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Month: February 2022

Lust for Life (1956)

Lust for Life (1956)

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“I want to create things that touch people.”

Synopsis:
After a brief career as a minister in a Belgian mining community, troubled young Vincent Van Gogh (Kirk Douglas) returns home to his parents (Henry Daniell and Madge Kennedy) and obsessively but unsuccessfully tries to court his beautiful widowed cousin (Jeanette Sterke). After receiving art supplies from his supportive cousin Anton Mauve (Noel Purcell), Vincent begins his career as an artist, living for a while with a former prostitute (Pamela Brown), then requesting help from his art-dealing brother Theo (James Brown), who eventually ends up paying painter Paul Gaugin (Anthony Quinn) to live with Vincent; but can Vincent’s mental challenges be kept at bay while he continues to practice and refine his art?

Genres, Themes, Actors, and Directors:

  • Anthony Quinn Films
  • Artists
  • Biopics
  • Henry Daniell Films
  • Kirk Douglas Films
  • Mental Breakdown
  • Niall MacGinnis Films
  • Obsessive Love
  • Vincente Minnelli Films

Review:
Vincente Minnelli directed this beautifully vibrant homage — based on the 1934 novel by Irving Stone — to the life and art of Vincent Van Gogh. Kirk Douglas (who was told early on that he looked like Van Gogh — he does) is perfectly cast as the tortured but gifted young artist who so clearly wants to do good in the world — and who recognizes that his own intensities are simultaneously what drive him and get in his way. It’s heartbreaking watching Van Gogh first be rejected from mainstream ministry work:

… then by his understandably overwhelmed cousin (Sterke), who recognizes that Vincent’s obsessive love is more than she can manage:

We’re happy for Vincent when he meets a like-minded soul in Brown, who he’s able to live and paint with for at least a while:

… though the eventual dissolution of their partnership is painful to watch, too. Thankfully, Vincent’s caring brother Theo is a consistent source of quiet sustenance:

… and we remain grateful for everything he did to help make Vincent’s life easier while he could. His hiring of Gaugin to “babysit” Vincent leads to yet more heartwrenching scenes, culminating in Vincent’s infamous slicing off of his own ear:

Vincent’s personal recognition and insistence that he will be safest in a sanitorium makes us grateful for the self-preservation he possessed, at least for a while (Marion Ross of “Happy Days” fame plays the nun below):

Most marvelous about this picture, however, are Minnelli’s successful attempts to show us Van Gogh working on dozens of his best known pieces, across a variety of landscapes and scenarios (below, Everett Sloane portrays Dr. Paul Gachet, who ‘treated’ Vincent during his last years of life):


It’s also a joy to hear so much smart dialogue about art and colors, as when Vincent is explaining his process to Gaugin, who utilizes a different approach:

“When I paint the sun, I want the people to feel it revolving — giving off light and heat. When I paint a peasant, I want to feel the sun pouring into him like it does into the corn… Look, Paul: when I painted ‘The Night Cafe’ I tried to show evil, the most violent passions of humanity. I painted it blood red and dark yellow, and a green billiard table in the middle, four lemon-yellow lamps with a glare of orange and green in an atmosphere of pale sulfur, like a furnace. I tried to show a place where a man can ruin himself — go mad — commit a crime.”

The film’s closing image, gradually panning out to see the scope of much of Van Gogh’s work:

… is an especially fitting and touching finale to this fine biopic.

Notable Performances, Qualities, and Moments:

  • Kirk Douglas as Vincent Van Gogh
  • Strong supporting performances

  • Excellent use of location shooting
  • Freddie Young’s phenomenal cinematography

Must See?
Yes, as a fine biopic.

Categories

  • Noteworthy Performance(s)
  • Oscar Winner or Nominee

Links:

Baby Doll (1956)

Baby Doll (1956)

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“I”m always glad to know something when there’s something to know.”

Synopsis:
In the Deep South, lecherous cotton gin owner Archie Lee (Karl Malden) lusts after his young wife “Baby Doll” (Carroll Baker), who he’s not “allowed” to sleep with until she turns 20 and he can provide her with a fitting lifestyle. Meanwhile, after his business is burnt down, local Sicilian gin operator Silva Vicarro (Eli Wallach) comes to visit Archie Lee’s home and uses his wiles to seduce Baby Doll into confessing what she knows about the arson.

