FilmFanatic.org

Synopsis:
A general (Nils Asther) in revolutionary China falls in love with an American missionary (Barbara Stanwyck) he rescues during a street riot.

Genres, Themes, Actors, and Directors:

• Barbara Stanwyck Films
• China
• Cross-Cultural Romance
• Frank Capra Films
• Missionaries and Revivalists

Review:
The Bitter Tea of General Yen remains a unique entry in Frank Capra’s early oeuvre. Exhibiting none of the “Capra-corn” that would mark Capra’s later populist films, Bitter Tea is a dreamy, beautifully photographed, provocative tone poem about cross-cultural tensions and inter-racial longing. Danish actor Nils Asther thankfully manages to avoid most stereotypes in his portrayal of the imposing Chinese General Yen, instead infusing his character with charisma and emotional complexity. He exhibits authority and vulnerability in equal measure — indeed, it’s easy to see why Stanwyck’s strong-willed female missionary (Megan) can’t help feeling a deep-seated attraction to him, despite her status as a betrothed woman (watch for her infamous “dream sequence” — haunting evidence of pre-code cinematic sensibility). Stanwyck is luminous in this early role — like Asther, she’s called upon to demonstrate both strength of character and emotional nuance as she contemplates, however subconsciously, a forbidden romance. The entire story takes place within the context of gorgeously baroque sets and lustrous cinematography, adding to the dream-like ambience of Megan and Yen’s tragic “affair”; the film’s ending is foreshadowed by its provocative title.

Redeeming Qualities and Moments:

• Nils Asther as General Yen
  
• Barbara Stanwyck as Megan Davis (nominated by Peary as Best Actress of the Year in his Alternate Oscars book)
  
• A provocative portrayal of “forbidden” romance
  
• Stunning sets
  
• Joseph Walker’s luminous cinematography
  

Must See?
Yes, as a unique gem by a famed director.

Categories

• Important Director

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

Links:

• IMDb entry
• NY Times Original Review (spoiler alert)
• TCM Article (spoiler alert)
• Time Out Capsule Review

Synopsis:
A dedicated nurse (Carole Lombard) takes responsibility for a death caused by her uncertified sister (Anne Shirley), and leaves to work at a large urban hospital, where she develops a relationship with a handsome surgeon (Brian Aherne) and fights to help fund a plague ward.

Genres, Themes, Actors, and Directors:

• Brian Aherne Films
• Carole Lombard Films
• Doctors and Nurses
• Do-Gooders
• George Stevens Films
• Peter Cushing Films

Review:
At the time she agreed to star in George Stevens’ adaptation of A.J. Cronin‘s serial novel Vigil in the Night, Carole Lombard was attempting to break out of typecasting as a screwball actress by taking on more “serious” roles. Unfortunately, her choice of “breakthrough” material is little more than a sappy soaper about a do-gooding nurse (Lombard) a la Florence Nightingale who’s willing to give up all personal gain for the sake of helping others.

Her first act of selflessness, which sets the story in motion, is accepting responsibility for a negligent death caused by her immature younger sister (Anne Shirley):

who carelessly abandons the bedside of a terminally ill boy at just the wrong moment. Leaving her sister behind to finish her nursing certification, Lombard quickly moves on to a grueling position at a hospital in London, where a potential romance with a handsome surgeon (Aherne) is hinted at but never develops:

Instead, Lombard’s Nurse Lee stalwartly deals with crisis after crisis, never losing her head, and always fighting for “what’s right” against stony head nurses and sleazy benefactors. She may be plucky and honorable, but the truth is she’s terribly uninteresting as a character; we long for Lombard to break into manic screwball mode, even for just a moment! The primary redeeming feature of this predictable weeper is Robert De Grasse’s luminous cinematography.

Redeeming Qualities and Moments:

• Robert De Grasse’s cinematography
  

Must See?
No; feel free to skip this one. Listed as a Personal Recommendation in the back of Peary’s book.

Links:

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

Synopsis:
An idealist (Ina Mena) attempts to cure her husband (Tom Rosqui) of his cynical realism, with little success.

Genres, Themes, Actors, and Directors:

• Burgess Meredith Films
• John Korty Films
• Marital Problems
• Star-Crossed Lovers

Review:
John Korty‘s debut film — narrated by Burgess Meredith, starring unknown actors, and following a most unconventional storyline — is a delightful taste of mid-century independent American cinema. More a fable than a realistic narrative, The Crazy-Quilt is nonetheless grounded in the very-real tribulations of love and marriage, as two complete opposites struggle to create a life together. Korty’s low-budget camerawork is consistently innovative and striking, making fine use of high-contrast lighting and naturalistic settings; meanwhile, Peter Schickele‘s creative score provides a quirky, memorable backdrop to the proceedings. Mela and Rosquith are well-cast as the film’s protagonists, with Mela in particular (she has no other credits listed on IMDb) giving a haunting performance; she ages from giddy young housewife to seasoned woman over the course of the film, and the contrast is striking. Film fanatics should definitely seek out The Crazy-Quilt: while it may come across as slightly dated, its emotional impact remains largely intact.

