889 The Breaking Point

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swo17
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889 The Breaking Point

#1 Post by swo17 » Tue May 16, 2017 4:45 pm

The Breaking Point

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Michael Curtiz brings a master skipper's hand to the helm of this thriller, Hollywood's second crack at Ernest Hemingway's To Have and Have Not. John Garfield stars as Harry Morgan, an honest charter-boat captain who, facing hard times, takes on dangerous cargo to save his boat, support his family, and preserve his dignity. Left in the lurch by a freeloading passenger, Harry starts to entertain the criminal propositions of a sleazy lawyer (Wallace Ford), as well as the playful come-ons of a cheeky blonde (Patricia Neal), making a series of compromises that stretch his morality—and his marriage—farther than he'll admit. Hewing closer to Hemingway's novel than Howard Hawks's Bogart-Bacall vehicle, The Breaking Point charts a course through daylight noir and working-class tragedy, guided by Curtiz's effortless visual fluency and a stoic, career-capping performance from Garfield.

SPECIAL FEATURES

• New 2K digital restoration, with uncompressed monaural soundtrack on the Blu-ray
• New interview with biographer and film historian Alan K. Rode (Michael Curtiz: A Life in Film)
• New piece featuring actor and acting instructor Julie Garfield speaking about her father, actor John Garfield
• New video essay by filmmakers Tony Zhou and Taylor Ramos, analyzing Curtiz's directorial techniques
• Excerpts from a 1962 episode of the Today show showing contents of the Ernest Hemingway House in Key West, Florida, including items related to To Have and Have Not, the novel on which The Breaking Point is based
• Trailer
• PLUS: An essay by critic Stephanie Zacharek

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domino harvey
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Re: 889 The Breaking Point

#2 Post by domino harvey » Tue May 16, 2017 4:56 pm

As per our Mildred Pierce discussion, this time several of the extras are Curtiz-specific!

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FrauBlucher
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Re: 889 The Breaking Point

#3 Post by FrauBlucher » Tue May 16, 2017 8:39 pm

Also, nice to have Garfield in the Collection.

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Re: 889 The Breaking Point

#4 Post by What A Disgrace » Wed May 17, 2017 1:00 pm

Garfield, eh? So that's why they delayed the announcement from Monday to Tuesday.

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Re: 889 The Breaking Point

#5 Post by Werewolf by Night » Wed May 17, 2017 1:32 pm

I laughed.

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swo17
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Re: 889 The Breaking Point

#6 Post by swo17 » Wed May 17, 2017 2:28 pm


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FrauBlucher
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Re: 889 The Breaking Point

#7 Post by FrauBlucher » Thu May 18, 2017 7:30 pm


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Re: 889 The Breaking Point

#8 Post by FrauBlucher » Wed Jul 05, 2017 7:37 pm


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domino harvey
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Re: 889 The Breaking Point

#9 Post by domino harvey » Sat Jul 15, 2017 10:21 pm

Finally got around to watching this and it is a terrific noir— it’s nice to see Criterion pick a non-canonical work for one of their WB chits. John Garfield gives the most typically John Garfield perf imaginable as the stubborn fishing captain who finds himself agreeing to worse and worse ideas to get his head above water. Patricia Neal is fine in an unchallenging role as the eternal coquette, but I think the film’s MVP is Phyllis Thaxter as Garfield’s suffering wife. There’s something sad and often pathetic in her own domestic life, which neatly parallels the struggles her husband is going through as she does what she can against her own inescapable doom with her marriage, and Thaxter manages a tricky performance that somehow never turns to pap.

Above all, though, this is a great example of WB's house style and how skillful and industrious everyone involved was at filming in confined spaces— 75% of the film is either on the boat or in Garfield’s cramped house. Curtiz' frequent cinematographer Ted McCord (perhaps best known for his work on Jean Negulesco's Johnny Belinda-- now there's a WB title Criterion should rescue) and the rest of the crew masterfully use these restricted spaces to their advantage with limited edits and beautiful, gliding camera movements as we the audience become trapped like our characters. A familiar idea and approach, but one done exceptionally well here.

