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  • Warning: Spoilers
    After the very intense and downbeat Fury and You Only Live Once, Fritz Lang's third American film seems something of an anomaly for the director: a semi-comic hoodlum farce with musical moments, some of them courtesy of an (uncredited) Kurt Weill, and starring early tough-guy stalwart George Raft and the leading lady of the two previous Hollywood Lang pictures, Sylvia Sidney. An odd combination of elements, with even some Capra-esquire screwball thrown in, and yet on the whole it works. Raft and Sidney are both ex-cons trying to go straight working in a big department store owned by kindhearted Mr. Morris (Harry Carey) who fall in love; but Raft doesn't know that Sidney's a parolee, while Sidney knows his secret. They have to keep their eventual marriage quiet from everyone, and humor ensues with Sidney's efforts to do so; eventually Raft is lured into a plot by some of his ex-con buddies to rob the store that has helped them out so much and Sidney has to come in to save the day.

    And odd film, as I say, with a proto-feminist very strong female lead by the always wonderful Sylvia Sidney, great photography by Charles Lang, and a noirish downbeat feel pervading an often sunny and humorous plot line, the Langian inevitability of fate and of returning to one's worst impulses never more than a heartbeat away. Unjustly neglected, seen on a decent enough quality rental VHS.
  • The gang of directors that came across to Hollywood from Germany fleeing nazi persecution were a very mixed bunch, but they all had one thing in common. They were all used to a higher degree of artistic licence and stylisation than was the given in tinsel town. Once in a while though, and especially in those early days, one of them would turn out something a little truer to the old form. Fritz Lang was among the most distinctive and also unfairly maligned of these refugee directors, but You and Me was one of a small number of American pictures which he produced as well as directed and thus was able to imbue it with his own particular brand of art deco comic book oddity.

    Lang's late silent pictures tended to be very rhythmic, and You and Me is a good demonstration of where he was able to take that strand in the sound era. While certainly no typical musical, it has a number of songs and abstract interludes which lift us out of reality whilst still commenting on it, all illustrated with Lang's most baroque shot compositions, and scored by no less a personage than Kurt Weill (he wrote Mack the Knife, you know). "Operatic" is an overused term in cinema, but with its emphatic staging and numbers that dip in and out of regular dialogue, You and Me is certainly reminiscent of the opera at many points. The screenplay is by Virginia van Upp from a story by Norman Krasna, in which an unlikely tale of love among ex-convicts is surrounded by a deliberate distillation of gangster movie clichés, in rather blunt caricatures such as a mob boss known only as "big shot". All this itself feeds into the picture's surreal and, yes, operatic setting.

    In this light, lead man George Raft can be viewed as simply another part of standard gangster movie furniture. You certainly wouldn't hire Raft for his acting abilities, since while his name would require an additional two letters to become "rafter", his lack of talent already renders him a wooden beam. It is also very much like Lang the producer to take on players who had strange and distinctive faces, which is why we get supporting acts from people like Warren Hymer and Jack Pennick, certainly worthy comic performers but appearing here mainly for effect. There are some great dramatic performances though. Sylvia Sidney is a likable leading lady, and her dewy-eyed adoration for Raft seems very real, as does her shrewdness in the final showdown. There are also smaller parts for the delightful Vera Gordon and the stern and steady Harry Carey, perhaps the most prestigious name on the cast list.

    But Lang's style as a director was not really centred upon actors. It was however a functional one and not purely stylisation as is sometimes supposed. Lang's fascination with stark angles and geometric arrangements in his shot compositions are only really exaggerated examples of the visual tricks all competent directors use. In Raft and Sidney's proposal scene at the bus depot, he frames them with a set of lines converging at their head. It creates an optical illusion that makes us feel they should move towards each other. Lang forms unrecognisably bizarre patterns out of everyday objects, for example making rows of boxes in a storeroom look like some art deco wall panel, and while undoubtedly a bit of stylistic indulgence it also helps to highlight an important moment between two characters.

    Many of Lang's little baroque touches, such as those shadowy close-ups of characters staring straight into the lens, would be frankly a bit of a distraction in a regular drama. But that is why they make sense here, in this stereotyped world of hammy gangsters and booming voices singing songs about stealing. It's a kind of overt form of cinema that allows the corniest of stories to be dressed up and brought to life, and surreal as it is it works surprisingly well as entertainment. However, genres were rigid and incorruptible things then, and you weren't supposed to merge gritty realism with musical flights of fancy. Besides, the semi-musical format would have been regarded as an awkward leftover from the early talkie days. As such, You and Me remains very much a one-off curio.
  • Joe and Helen (George Raft and Sylvia Sidney) both work at the same department store. The owner (Harry Carey) is a swell guy and hired them and a few other ex-cons in order to give them a second chance. As for Joe, his parole is now over and he plans on traveling out west. But instead, on the night he's leaving, he impulsively asks Helen to marry him and they do so. But there are two problems. First, while he told her he was on parole, she never did the same and as far as he knows, she's never had a past. Second, she's STILL on parole and one of the conditions of this is that she not marry....and she's just violated parole. Surely, bad things are going to come of this. See the film and see where it all goes next.