Note: Korty’s Oscar-winning documentary Who Are the DeBolts? [And Where Did They Get Nineteen Kids?] (1977) is also well worth a look; surprisingly, it’s not a Peary title.

Redeeming Qualities and Moments:

• Ina Mela as Lorabelle
  
• Tom Rosqui as Henry
  
• An unusual portrait of an unconventional love affair
  
• Memorable imagery
  
• Impressive low-budget cinematography
  
• Peter Schickele’s distinctive score

Must See?
Yes, as a one-of-a-kind experimental film.

Categories

• Historically Relevant

Links:

• IMDb entry
• TV Guide Review (spoiler alerts)
• Time Magazine Review

Synopsis:
A financially strapped playboy (Walter Matthau) woos an eccentric heiress (Elaine May) with the intent of murdering her after their marriage.

Genres, Themes, Actors, and Directors:

• Black Comedy
• Heiresses
• Homicidal Spouses
• Walter Matthau Films

Review:
Comedian Elaine May was apparently so appalled with the drastic studio cuts made to her debut film that she wanted her name taken off of it; despite her discontent, however, A New Leaf remains a memorably unique black comedy, and the strength of May’s vision still shines clearly through. Perennial grump Walter Matthau is brilliantly cast as a spoiled bon vivant so enamored with his lifestyle of wealth and leisure that he fails to pay any attention to his rapidly dwindling trust funds; when reality finally forces him to confront his state of near-destitution, he contemplates both suicide and marriage — ultimately deciding that the latter is marginally more acceptable. Because he finds women an annoyance, however — preferring instead to indulge his tastes in fine wine, fancy sports cars, tailored clothing, and impeccable decor — his decision to woo the clumsiest woman in Manhattan (if not the entire United States) comes at no small cost to his personal sanity.

As bespectacled botanist Henrietta (whose greatest aspiration in life is to find an undiscovered species of fern and have it named after her), May is the perfect comedic foil for Matthau; together, they are the epitome of odd duck coupling, and could potentially stand a chance — if only Matthau wasn’t so determined to murder her at the first opportunity. Meanwhile, details of May’s premarital existence are gradually revealed, as we begin to understand the myriad ways in which every individual in her life has taken advantage of her extreme naivete and charity. Will Matthau simply be the next in line — or will he experience a change of heart, and recognize his chance for happiness and fulfillment with Henrietta? This comedic gem is well worth watching to find out.

Redeeming Qualities and Moments:

• Elaine May as Henrietta
  
• Walter Matthau as Henry
  
• May’s darkly humorous screenplay
  

Must See?
Yes, as an enduring comedic treat. Listed as a Cult Movie and a Personal Recommendation in the back of Peary’s book.

Categories

• Cult Movie

Links:

• IMDb entry
• Roger Ebert’s Review
• Boston Phoenix Review
• NY Times Original Review
• Time Out Capsule Review

Synopsis:
At an elite country club, a young caddy (Michael O’Keefe) hopes to win a college scholarship; meanwhile, the groundskeeper (Bill Murray) pursues a menacing gopher, and the club’s owner (Ted Knight) clashes with an abrasive new member (Rodney Dangerfield).

Genres, Themes, Actors, and Directors:

• Bill Murray Films
• Class Relations
• Comedy
• Social Climbers

Review:
A cult favorite of those who remember it fondly from their youth, Caddyshack is essentially just a vehicle for comedians Bill Murray, Chevy Chase, and Rodney Dangerfield. Murray manages to squeeze in a few funny lines — including his infamous vignette about caddying for the Dalai Lama and being given “total consciousness” in lieu of a tip, leading him to quip, “So, I’ve got that goin’ for me” — but Chase is surprisingly subdued. It’s Dangerfield (in his first major film role) who really stands out as an unbelievably obnoxious real estate developer (“Tell the cook this is low grade dog food… This steak still has marks from where the jockey was hitting it.”) Unfortunately, the film itself is a bit of a pointless mess, and its central protagonist — young caddy O’Keefe — quickly loses our sympathy once he cheats on his loving girlfriend (an appealing Sarah Holcomb) with the resident tart (Cindy Morgan); it’s hard to care much about him — or the film — after this. Caddyshack is really only must-see viewing for diehard fans; all-purpose film fanatics can feel free to skip it (though be sure to check out the truly surreal male synchronized swimming sequence — see still below).

Redeeming Qualities and Moments:

• Rodney Dangerfield as Al Czervik
  
• Several drolly amusing sequences
  

Must See?
No, but fans of Dangerfield or Murray certainly won’t want to miss it.