Genres, Themes, Actors, and Directors:

  • Black Comedy
  • Carroll Baker Films
  • Deep South
  • Eli Wallach Films
  • Elia Kazan Films
  • Karl Malden Films
  • Marital Problems
  • May-December Romance
  • Mildred Dunnock Films
  • Play Adaptations
  • Rip Torn Films
  • Tennessee Williams Films

Response to Peary’s Review:
Peary points out that this “‘white trash’ comedy by Elia Kazan, who adapted two Tennessee Williams plays,” is “meant to convey how Williams visualized the New South, where chivalry, honor, and hospitality (the ‘Good Neighbor Policy’) have been replaced by depravity and decadence, men coveting what their neighbors have (money, work, or women), and ‘carpetbagging’ outsiders/foreigners taking over work and stealing women — just as during the Reconstruction.”

He writes that “dumb, bigoted, middle-aged cotton-gin owner Archie Lee (Karl Malden has problems,” and describes what happens after “Archie secretly burns down Vicarro’s mill” and Vicarro “comes to Archie’s house when he’s not home and proceeds to seduce Baby Doll, who doesn’t put up much resistance.”

Peary notes that “Vicarro’s expressions and movements will at times remind you of a sneaky fox” who is “too clever for the naive Baby Doll, one of many Williams heroines who are betrayed by men supposedly befriending them.”

He further adds that “the unknown Baker became a sex symbol as a result of this film,” given “she never is seen wearing less than a slip” and “lies in a crib and sucks her thumb.”

To that end, “Cardinal Spellman and the Legion of Decency condemned this film when it was released” — and “surely those who criticized it on moral grounds didn’t think the scene in which Vicarro rubs the merrily squirming Baker’s tummy with his foot was in good taste.” However, Peary points out that “it’s a perfect example of how Kazan uses sex in an intentionally ludicrous manner, making it a key element in what is much like an absurdist play;” he adds that “Williams believed that Kazan could have played up the humor even more.”

Peary notes that the film co-stars Mildred Dunnock as Aunt Rose Comfort:

… but he doesn’t mention a notable cameo with Rip Torn as a smiling dentist who enjoys flirting with Baker:

While this movie isn’t a personal favorite — I’m not a fan of films about young women being used as pawns by men — it remains noteworthy for its erstwhile notoriety and for Baker’s breakthrough performance, and should be seen at least once by film fanatics.

Notable Performances, Qualities, and Moments:

  • Carroll Baker as Baby Doll
  • Eli Wallach as Silva
  • Boris Kaufman’s cinematography

Must See?
Yes, for its historical notoriety, and Baker’s performance.

Categories

  • Historically Relevant
  • Important Director

Links:

Ben-Hur (1959)

Ben-Hur (1959)

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“May God grant me vengeance!”

Synopsis:
Shortly after the birth of Jesus Christ, a Jewish prince named Judah Ben-Hur (Charlton Heston) visits with his former childhood friend Messala (Stephen Boyd) who has become a military commander for Rome. When Judah refuses to share names of Jews who are resisting Roman imperialism, Messala teaches him a lesson by sending him to work as a galley slave, and his mother (Martha Scott) and sister (Cathy O’Donnell) to prison. Years later, Judah rescues the Roman Consul Quintus Arrius (Jack Hawkins) from drowning during a battle at sea, and is rewarded by being made Arrius’s honorary son. Soon Judah reunites with his sweetheart (Haya Harareet), but remains more determined than ever to seek revenge on Messala.

Genres, Themes, Actors, and Directors:

  • Ancient Greece and Rome
  • Biblical Times
  • Charlton Heston Films
  • Christianity
  • Historical Drama
  • Hugh Griffith Films
  • Jack Hawkins Films
  • Revenge
  • Sam Jaffe Films
  • Slavery
  • Stephen Boyd Films
  • William Wyler Films

Response to Peary’s Review:
Peary begins his review of this “colossal remake of the 1925 silent classic” by noting that it “won a record-breaking 12 Oscars, including Best Picture, Best Director (William Wyler), Best Actor (Charlton Heston), Best Supporting Actor (Hugh Griffith), Best Cinematography (Robert Surtees), Best Scoring (Miklos Rozsa), and Best Visual Effects (A. Arnold Gillespie [and] Robert MacDonald).” He writes that this “big-budget epic is quite watchable, but a bit syrupy once Messala is no longer around:”

… and he feels that Heston merely “does a credible job as Ben-Hur” — a “tormented, wrathful” man who “is striving for inner peace, which he can achieve only by accepting Christ and his message of love and forgiveness.”

