Journey to the Center of the Earth (1959)

Journey to the Center of the Earth (1959)

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“The greatest mystery is right here — right under our feet.”

Synopsis:
In 19th century Scotland, a famed geologist (James Mason) journeys to the center of the earth, accompanied by his student (Pat Boone), the widow (Arlene Dahl) of his deceased rival, and a strapping Icelander (Peter Ronson) with a pet goose.

Genres, Themes, Actors, and Directors:

  • Explorers
  • Fantasy
  • James Mason Films
  • Jules Verne Adaptations
  • Rivalry
  • Science Fiction
  • Scientists

Review:
Following the success of Disney’s 20,000 Leagues Under the Sea (1954) and United Artists’ Around the World in 80 Days (1956), adaptations of works by Jules Verne become all the rage in Hollywood; unfortunately, few have really stood the test of time (see here, here, and here), and Journey to the Center of the Earth is no exception. Naturally, the premise itself is ludicrously fantastical on all levels, to the point where one must simply suspend all disbelief and treat the tale as an adventure rather than any kind of legitimate science fiction; interestingly, there are plenty of viewers willing to do just that. DVD Savant, for instance, gives it a glowing review, calling it “a fantastic adventure with something for everyone” — however, his nostalgic bias is clearly in evidence, given that he admits it was the movie he was taken to see on his seventh birthday, and that it marked the moment when he first “discovered that somewhere out there people made movies just for me.” His point is well taken: I can absolutely see a film like this suiting the bill for seven-year-old boys in a pre-CGI era.

Modern-day adult viewers, however (at least those without any similar nostalgic hold on the film), will likely find themselves simply bored and/or annoyed by the story, which takes 45 minutes to finally deposit its characters on their journey towards the “center of the Earth”, and from thence is patently sanitized to include an often-shirtless Pat Boone (!):

… a feisty female (Dahl) maintaining a perfectly made-up face no matter how deep into the Earth she descends:

… and a pet goose (!).

As noted by Richard Scheib on his Moria site, while “Verne wrote a dark, claustrophobic Age of Exploration fantasy”, the film adaptation “is a ridiculously opulent Cinemascope colour spectacle” in which “the center of the Earth is illogically depicted as a colourful and well-lit world of studio-floor splendour and crystalline formations”, and “the result is more akin to a 19th Century tea party than serious exploration”. Indeed, if this kind of thing is your cup of tea, then definitely indulge; otherwise, there’s no need to bother checking it out.

Redeeming Qualities and Moments:

  • Colorfully fantastic sets
  • Bernard Herrmann’s score

Must See?
No; this one is only must-see for fans of the genre.

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Caged (1950)

Caged (1950)

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“Home, sweet home — just like the big cage at the zoo, only you clean it up instead of the keeper.”

Synopsis:
A naive young widow (Eleanor Parker) convicted as an accomplice to a petty crime hardens when she enters prison, where a sadistic warden (Hope Emerson) makes life difficult for anyone unwilling or unable to ply her with bribes.

  • Agnes Moorehead Films
  • Character Arc
  • Eleanor Parker Films
  • Jan Sterling Films
  • John Cromwell Films
  • Prisoners

Review:
Caged was based upon a real-life exposé by writer Virginia Kellogg, who apparently got herself thrown into jail, Shock Corridor-style, to gather first-hand insights into the milieu. These days, it’s best remembered as the precursor for all later “women-in-prison” exploitation films, and possesses cult status for its latent yet obvious lesbian undertones (with several inmates presented as indubitably ‘butch’).

Eleanor Parker gives a sympathetic performance as a naive, poverty-ridden young woman who undergoes a drastic change in personality once she realizes how incurably corrupt the prison system is:

Her role here hints at the even more impressive performance she would later give as a woman with split personalities in Hugo Haas’s Lizzie (1957). Equally memorable is Hope Emerson as a truly sadistic warden with nary a shred of empathy in her bones; while she was apparently a lovely woman in real life, this remains (for better or for worse) the on-screen role she’s most commonly associated with.