    This film was directed by German director Fritz Lang. His record of films in the States was spotty...with a few big successes (I adore his film "Fury" and "The Big Heat") and a few failures. Apparently, "You and Me" was a box office loser. But is it a bad film? Not at all. Apart from a terrible opening tune ("You Can't Get Money for Nothing"...which was FAR from subtle) it's quite good and I have a hard time imagining it being a box office loser...but stranger things have happened.
  • This collaboration by Fritz Lang and Kurt Weill is one of the oddest films ever made. It's part gangster story, part comedy, part soap opera, part leftist propaganda...and part musical! Perhaps Weill was trying to find the cinematic equivalent of what he did in the theater with Bertolt Brecht. In any event, the experiment is a failure but a noble failure and in parts quite interesting. It's definitely worthy seeing for two montages set to rhythmic voiceover narration, for Sylvia Sidney's sympathetic performance and for the fact that you'll never see anything else quite like it.
  • Fritz Lang was brought in late to this project after it had languished for a few years for a few reasons, invited to the project by his female star of his last couple of movies, Sylvia Sidney. I wonder if he had had more time with the material beforehand he could have ironed out some of the disconnect between different sections of the film. Knowing his work, he probably would have pushed it further into a straight drama instead of the combination drama/comedy that is the end result. That's not supposed to be a big hit against the movie, though. The discordant nature of the storytelling is actually a source of fun with the comedy keeping things light without quite losing the commitment to the actual emotional throughline that runs through the film. It's just kind of odd when the light comedy/drama film ends with, essentially, a slapstick routine.

    Mr. Morris (Harry Carey) runs a department store where he offers job opportunities to ex-convicts to help them get their lives back on track. He tries to keep their employment and past as much a secret as possible, not even revealing their past incarcerations to any of the other employees, and it's working out for him. There's been no backsliding so far, and they're doing good jobs. One such employee is Joe (George Raft), a former member of the mob who has developed a nice little relationship with Helen (Sidney), another employee of the department store. He's dedicated to moving across the country to California since his parole is over, though, and on his last night in town, the two go dancing. She realizes the depth of her feelings for him and, as the bus is pulling away, she proclaims it and says that she'll marry him if he wants. He immediately jumps out, and they get married that night.

    The problem is that Helen has a secret. She's also an ex-con (for a crime that never gets explained), and she's still on parole that includes the rule that she cannot marry. She keeps this a secret from Joe. This seems thin, but there is an established reason for it. Joe talks about wanting his girl pure in the context of having never loved another man. Going to jail is impure, so she hides it from him. He ends up reacting badly to the later reveal, but it still feels thin. I think it would have worked in a more purely comedic context (like in a Leo McCarey movie, for instance), but the dramatic tone of the material isn't really matched by the actual weight of it.

    Still, they have to put up a fiction that they are not married. She gives the excuse that Mr. Morris doesn't want his employees marrying each other, a lie that Joe eventually uncovers and helps seed his nascent distrust of her. At the same time, the old mob, led by his fellow Morris employee Cuffy (Roscoe Karns), is trying to get Joe to join them on a big job to rip off the Morris Department Store, and after the reveal of Helen's past, Joe is finally ready to give in.

    Now, the introduction of the gang happens at about the halfway point, and it's something of a showstopper. The introduction is necessary dramatically and structurally to happen at some point (though a more polished script would have had it after about fifteen minutes instead of forty-five), but that's not the showstopper part of it. The sequence is an outright German Expressionistic and Soviet-style edited marvel as the group of men gather around a table and reminisce about their time in the clink. It becomes rhythmic auditorily and visually as they chant their story back and forth. It's really something else and doesn't fit in the movie stylistically at all. I'm glad it's there, though. It's good.

    The plan goes through but gets stopped in what is the oddest way possible. Helen presents to the gang how little money they'll make from the robbery, proving with math that crime doesn't pay. It's so ridiculous that it has to be intentionally funny (it might not be), but I was giggling through the whole thing nonetheless. And then there's a slapstick bit where the guys all work together to ensure that Joe and Helen get back together.

