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Synopsis:
After explaining to his new boss (Jack Hawkins) that a type of airplane known as the “Reindeer” will fail after a certain number of flight hours (due to metal fatigue), a widowed aeronautical engineer (Jimmy Stewart) leaves his self-sufficient daughter (Janette Scott) at home while traveling to investigate a crash. When onboard his flight, he discovers he’s on a Reindeer that is near its presumably fatal number of flying hours, and tries to convince a kind stewardess (Glynis Johns), a famous actress (Marlene Dietrich), and the captain (Niall McGinnis) that they need to ground the plane — but he struggles to get anyone to believe him.

Genres, Themes, Actors, and Directors:

• Airplanes and Pilots
• Glynis Johns Films
• Jack Hawkins Films
• Jimmy Stewart Films
• Marlene Dietrich Films
• Niall MacGinnis Films
• “No One Will Believe Me!”
• Scientists

Review:
Jimmy Stewart is perfectly cast as a socially awkward ‘boffin’ in Nevil Shute’s 1948 novel No Highway, which was scarily prescient in its diagnosis of metal fatigue as a potentially fatal characteristic of new aircraft. We’re kept on the edge of our seats from moment to moment as we wait to learn what will happen. Given that we’re clearly meant to sympathize with this eccentric scientist:

… we feel weirdly terrible for him when he’s treated with bemusement or scorn rather than respect. Will his predictions come true? If so, how awful… and yet, if not, then what? Dietrich nicely plays a variation on herself, and is compelling in all of her brief scenes:

It’s especially interesting seeing how her character evolves (quite substantially) over the course of the story. Equally enjoyable is Johns as a stewardess who simply emanates good will (don’t we wish all flight attendants were like her?):

There’s something inherently compelling about “no one will believe me!” tales, and this one is no exception; it’s well worth a watch.

Notable Performances, Qualities, and Moments:

• Jimmy Stewart as Theodore Honey
  
• Glynis Johns as Marjorie Corder
  
• Marlene Dietrich as Monica Teasdale
  
• Niall MacGinnis as Captain Samuelson
  
• Georges Perinal’s cinematography
  
  

Must See?
Yes, as a fine show.

Categories

• Good Show

Links:

• IMDb entry
• NY Times Original Review
• TCM Article
• TV Guide Review
• DVD Savant Review
• And You Call Yourself a Scientist Review
• Reel Engineering Review

Synopsis:
With support from his preacher (Walter Brennan), his mother (Margaret Wycherly), and his sweetheart (Joan Leslie), a hard-drinking backwoods farmer becomes a devoutly faithful pacifist, refusing to join World War I until he has no other choice — but once he enters the military, he begins to understand the value of his sharpshooting skills at protecting his compatriots from harm.

Genres, Themes, Actors, and Directors:

• Biopics
• Character Arc
• Gary Cooper Films
• Howard Hawks Films
• Joan Leslie Films
• Walter Brennan Films
• Ward Bond Films
• World War I

Review:
Gary Cooper won a Best Actor Oscar for his leading role in this biopic about one of the greatest — and perhaps most unusual — war heroes in American history. Cooper actually starred in two other major films that year — Meet John Doe (1941) and Ball of Fire (1941) — and in Alternate Oscars, Peary gives Cooper the award for the latter instead, stating that he believes he “gave a much better performance” (his personal favorite of Cooper’s career) playing bookish Professor Potts. As humble Alvin York, however, Cooper also seems perfectly cast (if perhaps typecast); it was interesting learning that Cooper had to be persuaded (by York himself, who wanted no one else to portray him!) to take the role. He convincingly holds his dialect while playing both a farmer:

… and a soldier:

Unfortunately, the film is overlong at 2 1/4 hours, and the first half+ — with its focus on saintly Brennan’s influence:

… Cooper’s intention to purchase land and marry Leslie:

… and his mother’s firm guidance (Wycherly — best known as “Ma” in White Heat — was certainly a distinctive character actor!):

… is much less compelling than the second half, when we see York’s casual yet calculated brilliance in action:

With that said, film fanatics will likely be interested to see this movie given its historical significance as a film York agreed to finally see made simply to help out the efforts of WWII; as DVD Savant describes the film:

“Howard Hawks’ advocacy movie is an outgrowth of the 30s Warners tradition of taking hard liberal attitudes toward social problems. It’s an unusually complicated example of filmmaking, restating history to make a statement about pressing contemporary problems. It’s beautifully filmed, emotionally honest and exactly right for 1941.”

