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).
“We felt from the beginning that the president is really two men — but I became aware tonight, somehow, of a third being.”
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Review: Note: I was unaware of Karen Morley’s HUAC-incited career decline; given her life-long interest in labor activism, it’s fitting that she co-starred in this film, Our Daily Bread (1934), and Black Fury (1935). Redeeming Qualities and Moments:
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“What’s a son to him, compared to his blasted regiment?”
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The story revolves around ongoing tensions between a career-obsessed colonel (Standing):
who can’t fathom leaving his work behind when he dies, and his quietly ambivalent son (Cromwell).
As with Gunga Din (1939) — also taking place in colonial India — it’s hard to watch a film which so blatantly elevates imperialism; but this is ultimately a relic of its time. As pointed out in TCM’s article:
With that said, the entire affair is atmospherically filmed; Cooper and Tone are charismatic compatriots-in-arms (check out the freaky snake-“charming” scene):
… and the finale is excitingly staged. Note: This film is also distinctive as “one of only two pictures in which Cooper wears a mustache” (!). Redeeming Qualities and Moments:
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“In this treacherous life, it’s difficult to know which is friend, and which is foe.”
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Review: And now for a little bit of the original poem, which it was a true treat to revisit: . . . Theirs not to make reply, Note: This film is historically significant for sad reasons; as noted in TCM’s article:
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“The men must be led, not driven.”
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Review: Note: Diehard Susan Hayward fans may enjoy seeing her in one of her earliest roles, as Milland’s love interest back at home.
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“If only one could work miracles… Just think of what you could do.”
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towards a muddled mess of decision-making and accidental outcomes, showing how easily people with power can be swayed both by others’ advice, and their own sense of faux-grandiosity.
Young’s character is deliberately an “every man” — indeed, one with lust in his heart (for coworker Joan Gardner):
despite the presence of a “good woman” (Sophie Stewart) waiting by his side:
It’s no surprise to see him struggling so mightily with his newfound ability. The entire tale is framed as the machinations of a trio of gods — Indifference (George Sanders — perfect casting), Player (Ivan Brandt), and Observer (Torin Thatcher) — overlooking the Earth and trying this exercise on for size:
… which brings to mind the structure of Jason and the Argonauts (1963). Redeeming Qualities and Moments:
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“That’s New York for you: put you on a Christmas tree, and then in the alley.”
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is given a meaningful leading role, albeit one which is quickly rivaled by Mitchell’s likeably boozy wordsmith.
The series of events that unfold move quickly, and, as Bosley Crowther wrote in his glowing review for The New York Times: “… it is beautifully compact. Between dark and dawn [Hecht] has set a spare and enormously suspensive story that is as neatly fitted as an O. Henry fable.”
Lee Garmes’ cinematography is appropriately atmospheric, highlighting the unique sets and claustrophobic setting within which this tale plays out. Note: Hayworth sounds eerily like Marilyn Monroe at times — though perhaps the comparison is an apt one. Redeeming Qualities and Moments:
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“She seems so human, yet obviously not human at all!”
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Naturally, inquiry-driven scientists — most particularly Dr. Farraday (Basil Rathbone) back on Earth — demand she be brought back safely at any cost, despite the clear risk she poses. It’s been noted that both this and Bava’s flick bear a remarkably strong resemblance to Alien (1979), which is part of what makes them each worth a look despite their flaws. The final scene is genuinely chilling and icky. Note: I’m leaving out a spoiler genre that would give away too much. Stay away from any online reviews if you want to be surprised. Redeeming Qualities and Moments:
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“I thought I’d change my life.”
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“You two-timing son-of-a-bitch — he’s a woman!”
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Preston is delightful as her supportive new roommate, and convincing as a gay man; his final dance performance (completed in a single take) is a hoot.
The humor — including plenty of Edwards’ signature slapstick — is broad but suitable, and mostly works, with a highlight including the extended “cockroach in my salad” restaurant sequence.
A minor quibble is that we’re shown a few too many shots of Garner looking at Andrews with skepticism before learning the truth about her gender (we get it, already):
… but their subsequent complicated romance plays out authentically, as Garner must continue to confront his own homophobia while Andrews stands up for her professional needs. Redeeming Qualities and Moments:
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“This is war, and you’re in it!”
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but we also see Brennan (fine in an unusually subdued supporting role) bonding with fellow captives as he faces near-certain death:
… and other minor characters refusing (even under torture) to betray their countrymen.
The narrative through line of a double agent (Lockhart) who finds himself gradually hemmed in by his own deceit is enormously satisfying:
… and if the Nazis here are portrayed in a somewhat caricatured fashion, this can easily be forgiven given the era in which this film was made and released. Redeeming Qualities and Moments:
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