short story in a leading magazine (forget which one), which was then bound up and sold as a short novella. The success was so incredible that his editor told him to try and turn it into a novel, which he did, which led to fame for DiDonato... though he never duplicated the achievement. After watching the film and flipping for it, my girlfriend bought me rarest contemporary editions of the initial bound short story (extremely rare), and the novel in hardcover (slightly less rare).
A great disc with astounding treatment & extras. Kalat deserves all the credit in the world for doing what he did. Wanamaker was absolutely amazing in the film.
That's Pietro DiDonato, and CHRIST IN CONCRETE the book is 80 percent about him picking up the slack and being forced to work construction for his family since
The book is written in a stunning stream of consciousness and made quite a splash when it came out. It is the quintessential literary depression-era novel, very (obviously) pro-labor and union, and an astonishing first novel.spoiler wrote:his father has drowned in concrete
Actually the book gained life as a stunning short story in a leading magazine (forget which one), which was then bound up and sold as a short novella. The success was so incredible that his editor told him to try and turn it into a novel, which he did, which led to fame for DiDonato... though he never duplicated the achievement. After watching the film and flipping for it, my girlfriend bought me rarest contemporary editions of the initial bound short story (extremely rare), and the novel in hardcover (slightly less rare).
A great disc with astounding treatment & extras. Kalat deserves all the credit in the world for doing what he did. Wanamaker was absolutely amazing in the film.
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Scharphedin2
- Joined: Fri May 19, 2006 11:37 am
- Location: Denmark/Sweden
I managed to listen to some of the commentary on the disc, and together with your post this managed to get me really interested in reading the book. I will see if I can pick it up later this week, when I am in London.
I confess that I had never heard of DiDonato, but listening briefly to the commentary (and watching the film of course) reminded me of "Wait Until Spring Bandini (John Fante), and even things like Agee's "Death In the Family" and Kerouac's "The Town and the City" -- all books that explore the same general period of American history, and especially Fante's book of course has the Italian-American working class milieu in common with DiDonato.
Finally, although he did not say too much during the part of the commentary that I listened to, I was surprised in the most positive sense to find Fred Gardaphe involved in the commentary. Gardaphe helped and encouraged me in developing my English writing skills, when I was a student in Chicago in the mid-'90s. He is an authority on Italian-American culture and literature (now situated in New York I understand), and a truly wonderful teacher and human being.
I confess that I had never heard of DiDonato, but listening briefly to the commentary (and watching the film of course) reminded me of "Wait Until Spring Bandini (John Fante), and even things like Agee's "Death In the Family" and Kerouac's "The Town and the City" -- all books that explore the same general period of American history, and especially Fante's book of course has the Italian-American working class milieu in common with DiDonato.
Finally, although he did not say too much during the part of the commentary that I listened to, I was surprised in the most positive sense to find Fred Gardaphe involved in the commentary. Gardaphe helped and encouraged me in developing my English writing skills, when I was a student in Chicago in the mid-'90s. He is an authority on Italian-American culture and literature (now situated in New York I understand), and a truly wonderful teacher and human being.
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tryavna
- Joined: Wed Mar 30, 2005 8:38 pm
- Location: North Carolina
Schreck's correct about the differences between the film and novel. There's no point of comparison at all, since the movie serves as a sort of "prequel" to the novel -- ending where the first chapter of the novel picks up. I also agree that it's a shame that Di Donato never managed to repeat his success. He seems to have been one of those authors who had only had one really good book in him....
This movie has stayed with me since I saw it about a year ago. And I think Scharphedin is right to praise its appearance of authenticity, despite having been filmed wholly in London. The only aspect of the film that gives its country of origin away is the son, who sports an obvious British accent.
Also, props to Scharph for bringin up Frankel's score. He's a composer whose reputation is slowly but surely growing in my estimation. I recently caught London Belongs To Me, which sports a truly majestic "overture" by Frankel for the main titles. I wish more of his work was available on CD.
PS: For an interesting point of comparison, check out Biberman's Salt of the Earth -- another "blacklist" film that explores labor issues.
This movie has stayed with me since I saw it about a year ago. And I think Scharphedin is right to praise its appearance of authenticity, despite having been filmed wholly in London. The only aspect of the film that gives its country of origin away is the son, who sports an obvious British accent.
Also, props to Scharph for bringin up Frankel's score. He's a composer whose reputation is slowly but surely growing in my estimation. I recently caught London Belongs To Me, which sports a truly majestic "overture" by Frankel for the main titles. I wish more of his work was available on CD.
PS: For an interesting point of comparison, check out Biberman's Salt of the Earth -- another "blacklist" film that explores labor issues.
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HerrSchreck
- Joined: Sun Sep 04, 2005 3:46 pm
If you grab the current release Signet softcover, you'll see that prof Gardaphe writes the introduction, a quite good one too (I bought this version before getting the two collectors items).Scharphedin2 wrote:Finally, although he did not say too much during the part of the commentary that I listened to, I was surprised in the most positive sense to find Fred Gardaphe involved in the commentary. Gardaphe helped and encouraged me in developing my English writing skills, when I was a student in Chicago in the mid-'90s. He is an authority on Italian-American culture and literature (now situated in New York I understand), and a truly wonderful teacher and human being.
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Narshty
- Joined: Tue Nov 02, 2004 6:27 pm
- Location: London, UK
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Scharphedin2
- Joined: Fri May 19, 2006 11:37 am
- Location: Denmark/Sweden
Sold!! Thanks for the link! Can't wait to read this...
As I was going to work on the train this morning, crossing the bridge between Malmö and Copenhagen, that awesome opening shot of the film came back to me, and it led me on to a small reel of mental high lights from the picture: That scene early in the film with the men working high a skyscraper, laying bricks, and a small slip almost leads to a dead accident. Then the wonderful scene of Paul and his chums waiting on the docks for his bride to come in on the boat. The wedding party! And, those heartbreaking scenes where husband and wife are crossing off the weeks on a chart on the wall, until they can buy their own house... What a great film!
As I was going to work on the train this morning, crossing the bridge between Malmö and Copenhagen, that awesome opening shot of the film came back to me, and it led me on to a small reel of mental high lights from the picture: That scene early in the film with the men working high a skyscraper, laying bricks, and a small slip almost leads to a dead accident. Then the wonderful scene of Paul and his chums waiting on the docks for his bride to come in on the boat. The wedding party! And, those heartbreaking scenes where husband and wife are crossing off the weeks on a chart on the wall, until they can buy their own house... What a great film!
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domino harvey
- Dot Com Dom
- Joined: Wed Jan 11, 2006 6:42 pm
Finally got to this film, which I had first heard about from the Sight and Sound director's poll (I think, might have been a different poll) where Dmytryk was one of the few directors to actually name one of his own films in their personal top ten. Props go to Kalat for orchestrating a Criterion-level release without Criterion's resources. This was a very good film, though not a great one... but good enough that I agree it should be more widely seen. Certainly overdue for a great critical reappraisal. I kept worrying about the actors on the construction set, some of those boards bent a little too freely!