    Yeah, it's a hodgepodge of a film, but I actually quite enjoyed it. It feels like Lang taking lighter material and pushing it his own, more serious-minded, direction while the charm of Sidney and Raft create the balance between the lighter and darker parts of the story. It's funnier more than moving, making me feel like it would have been better as an outright screwball comedy rather than being somewhere in between.
  • bkoganbing12 December 2006
    You And Me is an interesting experiment which falls way short in execution, but still is an interesting view.

    The closest American film I could compare it to is Al Jolson's Hallelujah I'm a Bum which utilized that same sing/talk rhythmic technique in many spots. Rodgers&Hart's efforts were not as butchered as Kurt Weill's were, my guess is that Paramount got cold feet and tried to salvage the film as they saw it by making it more of a typical gangster yarn.

    The story involves Harry Carey who as part of his payback to society hires freshly paroled convicts in his department store. The presumption is that he does screen them for employment.

    George Raft is one of those ex-convicts hired there and he meets and falls for Sylvia Sidney. She knows about him, but he doesn't know she is also on parole. Other prison pals working for Carey are, George E. Stone, Warren Hymer, Jack Pennick, Robert Cummings and Roscoe Karns.

    One very unregenerated crook, Barton MacLane, tries to get the whole crew of them to help knock over the store. What happens is the rest of the plot of the film.

    Perhaps You and Me might have been better done elsewhere. I'm thinking of Warner Brothers who specialized in these working class stories. Barton MacLane, George E. Stone, and Warren Hymer certainly all were part of Warner's gangster stable and George Raft moved to Warner Brothers himself a year after You and Me came out. Paramount just didn't go in for stories like these and the results show.

    Highlight of the film is Sylvia Sidney giving a lecture in economics about how crime doesn't pay. For heist guys like these when you deduct the expenses of a job, it really doesn't pay. Only the folks at the top really make out.

    By the way you might call what Kurt Weill tried to do musically and Fritz Lang brought to the screen as one long rap music video. You and Me may have been way too soon ahead of its time.

    Still it's probably worth a look if for no other reason than to see a joint collaborative effort of two expatriates from the Nazi regime, Kurt Weill and Fritz Lang.
  • Sylvia Sidney and George Raft star in "You and Me," a 1938 film.

    The owner of a large department store believes in second chances, so some of his staff are ex-cons, Joe Dennis (Raft) being one. His parole is almost over, and he's determined to keep his nose clean, despite former gang members trying to get him back in with them.

    Joe has a friendly relationship with a woman who works at the store, Helen Roberts (Sidney). When he's about to leave town to get away from bad influences, he realizes he loves Helen, gets off the bus, and the two marry and move into Helen's apartment house.

    Helen tells Joe that the boss at their store does not want his employees married to one another, so they have to keep quiet about it. The truth is that Helen is an ex-con as well, on parole, and forbidden to marry, although she does not admit this to Joe and continues to hide it.

    When Joe learns she has been lying to him, he leaves her and returns to his old friends, who want to rob the store.

    Interesting movie, due to a "cell block tango" that the criminals do - where they speak in unison, in hushed voices, using a sing/talk rhythmic technique, by Kurt Weill.

    Sidney and Raft are terrific, and you are really pulling for them. The denoument is wonderful and the ending is sweet.
  • ROCKY-191 November 2006
    What a fascinating little film, on a variety of levels. There is an expressionism that would have made Elmer Rice proud as well as a distinctly European approach. It feels as if it could be either a German product or from much earlier in the '30s when Hollywood was still in an experimental phase of self-discovery. There is nothing quite like it out there.

    This is pure Fritz Lang, coupled perfectly with Charles Lang Jr.'s photography, with Kurt Weill's music jumping in abruptly to make you catch your breath. The blend of comedy and drama is smooth.

    The plot line is familiar to this cast. A businessman makes a point of hiring parolees at his department store, where some are clearly having trouble adjusting. Joe has abided by the strict demands of his parole and his time is at last up, freeing him to marry Helen. But she has never told him that she too is an ex-con and still has several months of parole to serve. She has to tell lie upon lie to cover up the secret. Meanwhile, his old gang is nipping at him to join up again in another heist scheme.

    Not for the last time, the film exposes the difficulties of staying straight, difficulties arising both from the system itself as well as peer pressure.

    Some plot points are similar to Pick-up, a George Raft-Sylvia Sidney film of a few years earlier, but this story is much stronger. At this time Raft was in the middle of a five-year era when he was at his best - relaxed and in character, willingly joining in the sometimes unusual proceedings. Sidney is beautifully sympathetic as a criminal, always hoping two wrongs will make a right. What a one-of-a-kind screen presence she was. Her work with Raft always seems like two pals getting together again. That makes the wedding night sequence and the around-the-world honeymoon all the more entertaining.