Links:

• IMDb entry
• NY Times Original Review
• Roger Ebert’s Review
• TCM Article
• Time Out Capsule Review

Synopsis:
When an advertising executive (Heiner Lauterbach) discovers his wife (Ulrike Kriener) is having an affair with a bohemian artist (Uwe Ochsenknecht), he assumes a new identity and moves in with Stefan (Ochsenknecht), determined to learn more about why he’s so appealing to his wife.

Genres, Themes, Actors, and Directors:

• Friendship
• German Films
• Love Triangle
• Mistaken or Hidden Identities

Review:
Made on a shoestring budget for German television, Doris Dorrie‘s Men later enjoyed a successful theatrical release, and was the most widely seen German film that year. Essentially an unconventional “love triangle”, it tells the story of a successful ad executive named Julius (Lauterbach) who is so devastated and puzzled by his wife’s affair with free-spirited, long-haired artist Stefan (Ochsenknecht) that he goes to comedic extremes to learn more about why she’s betrayed him. Because the storyline is set up as a comedy, we’re meant to ignore the first glaring logical loophole that emerges: wouldn’t Stefan see photos of Julius at his lover’s house, and recognize him? This minor quibble aside, however, we soon watch in fascination as the newly humbled Julius– a casual womanizer himself, who’s cheated on his wife countless times in the past — does everything he can to comprehend Stefan’s appeal, and perhaps become a bit more like him. Meanwhile, he can’t help releasing his simmering rage towards the unsuspecting Stefan in random fits, which Stefan conveniently accepts as part of Julius’s “crisis”. Eventually, as the two men get to know and trust each other, a genuine friendship emerges, albeit one predicated on deception. While it’s not must-see viewing for all viewers, Men is recommended for those who enjoy unconventional tales of male bonding.

Note: The film’s poster, which depicts an image from the final comedic scene in the film, is a bit misleading; while there are certainly homoerotic twitches throughout (and one kiss), relations between the two men, for the most part, remain strictly “platonic”.

Redeeming Qualities and Moments:

• Heiner Lauterbach as Julius/Daniel
  
• Uwe Ochsenknecht as Stefan
  
• An unconventional tale of male friendship and secret rivalry
  

Must See?
No, but it’s definitely recommended. Listed as a film with Historical Importance in the back of Peary’s book.

Links:

• IMDb entry
• All Movie Guide Review

Synopsis:
A diverse group of individuals — including a womanizing pilot (Nigel Davenport), a domineering hunter (Stuart Whitman), a failed mining engineer (Stanley Baker), a beautiful divorcee (Susannah York), a soft-spoken doctor (Theodore Bikel), and a former Nazi officer (Harry Andrews) — struggle to survive in the Kalahari desert after their passenger plane crashes.

Genres, Themes, Actors, and Directors:

• Africa
• Deserts
• Ensemble Cast
• Harry Andrews Films
• Survival
• Susannah York Films

Review:
Released the same year as Robert Aldrich’s Flight of the Phoenix, writer-director Cy Endfield’s survival tale — based on a novel by William Mulvihill — starts with the same premise of a plane crashing in the Kalahari desert, but moves in an entirely different direction. While the survivors of the Phoenix focus on rebuilding a plane that will lift them out of the area, the motley passengers in Endfield’s film become involved in an existential fight for dominance. Indeed, it’s soon made clear that Endfield is primarily concerned with highlighting the passengers’ devolution into primitive beings (much like the tribes of fang-baring baboons occupying the area), as sexual passions flare — York, conveniently gorgeous, is the only female passenger — and Whitman’s increasingly obvious desire for mastery at any cost (he’s the only one in the group with a gun and ammunition) takes hold. While the plot and dialogue occasionally strain credulity, we’re nonetheless intrigued by the “Lord of the Flies” mentality which emerges, pitting passengers against each other. Fine on-location shooting and an unusual script makes this a worthy adventure flick for those who enjoy tales of survival under extreme circumstances.

Redeeming Qualities and Moments:

• Fine location shooting
  
• An often tense and gripping script
  
• The unexpected ending

Must See?
No, but it’s recommended. Listed as a Sleeper and a Personal Recommendation in the back of Peary’s book.

Links:

• IMDb entry
• All Movie Guide Review (spoiler alerts)
• NY Times Original Review

Synopsis:
When a nebbishy do-gooder (Eddie Cantor) is thrown out of his home town of West Rome, Oklahoma, he suddenly finds himself a slave in Ancient Rome, fighting to save Princess Sylvia (Gloria Stuart) from the clutches of corrupt Emperor Valerius (Edward Arnold).

