Reign of Terror

This film, beautifully wrought (cinematographer John Alton must be responsible for much of this), makes me long to return to the days of black and white films and the stunning art that can be made in shades of gray.

From the first shot of a tiny distant rider silhouetted against massive lowering storm clouds, we are pulled into the mood of the film. The smallness of the rider is the smallness of the protagonist in the face of the overpowering events of the French Revolution. The use of light and shadow, the low shots and unusual closeups of actors: all of this made me feel I was in the hands of a master of his art. My breath was literally taken away by many of these images.

The story is serviceable and the acting quite good, but what sticks with me is the imagery of the film, the beauty of it.

If you ever wanted to see period piece filmed with great economy, I'd recommend that you check out this movie.

The sets are amazingly bare. But with a few well-placed ornate props, and some smart lighting, creating lots of shadows - the small budget never calls attention to itself.

Don't forget, Anthony Mann shot this shortly after the noir classics T-MEN (1947) and RAW DEAL (1948). REIGN OF TERROR has that same hard-hitting gritty crime movie feel.

Historically inaccurate, perhaps (Maximilien Robespierre is referred to as "Max".) But a fun flick nonetheless.

I watched REIGN OF TERROR, aka, THE BLACK BOOK last night and I just loved it! It's one of the most unusual films I have come across and an equally strange hybrid of genres or sub-genres. The great Anthony Mann takes a film that would probably play mostly as a colorful, sweeping, epic piece dealing with the French revolution and turns it, with the help of cinematographer John Alton, into a dark, shadowy and claustrophobic film noir/adventure/spy/suspense tale period piece featuring excellent performances from a cast that includes Robert Cummings, Richard Basehart and Arlene Dahl. The plot is pretty simple actually, Cummings plays an operative of the newly formed republic who infiltrates the inner circle of dictator wannabe Basehart. You see, Basehart thinks Cummings is a regional tyrant as bad as he is called the "butcher of Strasbourg" and he wants Cummings to find his black book which contains the names of friend and foe alike who will eventually be lead to execution once Basehart becomes dictator. However, if the book falls into the hands of his enemies, Basehart is dead meat. Cummings is assisted in his quest by the lovely Dahl. Even though the plot may be thin, the suspense and action are on high as danger and one confrontation after another awaits around every dark, gloomy and shadowy Parisian corner. The look of the film is outstanding. Atmospheric, gritty and dark with shadows everywhere in the great noir tradition. Mann's camera is everywhere as we receive his trademark high angle shots, low angle moments and jarring and disjointed facial close-ups. A truly unique and highly entertaining film with a look and feel that just has to be experienced. I loved it and would recommend it highly to anyone with even the slightest interest in the work of the wonderful Anthony Mann.

True film noir, that densely urban, disillusioned body of work characterized by the deep shadows that separate the characters from each other and isolate them from society, was almost always set in contemporary cities... in France before WWII and in America after it. ALMOST... Anthony Mann's THE BLACK BOOK (aka REIGN OF TERROR) is one of its finest examples, a costume thriller set in the French Revolution, and somehow managing to create the visual style and emotional mood of true film noir in a completely atypical setting.

This is a film to watch for its cinematic, visual brilliance... The story is serviceable, but the experience it services is a thrilling piece of movie art. Photographed by the great John Alton (a man who, it is said, could re-light Times Square at high noon, if necessary) the frame consistently dazzles and intrigues. Anthony Mann's taut and claustrophobic work (rather at odds with the usual French Revolution epic, and with Mann's later work in other genuinely epic-scale costume dramas) draws a compelling parallel between the atmosphere of fear in post-revolutionary France and in mid-20th century McCarthyite America.

This is a low budget masterpiece, far more intriguing and suspenseful than most epic films dealing with the same subject. The film noir quality and acting are superb. As mentioned earlier, T-Men also made by the low budget studio Eagle-Lion, were and are memorable films. The cast is first rate . Robert Cummings, Richard Basehart, and Charles McGraw are standouts.

Thank goodness for Turner Classic Movies... it had been many years since I had seen it for the first time on television. Thanks to DVR I was able to record this film when it was played on TCM recently. This movie shows that with good acting, literate dialogue, and a great screenplay are what makes for an entertaining movie, which are in short supply today which too often offer computerized graphics, amateurish acting, and repetitive and crass dialogue instead. Kudos to Anthony Mann and the cinematographer for a great movie.