Check out this podcast episode for a comparison of the movie with real life events; they’re remarkably close, actually. And this bit of trivia (courtesy of IMDb) was moving to read:

Alvin C. York himself was on the set for a few days during filming. When one of the crew members tactlessly asked him how many “Jerries” he had killed, York started sobbing so vehemently he threw up. The crew member was nearly fired, but the next day, York demanded that he keep his job.

Talk about living your beliefs.

Notable Performances, Qualities, and Moments:

• Fine direction and cinematography
  
  
  

Must See?
Yes, once, for its historical significance and Cooper’s Oscar win. Listed as a Sleeper in the back of Peary’s book.

Categories

• Historically Relevant
• Oscar Winner or Nominee

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

Links:

• IMDb entry
• TCM Article
• DVD Savant Review
• History on Film Article

Synopsis:
In the Philippines in 1941, a lieutenant (Robert Montgomery) commanding a fleet of U.S. Navy PT (patrol torpedo) boats orders his men to attack a Japanese cruiser, but sends a valued officer with blood poisoning (John Wayne) to recover first in a hospital, where he falls in love with an Army nurse (Donna Reed). Eventually the squadron is sent to rescue General MacArthur and his family, and to resume attacks against the Japanese. Will the men make it safely through their dangerous mission?

Genres, Themes, Actors, and Directors:

• Cameron Mitchell Films
• Donna Reed Films
• John Ford Films
• John Wayne Films
• Robert Montgomery Films
• Ward Bond Films
• World War II

Review:
Based on a 1942 memoir by William Lindsay White, this John Ford picture is — as Peary writes in Alternate Oscars, where he names it Best Movie of the Year — a “unique World War II film” that represents Ford’s “affectionate, respectful tribute to his war buddy Lieutenant John Bulkeley (Buckley in the film), and the sailors who manned the PT boats in the Philippines, risking their lives to buy time for an eventual American counterattack.” I’ll admit to not knowing what a “PT boat” was before watching this film, and had to do a bit of research to understand the drama in opening scenes, as Montgomery tries to convince his superiors that a PT boat — a type of motor torpedo vessel that was “small, fast, and inexpensive to build, valued for its maneuverability and speed but hampered at the beginning of the war by ineffective torpedoes, limited armament, and comparatively fragile construction” — could be a significant force for good in the war effort, and do more than simply “patrolling and delivering messages”.

Sure enough, Montgomery is allowed to demonstrate the veracity of this claim — but not without significant losses and sacrifice.

Indeed, Peary points out that this film remains “one of the most sobering, somber (though there is humor and romance), and sincerely tender World War II films,” a “picture that moves forward on an even keel, without highs and lows, without climaxes, for though the PT squadron has several impressive victories in sea skirmishes, we are well aware that each win costs the lives of men and the damage to or loss of a boat, and that overall, Americans are losing the war in the Pacific.” This is far from a feel-good film, and the characters aren’t viewed as heroes — instead, “Ford presents them as professionals, wisely scared of battle but prepared to do their duty nevertheless, confident in their decisions (there are many strategy sessions in the film):

… and their skills as soldiers, but cognizant of the dangers involved, and willing to follow all orders even if it means taking on humbling assignments.” In addition, “there is tremendous camaraderie” and a “sense of community,” with the “older, veteran soldiers watch[ing] over the baby-faced recruits (a familiar Ford theme)”:

Montgomery — an actual PT commander at Guadalcanal and Normandy — was able to draw upon his real-life experiences to give “a truly wonderful, understated performance” (Peary nominates him as one of the Best Actors of the Year in his Alternate Oscars):

… with Wayne appropriately taking the back seat (but also quite good in his role). Finally, Peary notes that the “picture has great visual beauty (especially of night scenes, including sea battles):

… propaganda value, and many poignant moments: the men talk with a brave, dying, soldier:

… Sandy (Donna Reed is breathtakingly beautiful) sits alone in a hammock at the dance, left out while Buckley and Rusty talk shop:

… [and] Sandy dines with Rusty, Buckley, and four other soldiers, giving the lonely men pleasure.”