He notes that “the chariot-race sequence and the sea battle still hold up nicely” (true):


… but argues that “there is nothing else exciting in the picture.” Regardless, he concedes that the “scenes in which Christ is seen from the back only are nevertheless quite effective because just from seeing the watery eyes and smiles of those who behold him, we can imagine his face and the love and calmness it projects.”

I’m essentially in agreement with Peary’s assessment of this enormously expensive, hugely popular film, which is visually stunning but will ultimately appeal primarily to those who enjoy epic historical dramas. While Peary’s assertion that “none of the acting is particularly impressive” is somewhat true (only Heston’s character is really memorable), the actors here do serviceable work and are overshadowed by the spectacle of it all anyway.

Notable Performances, Qualities, and Moments:

  • Charlton Heston as Judah Ben-Hur
  • Robert Surtees’ cinematography
  • The exciting action sequences

Must See?
Yes, as an Oscar-winning favorite, and for its historical importance.

Categories

  • Oscar Winner or Nominee

(Listed in 1001 Movies You Must See Before You Die)

Links:

Moby Dick (1956)

Moby Dick (1956)

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“I do not fear Moby Dick; I fear the wrath of God.”

Synopsis:
In 1840s New England, a sailor named Ishmael (Richard Basehart) befriends a heavily tattooed Pacific Island harpooner named Queequeg (Friedrich von Ledebur), and the pair join the crew of the whaling ship called the Pequod, helmed by Captain Ahab (Gregory Peck) and his right hand man, Starbuck (Leo Genn) — but will Ahab’s obsessive quest to find the great white whale (Moby Dick) responsible for the loss of one of his legs lead to the dire outcomes predicted by a soothsayer (Royal Dano)?

Genres, Themes, Actors, and Directors:

  • At Sea
  • Fishermen
  • Gregory Peck Films
  • Harry Andrews Films
  • John Huston Films
  • Leo Genn Films
  • Orson Welles Films
  • Revenge
  • Richard Basehart Films

Review:
John Huston’s adaptation of Herman Melville’s 1851 novel remains an impressive distillation and expression of a literary work deemed daunting enough to merit its own website called “How to Read Moby Dick”. (Full confession: I haven’t read it – yet.) On its own merits, the film shows us a powerful tale of obsession on the high seas, with a narrative mirroring while diverging significantly from other “crazy sea captain” tales viewers may have seen, such as Mutiny on the Bounty (1935), The Caine Mutiny (1954), and Mister Roberts (1955). In this case, the chief mate Starbuck (Genn) recognizes the danger of allowing Captain Ahab’s obsession with Moby Dick to drive the whaling trip, yet can’t find any sympathy for his perspective; instead, he simply watches in horror as all men on board become caught up in Ahab’s lethal determination.

The film is beautifully shot (in Wales, Portugal, and Spain) with a strong sense of authenticity, both for locale and period detail:


Scenes with The Whale are impressive as well, especially considering how challenging it was to get anything workable at all on screen:

John Huston’s assertion that this was the most challenging film he ever made (which is saying a lot) rings true; one seriously worries for the safety of all while watching brutally realistic scenes at sea:

The performances across the board are excellent, with Peck especially noteworthy as Ahab (he was an inspired second choice), Genn excellent as Starbuck, Basehart appropriately peripheral as Ishmael, and von Ledebur stoically menacing as Queequeg (shout-out to make-up creator Charles E. Parker as well):

Orson Welles has a fine cameo early in the film as a pastor giving a sermon about — naturally — Jonah and the whale:

Also on view are Bernard Miles and Harry Andrews as shipmates:

… and Royal Dano as a man named Elijah who tries to warn the men about their treacherous journey:

Notable Performances, Qualities, and Moments:

  • Gregory Peck as Captain Ahab
  • Leo Genn as Starbuck
  • Friedrich von Ledebur as Queequeg
  • Fine production design and attention to period detail

  • Oswald Morris’s cinematography

  • Impressive special effects

Must See?
Yes, as a good show by a master director.

