Sun Shines Bright, The (1953)
“I must know what’s going on: who am I?”
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My Son John (1952)
“What’s happened to my boy?”
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— a phenomenon that’s never gone away, and is perhaps at a current zenith. Hayes’ performance (her first on-screen in nearly two decades) is heartwarming and natural; indeed, all the actors were apparently asked to improvise, with a resulting authenticity that feels rare in a film of this kind (though apparently it drove Walker crazy; see TCM’s detailed article for more information on this and other aspects of the film’s production). Unfortunately, the storyline about the Red Scare as an omnipresent force in the hearts and minds of small-town America suffers from lack of clarity and/or credibility in a couple of key areas — primarily the “coincidence” between Heflin’s “accidental” meeting with Hayes and Jagger and his true identity, as well as Walker’s critical involvement with an unseen female character shown only in a newspaper article. Meanwhile, the kludging in of footage of Walker from Strangers on a Train (1951) is decidedly jarring, as are (laughably so) the final moments taking place in a university hall. Again, this is too bad, since the film otherwise possesses some enduring power as a tale of generational divides, parental suffering, and Communist hysteria. Redeeming Qualities and Moments:
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Revenge of the Creature (1955)
“Here at Ocean City it will live — if it lives at all — and become the object of scientific study.”
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With that said, the entire affair is once again solidly directed by Jack Arnold, who knows how to build tension, especially during the final kidnap and chase sequences. Redeeming Qualities and Moments:
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Sun Also Rises, The (1957)
“Everyone behaves badly, given the proper chance.”
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In other words, feel free to skip this one, unless you’re a Gardner completist or in the mood for lots of drinking and bull(s). Redeeming Qualities and Moments:
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Moon is Blue, The (1953)
“I really thought you were a nice girl — I really did.”
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Erotikon (1920)
“If you think a pretty outfit will butter me up, you are mistaken. It might fool your husband but not me.”
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It’s all quite forgettable, really — but hardcore film fanatics with an interest in early cinema might be curious to see an example of an early attempt at a narrative form (romantic comedy) that would come to fruition in later years. Note: This film is one among 16 titles in Peary’s book which were released during the first two decades of the 20th century, between 1912 (Quo Vadis?) and 1920. Redeeming Qualities and Moments:
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Vikings, The (1958)
“I want her to fight me tooth and nail — the first time I take her, and the last!”
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But viewers who enjoy this type of spectacle will likely be pleased, and Jack Cardiff’s gorgeous cinematography makes it easy on the eyes. Redeeming Qualities and Moments:
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Thieves’ Highway (1949)
“Terrible, the way I lose my temper.”
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… his enthusiasm instantly deflates once he sees how his hard-working father has been literally hobbled by a ruthless crime boss.
The remainder of the story plays out as an elaborate revenge flick within a landscape of omni-present corruption and hustling; while various individuals ultimately reveal themselves to have higher ideals, the prevailing ethos is one of sticking it to every other person you meet as often as possible. The storyline is refreshingly grounded in “real life” concerns (i.e., food!); it’s safe to say you’ll never eat a crisp, delicious apple with the same carefree joy after witnessing what it takes for those apples to make it from a poor Polish family’s farm onto a rickety truck (only paid for in full once Conte steps in and insists):
across treacherous highways, and into a bustling marketplace where goons like Cobb and his minions will happily extort truck-drivers through any means possible. Even lowly “fortune tellers” (Cortesa is a thinly veiled prostitute) are caught up in the racket, though it’s clear she doesn’t want to be. Cortesa — believable and sympathetic in a femme fatale-ish role — is one among many accented characters in this film, showing the multi-national nature of working class individuals trying to survive in America; a shot of Conte making a phone call back home shows men of various ethnicities in the backdrop:
While the unduly optimistic ending of Thieves’ Highway defies its prior cynicism, enough genuine grief has occurred in the meantime that we can forgive this sudden shift in tone. Redeeming Qualities and Moments:
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Search, The (1948)
“There’s nothing in my life if I don’t find my child.”
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Lord of the Flies (1963)
“The rules are the only thing we’ve got!”
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Review: The result is a fascinating portrait of organic, lethal anarchy. Left to their own devices, the boys inevitably turn on one another and devolve into madness, spurred on by the particularly paranoid Jack (Chapin). For better or for worse, Brook cast the film according to what he saw as character types in the boys, allowing them simply to enact their own selves within the skeleton of the script. (Meeting up decades later for Time Flies, Brook was curious how much the film had impacted the boys, and/or how much they still resembled their characters; while artistically sound, this was clearly a problematic choice to reveal to them after the fact.) With that said, the boys’ naturally powerful performances — as well as Hollyman’s stark cinematography, the isolated settings, and Raymond Leppard’s unique soundtrack — all contribute to the film’s success. This remains an appropriately terrifying tale about leadership (or lack thereof) run amok, one which readers and viewers should continue to revisit — especially in light of current and ongoing world events. Redeeming Qualities and Moments:
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