This fine film remains a worthy addition to our cinematic understanding of how World War II played out for Americans on the front lines, and should be seen by all film fanatics.

Notable Performances, Qualities, and Moments:

• Robert Montgomery as Lt. Brickley
  
• Fine, understated performances by the supporting cast
  
• Joseph August’s cinematography
  
  

Must See?
Yes, as an effective film by a master director. Listed as a Sleeper and a Personal Recommendation in the back of Peary’s book.

Categories

• Historically Relevant
• Important Director

Links:

• IMDb entry
• NY Times Original Review
• TV Guide Review
• DVD Savant Review
• TCM Articles

Synopsis:
As a child, Asa Yoelson (Scotty Beckett) loves to sing in his synagogue and is given his big break by a vaudeville performer (William Demarest) who hires him as part of his act. Once he’s grown up (Larry Parks), “Al Jolson” visits his loving Jewish parents (Ludwig Donath and Tamara Shayne) in between his thriving career as a popular entertainer and breakthrough movie star, and soon brings his prospective wife (Evelyn Keyes) home to meet them. But will Keyes’ desire for a peaceful life conflict with Jolson’s need to sing?

Genres, Themes, Actors, and Directors:

• Biopics
• Evelyn Keyes Films
• Singers
• Vaudeville and Burlesque

Review:
This whitewashed biopic of legendary performer Al Jolson was a box office hit, and helped spark a renewal of interest in Jolson’s talents. Jolson is portrayed as a highly gifted and innovative artist who knows that his novel ideas are worth sharing with the world, and works tirelessly to get his big break.

Perhaps due to the fact that Jolson was still very-much alive (and involved) during the making of this film, all characters are portrayed in a favorable light (though some — like Demarest — are actually amalgams of various people Jolson knew and worked with).

Keyes plays an aspiring dancer named “Julie Benson” since Ruby Keeler didn’t want her actual name involved (though the titles and key melodies from Keeler’s movies are all used):

As a heads up to viewers, much of Jolson’s earliest performing was done in blackface — though in conducting a little research, I was intrigued to learn that Jolson was actually a strong anti-racist advocate, insisting on equal pay for and treatment of Black performers, and responsible for bringing Black musical styles to white audiences. It’s too bad this aspect of his life isn’t given much screentime here (other than showing him briefly visiting a jazz club).

Meanwhile, much of Jolson’s personal life — i.e., his first two wives — is missing from the movie as well, and his temporary early retirement and eventual divorce from Keeler/Keyes is treated as merely a difference in desired lifestyles, with Keyes fully sympathetic of his wish to go back to performing. However, this type of “smoothing over” is par for the course in biopics. Given that Jolson dubbed all the songs, this movie remains a useful entry point for those interested in learning more about this mega-star of vaudeville and early Hollywood.

Notable Performances, Qualities, and Moments:

• Joseph Walker’s cinematography
  
  
  

Must See?
No; you can skip this one unless you’re a Jolson fan. Listed as a film with Historical Importance and a Personal Recommendation in the back of Peary’s book.

Links:

• IMDb entry
• DVD Talk Review
• TCM Article

Synopsis:
The crew on a British tramp steamer — including Smitty (Ian Hunter), Cocky (Barry Fitzgerald), Yank (Ward Bond), Driscoll (Thomas Mitchell), and Swedes Ole (John Wayne) and Axel (John Qualen) — carouse together while experiencing a variety of challenges, such as Yank being wounded, the crew suspecting Smitty of being a German spy, and Ole’s desire to finally return home to Sweden.