Meanwhile, Agnes Moorehead (as the prison’s director) serves as Emerson’s moral counterpoint, wanting the best for “her girls” yet dealing with massive political resistance at every turn.

Carl Guthrie’s atmospheric cinematography adds to the film’s potency, effectively evoking the horror-ridden nature of the screenplay, which pulls no punches in its depiction of prison-life as a noxious brew of corruption.

Redeeming Qualities and Moments:

  • Eleanor Parker as Marie Allen
  • Hope Emerson as Evelyn Harper
  • Atmospheric cinematography by Carl Guthrie

Must See?
Yes, as a cult classic, and for its status as the “template” for future women-in-prison exploitation flicks.

Categories

  • Cult Movie

Links:

Band Wagon, The (1953)

Band Wagon, The (1953)

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“Whatever I am — whether it’s a new me or an old me — remember, I’m still just an entertainer.”

Synopsis:
An aging performer (Fred Astaire) is invited by his songwriting friends (Nanette Fabray and Oscar Levant) to stage a comeback in a new musical they’ve written, to be directed by a pretentious new auteur (Jack Buchanan). Tensions soon arise, however, when Buchanan’s vision for the show saps it of any humor, and Astaire clashes with his balletic co-star (Cyd Charisse).

Genres, Themes, Actors, and Directors:

  • Cyd Charisse Films
  • Fred Astaire Films
  • Has-Beens
  • “Let’s Put On a Show”
  • Musicals
  • Oscar Levant Films
  • Vincente Minnelli Films

Response to Peary’s Review:
Peary argues that this “extravagant MGM musical, directed with much flair by Vincente Minnelli”, co-written by Betty Comden and Adolph Green, and featuring “impressive set design[s] for [the] musical numbers”, “starts out slowly but keeps getting better and better as great musical numbers keep piling up.” He notes that “musical highlights include ‘Dancing in the Dark’, ‘That’s Entertainment’, ‘Triplets’… and the lavish, episodic ‘Girl Hunt’ dance sequence, spoofing Mickey Spillane”. In his short review, Peary doesn’t provide much critique of either the film’s occasionally hokey “let’s put on a show!” storyline or the central performances, which perhaps speaks to how dominant the musical numbers really are; with that said, the narrative is guaranteed to tickle both fans of Astaire (who gamely pokes fun at his own waning popularity as an aging star) and theater insiders, who will surely appreciate its merciless skewering of artistic pretentiousness run amok.

In terms of the performances, I’m a big fan of Nanette Fabray’s turn as a character loosely based on Comden herself. She’s relentlessly cheerful, yet in a way that comes across as infectious rather than annoying (and film fanatics will be glad to have seen this big-name musical actress in at least one movie). Her musical number with Astaire and Buchanan (“Triplets”) remains my personal favorite in the film — though it’s a bit sad to know how painful it was for Fabray to film it. Equally memorable — in a film filled with memorable sequences — is Astaire’s early shoeshine number, danced with real-life shoe shiner Leroy Daniels. And naturally, all film fanatics will want to see the film where the infinitely hummable “That’s Entertainment!” was first showcased; it’s performed here with plenty of flair and creative choreography.

The Band Wagon is frequently compared with its predecessor, Singin’ In the Rain (also co-written by Comden and Green, and produced by Arthur Freed), with fans endlessly debating the merits of one versus the other, and many taking a decisive “side”. In truth, while I’ll admit to being a more devoted fan of SITR, both films remain vibrantly colorful, cheerily escapist, masterfully danced musicals in their own right. My primary complaint with The Band Wagon lies with the lackluster romantic subplot between Astaire and Charisse, whose “rivalry” never really poses much of a narrative threat — then again, when those two dance together, all such concerns melt away, and we remember why we’re sitting down to watch a film like this in the first place.

Redeeming Qualities and Moments:

  • Many enjoyable, creatively choreographed, wonderfully danced musical numbers




  • Fine use of Technicolor
  • Nanette Fabray as Lily
  • A clever skewering of artistic pretensions in the theatrical world

Must See?
Yes, as a classic mid-century musical. Voted into the National Film Registry in 1995.

