Responses to Peary’s “must see” movie reviews, as well as my own “must see” movie reviews up to and after 1986 (when Peary’s book was published).
“I knew you couldn’t pass up this damn race.”
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For a fun overview of many of the cars in this film, click here [archived web page]. Redeeming Qualities and Moments:
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“Life every now and then behaves as if it has seen too many bad movies.”
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Gardner — who struggles to maintain a semblance of a Spanish accent — is a woman who easily resists the lure of money and fame, as presented in the opening sequence by a caddish first-time producer (Warren Stevens) who wrongly assumes Gardner will accept his offer to become Hollywood’s next great discovery:
Instead, Gardner is drawn to the honest friendship of Bogart (whose voiceover perspective opens the film), a jaded but happily married director who is willing to mentor Gardner and help her learn to act.
Edmond O’Brien won an Oscar for his brief work as an enthusiastic promoter:
but his role is minimal, despite taking on voiceover duties for awhile in the middle of the flashback-filled screenplay. Finally, Gardner’s widowed husband (Brazi) tells his perspective as the first man Gardner falls for and is willing to marry, not knowing he holds dark secrets that will doom her to unhappiness yet again. During this portion of the episodic film, Valentina Cortese — so effective in Jules Dassin’s Thieves Highway (1949) — plays a thankless, underwritten role as Brazi’s concerned sister.
Since we know from the get-go how this tragic tale ends, there’s ultimately little to do but enjoy Jack Cardiff’s predictably beautiful cinematography. Redeeming Qualities and Moments:
Must See? (Listed in 1001 Movies You Must See Before You Die) Links: |
“Do you really think these boys don’t know the difference between right and wrong?”
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Review: Redeeming Qualities and Moments:
Must See? Categories
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“Remember, my boy: it’s easier to die than to live!”
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A Time to Love and a Time to Die (the title is succinct and direct) is essentially a wartime romance:
… taking place within Germany’s deadly final days during World War II, when soldiers felt defeated by the inevitability of their country’s loss, and unsure what moves to make next — other than simply continuing to follow instructions and seek joy where they could find it. Upon arriving in his hometown, Gavin accepts an invitation from a former classmate (Thayer David) — now a high-level Nazi — to refresh himself in David’s palatial home:
Despite his discomfort, he realizes that maintaining appearances and not rocking the boat too much will ultimately help him in his quest to locate both his own missing parents, and Pulver’s father — who’s been sent to a concentration camp. Meanwhile, he uses connections and a spiffy suit from a high-class lieutenant (Keenan Wynn):
… to gain entrance to a secret nightclub, where he’s able to offer Pulver a glorious night on the town:
— at least until the club is directly bombed and they must flee for their lives.
Other than Gavin and Pulver taking a chance on love and happiness in the midst of chaos and uncertainty:
… the storyline centers on Gavin’s gradually shifting sense of moral responsibility; to his credit, Sirk doesn’t overplay this theme, instead allowing it to unfold somewhat naturally (with a surprise ending). While this isn’t must-see viewing for all film fanatics, Sirk fans will surely want to check it out. Redeeming Qualities and Moments:
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“No woman like her: one minute fighting, scratching, the next minute she’s as sweet and soft as any woman alive.”
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Review: Redeeming Qualities and Moments:
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“I like opening my eyes and seeing you.”
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Ray effectively portrays a hard-edged world in which the future happiness of a young criminal (Granger insists he was innocent when sent to jail as a teenager) is dependent on his collaboration with career-long crooks, who have no interest in giving up their life of crime, and ineluctably draw Granger back in time and again. O’Donnell, meanwhile, has been stuck living with criminals her entire life:
… and is naively desperate for a viable chance at romance and a “normal” life. Of course, everything about their courtship and marriage is tinged by the inevitable fatality of living life on the lam, so we mostly watch their travails with a sense of sadness and doom. The film is atmospherically shot throughout, presenting a shadowy world of criminality and deception, but also moments of tentative intimacy. O’Donnell’s loyalty to Granger exists in parallel with that of Helen Craig’s Mattie, who will stop at nothing to secure the funds needed to free her own man, and plays a pivotal role in the film’s resolution.
Other supporting performances are strongly drawn as well — most notably Howard Da Silva as malicious yet insecure one-eyed Chickamaw:
… Ian Wolfe as a man used to marrying couples under all kinds of hurried circumstances:
… and Byron Foulger as an innkeeper eager to tutor his young son (Teddy Infuhr) in the ways of his craft.
Many have pointed out that this film bears similarities to Fritz Lang’s You Only Live Once (1937), and it is also often cited as the forerunner to Bonnie and Clyde (1967) — but Ray brings his own unique sensibility to the genre of “criminal couples on the run”; this one remains worth a look. Redeeming Qualities and Moments:
Must See? Categories
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“You’re amusing — and you smell like a real man.”
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Review: Peary writes that “it is the hard, naughty edge Simmons gives her character that makes her exciting”: while “Sharon’s a good person” (she’s a true believer, not a con-artist), “she’s no goody-goody, and no prude”; indeed, “she has as much fight in her as Gantry.” Simmons is indeed luminous and refreshingly tough — and is well-matched by finely cast Lancaster, who apparently stated, “Some parts you fall into like a glove. Elmer really wasn’t acting. It was me.” I’m less a fan of Shirley Jones’s Oscar-winning supporting performance as a blackmailing prostitute (Jones is trying a tad too hard to throw off her peaches-and-cream starring roles in Oklahoma! and Carousel):
… but I appreciate Arthur Kennedy’s convincing portrayal as a journalist who finds himself more deeply involved in his story than he anticipated. Meanwhile, John Alton’s cinematography is beautiful, vividly bringing this specific era of American history to life. Redeeming Qualities and Moments:
Must See? Categories
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“You ain’t never gonna get rid of me — never.”
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Review: Redeeming Qualities and Moments:
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“I just couldn’t get the hang of being married.”
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Review: Redeeming Qualities and Moments:
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“This isn’t just a job — it’s a profession!”
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Review: Redeeming Qualities and Moments:
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