    The rest of the cast, from wonderful Harry Carey to cynical Roscoe Karns, turns in strong, imaginative performances. As odd as some moments might be, everyone is clearly "in on" Lang's vision.

    There is a great scene of the gang reminiscing about their prison days that displays that vision full force. This is what the film is all about.
  • Warning: Spoilers
    Producer/director: FRITZ LANG. Screenplay: Virginia Van Upp, from a story by Norman Krasna. Photographer: Charles Lang, Jr. Art directors: Hans Dreier, Ernest Fegté. Set decorator: A. E. Freudeman. Music: Kurt Weill, Boris Morros. Songs, "The Right Guy for Me" by Kurt Weill and Sam Coslow; "You and Me" by Ralph Freed and Frederick Hollander. Film editor: Paul Weatherwax. Music director: Boris Morros.

    Copyright 10 June 1938 by Paramount Pictures, Inc. New York opening at the Paramount: 1 June 1938. U.S. release: 3 June 1938. Australian release: 20 August 1938. Sydney opening at the Prince Edward (as the top half of a double bill with Dr Rhythm): 20 August 1938 (ran 2 weeks). 10 reels. 8,425 feet. 93 minutes. (7/10 DVD, non-commercial outlets).

    SYNOPSIS: Mr. Morris owns a large department store and makes it a policy to hire ex-convicts. In a weak moment, one of them (Joe Dennis) decides to rob the place and organizes the others to help.

    COMMENT: A very curious film noir indeed. Lang saw it as a comedy, but that's certainly not the view the studio took — and advertised. Under Lang's typically forceful direction, some of the performances are too powerfully intense for comedy. In fact, they're almost too much for drama.

    The other striking feature of the movie is Kurt Weill's operatic score.

    Really, I would describe "You and Me" as just an ordinary women's weepie melodrama, were it not for the powerful acting, the atmospheric score, and the superbly noirish photography by Charles Lang, Jr.
  • Warning: Spoilers
    His first two American works were very dark and realistic (not to mention box office flops) so Fritz Lang set out to make "You and Me", a homage to "The 3 Penny Opera". Lang had admired Bertolt Brecht in his Berlin days and the working class spirit of the play hovered over the movie. Kurt Weill even wrote two songs - "You Can't Get Something for Nothing" and "My Good for Nothing Man" and between those themes the film made a case for the decent treatment of ex convicts and parolees who, at the time, were denied basic rights and even forbidden to marry.

    Hollywood's pinup girl for the Proletariat - beautiful Sylvia Sidney and Lang's muse at this time (she had the female lead in his three American movies to date) plays Helen, a sympathetic clerk in a large department store. Some peculiar scenes are set - a toy salesman (Roscoe Karnes) tough talks a child (Baby Jane Quigley) into buying a toy she doesn't want, another (George E. Stone) scares a customer with his safe cracking talk and Helen allows a shoplifter to walk free. It all becomes clear when you realise that most of the sales people are either ex cons or on parole and have been hired by benevolent store owner Mr. Morris (Harry Carey). There is even romance in the air between Helen and tough guy sporting goods salesman Joe (gorgeous George Raft). "There isn't a racket I don't know" - he could be talking crime, instead he is trying to sell a tennis racquet!!!

    Joe is going to California because his feelings for Helen are so strong but her feelings are stronger and she proposes!!! But Helen has a secret - she has also been in prison and her furtiveness in trying to keep her past a secret is making Joe extremely jealous. This is not your run of the mill gangster movie. It takes off on odd tangents, especially during a Christmas celebration for a group of ex cons, who reminisce about the good old days in prison, first wistfully, then longingly. "I know we had chicken once a year inside and now we can have it whenever we want, but it sure was nice to look forward to"!!! They begin a rhythmic chant "Stick With the Mob" which includes different codes tapped out on pipes and in a crazy way recalls the convict scenes in "M", as well as at the end when Joe enlists all his convict mates to scour the city looking for Helen.

    Joe finds out at this party that Helen is a parolee and he feels betrayed. He is more than happy to agree to do a job for Mick (gruff old Barton Maclaine), an associate from Joe's criminal past who hangs around the store hoping to coax him back into his bad ways. They plan to rob Morris's store but Gimpy (Warren Hymer) warns Helen - she in turn tells Morris and when the crooks show up there is a posse waiting for them. Not to hand them over to the police but for Helen to give them a lecture on why crime doesn't pay. My very favourite part in the movie - Helen drops her "sweet and sincere" persona and with the help of a blackboard, some chalk and mathematical calculations shows them why, instead of pocketing over $1,000 for their share, they would be lucky to see $100!!! Of course the gangsters are then sold on Helen - but not Joe who now adds "stool pigeon" to his list of grievances about Helen and also belittles her which the gang are not too happy about!!!