Categories

  • Genuine Classic

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

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Westward the Women (1951)

Westward the Women (1951)

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“On this voyage, there’s to be no he-ing or she-ing.”

Synopsis:
In the 1850s, the founder (John McIntyre) of a California farming valley hires a no-nonsense trail guide (Robert Taylor) to help bring 138 women over from the east, so that his workers will have wives.

Genres, Themes, Actors, and Directors:

  • Feminism and Women’s Issues
  • John McIntire Films
  • Robert Taylor Films
  • Settlers
  • Westerns
  • William Wellman Films

Review:
Frank Capra scripted this William Wellman-directed western, which is only loosely based on historical fact yet offers a fascinating perspective on the experiences faced by women during America’s “westward movement”. With just one big-name star (Taylor), the film is essentially an ensemble piece, aiming to depict the collective struggles of females who were bold enough to leave behind their lives in the east for a decidedly dangerous trek across unknown territory. Some — i.e., a young woman (Beverly Dennis) pregnant with an illegitimate child — feel they have no other choice; others — like Hope Emerson’s stalwart widow — simply want a new start for themselves (and/or a man to call their own). Capra’s script is refreshingly blunt in depicting the most immediate danger posed to the women: lecherous trail hands who view them as easy targets for predatory notions. Once this issue is unexpectedly “taken care of”, however, the women then face the daunting task of helping themselves to survive the perilous journey — which is presented in a shockingly realistic (for the time) fashion. Numerous characters — some quite likeable — die throughout the course of the film; as a result, we get an authentic feeling of just how random and senseless death could seem for these travelers.

Taylor is appropriately gruff and stalwart in the lead role, but it’s the motley women themselves who linger longest in one’s memory. Larger-than-life Emerson (best known for her performance as a prison warden in 1950’s Caged) had perhaps her noblest supporting role here; however, most of her fellow actresses are unknown faces, adding to the film’s sense of authenticity. Meanwhile, Japanese character-actor Henry Nakamura gives a refreshingly caricature-free performance as “Ito” the cook; his drunken scene with Taylor (see still below) provides one of the film’s most random yet memorable moments. Kudos also belong to Wellman and DP William Mellor, who bring the harsh western landscape to realistic life. (According to TCM’s article, camera filters were used “as sparingly as possible” to give “the film an intentionally stark, sunbaked look”.) While not all narrative threads work — obligatory romantic tensions between Taylor and a former showgirl (Denise Darcel) are simply yawn-worthy, for instance — the majority of the story is a compelling treat, making this a film ffs will want to return to from time to time.

Redeeming Qualities and Moments:

  • Strong direction and cinematography

  • A refreshing glimpse at strong females surviving the West

  • Fine supporting performances by “the women”


  • Henry Nakamura as Ito

Must See?
Yes, as a fine mid-century western representing a unique perspective. Listed as a Sleeper in the back of Peary’s book.

Categories

  • Good Show

Links:

Woody Allen Round-Up

Woody Allen Round-Up

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I’ve now posted on all 18 of the Woody Allen titles listed in Peary’s GFTFF — which happens to cover every single feature he directed (and/or starred in) up to the time of the book’s release. Interestingly, I’m voting all but one as “Must See” — providing evidence either of Allen’s indisputable genius during the first half of his lengthy career, and/or my personal fondness for his work:

For Allen fans, it’s nearly impossible to pick a favorite title from the above list, or even a few favorites, given that so many of his earlier movies delight on a variety of different levels. Like many others, I have a personal fondness for Annie Hall (it’s probably the Allen title I find most consistently clever, enjoyable, and romantic) — but I also wouldn’t want to live without repeat visits of Sleeper or Zelig (close runners-up). Manhattan earns my dubious vote as the most highly regarded Allen film which I find least personally satisfying, though (naturally) there’s much about it to appreciate — and I’ll try it again in later years to see if my opinion has changed.

