• A biopic filled with cinematic bravado that would make for a good double-billing with Welles’ Citizen Kane made a decade later
  • The first sound film for Julien Duvivier – already a veteran with 10+ silent films under his belt—the first film with star Harry Baur as well—a talented big actor – sort of Emil Jannings (more subtle) meets Rod Steiger
  • The first sound film and Duvivier isn’t scared at all by the new technology- he’s showing off in the opening montage—train whistles, loud, heavy dissolves with the noise- very busy- a “Golder is a scoundrel” and “Golder is a great man” dissolves
  • A very active camera throughout- a trademark of Duvivier’s—lyrical like Renoir—does not like to cut- he’s much earlier than Preminger but Preminger is another comparison
  • A jaw-dropper at the seven-minute mark—two doors are open (and it is dark to both sides and in-between)- Baur’s Golder just told off his ex-partner (who tried to swindle him)—his ex-partner is glaring over at Golder on the left break—and Golder is casually having dinner on the right of the break—both in medium-long shots – symmetrical
  • Baur’s Golder is a tragic figure, with his wife and in business he’s ruthless- but his daughter is his Achilles heel. He’s influential, gifted– intelligent, has angina- poor health, sweating and looks like he’s suffocating – this is an immense performance
  • At the 30-minute mark the camera tracks along the table – back and forth
  • Duvivier’s camera is always leaning in for close-ups
  • A harsh tale- this is an ugly violent marriage- the scenes with the wife pull no punches- greed
  • Again, Duvivier has the full repertoire in his arsenal as far as cinematic style- it isn’t just the camera movement- montages galore
  • When Baur has his meeting with Tubingen it is in this massive bare room—Duvivier has this epic tracking shot pulling the camera back so Baur is facing away from the camera alone—64-minute mark—vast empty room framed by the doors
  • Devastating end—he’s on a boat back from Russia (he himself Jewish Russian immigrant)—he’s dying, and the only man by his side is a young Russian immigrant going to America to become rich… water, FIN
  • A Must-See film