Genres, Themes, Actors, and Directors:

• At Sea
• Barry Fitzgerald Films
• Ian Hunter Films
• John Ford Films
• John Qualen Films
• John Wayne Films
• Play Adaptations
• Sailors
• Thomas Mitchell Films
• Ward Bond Films

Review:
Following their initial collaboration on Stagecoach (1939), John Ford and John Wayne reunited for this adaptation (by Dudley Nichols) of four one-act sea-based plays by Eugene O’Neill. The film — set just after England’s entrance into World War II — is inherently episodic in nature, with several different characters taking center stage at various times, and the many challenges of life at sea made apparent:

Most compelling is the mysterious tale of Hunter’s “Smitty”, who is seen attempting to flee the ship after being told none of the sailors can leave due to secrecy issues with ammunition being on board. We can tell he’s distressed and distracted, but don’t understand why — until his shipmates concoct an elaborate rationale for his behavior and trap him into confessing his story.

The other primary tale is that of Ole (Wayne), a genial Swede who is merely on the periphery of proceedings for most of the film, but by the end becomes the storyline’s symbolic (and literal) chance for another life; we’re kept in painful suspense about how his travails will turn out.

Gregg Toland’s cinematography is the true star of the show, however. Those interested in his work will most certainly want to check this film out.

Note: Ford and Wayne’s other (post-war) collaborative efforts are all listed or reviewed in Peary’s book; in chronological order, they are: They Were Expendable (1945), Fort Apache (1948), 3 Godfathers (1948), She Wore a Yellow Ribbon (1949), Rio Grande (1950), The Quiet Man (1952), The Searchers (1956), The Wings of Eagles (1957), The Horse Soldiers (1959), The Man Who Shot Liberty Valance (1962), How the West Was Won (1962), and Donovan’s Reef (1963).

Notable Performances, Qualities, and Moments:

• Ian Hunter as Smitty
  
• Gregg Toland’s cinematography
  
  
  

Must See?
No, though it’s certainly worth a look as a highly regarded favorite by a master director and cinematographer. Listed as a Sleeper and a Personal Recommendation in the back of Peary’s book, and nominated as one of the Best Pictures of the Year in Peary’s Alternate Oscars.

Links:

• IMDb entry
• NY Times Original Review
• Time Out Capsule Review
• TV Guide Review
• TCM Article

Synopsis:
When a con-man (Robert Preston) shows up in a small Iowa town promising to start a boys’ band and selling its puritanical citizens uniforms and instruments, both the town’s mayor (Paul Ford) and librarian, Marian (Shirley Jones), are suspicious about his credentials, and try to learn more. Meanwhile, Preston gets help from his friend (Buddy Hackett) in convincing the townsfolk — including the mayor’s wife (Hermione Gingold) the four members of the school board (The Buffalo Bills), Marian’s mother (Pert Kelton), and Marian’s little brother (Ronnie Howard) — that they have untapped musical talents, and helps a teenager (Timmy Everett) woo the mayor’s daughter (Susan Lockey). But will the arrival of a rival anvil salesman (Harry Hickox) ruin both Preston’s financial plans and his growing romance with Marian?

Genres, Themes, Actors, and Directors:

• Con-Artists
• Morality Police
• Musicals
• Robert Preston Films
• Salesmen
• Shirley Jones Films
• Small Town America

Review:
Robert Preston reprised his Tony Award-winning role in this colorful Technirama adaptation of the Broadway musical, directed by Morton DaCosta (who earlier helmed Aunt Mame — not listed in GFTFF). It’s filled with enjoyable musical acts, beginning with a trainful of salesmen chant-singing “Rock Island” while getting us instantly up to speed on who the infamously slippery “music man” (currently going by the moniker “Professor Hall”) really is:

From there, nearly every song cleverly moves the narrative forward. “Iowa Stubborn,” for instance, shows us the temperament of the conservative town Hall has come to visit and work with:

Oh, there’s nothing halfway,
About the Iowa way to treat you,
When we treat you,
Which we may not do at all!