    Even though it wasn't a success, Lang did try to put a lighter spin into a theme that meant a lot to him - the spiritual bond of a criminal brotherhood which has stronger links than the law.
  • If you've ever studied film history, you probably know that 1940s Hollywood Noir was influenced by the influx of German directors who immigrated to the US as the Nazis rose to power. These directors brought some stylistic aspects of Wiemar cinema to post-war Noir. What's less well know is that in the 1930s and war years, before the stylistic and political chill of the red scare, already on the rise in the late '40s, the German directors, such as Fritz Lang, were using their Brechtian style- openly political and meta-textual- in much more brazen and less-watered down ways than they were in the post-war Noir years. (Lang would later direct "Hangmen Also Die"- one of the few Hollywood scripts Brecht ever wrote.) "You and Me" is a largely forgotten example of the films of this era. The film is fascinating and entertaining, although perhaps too idiosyncratic to be called "good." For its first two thirds its a genuinely touching and psychologically acute love story between two ex-cons struggling to get by. It would constitute a solid, conventional drama if it were not fragmented by nightmarish musical numbers lecturing the audience that, for instance, its a bad idea to try to break out of prison on your own. Most bizarrely, the last third changes tone completely and becomes a bona-fide screwball comedy revolving around a chalk board lesson mathematically demonstrating why crime, literally, doesn't pay. Although Brecht's influence is felt in almost every scene the politics of the film are in no way radical- as some Hollywood films of the era were in underlining ways. This piece, rather, is merely cynical about American capitalism, without actually questioning it.
  • As a fan of both Sylvia Sidney and Kurt Weill, I have wanted to see this film ever since I read Leonard Maltin's description of it. It is apparently not available for home viewing, so Heaven bless the Brooklyn Academy of Music, which screened 'You and Me' a couple of weeks ago as part of its Kurt Weill centennial celebration (which continues as I write this).

    According to an edition of Stagebill that was made available to audiences at the screening, Weill composed 23 music cues for 'You and Me,' but the Paramount brass did not care for his work and used only nine of them. (This was typical of Weill's experience in Hollywood.) That's a genuine tragedy, and there's no question that it does diminish the film. 'You and Me' still rates a 10 in my book, however, for the outstanding performances from the entire cast and its anti-naturalistic approach to gritty, "realist" subject matter.

    The line between anti-naturalism and implausibility is a fine one, and the film crosses that line during its last 15 minutes or so. Still, I wonder if audiences in 1938 didn't understand that ending as a joke. They may have been more sophisticated than we are today.

    In any case, if you get a chance to see this film, grab it.
  • The subject sounded interesting, if strange. Was intrigued into how 'You and Me' would deal with its meshing of different tones, whether it would be seamless and gel or whether it would clash too much and feel too odd. Fritz Lang was a fine director who made a lot of great films, the best influential (his weakest work still watchable), and Sylvia Sidney did understated poignancy better than a lot of actors/actresses at that time. Also admire Kurt Weill.

    Actually watched 'You and Me' more than once, the rewatch being quite soon after the other. Not because of loving it so much that it became a favourite, but due to finding it a very weird film that tonally felt very confused. Could see why it was so disliked by critics at the same. Saw it again to give it a second chance, due to liking Lang and Sidney so much and to take it for what it was as well as reading the reviews that show a more positive appraisal of the film overtime. The good news is, while still not being a great film and Lang and Sidney's other films are superior, 'You and Me' was much better second time round.

    Sure, tonally it doesn't always gel and like it tried to do too much with a lot of elements that sometimes clash. Which did make it feel muddled first time round and why it felt weird to me, there is still that feeling but not as bad.

    Considering the subject, it sometimes could have done with a little more edge in the crime drama part of the story. It does start off a bit rough, too silly and awkward.

    'You and Me' does very quickly get much better. It looks great, with one of the film's biggest stars being the very atmospheric photography. Lang's direction is mostly very skilled and there is enough of his distinctive style, other films of his showcase it better though. Weill's music shines, sometimes haunting and at other times very entertaining. The song with the criminals is a hoot. The script is thoughtful and intriguing enough.

    The story is not perfect tonally, but has some nice suspense, doesn't lay it on too thick with the moralising and the romance has tension and charm. The ending is inventive. Sidney gives a nuanced performance that is always engaging and quite poignant. George Raft has some good chemistry with her and is brooding enough. Harry Carey is the supporting cast standout.