Having recently rewatched so many of Allen’s films during a short period of time, I’m once again enormously impressed by the trajectory of his creative vision — shifting from his “early, funny” films (each an enjoyably gonzo comedic treat), to the heartbreaking yet life-affirming insight of Annie Hall, to the devastating emotional rigor of Interiors, to the complexity and joy of Hannah and Her Sisters. Meanwhile, those interested in tracing thematic trends across an auteur’s lifelong vision will surely have a field day with Allen’s work, given how much of it is based so closely on elements of his own life — carefully crafted as fictional narrative, yet oh-so-clearly a manifestation of his own idiosyncrasies and interests. Some parallels are obvious — i.e., the close overlap between the three grown sisters in Interiors and those in Hannah and Her Sisters. Others are subtler — i.e., as Peary astutely points out in Cult Movies 3, the connection between Alvy Singer’s initially liberating yet ultimately claustrophobic “mentoring” of “naive” Annie Hall, and the “imposing, Nosferatu-like” role played by “Max von Sydow as Barbara Hershey’s possessive, soon-to-be-dumped mentor” in Hannah and Her Sisters.

Any discussion of Allen’s career would, of course, be incomplete without mentioning what he’s produced since 1987 — which amounts to an astonishing film-a-year, much of it (unfortunately) not worthy of a film fanatic’s attention. Below is a chronological list of his theatrically-released full-length features as of 2012:

  • September (1987)
  • Another Woman (1988) (not must see, but recommended)
  • Crimes and Misdemeanors (1989) — MUST SEE
  • Alice (1990) (not must see, but recommended for Allen fans)
  • Shadows and Fog (1991)
  • Husbands and Wives (1992) (not must see, but recommended)
  • Manhattan Murder Mystery (1993) — MUST SEE
  • Bullets Over Broadway (1994)
  • Mighty Aphrodite (1995) (not must see, but recommended simply for Sorvino’s performance)
  • Everyone Says I Love You (1996)
  • Deconstructing Harry (1997) (not must see, but recommended once for diehard Allen fans)
  • Celebrity (1998)
  • Sweet and Lowdown (1999)
  • Small Time Crooks (2000) — MUST SEE
  • The Curse of the Jade Scorpion (2001) (not must see, but recommended for Allen fans)
  • Hollywood Ending (2002)
  • Anything Else (2003) (not must see; skip this one)
  • Melinda and Melinda (2004)
  • Match Point (2005)
  • Scoop (2006) (not must see, but recommended)
  • Cassandra’s Dream (2007) (not must see, but recommended)
  • Vicky Cristina Barcelona (2008) (not must see)
  • Whatever Works (2009) (not must see)
  • You Will Meet a Tall Dark Stranger (2010) (not must see, but mildly recommended)
  • Midnight in Paris (2011) (not must see, but recommended)
  • To Rome with Love (2012)

It’s been too long since I’ve seen many of these films to say definitively whether I’d vote them as “modern must-see” titles or not — but the ratio of essential to non-essential titles in this list will certainly be much, much lower. I’ll check back in later, as I rewatch the second half of Allen’s oeuvre and carefully select the wheat from the chaff. [ADDENDUM: I’m casting my votes now, as I rewatch these later titles; as predicted, very few are “must see”, though a surprising number are recommended — at least for Allen fans.]

P.S. (8/9/12): I recently stumbled upon this indispensable website/blog for Allen fans:

http://www.everywoodyallenmovie.com/

It’s dedicated to much the same project I’ve been engaged in myself recently, albeit on a grander, much more detailed scale. You’ll find yourself unable to stop clicking from title to title, reading Trevor’s insights into each Allen film as he watches them in chronological order and makes extensive thematic connections. What’s most interesting to me is how strongly we differ in our critical opinions of many of Allen’s later titles, demonstrating once again how fickle and subjective Allen-allegiance can be; I think it ultimately comes down to each viewer needing to decide for him/herself whether any given (post-1987) title is worth watching or not. At any rate, definitely check his site out!