Categories

  • Good Show

Links:

Miss Julie (1951)

Miss Julie (1951)

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“I’m a servant today, but in two years I’ll be my own man.”

Synopsis:
In late 19th century Sweden, a servant (Ulf Palme) engaged to the house cook (Märta Dorff) seduces his mistress (Anita Björk), who has recently broken off her engagement to a count (Kurt-Olof Sundström) and who reflects back on being deeply damaged by her feminist mother (Lissi Alandh) and weak father (Anders Henrikson).

Genres, Themes, Actors, and Directors:

  • Class Relations
  • Cross-Class Romance
  • Flashback Films
  • Max von Sydow Films
  • Play Adaptation
  • Scandinavian Films

Review:
Swedish director Alf Sjöberg was primarily a stage director, but helmed about 20 cinematic features, including an early collaboration with Ingmar Bergman (1944’s Torment) and this adaptation of one of August Strindberg’s best-known plays. While the original storyline takes place in just one room (the manor kitchen) with only three characters, Sjöberg found numerous creative ways to open up the action and add strongly cinematic touches to the proceedings. Given that events in the play take place on Midsummer’s Eve, Sjöberg shows us the gay festivities of the day (including a maypole dance):

… and makes liberal use of flashbacks, as when Palme tells his tale of having an embarrassing crush on Björk when he was young (played by Jan Hagerman):

… and Björk divulges the abuse she suffered at the hands of her mentally ill mother:

Balancing this pair out is level-headed Dorff:

… who serves as a continuous voice of reason while Palme and Björk engage in an epic battle-of-the-classes-and-sexes. How things evolve may come as a surprise to those not familiar with the play, and viewers should be prepared for some pretty intense sequences. (What else would one expect from Scandinavian cinema?) Watch for Max von Sydow in an early supporting role as a farmhand:

Notable Performances, Qualities, and Moments:

  • Anita Björk as Miss Julie
  • Ulf Palme as Jean
  • Märta Dorff as Kristin
  • Creative cinematic techniques

Must See?
No, but it’s worth a look, especially for those interested in Scandinavian cinema.

Links:

Tales of Hoffman, The (1951)

Tales of Hoffman, The (1951)

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“I have lost my reflection!”

Synopsis:
A poet (Robert Rounseville) enamored with a ballerina (Moira Shearer) recounts tales to his friend Nicklaus (Pamela Brown) about three previous loves: a mechanical dancer (Moira Shearer) created by a scientist (Leonide Massine) and operated by a devious magician (Robert Helpmann); a seductive courtesan (Ludmilla Tcherina) who steals his reflection for a magician (Robert Helpmann); and a consumptive young Greek woman (Ann Ayars) forced to sing to her death by an evil doctor (Robert Helpmann).

Genres, Themes, Actors, and Directors:

  • Dancers
  • Episodic Films
  • Fantasy
  • Michael Powell Films
  • Obsessive Love
  • Operas

Review:
Michael Powell and Emeric Pressburger produced and directed this Technicolor opera fantasy based on Jacques Offenbach’s 1881 opera of the same name. It tells a series of episodic musical tales centered around Hoffmann (Rounseville) himself, with a recurring roster of evil characters all played by Robert Helpmann.

The sets and costumes (by Hein Heckroth) and cinematography (by Christopher Challis) are consistently a wonder to behold:


… as are the enjoyably clever yet low-tech special effects.

Unfortunately, the film’s major and significant downfall (leaning me towards only recommending it rather than calling it must-see) is that, as noted in Bosley Crowther’s review for the New York Times, “it sates the senses without striking any real dramatic fire.” Lead actor Robert Rounseville is notoriously stiff throughout (though of course his vocals, for those who enjoy opera, are impeccable):

… and the final sequence is overall quite dull. With that said, most film fanatics will likely be curious to check this unusual, visually vibrant film — a favorite of both Martin Scorsese and George Romero — at least once; but don’t feel bad if it’s not quite your cup of tea.

Notable Performances, Qualities, and Moments:

  • Robert Helpmann as Lindorf, Coppélius, Dapertutto, and Dr Miracle

  • Pamela Brown as Nicklaus
  • Highly creative production design

  • Fine special effects
  • Gorgeous Technicolor cinematography

Must See?
No, though it’s unique enough to be worth a one-time look. Listed as a film with Historical Importance in the back of Peary’s book.