    Overall, not perfect by any stretch but does a lot right. 7/10
  • This is different, I'll say that. It's billed as a film noir but it's really a melodrama.

    It's a romance story involving the characters played by George Raft and Sylvia Sidney. This was my first look at Sidney and she wasn't all that appealing to me. Since then I have seen her many times in films spanning a number of decades, on film or in guest appearances on television shows. Although hardly a beauty, she always was interesting. So was George Raft, who played a very low-key role in this movie. He was best playing a tougher gangster.

    A man who received no billing in this movie but was really the third star was Warren Hymer, who played a dumb crook. There were also two musical numbers in this movie, one of them delivered in strange prose by the criminals.

    As I said, this was kind of a strange piece of entertainment. Director Fritz Lang wanted to make a statement about crime not paying but he wanted to tell it in a different format. Well, I can appreciate that but I think he could have done that in a more entertaining way because the middle of this film dragged way too much and might have lost a lot of viewers. The ending was inventive but a little corny, too.
  • This is one of the best film starring George Raft. Many character actors also show up at different parts of the films such as Greta Granstedt, Ellen Drew, George E. Stone, Bob Cummings, Barton MacLane, and others. Although the film gets a bit campy at times, this is first class entertainment. And Sylvia Sidney is a real peach !!!

    I am a great fan of the late director Fritz Lang. My very favorite film from him is the science fiction classic "Metropolis". A close second is "Frau I'm Monde". Other great films are "M", "Woman in the Window", and "1000 Eyes of Dr. Mabuse". This film with the music of Kurt Weill and the way the various characters are developed in the context of the modern workplace and the struggle to find happiness and thrive in a fast-paced society makes this one of Fritz Lang's best dramas.

    Dan Basinger
  • You and Me is a romance about a young couple who find love when both of them are trying to avoid it. I was charmed by the chemistry between George Raft and Sylvia Sidney. You can see the affection the two characters share, and feel the pain when one of them feels betrayed or let down by the other. I was also intrigued by the plot of the film as it felt different from other movies I've seen before. Probably the most unique aspect was the resolution, which was far from what I expected walking into that scene. I also appreciated that it had a bit of humor added to the crime drama established up to that point.

    Despite some of the more interesting and charming elements of You and Me, I wasn't totally enamored with the story. I often have trouble with romances that manufacture tension between the two protagonists simply by having them avoid a simple conversation. I realize that is exactly what can happen in real world relationships, but it still frustrates me to watch it. I'll give this movie the benefit of the doubt because they give a reason for their lack of communication, but it still bugs me. I also struggled with finding an emotional connection with the two leads, which would have helped when trying to sympathize with them. Aside from that, You and Me is still a nice film and one I would be fine with watching again.
  • Lejink14 November 2023
    Just about the only Fritz Lang American-made film I'd not yet watched and what an unusual one it was. It's part gangster, part romance, part social-commentary, part comedy and even at odd junctures part-musical and there are probably even a few more body parts kicking about in there somewhere.

    Lang himself called it "lousy", but I think he was being a bit severe. Yes, there's lots wrong with it, the plot is as disjointed as it is improbable (it's all right for George Raft's reformed criminal to date his supposedly nice young fellow shop-worker like Sylvia Sydney but not when the boot is on the other foot and he learns her dark secret), the pacing is weird, the dialogue clunky at times, the support acting decidedly mixed and in the first half, songs keep trying to interrupt the action, no bad thing considering the music is by Kurt Weill, with the whole thing ending up a real mish-mash.

    And yet there are things to like. It could maybe have had an almost American "Threepenny Opera" feel to it if the musical interludes had been more accentuated, there's some arresting German Expressionistic photography to admire plus I've always enjoyed the work of Sydney in her 30's heyday when she was directed by such luminaries as Von Sternberg, Vidor, Hitchcock and Wyler. She's lovely in this, the moral centre of the movie who by her own moxy ends up winning back Raft's heart and getting the whole gang onside with her too. George's character is less likeable but at least he sees sense in the end plus I liked Harry Carey, for once not in chaps, as the big-hearted store boss.

    Yes, the film would have undoubtedly have worked better if it had decided at the start just what kind of movie it really wanted to be, but sometimes it's fun and certainly interesting when you can see the different ways an admired director is conflicted when trying to make their own movie within the studio system.

    Lang certainly made several better, more coherent movies, but I still kind of like the mixed-up shook-up kid that is "You and Me".
  • Warning: Spoilers
    In connection with my review title, we now see that salesman George Raft is holding a tennis racket, which is the sort of racket he's talking about. Surprise!

