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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

Synopsis:
When her older husband (John Phillips) dies during a trip to Italy, an aging actress (Vivien Leigh) sets up a home for herself in Rome and befriends a crafty Contessa (Lotte Lenye) who procures a handsome young lover (Warren Beatty) for her.

Genres, Themes, Actors, and Directors:

• Expatriates
• May-December Romance
• Prostitutes and Gigolos
• Tennessee Williams Films
• Vivien Leigh Films
• Warren Beatty Films
• Widows and Widowers

Review:
Vivien Leigh (in her next-to-last big screen role) is perfectly cast in this adaptation of Tennessee Williams’ novel about an aging actress who finally allows herself to be seduced by a young gigolo, fooling herself (somewhat) into believing he loves her.

While Leigh’s sensitive portrayal is fine and nuanced, Beatty reveals his lack of acting experience by giving a fairly terrible performance — though at least he comes across as authentically obnoxious:

There’s not much to the storyline other than watching a reasonably likable, self-sufficient woman (Leigh is clear on what she wants for herself) being taken for a ride by manipulative bastards — so your enjoyment of this film will depend entirely on whether you’re up for this kind of narrative playing out. The film is also notable for featuring stage actress Lotte Lenya in one of her very few screen roles, and she’s quite effective:

Note: Lenya is likely best known to film fanatics for playing villainous Rosa Klebb in From Russia With Love (1963), but she also starred (much earlier) in G.W. Pabst’s adaptation of her husband Kurt Weill’s Three Penny Opera (1931).

Notable Performances, Qualities, and Moments:

• Vivien Leigh as Karen Stone (nominated as one of the Best Actresses of the Year in Peary’s Alternate Oscars)
  
• Lotte Lenya as Contessa Magda
  
• Fine production design and cinematography
  
  

Must See?
No, but it’s worth a one-time look for Leigh’s performance. Listed as a Cult Movie in the back of Peary’s book.

Links:

• IMDb entry
• TV Guide Review
• TCM Article
• DVD Savant Review

Synopsis:
Vaudeville actor Lon Chaney (Jimmy Cagney) hides the fact that his parents (Celia Lovsky and Nolan Leary) are deaf from his pregnant wife Cleva (Dorothy Malone), who panics when she meets them from fear of genetic transmission. Soon Lon and Cleva — whose son Creighton (Rickie Sorensen) has been born completely healthy — find themselves drifting apart, and Cleva seeks fulfillment by renewing her singing career; but Lon wants her home with their child and sabotages her career, sending her into a mental health crisis. Eventually Lon shifts to a career in silent film and marries a loyal chorus girl (Jane Greer) who provides a stable, loving home for their family — but will now-grown Creighton (Roger Smith) forgive his father for lying about the true status of his mother?

Genres, Themes, Actors, and Directors:

• Actors and Actresses
• Biopics
• Deafness
• Dorothy Malone Films
• James Cagney Films
• Jane Greer Films
• Marital Problems
• Vaudeville and Burlesque

Review:
As with most Hollywood biopics, this homage to silent screen star Lon Chaney, Sr. plays fast and furious with the facts, but manages to convey enough of this complicated actor’s thorny personal life and intriguing career that we remain engaged throughout.

While Malone is posited as the villainess of the story (how can she be so bigoted against kind Lovsky and Leary?!):

… we despise Cagney for withholding such crucial information from her, especially at a time when deafness was societally stigmatized. Meanwhile, we’re shown how irrational his desire to have Malone stay at home with their child is, given that Sorensen is a well-adjusted lad with plenty of support — particularly from the infinitely noble and patient Greer (talk about casting against type!) who is literally waiting in the wings.

Most interesting to film fanatics, however, will be numerous sequences of Lon using his skills with make-up to disappear into a variety of characters, eventually making a name for himself as the “man of a thousand faces” in films such as The Hunchback of Notre Dame (1923):

… The Phantom of the Opera (1925):

… and The Unholy Three (1930) (Chaney’s first talkie and last film):

Watch for Robert Evans in an appropriately stiff performance as young Irving Thalberg:

Notable Performances, Qualities, and Moments:

• James Cagney as Lon Chaney, Sr.
  
• Dorothy Malone as Cleva
  
• Russell Metty’s cinematography
  
  

Must See?
Yes, for its historical value and for Cagney’s performance.

Categories

• Historically Relevant
• Noteworthy Performance(s)

Links:

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

Synopsis:
The young son (Robert Henrey) of a French ambassador in London is cared for by a kind butler named Baines (Ralph Richardson) and his mean wife (Sonia Dresdel) — but when he stumbles upon Baines (Richardson) with his mistress (Michele Morgan), Phile (Henrey) becomes caught in a web of confusing secrets.