P.S.S. (1/8/21): Well, life keeps evolving, as does the internet. It appears that everywoodyallenfilm.com is no longer, and I can’t find traces of it anywhere — however, for diehard fans, there are other sites devoted to covering Allen’s oeuvre and ongoing projects, including https://www.woodyallen.com/ and http://www.woodyallenpages.com/. Allen has remained as prolific as ever, continuing to churn out roughly a movie a year since 2012 for a total of 7 additional feature-length films and a T.V. mini-series — none of which, sadly, I have any interest in checking out.

Radio Days (1987)

Radio Days (1987)

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“Radio — it’s all right once in a while.”

Synopsis:
During the 1930s and ’40s, a young boy (Seth Green) and the members of his working class family — including his mother (Julie Kavner), his father (Michael Tucker), his unmarried aunt (Dianne Wiest), and others — find solace and excitement in a variety of radio shows.

Genres, Themes, Actors, and Directors:

  • Comedy
  • Ensemble Film
  • Mia Farrow Films
  • Radio
  • Woody Allen Films

Review:
The final Woody Allen film listed in Peary’s book — actually included in his Addendum to the first printed edition — is this overtly nostalgic homage to Allen’s youth, a time when radio reigned supreme in households as the preferred mode of daily entertainment, news, and escape. While many of Allen’s previous films had included flashback scenes to a version of his childhood, this was the first to fully explore that particular era in American history, primarily through the lens of his alter-ego’s working class household — stuffed to the gills with not just his quibbling parents (Kavner and Tucker) but his married aunt (Renee Lippin) and uncle (Josh Mostel) and their teenage daughter (Joy Newman) as well as his single aunt (Dianne Wiest). Resolutely episodic in nature, the film portrays snippets from each character’s lives, most revolving in some way around radio — for instance, when Aunt Bea (Wiest) goes out on a date with a man she has hopes of possibly marrying, it’s Orson Welles’ Mercury Theater production of War of the Worlds that irredeemably dooms their nascent romance.

Meanwhile, several radio stars themselves come to all-too-human life — most notably the dapper male half (David Warrilow) of the morning radio show “Roger and Irene”, possessing an insatiable lust for a young cigarette girl (Mia Farrow) whose own infatuation with radio eventually blossoms in unexpected ways. Farrow’s trajectory is one of two the film perhaps follows most closely — the other being that of Wiest, whose desire to meet and marry Mr. Right clashes with her incurable pickiness. Farrow’s ditzy character remains a bit of a caricature, but Wiest turns Aunt Bea into a lovably neurotic soul we can’t help wishing the best for. But the primary memory one leaves the film with is that of a collective era, painstakingly recreated through Santo Loquasto’s period sets (and shot by DP Carlo di Palma).

Redeeming Qualities and Moments:

  • Santo Loquasto’s impressive art direction

  • A wonderfully nostalgic flashback to a distinct era of entertainment

Must See?
Yes, as an all-around good show. Listed as a film with Historical Importance in the back of Peary’s book.

Categories

  • Good Show
  • Important Director

Links:

Annie Hall (1977)

Annie Hall (1977)

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“A relationship, I think, is like a shark. You know? It has to constantly move forward or it dies. And I think what we got on our hands is a dead shark.”

Synopsis:
A neurotic comedian (Woody Allen) falls in love with an aspiring singer (Diane Keaton), but they’re ultimately too mismatched to last.

Genres, Themes, Actors, and Directors:

  • Carol Kane Films
  • Diane Keaton Films
  • Flashback Films
  • New York City
  • Romantic Comedy
  • Shelley Duvall Films
  • Star-Crossed Lovers
  • Woody Allen Films

Response to Peary’s Review:
Peary notes that “Woody Allen’s first genuine comedy masterpiece is an autobiographical, therapeutic work” in which his on-screen alter-ego, a stand-up comedian named Alvy Singer, “thinks back on his relationship with an equally neurotic” aspiring singer, played by his former girlfriend (Keaton, whose real-life last name was Hall, and whose nickname was Annie). He argues that the “film is very perceptive and romantic in addition to being hilarious” — indeed, it’s amazing how easily we can laugh at and enjoy the proceedings of the film, given that we know from the beginning how things will end for Alvy and Annie. Peary notes that “the two characters are real and we root for them to work out their problems; but, like Alvy, we come to realize that they were meant to be no more than positive influences on each other during difficult, transitional times in their respective lives.” He points out how “sweet” Alvy’s final comment is “at the end” of the film — a moment that’s guaranteed (even on repeat viewings) to bring a lump to your throat.