    This was the 2nd of 3 pairings of tough guy Raft and perennial tough luck lady with those big soulful eyes: Sylvia Sydney. I enjoyed both of them in these crime-oriented films, Sylvia with her easy-going beauty, and Raft with his handsome stylishness and edginess. Unfortunately, in the late 30s, Raft killed his career as a notable leading man by rejecting a series of roles in pictures that turned out to be popular. His up and coming competitor for these types of roles: Humphrey Bogart, took them and finally became a star. Who's to choose between them? Both had their distinctive looks and natural charisma. Raft tipped his hat to the left, while Bogey tipped his to the right. Was Raft left-handed?

    Raft and Sylvia are cast as employees of Morris((Harry Carey) department store. Kind-hearted Morris likes to give ex-cons and parolees a fighting chance to rehabilitate their lives honestly, thus he mixes them with those without a criminal record. His wife doesn't like this, saying "They were born that way", implying that they can't be rehabilitated. Raft is an ex-con, and Sylvia is an parolee. Initially, neither knows this. They are attracted to each other, and pretty soon they get a marriage certificate, although Sylvia knows it's illegal for a parolee to get married(at least, not without the permission of her parole officer).

    Later, Sylvia gets in trouble with Raft because some of his ex-gang members tell him the truth about her. Later, she's in double trouble, because Raft surmises that she must have somehow learned about the plan by his old gang to rob the department store(Actually, she essentially guessed that is what one of the gang members was trying to tell her). She tells Morris, who is then waiting with armed guards when the gang breaks in. Morris promises them leniency if they will listen to a speech by Sylvia. Like a schoolmarm lecturing her unruly students, she tries to convince them that crime doesn't pay, financially as well as the added risk of being sent back to prison. She uses a convenient blackboard to detail her calculations of the various costs of a heist and their probable individual financial gains to prove her point. Afterward, Raft is not moved, so she flees home, where she packs her things to move elsewhere. Meanwhile, Raft has had a sudden change of heart(very unlikely) and buys her some perfume, then goes to their apartment. But, Sylvia already had left, leaving a goodbye note.

    Raft somehow(?) learns who and where Sylvia's parole officer is, and explains his distress. The PO says he knows where she went, but promised not to tell. He also tells him that they aren't legally married, because she is still on parole. Also, she is pregnant........Raft gathers his buddies and tells them to spread out to find her. No luck for quite sometime(apparently quite a few months, although our impression is that it isn't that long), until Raft's friend Gimpy announces that he found her in the hospital, ready to deliver a baby. The gang rushes there, and finds that she has already delivered, and is fine. Raft and Silvia make up, and Silvia suggests they get married legally, since her probation period is over. The film ends with their marriage, the gang treating her like a queen.

    It's a good story, by me, albeit with some faulty critical turning points or bazaar scenes. It illustrates the dangers of hiring known ex-cons or parolees, and the limited hope of reforming them, as a whole. Nonetheless, ex-cons need more people or governments like Morris to give them a chance to go straight.
  • zetes11 February 2002
    That doesn't fit with what most people think about Fritz Lang. He's generally a tragedian at this point in his career. You and Me is very similar in subject to his previous film, You Only Live Once, about an ex-con who can't get a break. Here, George Raft plays an ex-con working at a department store. Sylvia Sidney is his girlfriend. She also works at the store, and she has a secret: she's an ex-con, too. Raft has a bitter double standard and despises female ex-cons, so Sidney can't tell him the truth.

    Near the beginning, the film seems a bit clunky. The opening is kind of goofy, and, it being a Lang film, you might be confused about how you should take it. His other films aren't completely without comedy. Few films refuse to give us at least a couple of laughs along the way, perhaps close to the beginning. But You and Me just keeps getting sillier.