Genres, Themes, Actors, and Directors:

• Carol Reed Films
• Childhood
• Falsely Accused
• Marital Problems
• Ralph Richardson Films
• Servants, Maids, and Housekeepers

Review:
In between helming Odd Man Out (1947) and The Third Man (1949), Carol Reed directed this compelling thriller — based on a short story by Grahame Greene — about a young boy facing countless adult lies and deception. Non-actor Henrey was coached and supported by Reed throughout every scene, and gives a wonderfully natural performance:

Richardson is also in fine form as a kind but all-too-human man stuck between a rock and a hard place, with a shrewish wife so awful:

… we can easily forgive him for seeking solace from Morgan. Perhaps most impressive, however, is the way Reed — working with DP George Perinal — manages to make this very much a picture told from a child’s perspective, both literally and figuratively:

Viewers will likely flash back to their own childhoods, when we were forced to observe strange events and actions by adults who may have been well-meaning:

… but wrongly believed we (kids) were peripheral to their concerns. Such an assumption proves to be woefully misguided in this particular story, with the life-or-death narrative hinging on Henrey’s guileless attempts to simply follow the instructions he’s been given while managing his very-real fears and misunderstandings. The Fallen Idol — so-named due to young Phile looking up to his ultimately imperfect father-figure, Baines — remains a tense, well-acted, atmospherically filmed movie, one which should certainly be seen by all film fanatics.

Notable Performances, Qualities, and Moments:

• Ralph Richardson as Baines (nominated as one of the Best Actors of the Year in Peary’s Alternate Oscars)
  
• Bobby Henrey as Phile
  
• Georges Perinal’s cinematography
  
  
  

Must See?
Yes, as a powerful classic by a master director.

Categories

• Genuine Classic
• Important Director

Links:

• IMDb entry
• Spinning Image Review
• DVD Savant Review
• NY Times Original Review
• TCM Articles
• Tired Old Queen at the Movies Video Review

Synopsis:
A poor Chinese farmer (Paul Muni) married to a former slave (Luise Rainer) flees with his starving young family to a city in the south, where they beg for food until Rainer stumbles upon a bag of jewels during a revolutionary uprising. Once they’re back on their now-thriving farm, Muni requires his grown sons (Keye Luke and Roland Lui) to work for him, and falls for a beautiful singer (Tilly Losch) who he takes as his second wife — but will Rainer approve of this arrangement?

Genres, Themes, Actors, and Directors:

• China
• Farming
• Luise Rainer Films
• Paul Muni Films
• Survival

Review:
MGM’s big-budget adaptation of Pearl S. Buck’s Pulitzer Prize-winning novel was Irving Thalberg’s final production before his death at age 37, and remains notable for netting Luise Rainer her second Best Actress Oscar in a row (after her Oscar-winning performance in The Great Ziegfeld). Peary doesn’t review The Good Earth in his GFTFF, but he does mention it in his Alternate Oscars, where he writes somewhat snarkily that Rainer stands out as the film’s “only Chinese peasant with an Austrian accent”, and concedes she “did a satisfactory job, even if she spent too much of the picture using a stunned, hurt expression, as if she’d just stubbed her toe and didn’t want anyone to know her pain” (ouch!).

I’m more impressed by Rainer’s expressive performance than Peary; while her accent is disconcerting (and of course it’s terribly disappointing that Chinese-American actors weren’t assigned to the lead roles), Rainer otherwise fully embodies this put-upon yet resilient female who is ultimately responsible for her family’s success, albeit behind the scenes.

In a particularly harsh and haunting scene, Rainer acknowledges that another baby has been born (we hear its cry), but insists to Muni that they are able to travel — and nothing more is seen or heard of this latest child. Muni is occasionally hammy but mostly effective as her husband, who seems like a straight-up fellow until he (predictably) falls for the wiles of a seductive singer (Losch):

Perhaps most impactful, however, is the realistic depiction of a family driven to literally eat dirt in order to stave off hunger:

These early sequences of gut-wrenching poverty make it easier to understand how and why Communist revolution was seemingly inevitable in China:

Karl Freund’s cinematography is noteworthy throughout, and the ending locust swarm sequence is particularly well handled:

This adaptation remains worth a look, and should be seen once by all film fanatics simply for Rainer’s performance.

Notable Performances, Qualities, and Moments:

• Luise Rainer as O-Lan
  
• Paul Muni as Wang Lung
  
• Karl Freund’s cinematography
  
• The impressive locust sequence
  

Must See?
Yes, once, for Rainer’s performance and several highly effective sequences. Listed as a Personal Recommendation in the back of Peary’s book.