Genres, Themes, Actors, and Directors:

• Ancient Greece and Rome
• Busby Berkeley Films
• Comedy
• Do-Gooders
• Eddie Cantor Films
• Edward Arnold Films
• Musicals
• Slavery
• Time Travel

Review:
Often cited as one of Eddie Cantor’s best vehicles, this lavish Depression-era musical features two far-out Busby Berkeley sequences, a bevy of nearly-nude “Goldwyn Girls” (including Lucille Ball), and a healthy dose of pre-Code humor (while selling himself on the slave market, Cantor coyly asserts, “I can take care of the children. If there are no children, I can take care of that. By being a son to you!”). In both West Rome and Ancient Rome (where he mysteriously time-travels after being knocked over on the street), Cantor gets to play one of his most likable characters — a genuinely well-meaning if timid guy who takes enormous risks to help others.

Although a little of Cantor goes a long way (and he’s on-screen all the time), fans will have plenty to enjoy. Meanwhile, Gloria Stuart (wearing a long blonde wig) has never been more fetching:

and statuesque Verree Teasdale is humorously villainous as the Emperor’s murderous wife.

Redeeming Qualities and Moments:

• Typically lavish Busby Berkeley musical numbers
  

Must See?
Yes, simply to see the enormously popular Cantor in one of his best films. Listed as a Personal Recommendation in the back of Peary’s book.

Categories

• Historical Importance

Links:

• IMDb entry
• All Movie Guide Review
• SciFilm Review
• Time Out Capsule Review

Synopsis:
During World War Two, a lieutenant (Cliff Robertson) in the Pacific clashes with his superior (Raymond Massey) over privileges afforded to officers, and is sent to the front to help a cynical sergeant (Aldo Ray) lead a platoon against the Japanese.

Genres, Themes, Actors, and Directors:

• Aldo Ray Films
• Cliff Robertson Films
• Raoul Walsh Films
• Raymond Massey Films
• Richard Jaeckel Films
• Soldiers
• World War Two

Review:
Raoul Walsh’s adaptation of Normal Mailer’s classic WWII-era novel is a notorious dud on every count. Retaining almost none of the brilliance or irreverence of Mailer’s writing, the end result is a pedestrian account of military combat in the Pacific, with power conflicts emerging as the script’s only viable theme. Raymond Massey is well-cast as a military bigwig who honestly believes in the necessity of maintaining fear and distance between soldiers and their commanding officers, but he’s the film’s sole redeeming feature. Read the book instead.

Redeeming Qualities and Moments:

• Raymond Massey as General Cummings
  

Must See?
No; definitely feel free to skip this one.

Links:

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

Synopsis:
A working-class plumber (Ivar Kants) terrorizes the wife (Judy Morris) of an anthropologist (Robert Coleby).

Genres, Themes, Actors, and Directors:

• Australian Films
• Cat-and-Mouse
• Class Relations
• Peter Weir Films
• Psychological Horror

Review:
Made by writer-director Peter Weir for Australian television, this darkly humorous thriller is an unusual and strangely compelling treat. Judy Morris (as Jill) and Ivar Kants (as Max) are perfectly cast as opposites who immediately clash with one another when they’re forced into close proximity. Kants (effectively creepy) is deeply insecure about his working class background, and makes his scorn of intellectual Morris known immediately; after insinuating himself into her house (are there really plumbing problems in their pipes?), he proceeds to harass and mess with her, making snide comments about her lifestyle which she’s (initially) too polite to do anything about. It’s both ironic and strategic that Jill (a cultural anthropologist) is studying the “bizarre” cultural rituals of a Guinean tribe while simultaneously trying to deal with the equally inscrutable mystery of Max the Plumber. Will he harm her? Does he have ulterior motives? Or is Jill really going off the deep end? (Indeed, there’s a layer of feminist subtext to the plot, given that Jill has just recently chosen to give up her day job and stay at home.) Weir’s satirical brilliance lies in his ability to bring to the surface latent class tensions we’ve all felt at one time or another in our lives, as we’ve encountered people either more or less moneyed or educated than ourselves. Fortunately, he resists turning The Plumber into a traditional horror film, instead focusing on Jill’s increasingly paranoid reaction to Max, a feeling which no one around her — neither her distracted husband (Robert Coleby) nor her best friend (Candy Raymond) — seems to share. At just 77 minutes, The Plumber leaves you curious about its outcome until the very end; all film fanatics should check it out at least once.

Redeeming Qualities and Moments:

• Judy Morris as Jill
  
• Ivar Kants as Max
  
• A humorously creepy screenplay
  
• Rory O’Donoghue and Gerry Tolland’s score

Must See?
Yes, as a most effective and unconventional thriller. Listed as a Sleeper and a Personal Recommendation (I agree) in the back of Peary’s book.

Categories

• Good Show
• Important Director

Links:

• IMDb entry
• NY Times Original Review
• DVD Talk Review (scroll down to second review)
• Moria Review
• TCM DVD Review