    I was finally won over by an extraordinarily stylistic sequence where a mob of criminals recall their days in jail with a musical number. After that enormously entertaining sequence had come and gone, I knew that anything could go. In fact, anything can go and does. The film ends up being one of the most original films ever made. No comedy is like this. You know, I don't want to swear to this, but You and Me is perhaps my favorite Fritz Lang film. I actually haven't seen any masterpiece (i.e., 10/10s) from him, including Metropolis and M. You and Me, like M and Fury, my other two favorites, gets a 9/10.
  • Fritz Lang had a reputation for disliking american actors and actresses, but he made three films with Sidney; sadly, because the reviews and receipts were lacking, it was their final film together. You And Me has some spectacular shots of machinery and late 30's office work that stands up even today, with a clear message about industrialization, the "modern" work-place, and american society in general. The film also features magnificent music and song from Kurt Weill. This may not be as riveting as Fury, or as depressing as You Only Live Once, but it is indeed, a masterpiece! And George Raft is just fine, too.
  • Warning: Spoilers
    " . . . it MIGHT fill him up for 15 minutes, but if you provide the same gent with a rod (plus plenty of ammo) he'll never go hungry again." YOU AND ME bears out this Pearl of Wisdom, as lowly wage slaves learn that they can attain far more bottles of "expensive" perfume through exercising their Second Amendment Rights rather than by pinching pennies on the pittance Capitalist Crime Lords deem fit to "pay" them. So enjoy YOU AND ME, and then support your local chapter of BANGS (Broke Americans Need Gun Stamps).
  • st-shot9 January 2024
    Uprooting from Nazi Germany (who had big plans for him) and immigrating to the US and Hollywood Fritz Lang hit the ground running with two sharp perceptive pieces of dark Americana, Fury with Spencer Tracy and You only Live Once with Henry Fonda. His third effort, You and Me however was quirky effort with Kurt Weill theatrics that betray what looked like Lang's immediate grasp of the American scene. A sloppy goulash of caper, comedy, romance and music it fails to jell in anyway.

    Macy's like department store owner Mr. Morris (Harry Carey) has a soft heart for ex-cons and hires them to work throughout the store. Two of his success stories played by George Raft and Sylvia Sydney meet and fall for each other but a former con (Barton Maclane) not up for reform plots with the other con/employees to rob the store.

    You and Me is on sorry footing from the outset with its poor mix of genres never establishing a set mood and it results in a type of warped burlesque with some ill fitting Mack the Knife musical numbers of the boys lamenting the "good life" back in stir. Uneven at best, the Capra corn climax, simply puts a fork in this disheveled mess.
  • Warning: Spoilers
    A bizarre mixture of crime drama, comedy and social message movie, "You and Me" is another of Frtiz Lang's anti-capitalist experiments. He'd cite Brecht as the film's chief influence, but the film's avant-gardism is mostly played for laughs.

    The plot? Sylvia Sidney and George Raft play a pair of criminals on parole and working at a luxurious department store. The store owner has hired a band of similar cases - all ex convicts and petty thieves - to manage his business, a decision he may or may not regret. Much commotion ensues.

    "You and Me" was destroyed by critics upon release, but today offers a number of interesting moments: the bustle of department stores, the clatter of cash registers, "You Can't Get Something For Nothing" warbling on the soundtrack like an anti-musical refrain. Elsewhere, clerks and businessmen are all safe-crackers or thieves, criminal heists echo police confiscations, Lang uses a number of distancing effects and the film's plot seems like a perverse reversal of Lang's earlier "Metropolis", Lang's criminals defending workplace exploitation as being more rational than outright theft.

    Much of Lang's plot follows a pair of clandestine lovers who break parole restrictions by getting married. Lang tries his hand at comedy, but he's best when solemn. Nevertheless, great shots abound – two lovers fleetingly touching hands whilst riding an escalator, the mirror image of gangster's crushing palms – including several musical sequences which blindsided contemporary critics. As is expected, Lang continues to shoot architecture well, most of which is Art Deco or sports modernist trimmings. The film's noir shadows suggest a crime movie, but the comedy and champaign suggest something else. What's going on? Lang called the film his Threepenny Opera.

    7.5/10 – For Lang fans only.
  • I loved YOU AND ME. Director Fritz Lang, better known for dark, harsh film noir, manages to turn a potentially criminal and violent situation into a comedy spattered with song. In fact, the film opens with a song that sums it all up, noting that everything has a price and you have to pay it - like it or not.

    George Raft delivers an oddly sensitive performance, markedly unlike most of his work, in spite of the fedora, trenchcoat and criminal kingpin look. Lovely Sylvia Sidney provides the rock at the film's center, and their relationship can be very touching. Frankly, I had never imagined Raft as a lover, but he does that and more in YOU AND ME.

    The supporting cast rates most effective, like so many gargoyles but with consciences and good feelings. Robert Cummings is the standout in that ensemble which just missed Mike Mazurki (alas, in 1938 he was still only an uncredited extra).

    Superb screenplay from Virginia Van Upp, superlative cinematography - with expressionistic touches - from Charles Lang (no relation of Fritz's).

    Against type Lang direction with many interesting details, such as the inside of an apartment, and the layout of a clothing shop, and its content, in the USA just before WWII.

    Definite must-see for many reasons!
  • Delrvich18 August 2020
    But, doesn't seem like a noir or a Fritz Lang picture.
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