… and once Hall discovers the town’s Achilles heel (the arrival of a brand new billiards table), he exploits it to the nth degree (as sung in “Ya Got Trouble”):

Friend, either you’re closing your eyes
To a situation you do not wish to acknowledge
Or you are not aware of the caliber of disaster indicated
By the presence of a pool table in your community.

Jones and her mother and brother enter the picture next, and we come to understand she’s seeking a romantic partner, but not just anyone — rather, with that special “someone” who she sings goodnight to (“Goodnight, My Someone”).

Hall excites the town with the idea of a band (“76 Trombones”), and then sets to work flattering and machinating like crazy. We see the magic of his “Think System” as he miraculously pulls together a barbershop quartet:

… then listens to a gaggle of self-righteous women talk trash about Marian the Librarian while singing the hilarious “Pick-a-Little, Talk-a-Little”, interwoven with dialogue:

Maud (Sara Seegar): Professor, her kind of woman doesn’t belong on any committee. Of course I shouldn’t tell you this but she advocates dirty books.

Hall: Dirty books?

Alma (Adnia Rice): Chaucer!

Maud: Rabelais!

Eulalie (Gingold): BALZAC!

(Never before have I thought about this French author’s name in such a provocative way…)

In “The Sadder But Wiser Girl”, Hill shares his preference for “women with experience” (which he wrongly believes Marian is):

I can tell you that right now
I snarl, I hiss: How can ignorance be compared to bliss?
I spark, I fizz for the lady who knows what time it is
I cheer, I rave for the virtue I’m too late to save.

— and we then see Marian in her workplace, noting how easily Hall can distract her and cause a ruckus while singing “Marian the Librarian”:

The second half of the film is less exciting, but still has a few more infectious numbers to come — including “Gary, Indiana”:

… “The Wells Fargo Wagon” (featuring cutely lisping Ronnie Howard):

… and barbershop quartet “Lida Rose” deftly woven with “Will I Ever Tell You?”:

Other notable highlights include Hermione Gingold’s amusingly colorful performance as the mayor’s wife:

… Pert Kelton as Marian’s concerned but loving mother:

… and Timmy Everett’s* impressive dancing (seen here during “The Shipoopee” — not a personal favorite, but the choreography’s fun):

The film’s fantastical finale has been oft-discussed, and may or may not seem like the best choice possible — but it brings the film to a rousing, feel-good close:

While it’s over-long and could have benefited from some trimming, this enjoyably filmed musical remains worth a look.

* Everett tragically died in his sleep at the age of 38 from an apparent heart attack; he never married.

Notable Performances, Qualities, and Moments:

• Robert Preston as Harold Hill
  
• Many enjoyable musical numbers
  
• Fine Technirama cinematography
  
  
  

Must See?
Yes, for Preston’s performance and the enjoyable songs. Selected in 2005 for preservation in the United States National Film Registry for being “culturally, historically, or aesthetically significant”.

Categories

• Noteworthy Performance(s)
• Oscar Winner or Nominee

Links:

• IMDb entry
• DVD Savant Review
• DVD Talk Review
• TCM Article

Synopsis:
On a passenger ship travelling from Mexico to Germany in 1933 — with hundreds of displaced workers packed into steerage — numerous dramas unfold on the main deck: the ship’s doctor (Oskar Werner) falls for a drug-addicted Cuban countess (Simone Signoret) who is being sent to a Spanish prison; an artist (George Segal) and his upper-class girlfriend (Elizabeth Ashley) wonder if their relationship will last; an anti-semitic businessman (Jose Ferrer) praises the rise of fascism while a dwarf (Michael Dunn) and a Jew (Heinz Ruehmann) sit at a separate dining table; an aging beauty (Vivien Leigh) laments her stage of life; and a former baseball player (Lee Marvin) with a drinking problem can’t stop talking about his failures.