Two more things: One, the final shot (the third such image, calling to mind the sage wisdom of screenwriting manuals everywhere) is tremendous in how it undermines even the uneasy “happy” ending we get here by calling attention to the collateral damage involved. And two, on a brighter note, for those playing the Noir Drinking Game from our Noir List Project, Garfield orders BOTH of these mammoth beers for himself!

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Re: 889 The Breaking Point

#10 Post by FrauBlucher » Sat Jul 15, 2017 11:32 pm

Domino, thanks for that. I'm really looking forward to seeing this. I will pick it up on a blind buy. Unless I see it on TCM.
BTW... Speaking of TCM, To Have and Have Not is on right now. How do you compare the versions?

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domino harvey
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Re: 889 The Breaking Point

#11 Post by domino harvey » Sun Jul 16, 2017 12:23 am

Other than a few narrative details, the movies couldn't be more different. I haven't read the Hemingway source but I greatly preferred this version/film. I think anyone who enjoys a good film noir will get their money's worth here and can safely pick up sight-unseen

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whaleallright
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Re: 889 The Breaking Point

#12 Post by whaleallright » Sun Jul 16, 2017 2:08 pm

is tremendous in how it undermines even the uneasy “happy” ending we get here by calling attention to the collateral damage involved
I think this packs a double punch, by also calling attention to the way that African-American characters in Hollywood films were routinely treated as disposable and/or pushed to (or left at) the margins. Just when it seems The Breaking Point will participate in that treatment, it instead bares the device, so to speak. It kind of does in miniature what the plot of Sirk's Imitation of Life does much more grandly and explicitly. I have to wonder how much of Garfield's leftism is evident here, esp. in combo with the unusually prominent African-American characters in such films as Body and Soul. Maybe some of the bonus features here get into this...?

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Re: 889 The Breaking Point

#13 Post by FrauBlucher » Wed Aug 09, 2017 9:23 pm

Wow. Just watched this. One of the most devastating endings for a Noir that I've ever seen, or any film for that matter. That last shot was crushing and makes as much of a statement about it's time as Harry Morgan's first attempt to make shady money. I really loved this. And I know Curtiz doesn't get his due from the academics but he is one of my favorites. I watched the video essay by Taylor Ramos and Tony Zhou analyzing Curtiz’s methods, which really highlights Curtiz's greatness imo.

I'm thrilled that Criterion released this. What a little gem of a discovery from old hollywood to give such a wonderful release. Kudos CC.

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TMDaines
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Re: 889 The Breaking Point

#14 Post by TMDaines » Thu Aug 10, 2017 10:14 am

I must have overlooked this being announced. Would be nice to if they release it in the UK.

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Re: 889 The Breaking Point

#15 Post by FrauBlucher » Mon Aug 14, 2017 5:47 am

bluray.com....the only thing I would add is a featurette or doc should've been included on Hemingway.

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whaleallright
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Re: 889 The Breaking Point

#16 Post by whaleallright » Tue Aug 15, 2017 3:20 pm

I know, it's just impossible to find anything out about that guy.

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movielocke
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Re: 889 The Breaking Point

#17 Post by movielocke » Wed Sep 27, 2017 8:42 pm

Breaking Point is a really excellent film, the kind that sits really nicely in your head and gets better and better as you mull it over.

But the treatment that criterion gives the film is even better, as the features persuaded me to appreciate and like the film even more than I already did, the trio of featurettes on the film are essential viewing and amongst the best done this year, in my opinion, with John Garfield's daughter as the standout best interview of the year as she dispenses some slaying profanity that adds a delightful touch to the entire release.

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domino harvey
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Re: 889 The Breaking Point

#18 Post by domino harvey » Sat Oct 28, 2017 7:16 pm

I agree, the extras on this are all terrific, especially Ramos and Zhou's video essay on Curtiz' blocking and "fluid" style-- Criterion, this is what intelligent aesthetics-based film criticism looks like, not whatever :: youknowwho does. Give us more of this!