Links:

River, The (1951)

River, The (1951)

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“It’s the same story everywhere I go; I spoil everything.”

Synopsis:
In colonial India, a young woman (Patricia Walters) and her beautiful best friend (Adrienne Corri) are both smitten by a visiting American veteran (Thomas E. Breen) who has lost one of his legs. Meanwhile, a half-Indian woman (Radhi) returns home to visit her widowed father (Arthur Shields), and Walters’ mother (Nora Swinburne), father (Edmond Knight), and their beloved nanny (Suprova Mukerjee) care for Walters’ younger siblings — including their only son, snake-loving Bogey (Richard R. Foster) — while Swinburne prepares to give birth to another child.

Genres, Themes, Actors, and Directors:

  • Coming of Age
  • Expatriates
  • India
  • Jean Renoir Films
  • Love Triangle
  • Veterans

Response to Peary’s Review:
Peary writes that “Jean Renoir’s lyrical film about an English family living in Bengal, on the Ganges” — based on a semi-autobiographical novel by Rumer Godden, who co-wrote the screenplay with Renoir — “deals with the merging of cultures” and “how these four young characters” (Walters, Breen, Corri, and Radha) “overcome their various forms of self-hatred.” He points out “it is beautifully shot by the director’s nephew Claude Renoir” and “there are some powerful passages,” with Walters giving “a lovely performance”:


… but he argues, “I don’t like the characters, and I believe that half the cast should have been replaced and that more emphasis should have been placed on how India affects the family.”

Peary’s complaints are rather broad and difficult to challenge. However, knowing the history of the film — that it was made with a number of non-actors (Walters, Breen, Radha), funded by an L.A. florist, and filmed on location in India for the first time (for a Hollywood movie) — adds to its unique stamp in world cinema; it’s especially noteworthy that Satyajit Ray was Renoir’s Assistant Director.

It seems that Godden’s intent (unnecessarily reinforced through an earnest voiceover) is simply to show a coming-of-age tale with all its emotional complexities and uncertainties, and to that extent it’s reasonably successful.

Meanwhile, there are numerous beautifully filmed sequences showing daily life in India, which must surely have been revelationary for viewers at the time. Indeed, Martin Scorsese’s 12-minute discussion of seeing the film as a child and the enormous impact it had on him is quite touching and worth seeking out, either on the DVD or on YouTube.

Notable Performances, Qualities, and Moments:

  • Fine location shooting in India

  • Claude Renoir’s beautiful Technicolor cinematography

Must See?
No, but it’s recommended for one-time viewing.

Links:

Steel Helmet, The (1950)

Steel Helmet, The (1950)

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“If you die, I’ll kill you!”

Synopsis:
During the Korean War, a traumatized sergeant (Gene Evans) encounters a South Korean boy (William Chun) and a Black medic (James Edwards), and soon they all join forces with a patrol led by rule-following Lt. Driscoll (Steve Brodie), with other members of their ragtag platoon including a Japanese-American Nisei (Richard Loo), a former conscientious objector (Robert Hutton), a bald private (Richard Monahan), and a mute (Sid Melton). When they set up an observation post in a Buddhist temple and learn a North Korean soldier (Harold Fong) is lurking in their midst, their existence becomes even more tense.

Genres, Themes, Actors, and Directors:

  • Korean War
  • Misfits
  • Prisoners of War
  • Sam Fuller Films
  • Soldiers

Response to Peary’s Review:
Peary writes that this “unusual, surprisingly powerful low-budget war film, written and directed by Samuel Fuller” is “about a hard-bitten sergeant (Gene Evans) whose platoon is wiped out but who survives himself because of his helmet” (hence the film’s title).

He notes that “Fuller’s unsentimental, deglamorized portrait of war is highly atmospheric, tense” and — despite the extremely low budget — “realistic,” with “the character relationships, particularly those between Evans and Chun and Brodie … intriguing.”