Genres, Themes, Actors, and Directors:

• At Sea
• George Segal Films
• Jose Ferrer Films
• Lee Marvin Films
• Simone Signoret Films
• Stanley Kramer Films
• Vivien Leigh Films

Review:
Stanley Kramer directed this adaptation of Katherine Anne Porter’s 1962 allegorical novel about a group of disparate individuals seeking elusive happiness prior to the second World War. It’s notable for featuring Vivien Leigh in her final performance, though her role is minimal:

More front-and-center is the shipboard romance between Signoret and Werner, which is both believable and absorbing:

Unfortunately, numerous other sub-plots litter the screenplay, ranging from annoying (i.e., Ashley and Segal’s “tortured” romance):

… to racist (nearly all darker-skinned characters are portrayed as prostitutes or unwashed masses):

… to insufficiently built out (i.e., Marvin’s troubled past):

As DVD Savant describes this film in his review, “very little happens besides talk. Most of the actors state their woes in position speeches and many scene-pairings amount to little.” Of minor interest is the role played by Ruehmann, who is given some of the film’s most hopeful lines:

… but overall the film is a disappointment.

Notable Performances, Qualities, and Moments:

• Oskar Werner as Dr. Schumann
  
• Simone Signoret as La Condesa
  
• Ernest Laszlo’s Oscar-winning cinematography
  

Must See?
No, though it may be worth a one-time look simply for Werner and Signoret’s performances.

Links:

• IMDb entry
• NY Times Original Review
• TV Guide Review
• DVD Savant Review
• TCM Article

Synopsis:
When an aging boxer (Anthony Quinn) is required to quit for his own safety, his manager (Jackie Gleason) — in hock to a ruthless gambling boss (Ma Greeny) — tries to convince him to turn to demeaning work as a costumed wrestler. With support from his kind trainer (Mickey Rooney), Mountain (Quinn) reaches out to an employment agent (Julie Harris) who begins to fall for him, and helps him get an interview as a camp counselor — but will Gleason support Mountain in his career shift, or try to sabotage him for his own gain?

Genres, Themes, Actors, and Directors:

• Anthony Quinn Films
• Boxing
• Gambling
• Has Beens
• Julie Harris Films
• Mickey Rooney Films

Review:
Rod Serling wrote the Emmy-winning Playhouse 90 teleplay upon which this adaptation — originally starring Jack Palance — was based. Quinn is perfectly cast as a punch-drunk fighter named Mountain whose blurred vision after his final fight (against Cassius Clay!) serves as the opening sequence:

We can understand Mountain’s loyalty to “Maish”, played with cool conviction by Gleason (likely building upon his similar characterization of Minnesota Fats in The Hustler) — and it’s refreshing seeing Rooney playing a supporting role in which he’s purely sympathetic:

Harris is fine as a well-meaning employment agent who finds herself caught up in the pathos of Quinn’s predicament; while it’s unclear whether their nascent romance will be feasible or not, it’s easy to see how and why she would want to help him.

Adding to the film’s menacing atmosphere is a unique turn by Madame Spivy (recognizable as a member of the “garden party” scene in The Manchurian Candidate) as a cigar-puffing heavy in a trenchcoat:

Meanwhile, Arthur Ornitz’s cinematography bathes the entire storyline in an effectively seamy light — and the film’s downbeat ending feels both appropriate and realistic. This one isn’t must-see, but remains worth a look.

Notable Performances, Qualities, and Moments:

• Anthony Quinn as Mountain Rivera
  
• Jackie Gleason as Maish
  
• Julie Harris as Grace
  
• Mickey Rooney as Army
  
• Arthur Ornitz’s cinematography
  
  

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

Links:

• IMDb entry
• NY Times Original Review
• TV Guide Review

Synopsis:
In the South Pacific during World War II, a widowed French plantation owner (Rosanno Brazzi) falls in love with a much-younger Navy nurse (Mitzi Gaynor) who can’t shake her racist horror about his former wife being Tonkinese. Meanwhile, a young lieutenant (John Kerr) who has fallen in love with the beautiful daughter (France Nuyen) of a Tonkinese entrepeneur (Juanita Hall) enlists reluctant Brazzi’s help in the war effort.