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Re: 889 The Breaking Point

#19 Post by knives » Thu Aug 05, 2021 10:19 am

Finally broke this one out, and wow is it a keeper. As Dom says above what makes this so great is the use of domesticity with Thaxter’s pained performance being just perfect. The scene with her hair is great for now underplayed she is in it mixed with the comedy of the kids and attempted sweetness of Garfield. That’s a masterclass sequence.

McCord’s cinematography is also really great. Perhaps the most expressive of his career.

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Mr Sausage
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The Breaking Point (Michael Curtiz, 1950)

#20 Post by Mr Sausage » Mon May 15, 2023 7:48 am

DISCUSSION ENDS MONDAY, May 29th

Members have a two week period in which to discuss the film before it's moved to its dedicated thread in The Criterion Collection subforum. Please read the Rules and Procedures.

This thread is not spoiler free. This is a discussion thread; you should expect plot points of the individual films under discussion to be discussed openly. See: spoiler rules.

DISCUSSION QUESTIONS

I encourage members to submit questions, either those designed to elicit discussion and point out interesting things to keep an eye on, or just something you want answered. This will be extremely helpful in getting discussion started. Starting is always the hardest part, all the more so if it's unguided. Questions can be submitted to me via PM.

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Re: The Breaking Point (Michael Curtiz, 1950)

#21 Post by FrauBlucher » Fri May 19, 2023 8:20 pm

This, for me is clearly in Curtiz's top 5, much like Wilder's Ace in the Hole is in my top 5 list for him. The Curtiz canon is long and storied which allows a gem like this to go vastly overlooked. I think one of the things that makes this film special is it has one of the most devastating endings to come out of the Golden Age of Hollywood. I'm looking forward to reading the essays from the members.

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Re: The Breaking Point (Michael Curtiz, 1950)

#22 Post by SeizureMilk » Sat May 20, 2023 5:30 pm

Note: There will be spoilers in this review

The Breaking Point to me is a stunning look at a man desperate to save his family. John Garfield (who is tremendous in his role) is an honest man in a corrupt world that seemingly has it out for him. The only sources of light to him are his family and his friend, Wesley. After a botched deal with some China men, Garfield's Harry is sent on an almost inevitable path towards tragedy, dealing with a corrupt lawyer and a brigade of criminals he works with. But it's not a crime film, it's a study of a marriage. We're introduced to The Breaking Point's central couple of Garfield and Phyllis Thaxter in the beginning and also the family's money problems so we as a collective, can sympathize with Garfield's actions later because we know he's doing everything for them. And that's what makes the second half all the more saddening when Thaxter decides to bleach her hair because she thinks that Garfield believes that Patricia Neal's character is more pretty than her (which we know he truly doesn't think) and especially in the ending which I'll get to in a moment. However the main thing I absolutely adored was Wesley. The dynamic between Wesley and Harry seems also like Double Indemnity in a way, 2 men who've known each other for years are thrown into a noir setting one knows more than the other. Throughout the film even as Harry tries to keep Wesley out of trouble, Wesley always gets back on the boat, which makes his demise, almost played off as a cruel joke, more tragic since he does so to simply accompany a friend. And you can tell how shocking this is to Harry through Garfield's performance, almost as though he isn't even comprehending his best friend for years died in a matter of seconds as do we since there's not even a musical sting (a device often used in these kinda pictures) to emphasize his death, it's just something that's happened before he just ends up somewhere in the water. Plus, it leads to the most bittersweet ending I've seen in a classic Hollywood film, for a reminder, Harry during a genuinely claustrophobic shootout, gets fatally shot and in his final moments talks and reconciles with his wife as though his redemption is complete since he's vanquished evil and has sacrificed himself, but then everyone leaves the scene, a small kid watches alone, the kid of Wesley, who was most likely waiting for any news on his father's fate, but nothing comes, to me this seems almost as a critique to the Hollywood endings which seem so obsessed with clarification and that characters must go for a reason by actively denying it for one of the film's most prominent characters. And that's not even talking about how Michael Curtiz plays with the whole visual aspect of his film which is truly stellar, and I expect more people to be talking about it. Real shame I only got around to this now but anyways that's everything I've got, I'd love to hear other people's opinions on this film since it truly deserves the discussion.

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