Made in just ten days on a budget of ~$100K, The Steel Helmet — Fuller’s third film, after I Shot Jesse James (1949) and The Baron of Arizona (1950) — was loosely based on journal entries made during his own time as a soldier. Fuller’s inclusion of a multi-ethnic cast allows him to touch upon topics otherwise undiscussed in Hollywood films at the time — such as Loo’s family being imprisoned in an internment camp during World War II, despite his own active involvement in the segregated Japanese-American 442nd Regimental Combat Team. “We have the same kind of eyes,” the North Korean soldier — known as The Red — goads him.

Meanwhile, Edwards’ Cpt. Thompson — trained as a surgeon — must take subtle and not-so-subtle racist jabs at every turn.

While chatting with Evans about his stint volunteering for a rifle outfit during WWII, for instance, Evans bluntly responds, “Yeah, that was to prove you guys could shoot besides drive trucks. I remember.” (Blacks were primarily relegated to logistics positions in the war.) When Edwards tells Evans he went back to school after WWII on the G.I. bill to study surgery, surly Evans retorts with: “Where? In a butcher shop?” Edwards seems to simply put up with such comments, though later we’re privy to some of his reasoning:

The Red: I just don’t understand you. You can’t eat with them unless there’s a war. Even then, it’s difficult. Isn’t that so?

Cpl. Thompson: That’s right.

The Red: You pay for a ticket, but you even have to sit in the back of a public bus. Isn’t that so?

Cpl. Thompson: That’s right. A hundred years ago, I couldn’t even ride a bus. At least now I can sit in the back. Maybe in fifty years, sit in the middle. Someday even up front. There’s some things you just can’t rush.

Fuller makes excellent use of sparse, fog-shrouded sets:

… and his pulpy script is filled with zingy lines (most mouthed by Evans):

“When my face gets tired, I sit down.”

“Nobody knows where we are except the enemy.”

“You got nothin’ out there but rice paddies crawlin’ with commies just waitin’ to slap you between two big hunks of rye bread and wash you down with fish eggs and vodka.”

This indie classic remains a tense and gritty portrayal of the inherent insanity of war (and racism), and is worthy of multiple viewings.

Notable Performances, Qualities, and Moments:

  • Gene Evans as Sgt. Zack
  • Fine supporting performances by the diverse and eclectic cast
  • Good use of low-budget locales and sets
  • Ernest Miller’s cinematography

Must See?
Yes, as an indie classic.

Categories

  • Genuine Classic
  • Important Director

Links:

Young Lions, The (1958)

Young Lions, The (1958)

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“The German army is invincible because it is an army that obeys orders — any orders.”

Synopsis:
During World War II, a German ski instructor-turned-lieutenant (Marlon Brando) falls for a French woman (Liliane Montevecchi) and grows increasingly cynical while accompanying his ruthless captain (Maximilian Schell) in North Africa, and eventually visiting Schell’s flirtatious wife (May Britt). Meanwhile, two American recruits — a privileged musical star (Dean Martin) whose loyal girlfriend (Barbara Rush) once dated Brando, and Dean’s new Jewish friend (Montgomery Clift), who marries a WASP-ish girl (Hope Lange) — head over to Germany to fight, eventually encountering Brando.

Genres, Themes, Actors, and Directors:

  • Barbara Rush Films
  • Dean Martin Films
  • Edward Dmytryk Films
  • Hope Lange Films
  • Lee Van Cleef Films
  • Marlon Brando
  • Maximilian Schell Films
  • Montgomery Clift Films
  • Soldiers
  • World War II

Review:
Formerly blacklisted director Edward Dmytryk helmed this nearly-three-hour adaptation of Irwin Shaw’s 1948 novel, covering the trajectories of three different soldiers and their girls during World War II. Other than the convenient intersection of Brando and Rush in the film’s earliest scenes (at a ski resort):

… it’s difficult to understand why these particular storylines have been pulled together, other than to show us how American and German lives inevitably intersected. To that end, Martin’s character gets the film’s best line, spoken early on when he’s explaining his resistance to fighting:

“Look, I’ve read all the books. I know that in 10 years we’ll be bosom friends with the Germans and the Japanese. Then I’ll be pretty annoyed that I was killed.”

indeed, given that this film was released more than 10 years after the end of the war, some perspective had been gained — and it was likely easier for viewers to empathize with a conflicted Nazi like Brando.