Genres, Themes, Actors, and Directors:

• Cross-Cultural Romance
• Joshua Logan Films
• May-December Romance
• Musicals
• Play Adaptations
• Racism and Race Relations
• South Seas Islands
• Widows and Widowers
• World War II

Review:
Joshua Logan directed this adaptation of Rodgers and Hammerstein’s enormously popular Broadway musical, based on a series of tales by James Michener. The songs remain as catchy as ever, and viewers will be hard-pressed not to start humming “Some Enchanted Evening”, “Bali Ha’i”, or “I’m Gonna Wash That Man Right Out of My Hair” as they watch:

With that said, many of the lyrics remain uncomfortably non-P.C., racy, and/or dated. Consider these lines from one of the opening tunes, “There Is Nothin’ Like a Dame”:

We feel restless, we feel blue
We feel lonely and in brief
We feel every kind of feeling
But the feeling of relief.

I was watching this sequence with my 13-year-old daughter and had to pause the recording to talk with her about women being objectified in this song, and how it reflects dated notions of what was considered acceptable at the time. Meanwhile, the notion of an exotic island (Bali Ha’i) where non-local men can have all their desires met will be distressing to more sensitized modern audiences:

… and the following lyrics from “Bloody Mary” provide further evidence of how “othered” Pacific Islanders were at the time:

Bloody Mary’s chewin’ betel nuts.
She is always chewin’ betel nuts.
Bloody Mary’s chewin’ betel nuts.
And she don’t use Pepsodent!
Now ain’t that too damn bad!

… though at least I was able to talk with my daughter about what a strong female-of-color Bloody Mary is, providing sustainable work for locals rather than forcing them to give in to exploitative wages by whites. On the other hand, Bloody Mary essentially marketing her beautiful, non-English-speaking daughter to Kerr may be pragmatic but is still deeply discomfiting:

Back to “mere” sexism, “Honey Bun” — sung by Gaynor in a sailor suit to a crowd of horny sailors — is also quite racy and objectifying, though adults will be able to appreciate it within its context as wartime entertainment:

My doll is as dainty as a sparrow,
Her figure is somethin’ to applaud.
Where she’s narrow she’s as narrow an arrow,
And she’s broad where a broad should be broad.

A hundred and one pounds of fun,
That’s my little honey bun!
Get a load of honey bun tonight.
…
She’s my baby, I’m her pap!
I’m her booby, she’s my trap!
I am caught and I don’t wanna run,
‘Cause I’m havin’ so much fun with honey bun!

I remember catching snippets of South Pacific on television as a kid, but never fully engaging (which is odd, given my childhood love of beautifully colored musicals). Speaking of colors, even director Logan hated the use of too-obvious filters, which are distracting rather than enhancing:

However, what was most interesting to me upon this adult revisit is how the theme of inter-racial romance is handled, with both Gaynor (as Nellie) and Kerr (as Lt. Cable) unable — at least initially — to move beyond their toxic xenophobia in the face of love. Lt. Cable tries to explain his feelings to Nellie:

Lt. Cable: All the time I’ve been in the hospital with that darn malaria, I haven’t been able to see anything but her face. I love her, and… What kind of a guy am I, anyway? I love her, and yet I said I couldn’t marry her, and… I don’t understand myself. If I love her, why don’t I marry her, and stay here, and…

Nellie: You’re just far away from home, Joe. We’re both far away from home.

Lt. Cable: But it doesn’t make sense!

Nellie: Oh yes, it does… I guess it does, anyway. I guess people like us — well, we just have to go back to where we belong.

Ultimately, South Pacific becomes a story about individuals overcoming their entrenched failings — racism, cowardice, lack of desire to support war efforts — and emerging slightly better than before, which isn’t a terrible moral to absorb. However, this film (and the play more broadly) must be viewed through a critical historicized lens in order to appreciate its highlights while wrestling with its many challenges.

Notable Performances, Qualities, and Moments:

• Leon Shamroy’s cinematography
  
  
• Numerous memorable songs
  
  
• Juanita Hall as Bloody Mary
  

Must See?
No, though it’s worth a one-time look for its historical significance and the (mostly) enjoyable songs.

Links:

• IMDb entry
• NY Times Original Review
• DVD Savant Review
• TCM Article
• Time Out Capsule Review