Tiny, played by Thomas Mitchell, dismisses her as a “hash hustler.” She was a prostitute in the book that inspired the film. He saves her life and takes her back to his barge, where she’ll eventually find meaning in life again.
In Moontide, Bobo encounters Anna, played by Ida Lupino, as she attempts a watery suicide. In Port of Shadows, Gabin’s Jean is an Army deserter in the port city of Le Havre who fatefully encounters the cabaret dancer Nelly at Panama’s, a lonely, seaside bar on the ragged edge of the city. Still, they existed and continued to exist in the coming decades despite the overarching influence of commercialism in all cinema. Those differences weren’t ironclad - films had both happy and sad endings on both sides of the Atlantic. Moontide and Port of Shadows offer a fascinating study into key differences in Hollywood and European filmmaking and storytelling during the 1930s and early 1940s, a time when the studio system reigned supreme in Hollywood and war loomed heavily over the European continent.
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