When this German-Italian film production came to town in 1968 I sadly missed it and didn't get a new opportunity until now, when it was 50 years old, but its age has not impeded its impact. It was a sensationally positive surprise to observe how interestingly the book has been tampered with to make it an even better film. The book was certainly one of the most important and influential novels of the 19th century, and, as Lincoln said, it was what started the war; Leo Tolstoy ranked it as one of his favourites especially for its consequences, only books like 'Oliver Twist' and 'Les Miserables' had similar social effects, in all its roughness the book remains an absolute classic, and the film lives more than well up to it.
The credits are many. The first one must go to John Kitzmiller, who makes a perfectly convincing Uncle Tom in an intensely warm and sustained human performance, and what a wonderful idea that he starts singing and has such a wonderful voice at that! The Negro Spirituals of the film greatly enhance its emotional pathos and add a glowing colour of aesthetic charm and human dignity to the film. He is seconded by Olive Moorefield as Cassy, whom the film successfully makes more of than the book, while Herbert Lom as the supreme villain Simon Legree, who is allowed to dominate the film from the very beginning, has never had a better time for a full range of his acting since he was Napoleon in 'War and Peace', the best Napoleon ever, by the way. The others fall in line and support the drama satisfactorily well.
Max Ophuls would have loved this film for its wonderful details. The riverboat journey is a highlight, much effort has been given to reconstruct a perfect and intact 1850s environment in homes and towns, there is a marvellous sequence from old New Orleans with a circus and parade, there is a splendid tavern brawl, and where did they find that fascinating music box? I have never seen one so large. Another striking detail is the guest appearance of Juliette Greco, she didn't appear in many films and only exclusively, and while she appears you can't take your eyes from her fascinating character.
The alterations from the book are on the whole well construed. That Legree is in from the beginning sets the drama off directly, the invented cause of little Eva's sudden death adds another interesting intrigue not at all implausible, Eliza's amazing escape never fails to impress both on screen and in the book, and it's a good idea not to let her come home until the very end, to at least give the end one good turn of relief.
On the whole, this is a film that never reached its appropriate recognition, it is indeed worth discovering and loving, while at the same time it constitutes an enriching and well deserved compliment to the book.
The credits are many. The first one must go to John Kitzmiller, who makes a perfectly convincing Uncle Tom in an intensely warm and sustained human performance, and what a wonderful idea that he starts singing and has such a wonderful voice at that! The Negro Spirituals of the film greatly enhance its emotional pathos and add a glowing colour of aesthetic charm and human dignity to the film. He is seconded by Olive Moorefield as Cassy, whom the film successfully makes more of than the book, while Herbert Lom as the supreme villain Simon Legree, who is allowed to dominate the film from the very beginning, has never had a better time for a full range of his acting since he was Napoleon in 'War and Peace', the best Napoleon ever, by the way. The others fall in line and support the drama satisfactorily well.
Max Ophuls would have loved this film for its wonderful details. The riverboat journey is a highlight, much effort has been given to reconstruct a perfect and intact 1850s environment in homes and towns, there is a marvellous sequence from old New Orleans with a circus and parade, there is a splendid tavern brawl, and where did they find that fascinating music box? I have never seen one so large. Another striking detail is the guest appearance of Juliette Greco, she didn't appear in many films and only exclusively, and while she appears you can't take your eyes from her fascinating character.
The alterations from the book are on the whole well construed. That Legree is in from the beginning sets the drama off directly, the invented cause of little Eva's sudden death adds another interesting intrigue not at all implausible, Eliza's amazing escape never fails to impress both on screen and in the book, and it's a good idea not to let her come home until the very end, to at least give the end one good turn of relief.
On the whole, this is a film that never reached its appropriate recognition, it is indeed worth discovering and loving, while at the same time it constitutes an enriching and well deserved compliment to the book.