This Land Is Mine

Starts off as annoying propaganda, but then manages to be quite entertaining despite all that. Charles Laughton is ok (despite being a really annoying character), but Maureen O'Hara's over-acting was horrible and distracting (example: any time she opened her mouth). The end speech was also silly and forced. Still a little held back by its time, but not all bad.

Starts off a bit ropey and reeks of propaganda, but it really picks up about halfway through, and its faults are made up for by Laughton's performance.

This would feel comically polemical in any other context, but when a master French artist in exile has some feelings about Nazi occupation right in the middle of WWII, by god, let the man say "Fuck the fash" however he likes. Every emotional beat hits hard, and Maureen O'Hara acts with such intensity AND intention that she's like some kind of holy avatar of Resistance.

A war propaganda film, and it shows at times, but Renoir puts enough in it to make stand above the crowd. Throughout the film there are a lot of small touches that shift the film from simply being anti german tyranny to anti tyranny itself. While it's nowhere near as subversive as Le Corbeau (probably because as a US production it didn't need to be) it carries some of the same undertone that everyday people can be just as complicit in the horrors of occupation as the occupiers.

The end is hilariously tacked on but overall a pretty decent film. It doesn't feel too tacky wrt propaganda besides that. If anything it kinds of paints everyone as able to carry out injustices etc. Need to see more Renoir.

On one hand, there's the humane lyricism of Renoir, but on the other hand, there's Dudley Nichol's simplistic screenplay and a honey-baked ham of performance from Laughton performance. Okay, so long as you don't expect too much.

I just don't get how Laughton thought he had a shot with O'Hara here. Come on bro.

It goes full-on propaganda at the end, the screenplay proudly revealing its clunkiness for all to see as Laughton tears down the Nazis in a courtroom scene. But it's not so bad. It's a pretty good look at occupation and collaboration that's made all the more effective because it was made by a French expatriate. Laughton is annoying at times, but George Sanders shines in a supporting role as a tortured collaborator.

Esta terra é minha estreava há 80 anos nos EUA. Como todo Renoir menos visto, esse também me surpreende por não ser mais famoso, inclusive entre as propagandas de guerra do período, o mais absoluto hino antifa. RARBG.

Just another movie about the bad-heartless-oppressors-nazis(but not stupid, sure, that would be too much, right?), against a few brave - or who become brave through the movie -, idealists, fighting for freedom, then, there's a bunch of moral dilemmas and blah blah blah. But, Renoir took all this obviousness of the main plot, and turned in a good movie.

Laughton's characterization is effective as the meek fellow who discovers the hero within himself in this patriotic wartime flick.

The humanity of these characters shine through in what otherwise looks like a standard piece of studio-produced war propaganda. This is due, no doubt, to the skill of the fine actors in the leads, as well as the deft direction of Renoir. Laughton and O'Hara bring a great deal of soul to their parts, while Renoir ably highlights faces as he navigates an otherwise wordy script.

A smirky ridicule of the Nazis from Jean Renoir & Charles Laughton. Didn't totally feel it as I found a lot of it ridiculous (or just too different from the stereotypes I'm used to). But I definitely appreciate it's message and the delight it took in delivering it!

It ends on a beautiful monologue by Laughton but really has to slog through some things to get there.

TAKE ME MAUREEN O'HARA. ENGULF ME IN YOUR GINGER MANE.