Schell, on the other hand (in his American screen debut), simply oozes Aryan arrogance:

… representing everything about the Nazis’ approach to life and war that Brando comes to detest. Meanwhile, it’s unclear what kind of “understanding” Schell has with his beautiful wife (Britt), who almost instantly propositions Brando when he goes to visit her (at Schell’s request):

Brando’s other would-be love interest — patriotic Francoise (Montvecchi) — seems included simply to show his conflicted desire for more than Germany.

On the American side of things, the storyline about Clift’s “Noah Ackerman” hints at parallels to his character in From Here to Eternity (1953) — though this time he chooses to fight in order to stand up against (anti-Semitic) bullies who have stolen his money and are determined to give him a hard time:

Lange is appealing as Clift’s romantic partner waiting for him back at home, and her character’s world also exposes us to a bit more of America’s thinly veiled anti-Semitism when we hear her father (Vaughn Taylor) — who “never knew a Jew before” — openly telling Clift he wishes “to heaven [he’d] turn around and get on [a] bus and never see” his daughter again. (He has a change of heart.)

Martin’s “Michael Whiteacre” is the least developed of the three; we simply see him as a man who initially resists joining the army, but knows he must eventually move past his cowardice.

All three men grow and mature in some way, which is refreshing — but the overall storyline isn’t quite satisfying enough to recommend this one.

Notable Performances, Qualities, and Moments:

  • Joseph MacDonald’s CinemaScope cinematography

Must See?
No; it’s only must-see for fans of the lead actors.

Links:

Mister Roberts (1955)

Mister Roberts (1955)

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“Maybe that’s why we’re on this ship — ’cause we’re not good enough to fight!”

Synopsis:
During World War II, the beloved executive officer (Henry Fonda) of a cargo ship repeatedly requests a transfer to be able to engage in combat, but is denied by his unreasonably insecure captain (James Cagney), who also refuses to grant his men — including Ensign Pulver (Jack Lemmon) — a much-deserved leave; will Mister Roberts (Fonda) prevail on their behalf?

Genres, Themes, Actors, and Directors:

  • At Sea
  • Betsy Palmer Films
  • Henry Fonda Films
  • Jack Lemmon Films
  • James Cagney Films
  • John Ford Films
  • Joshua Logan Films
  • Mervyn Le Roy Films
  • Play Adaptations
  • Ruthless Leaders
  • Ward Bond Films
  • William Powell Films
  • World War II

Review:
This adaptation of Joshua Logan’s long-running Broadway play — itself based on a 1946 novel by Thomas Heggen — was fraught with directorial challenges: John Ford began the film but was eventually replaced by Mervyn LeRoy (with some scenes directed by Logan himself). Apparently Ford and Fonda — who starred in the lead role on Broadway for seven years:

— had a major falling out, ending their 16 year friendship and string of 8 films together. However, the resulting movie was no worse for wear as far as audiences were concerned, given that they made it the second highest grossing film of the year. Jimmy Cagney plays a Bligh/Queeg type of power-tripping naval leader, though no reason is given for his attitude other than class resentment.

William Powell gave his final screen performance as a laid-back ship’s doctor who is friends with Fonda:

… and Jack Lemmon won an Oscar for his supporting role as lazy Ensign Pulver, who is primarily interested in doing as little as possible other than bedding a beautiful nurse (Betsy Palmer):

Speaking of beautiful nurses, a bevy of them are conveniently spotted across the way, and end up on board the ship:

… while the local natives are exoticized on behalf of the men’s R&R.

Unfortunately, the humor in this film — including the men ogling the nurses using spyglasses and binoculars:

… Powell and Fonda crafting a faux-rum for Lemmon using grain alcohol, Coke, iodine, and hair tonic:

… Cagney’s obsession with a palm tree:

… and the men getting stinking drunk while on leave:

— hasn’t aged well. We primarily enjoy watching Fonda in a role he wears like a glove, epitomizing a man who does the right and decent thing without anticipating anything in return. Fonda makes this film worth a one-time look, but it’s not must-see viewing otherwise.

Notable Performances, Qualities, and Moments:

  • Henry Fonda as Mister Roberts
  • Fine CinemaScope cinematography

Must See?
No, though Oscar completists will want to see it. Listed as a film with Historical Importance in the back of Peary’s book, and nominated as one of the Best Pictures of the Year in Peary’s Alternate Oscars.

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