Peary spends part of his review in both GFTFF and Alternate Oscars — where, like the Academy, he designates Annie Hall as Best Picture of the Year — naming some of the picture’s “so many great moments” (indeed, it’s difficult to resist doing this — my stills below attest to my own challenge in picking just a few scenes to highlight!). These include the classic balcony scene, “during which Allen provides subtitles that reveal what each is really thinking (both worry they’re blowing it with each other)”; “Alvy silencing an obnoxious, self-impressed, self-professed [Marshall] McLuhan expert who talks pretentious drivel in a movie line by pulling McLuhan out of a poster to tell the man, ‘You know nothing of my work'”; “Alvy battling monstrous spiders in Annie’s bathtub”:

… “Grammy Hall look[ing] at Alvy and… see[ing] him as an Hassidic Jew with a long black beard, curls, black hat, and black frock coat”:

… “Alvy “sneez[ing] $2,000 worth of cocaine across a room”:

… and many, many more.

In his review of Annie Hall for his third Cult Movies book, Peary writes that “it’s safe to say that every Woody Allen film has a cult following”, but “only Annie Hall is loved… by every Allen fan, as well as those obstinate moviegoers who still won’t concede Allen is a great filmmaker.” (One wonders what Peary would think at this point about Allen’s most recent spate of lackluster films… But I’m still more than willing to agree with his assessment.) He notes that “it’s actually hard to find someone who hasn’t seen this irresistible movie several times, who doesn’t have a tender spot for it…, who wouldn’t make it the Woody Allen film they’d like to have if stranded on a desert island”. He further notes the historical relevance of the film by writing that it “marked Allen’s transition from a functional and slapdash, though instinctively funny, filmmaker to one who is technically innovative, thematically sophisticated, intent on capturing the beauty of the women and the city (New York) he loves, eager to explore his characters, and passionate about using the storytelling medium to its fullest”. To that end, one little-discussed aspect of Annie Hall is how cinematically creative it is — see Tim Dirk’s Greatest Films site for an overview of the many techniques Allen employs throughout the film.

Redeeming Qualities and Moments:

  • Diane Keaton as Annie Hall (awarded Best Actress of the Year in his Alternate Oscars)
  • Woody Allen as Alvy Singer (nominated by Peary as one of the Best Actors of the Year in Alternate Oscars)
  • Countless memorable scenes



  • Fine use of New York City locales
  • Creative cinematic techniques

  • Plenty of laugh-out-loud one-liners:

    “You know, I don’t think I could take a mellow evening because I don’t respond well to mellow, you know what I mean? I have a tendency to, if I get too mellow, I ripen and then rot.”

Must See?
Yes, most definitely — multiple times. Enjoy!

Categories

  • Cult Movie
  • Important Director
  • Noteworthy Performance(s)

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

Links:

Broadway Danny Rose (1982)

Broadway Danny Rose (1982)

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“Life’s short; you don’t get any medals for being a boy scout.”

Synopsis:
A down-on-his luck theatrical manager (Woody Allen) pins his hopes on a singer (Nick Apollo Forte) who he hopes will soon make the big time; but his plans become complicated when Forte refuses to sing in front of Milton Berle unless his moody mistress (Mia Farrow) is there, and Allen is tasked with convincing her to attend.