Categories

• Oscar Winner or Nominee

Links:

• IMDb entry
• DVD Savant Review
• TV Guide Review
• TCM Article
• Time Out Capsule Review

Synopsis:
With help from his sickly brother Eddie (Warren Oates), petty thief Jack “Legs” Diamond (Ray Danton) rises in the ranks of Prohibition-era gangsterhood to become a bodyguard for Arnold Rothstein (Robert Lowery), and marries his loyal girlfriend (Karen Steele) to prevent her from testifying against him in court. Soon Legs is showing the true colors of his ruthless nature, stopping at nothing to gain dominance and believing he’s invincible.

Genres, Themes, Actors, and Directors:

• Budd Boetticher Films
• Dyan Cannon Films
• Gangsters
• Warren Oates Films

Review:
After making a string of westerns with Randolph Scott in the late 1950s, Budd Boetticher agreed to make this noir-ish tale of infamous gangster “Legs” Diamond, so-called either because of his dancing skills or because of how quickly he could outrun the law. Unfortunately, there’s little to authentically interest us in this loathsome fellow, who was notorious for being unliked by everyone around him:

Steele has a thankless role as the woman he manages to keep by his side:

… while Elaine Stewart is allowed a bit more agency as a moll seduced by Legs:

… and Oates is sympathetic in a too-small role as Legs’s brother:

Watch for Dyan Cannon in a tiny spot as bubble-headed “Dixie”:

Notable Performances, Qualities, and Moments:

• Lucien Ballard’s cinematography
  
  

Must See?
No; you can skip this one. Listed as a Cult Movie and a Personal Recommendation in the back of Peary’s book.

Links:

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

Synopsis:
A reluctant but skilled radio ad man (Clark Gable) considers getting himself hired by Mr. Kimberly (Adolphe Menjou) of Kimberly Advertising Agency, who lives in fear of upsetting his biggest and pickiest client, Mr. Evans (Sydney Greenstreet); meanwhile, Gable kindles a romance with a beautiful nightclub singer (Ava Gardner) while also falling for a lovely but prim war widow (Deborah Kerr) who is at the center of one of their company’s campaigns.

Genres, Themes, Actors, and Directors:

• Adolphe Menjou Films
• Advertising
• Ava Gardner Films
• Clark Gable Films
• Deborah Kerr Films
• Edward Arnold Films
• Keenan Wynn Films
• Love Triangle
• Sydney Greenstreet Films
• Widows and Widowers

Review:
Deborah Kerr made her American film debut in this adaptation of a novel by Frederick Wakeman, Sr. skewering the radio advertising industry. Unfortunately, there’s not much of note in the screenplay, which is primarily focused on Gable’s WWII-veteran not wanting to simply sell his soul to his job (presumably after living through the horrors of the war). Greenstreet is painted in broad strokes as a bullying Big Man with awful ideas:

… and Gable’s love triangle between Gardner and Kerr doesn’t hold much weight:

You can skip this one unless you’re a fan of the big-name stars.

Notable Performances, Qualities, and Moments:

• Fine cinematography
  
  

Must See?
No; you can skip this one unless you’re a diehard Gable, Gardner, or Kerr fan. Listed as a Personal Recommendation in the back of Peary’s book.

Links:

IMDb entry
NY Times Original Review
TCM Article

Synopsis:
During the Napoleonic Wars, British Captain Horatio Hornblower (Gregory Peck) delivers arms to a megalomaniac South American dictator (Alec Mango), then learns that Britain is newly allied with Spain; meanwhile, he picks up and falls in love with a beautiful passenger, Lady Barbara (Virginia Mayo) — but can their romance last beyond the seas?

Genres, Themes, Actors, and Directors:

• At Sea
• Christopher Lee Films
• Gregory Peck Films
• Historical Drama
• Raoul Walsh Films
• Romance
• Virginia Mayo Films

Review:
Raoul Walsh directed this Technicolor adaptation of C.S. Forester’s popular Horatio Hornblower novels, featuring a courageous and skilled seaman who handles all military and personnel crises with aplomb, yet harumphs with nerves when faced with a beautiful woman. Peck and Mayo make a lovely couple (naturally):

… and it’s enjoyable seeing Mayo emerge as a worthy and invaluable member of the crew. However, it’s the naval adventures that most interested viewers will be curious to watch, and there’s plenty of that.

Unfortunately, Mango’s role in dark-face as the deranged “El Supremo” is demeaningly stereotypical, and truly cringe-worthy:

Thank goodness he doesn’t take up too much screentime. Meanwhile, watch for young Christopher Lee in one of his first supporting roles, playing a Spanish captain.

Notable Performances, Qualities, and Moments:

• Fine Technicolor cinematography
  

Must See?
No, though it’s worth a one-time look if you’re curious.

Links:

• IMDb entry
• NY Times Original Review
• DVD Savant Review (scroll down)
• TCM Article

Synopsis:
A writer (Barbara Bel Geddes) reflects on growing up with her two sisters (Peggy McIntyre and June Hedin), her brother (Steve Brown), her father (Philip Dorn), and her firm but loving Norwegian-American mother (Irene Dunne) in early 20th century San Francisco.