Genres, Themes, Actors, and Directors:

  • Comedy
  • Falsely Accused
  • Flashback Films
  • Gangsters
  • Mia Farrow Films
  • Woody Allen Films

Response to Peary’s Review:
Peary argues that this Woody Allen comedy about “a former Borscht Belt comedian turned down-and-out Broadway agent for some of the least talented acts imaginable” “never reaches the hilarious heights of Allen’s classics”, but possesses a “truly sweet oddball character” in the title role of Danny Rose. Indeed, Danny is possibly Allen’s most likable alter-ego, given his endearing devotion to “all his clients”, even “a stuttering ventriloquist and an elderly couple who make balloon animals”. The running “joke” of the film — that Allen’s clients inevitably shift to another agent once they’ve achieved any level of real success — demonstrates that Danny’s loyalties may be somewhat misplaced, yet one can’t help cheering him on in his comedically hopeless endeavors. The storyline (efficiently, humorously scripted by Allen) remains enjoyably wacky and fast-paced throughout, as “Farrow and Allen have an exciting adventure together”, and Allen (mistaken for Farrow’s lover) eventually becomes “wanted” by her mob connections.

Though Allen does a fine job playing such a sympathetic character — and Forte is completely convincing in his debut role (he wrote his own songs as well) — Farrow’s performance is the true surprise here: she’s literally unrecognizable at first in her “blond wig and dark glasses”, using a “convincing New Jersey accent”; her character’s cynical, self-preserving approach to life functions as an effectively stark contrast to Danny’s eternally helpful optimism. Meanwhile, Allen’s use of a flashback structure to frame the storyline — involving a group of stand-up comedians who reminisce in a diner about Danny Rose — perfectly establishes the film’s tone and milieu, allowing Allen to pay homage to the performance medium that gave him his start in show business. One may question why DP Gordon Willis chose to film the picture in (admittedly gorgeous) b&w (perhaps to evoke an era of nostalgia?); but while I believe the film could have worked just as well in color, I won’t begin to quibble.

Redeeming Qualities and Moments:

  • Woody Allen as Danny Rose
  • Mia Farrow as Tina
  • Gordon Willis’s cinematography

Must See?
Yes, as one of Allen’s (many) “best” films.

Categories

  • Good Show
  • Important Director

Links:

Interiors (1978)

Interiors (1978)

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“She has no direction; I expected such great things from her.”

Synopsis:
Three grown sisters — a successful poet (Diane Keaton) married to a struggling novelist (Richard Jordan); a would-be artist (Mary Beth Hurt) in a relationship with a political writer (Sam Waterston); and an aspiring actress (Kristin Griffith) — all deal differently with the increasingly unstable mental state of their mother (Geraldine Page), and with the lively new girlfriend (Maureen Stapleton) their father (E.G. Marshall) has recently started dating.

Genres, Themes, Actors, and Directors:

  • Diane Keaton Films
  • Divorce
  • E.G. Marshall Films
  • Geraldine Page Films
  • Sam Waterston Films
  • Siblings
  • Woody Allen Films

Response to Peary’s Review:
Peary writes that watching this “unusual Woody Allen film” when it was released in 1978 was “an excruciating experience” for many viewers, given that “ready to laugh, we saw before us a humorless Bergman-esque drama (without Allen in the cast)”. However, he notes that seeing it again later, he finds it a “truly beautiful, painstakingly written and directed, outstanding if… too serious film” about three adult sisters who “all grew up considering themselves failures”. Much like he argues in his review of Allen’s later Hannah and Her Sisters (1986) — which possesses numerous thematic similarities — he notes that Keaton, Hurt, and Griffin are all “emotional cripples, afraid of one another because of the damage each is capable of inflicting”, and “jealous of [each] other’s successes.”

He writes that “what’s most impressive about Allen’s film is that he creates a logic for why his characters respond to each other as they do”; even if we don’t particularly enjoy watching these sisters (and Keaton’s dissatisfied husband) wallow in their sorrows — and find the “snobby pretentiousness” of their “criticism of books, plays, [and] articles” unbearable — they’re indisputably all-too-human.

Indeed, with a mother like Page — who during the film “suffers a breakdown and attempts suicide”, yet was clearly mentally unhinged long before the action begins — it’s no surprise at all to see what a mess Keaton et al. are (nor to question the desire of Marshall to get out of the marriage as gently yet quickly as he can).