Genres, Themes, Actors, and Directors:

• Coming of Age
• Flashback Films
• George Stevens Films
• Irene Dunne Films
• Strong Females
• Writers

Review:
George Stevens directed this lovely, lyrical adaptation of John Van Druten’s 1944 stage play, based on Kathryn Forbes’ fictionalized memoir Mama’s Bank Account (1943). Dunne apparently worked with a coach for two months to perfect her accent, and it pays off handsomely: as a Norwegian-American who grew up with first-generation immigrant parents, I can attest to the authenticity of her speech. Indeed, Dunne’s Oscar-nominated performance as Martha Hanson is among her best: in each scene, we see how much care she’s put into thinking through this tenacious woman’s decisions:

… showing us how calculating (literally) Martha is, in the best sense of the word — from the opening scene in which she carefully determines how much money their family has left to spend after accounting for all expenses:

… to a sequence in which she figures out how to protect her bullied sister (Ellen Corby) — hoping to marry the town mortician (Edgar Bergen) — from merciless teasing by their mean older sisters (Hope Landin and Edith Evanson):

… to her ruse for sneaking into the hospital to visit her child:

… and her ability to leverage her cooking expertise and people skills as she helps Bel Geddes gain support and advice from a renowned female author (Florence Bates):

While the primary focus is (appropriately) on “Mama”, this long-ish film (it clocks in at over 2 hours) shows us a wide variety of memorable anecdotes and characters from Bel Geddes’ past — including a lodger (Cedric Hardwicke) who pays for his room and board through absorbing read-alouds:

… her sister Dagmar’s (June Hedin’s) travails with a tom cat named “Uncle” Elizabeth:

… and, most especially, her overbearing Uncle Chris (Oskar Homolka):

… whose household presence and failing health take up a bit too much screentime, though this is forgivable precisely because he had such an outsized influence in her memory. Nicholas Musuraca’s cinematography is stellar throughout, with especially impressive use made of location shooting to portray life in early 20th century San Francisco:

This films remains very much worth a visit, particularly for Dunne’s stand-out performance, but also simply as an overall “good show”.

Note: It was jarring for me to hear Homolka’s Austrian accent passed off as Norwegian, though I’m sure most audiences won’t mind.

Notable Performances, Qualities, and Moments:

• Irene Dunne as Mama
  
• Barbara Bel Geddes as Katrin
  
• Fine supporting performances
  
  
• Nicholas Musuraca’s cinematography
  
• Excellent use of location shooting in San Francisco
  

Must See?
Yes, for Dunne’s Oscar-nominated performance, and as a worthy film.

Categories

• Good Show
• Noteworthy Performance(s)
• Oscar Winner or Nominee

Links:

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

Synopsis:
After the death of his father, Nicholas Nickleby (Derek Bond) arrives with his mother (Mary Merrall) and sister (Sally Ann Howes) to seek support from his cold, money-lending Uncle Ralph (Cedric Hardwicke). Hardwicke finds Howes a job as a seamstress, and Bond a position as a tutor in a boarding school run by a sadistic headmaster (Alfred Drayton) and his wife (Sybil Thorndike), where Bond befriends and rescues a crippled young man named Smike (Aubrey Woods). While rooming with his uncle’s sympathetic clerk (Bernard Miles), Bond struggles to find steady work and falls for a beautiful young woman (Jill Balcon) whose gambling father (George Relph) is indebted to Hardwicke.

Genres, Themes, Actors, and Directors:

• Charles Dickens Adaptations
• Class Relations
• Historical Drama

Review:
Helmed by Brazilian-born director Alberto Cavalcanti, this adaptation of Charles Dickens’ third novel — after The Pickwick Papers and Oliver Twist — was released in between David Lean’s Great Expectations (1946) and Oliver Twist (1948). While it doesn’t reach the narrative heights of either of those classics, it possesses enough historical charm and atmospheric cinematography to remain of note on its own merits:

It’s chock-a-block full of characters from Dickens’ 952-page serialized novel:

… with Cavalcanti and screenwriter John Dighton admirably keeping us engaged and able to follow along as Bond and his loved ones encounter a seemingly endless string of bad apples:

… with a few decent ones tossed in here and there:

Note: Cavalcanti was clearly a genius of sorts, originally studying law, architecture, and interior design before embarking on his career in cinema, primarily making his mark with this and “The Ventriloquist’s Dummy” sequence from the omnibus film Dead of Night (1945).

Notable Performances, Qualities, and Moments:

• Cedric Hardwicke as Uncle Ralph
  
• Gordon Dines’ cinematography
  
  
  

Must See?
No, but it’s probably must-see for Dickens fans.

Links:

• IMDb entry
• NY Times Original Review
• Eye For Film Review