Page’s tragic performance is note-perfect, as is Marshall’s — though arguably the most memorable “older” performance is given by Stapleton, “whose bright clothes are a jolt to the picture”, and who “brings life to the drained group”. Peary notes that a final scene involving Stapleton and Hurt (which I won’t spoil here like Peary does) is the “most special” moment for him, in a film filled with “many emotionally devastating moments”. To that end, how well you ultimately respond to Interiors depends largely on: a) your willingness to suspend preconceived judgments about what a Woody Allen film “should” be, and b) your willingness to invest in the outcome of these (mostly) not-very-likable characters. For my part, I was resistant at first (as Peary notes, it’s still far “too serious” a film), but quickly found myself caught up in the power of Allen’s uncompromising vision. Good for him for daring to make a movie just the way he envisioned it, and to foil his fans’ expectations.

Redeeming Qualities and Moments:

  • Geraldine Page as Eve
  • Maureen Stapleton as Pearl
  • E.G. Marshall as Arthur
  • Fine cinematography by Gordon Willis

Must See?
Yes, as an unexpectedly powerful family drama by Allen. Nominated by Peary as one of the Best Films of the Year in his Alternate Oscars.

Categories

  • Important Director

Links:

Front, The (1976)

Front, The (1976)

Comments 1 comment

“Nobody admits there’s a blacklist — I mean, they just say your script’s not good enough, you’re not right for the assignment, that kind of thing.”

Synopsis:
In the 1950s, an apolitical cashier (Woody Allen) agrees to act as a “front” for his blacklisted friend (Michael Murphy) and two other television writers, taking 10% of their earnings as commission. Soon he finds himself in a sticky situation, as his activities are monitored by HUAC and he’s asked to “name names”.

Genres, Themes, Actors, and Directors:

  • Character Arc
  • Hollywood
  • Martin Ritt Films
  • Michael Murphy Films
  • Woody Allen Films
  • Writers

Response to Peary’s Review:
Peary’s clearly an enormous fan of this “excellent, often forgotten little picture” (written by Walter Bernstein, directed by Martin Ritt, and starring Woody Allen) — enough so that he names it the Best Picture of the Year in his Alternate Oscars, and lists no “runners-up”. He writes that it’s “humbly, gently, humorously made”, with “much ironic humor com[ing] from the absurdity of the situation, where a man can be blacklisted if the committee gets his name mixed up with that of a ‘leftist sympathizer’ and he can’t clear himself unless he can name names”. He adds that “despite the film’s friendly tone, viewers get a sense of the paranoia, desperation, and insanity of the period, and come to understand why those who were blacklisted — like Bernstein and Ritt” (and several actors in the film, including Zero Mostel) “still detest those who gave testimony during the fifties witchhunt”. He concludes his review by noting that the “film is a tribute to those who took moral stands during that time”.

While I agree with Peary that The Front remains a powerful and riveting drama — one which all film fanatics should see, simply for its important subject matter — it’s not quite “best picture” material; it eventually devolves into comedically melodramatic fairy tale territory in its final reels, and the romantic subplot between Allen and a beautiful television employee (Andrea Marcovicci) feels underdeveloped. The most affecting aspect of the film is the subplot involving comedy actor “Hecky Brown” (Mostel), whose situation most succinctly embodies the true paranoia of the period. His inability to remain employed after being unable (or unwilling) to “name names” sends him on a degrading downward spiral; Mostel’s performance is both brave and visceral in its depiction of Hecky’s despair and resignation. Allen gives a fine performance as well, playing a variation on his typical character (his “Howie” is “a funny guy, which makes him appealing” to his girlfriend and Hecky), yet one who undergoes a profound shift in political awareness.

Redeeming Qualities and Moments:

  • Woody Allen as Howard Prince (nominated by Peary as one of the Best Actors of the Year in Alternate Oscars)
  • Zero Mostel as Hecky Brown

Must See?
Yes, as a powerful evocation of a notorious era in Hollywood.

Categories

  • Good Show

Links: