FilmFanatic.org

Synopsis:
A man (Jimmy Stewart) determine to avenge the death of his brother by finding the person who sold an Apache tribe repeating rifles comes to a ranch owned by an aging patriarch (Donald Crisp) with a psychopathic son (Alex Nicol), where the ranch-hand (Arthur Kennedy) is convinced his filial loyalty to Crisp should be repaid in property.

Genres, Themes, Actors, and Directors:

• Anthony Mann Films
• Arthur Kennedy Films
• Donald Crisp Films
• Father and Child
• Inheritance
• Jimmy Stewart Films
• Revenge
• Westerns

Response to Peary’s Review:
Peary writes that in this “fifth and last of Anthony Mann’s westerns starring James Stewart,” Stewart is once “again a revenge hero”, though “one with no sense of guilt”. He notes that “the psychological dilemmas Mann usually reserves for his hero are shifted to the villains in this film”, which is “structured like a classical tragedy in which a powerful corrupt family is about to collapse”. Peary asserts that the “picture has excellent dialogue and — this being Mann — impressive, thematic use of the landscape (in this case, New Mexico)”, and further adds that what he finds “most compelling about the film is the presentation of violence”, which “is brutal and always comes impulsively”. He argues idealistically that “the film is saying that if men learned to control their volatile tempers and to act rationally, there would be much less senseless violence (in our world or Mann’s West).”

I agree with Peary that this film is beautifully shot, and makes excellent use of natural landscapes as a backdrop for the revenge-driven storyline. The violence itself is indeed “brutal” and shocking; we’re not used to seeing heroic Stewart treated as unfairly as he is here (dragged along the ground by a rope, shot calculatedly in the hand).

Indeed, the psychopathy of “sadistic and crazy” Nicol —

… and Crisp’s unwavering loyalty to his son despite all evidence that he should reject him — are quite disturbing. I find it challenging to watch the “family” dynamics playing out between Crisp, Nicol, and Kennedy:

This is a serious morass of denial and dysfunction, and it’s hard to have much sympathy for Crisp, who nonetheless is portrayed as deserving love (from Aline McMahon as his neighbor and former love interest):

… and understanding (especially given his failing eyesight). Meanwhile, Cathy O’Donnell’s role as Nicol’s cousin and Kennedy’s would-be fiance is underdeveloped; she’s beautiful, but her performance feels oddly distant.

With all that said, there is enough brilliance here in staging, setting, and cinematography to make this outing worth a one-time look.

Redeeming Qualities and Moments:

• Gorgeous cinematography
  
  
• Fine sets and use of outdoor locales
  
  
  

Must See?
No, but it’s recommended for one-time viewing.

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

Links:

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

Synopsis:
A sharpshooter (Jimmy Stewart) arriving in Dodge City with his longtime friend (Millard Mitchell) wins a coveted Winchester ’73 rifle in a shooting contest, but it’s stolen by his rival (Stephen McNally), who then loses the gun to an “Indian trader” (John McIntire) who is scalped by Chief Young Bull (Rock Hudson). Eventually the gun lands in the hands of a cowardly man (Charles Drake) engaged to a dance hall girl (Shelley Winters) who has a crush on Stewart. Drake’s outlaw partner (Dan Duryea) steals the gun from Drake, but loses it back to McNally. Who will finally end up with the gun — and the girl (Winters)?

Genres, Themes, Actors, and Directors:

• Anthony Mann Films
• Dan Duryea Films
• Jimmy Stewart Films
• John McIntire Films
• Native Americans
• Revenge
• Rock Hudson Films
• Shelley Winters Films
• Siblings
• Westerns

Response to Peary’s Review:
Peary writes that this “classic adult western by Anthony Mann, the first of five he directed with James Stewart”, has “excellent action sequences” as well as “unusual characterizations”, “interesting relationships”, and “unpretentious dialogue”. Indeed, it’s likely my favorite of the five, given that all elements of the rotating storyline (a la Ophuls’ La Ronde) help build a complex tableau of an Old West filled with classic tropes of the genre: a Cain-and-Abel brother-revenge tale; trigger-happy villains with plenty of guns; a “loose” woman (Winters) eager to settle down with a “real” man (Stewart); skirmishes with Native Americans; and male dominance hierarchies establishing tentative order in a lawless, violence-ridden landscape. The characterizations are indeed “unusual”, and quite rich, especially given how often the storyline shifts from one set of characters to another. I like how additional insights into motivation are gradually revealed; how the seemingly disparate storylines eventually converge; and how subplots (i.e., Winters’ dismay over her fiance’s unexpected cowardice during an Indian raid) turn into essential elements of the narrative (Winters plays an unexpectedly pivotal role in the film’s final outcome). Mann’s direction, William Daniels’ cinematography, and the range of supporting performances (including dependable baddie Duryea) are top-notch throughout.

Note: This film’s pacing, episodic western narrative, and cast of diverse characters put me in mind of Quentin Tarantino’s The Hateful Eight (2015).

Redeeming Qualities and Moments:

• Excellent performances across the board (Peary nominates Stewart for a Best Actor award in his Alternate Oscars)
  
  
  
• Strong direction by Mann
  
  
  
• Fine cinematography by William H. Daniels
  
• Excellent use of rugged outdoor settings
  
• Smart dialogue
  

  “Haven’t I seen you somewhere?”
  “I been somewhere!”

Must See?
Yes, as a classic of the genre. Nominated by Peary as one of the Best Pictures of the Year in his Alternate Oscars.

Categories

• Genuine Classic

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

Links:

• IMDb entry
• TCM Articles
• DVD Savant Review

Synopsis:
A cattle-driver (Jimmy Stewart) hoping to earn money by selling his herd in the Yukon is arrested for murdering two employees who tried to steal his cows, and sentenced to loss of his animals by a Seattle-area judge (John McIntire). After agreeing to accompany a savvy saloon owner (Ruth Roman) on her trip to set up a new business in a frontier town, he steals his cattle back and takes them along, supported by his long-time buddy (Walter Brennan) and a young French-Canadian (Corinne Calvert) with a crush on Stewart. But McIntire refuses to back down without a fight, and swears he’ll punish Stewart once he’s back on American soil.

Genres:

• Anthony Mann Films
• Gold Seekers
• Jimmy Stewart Films
• John McIntire Films
• Love Triangle
• Revenge
• Ruth Roman Films
• Walter Brennan Films
• Westerns

Response to Peary’s Review:
Peary writes that this “fourth in the five-film Anthony Mann-James Stewart western series” “has many elements of the other entries — a hero with a shady past, a revenge motif, strong violence, a beautiful but rugged landscape — but it’s weaker than the others”. He notes that “most significantly, it lacks the typical Mann-Stewart antagonist who represents Stewart’s alter ego, someone with a similar background who is the character Stewart would become if he didn’t reform”. He adds that “Stewart’s character is neither interesting nor appealing”:

… and “neither are the two women who love him: good-bad girl Roman:

… and tomboy Corinne Calvert, who’s too sweet and innocent for a Mann film”.

Finally, he notes that “the romantic scenes are trite, [and] the action scenes are unwieldy”. I’m in agreement with some of Peary’s assessment — particularly re: Calvert’s out-of-place portrayal as a young Francophone woman prone to petulantly asserting her maturity: “I’m NOT a freckle face. I’m a woman!”

However, I actually find Roman’s business-woman “Ronda Castle” quite interesting: she’s a refreshingly strong-willed, independent, boldly sexual counterpart for Stewart, and effectively serves as his “antagonist”. She helps to flesh out the story’s focus on entrepeneurial grit — mixed with plenty of corruption, greed, and violence — in early mining towns.

Redeeming Qualities and Moments:

• William H. Daniels’ Technicolor cinematography
  
• Effective location shooting (at Saskatchewan Glacier and in Jasper National Park in Alberta, Canada)
  

Must See?
No, though it’s certainly worth a look for its historical relevance.

Links:

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

Synopsis:
A former border raider (James Stewart) helps a group of settlers — including two beautiful sisters (Julie Adams and Lori Nelson) — cross safely into Oregon while rescuing a vigilante (Arthur Kennedy) who then joins their troupe. When food supplies become scarce due to a gold rush in Portland, Stewart must try to secure their safe shipment back to the settlers — but will Kennedy be lured by the exorbitant prices being offered by miners?

Genres:

• Anthony Mann Films
• Arthur Kennedy Films
• Ex-Cons
• Jimmy Stewart Films
• Julie Adams Films
• Rock Hudson Films
• Settlers
• Westerns

Response to Peary’s Review:
Peary notes that this “exciting” “second of five westerns Anthony Mann made with James Stewart” centers, “like most Mann westerners”, on men who “can’t escape [their] past”, and “how violent men choose to lead their lives now that the West is becoming civilized”. He writes that the “script by Borden Chase is first-rate”, with “the dialogue between Stewart and Kennedy… particularly strong”, conveying that “each knows what the other is thinking at all times”. Indeed, Stewart and Kennedy make for a fascinating pair of (anti-)heros, with each demonstrating the better or worse part of their natures when confronted by temptation. Tension in the storyline is near-constant, given the confluence of naturally rugged terrain, limited supplies, a small handful of beautiful women, and gold fever infesting men’s hearts and minds. When basic supplies can be sold for 100 times their “natural” cost, will greed outweigh basic decency and respect for human life? That dilemma drives the narrative, which takes place within “excellent cinematography of the beautiful landscape” by Irving Glassberg.

Redeeming Qualities and Moments:

• Excellent use of outdoor locales
  
• An action-packed screenplay
  

Must See?
Yes, as another fine outing between Mann and Stewart.

Categories

• Good Show

Links:

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

Synopsis:
An embittered bounty hunter (Jimmy Stewart) seeks help from a grizzled prospector (Millard Mitchell) and a dishonorably discharged “Indian fighter” (Ralph Meeker) in trapping an outlaw (Robert Ryan) who is travelling with a vulnerable young female companion (Janet Leigh).

Genres:

• Anthony Mann Films
• Janet Leigh Films
• Jimmy Stewart Films
• Love Triangle
• Outlaws
• Ralph Meeker Films
• Revenge
• Robert Ryan Films
• Westerns

Response to Peary’s Review:
Peary writes that “in his third Anthony Mann western, James Stewart is a hard-bitten man” whose actions — “like most Mann westerners” — are “determined by his past. … Having lost everything dear to him, he suffers guilt and self-hatred — his need to take out his anger on another man, who is much like the immoral ‘beast’ he has become, is obviously his way of attacking himself”. Peary adds that “as usual, Mann uses his landscape as more than a backdrop: as the terrain becomes rougher and the stream they follow becomes more turbulent, the tension among the characters increases and their cruelty becomes more evident”. However, Peary writes that “the script by Sam Rolfe and Harold Jack Bloom is weaker than those used in other Mann westerns”, with “trite” dialogue and Stewart’s “character… poorly developed, so that we can’t really understand… the exact nature of his neurosis”. He notes that “this is the one Stewart hero in a Mann film that could just as easily have been played by other actors”, but he concedes that “Ryan makes a great villain”.

I share Peary’s concerns. Stewart’s character is too much of an enigma to relate to: we hear in passing about the injustices he suffered while away at war, but his bitterness and deceit prevent us from sympathizing with his goal of bringing Ryan back (dead or alive) at any cost.

While Ryan is a “great villain”, his psychopathy — emblemized by his near-constant sneering smile — is so obvious it’s a bit of a stretch to imagine Leigh maintaining her loyalty to him for so long. Indeed, this entire group of men are so tough and self-serving that it’s difficult watching naive Leigh navigate among them, knowing she’ll inevitably be taken advantage of.

However, the action scenes are all exciting, Mann keeps the pace moving quickly, and excellent use is made of rugged outdoor locales. Film fanatics will want to check this one out.

Redeeming Qualities and Moments:

• Fine cinematography and direction
  
• Excellent use of outdoor locales
  

Must See?
Yes, as a well-crafted if harsh outing by a master director.

Categories

• Good Show

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

Links:

• IMDb entry
• TCM Article
• DVD Savant Review (scroll down)
• Spinning Image Review
• Chicago Reader Interview by Jonathan Rosenbaum

Synopsis:
When a physician (Errol Flynn) in 17th century England is convicted of conspiracy against the crown after tending to a wounded rebel, he and others are sent to work as slaves in an American colony overseen by a cruel governor (Lionel Atwill) whose beautiful niece (Olivia de Havilland) purchases Flynn, much to Flynn’s chagrin. Flynn and his men eventually become pirates on the high seas, partnering with a captain (Basil Rathbone) who takes de Havilland as a hostage — but will Flynn rescue her, or let his resentment continue to drive a wedge through their nascent cross-class romance?

Genres:

• Basil Rathbone Films
• Cross-Class Romance
• Errol Flynn Films
• Historical Drama
• Lionel Atwill Films
• Michael Curtiz Films
• Olivia de Havilland Films
• Pirates
• Slavery

Response to Peary’s Review:
Peary writes that this “rousing adaptation of Rafael Sabatini’s novel about a 17th century English pirate made a star of Errol Flynn, who made the most of his first lead role”, and notes that it “boasts of marvelous action sequences; extremely intelligent dialogue; spirited direction by Michael Curtiz; and an earnest, strong performance by Flynn.”

He adds that a highlight of the film is the “Flynn-Basil Rathbone swordfight-to-the-death on a rocky beach, during which the opponents smile constantly” — and that the inaugural on-screen pairing of beautiful young de Havilland and Flynn represents “one of the cinema’s truly wonderful romantic teams”.

Indeed, fans of swashbuckling romantic dramas will find much to enjoy here, though I’ll admit it’s not a personal favorite: I’m not thrilled by the buffoonish nobility, Rathbone’s faux-French accent, or Flynn’s hairstyle (!). In the film’s favor are marvelous cinematography (by Ernest Haller and Hal Mohr), rousing action scenes (Curtiz is indeed masterful), and Erich Wolfgang Korngold’s “excellent” debut score. As a curiosity, listen for Blood’s surprisingly forthright and graphic proclamation that “If a man molest a woman captive against her will, he, too, shall receive the same punishment.”

Note: Sadly, supporting character Ross Alexander — who plays Jeremy, the ship’s navigator — had a tragic (closeted gay) personal life and killed himself just after this film was made.

Redeeming Qualities and Moments:

• Atmospheric cinematography
  
  
  
• Expertly directed combat scenes
  
  
  
• Erich Wolfgang Korngold’s score

Must See?
Yes, once, for its historical importance.

Categories

• Historically Relevant

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

Links:

• IMDb entry
• DVD Savant Review
• TCM Article

Synopsis:
When his visiting buddy (James Russo) is murdered, a Detroit-based detective (Eddie Murphy) travels to Beverly Hills to investigate potentially criminal dealings at the art gallery where Russo worked, managed by their mutual friend (Lisa Eilbacher); but will Murphy’s efforts be foiled by local cops (John Ashton and Judge Reinhold) who resent his involvement?

Genres:

• Criminal Investigation
• Eddie Murphy Films
• Police

Response to Peary’s Review:
Peary writes that this “phenomenally successful Eddie Murphy comedy-crime drama” contains “some nice moments between Murphy and Beverly Hills cops Judge Reinhold and John Ashton, whom he wins over”, but argues that the “story is terribly written” and that director Martin Brest’s “comic touches are always disruptive”. However, he concedes that “Murphy saves the day, successfully fighting through his bad lines and improvising — hilariously — like crazy” as he “invade[s] ritzy establishments (fancy hotels, restaurants, art galleries, Beverly Hills mansions) or institutions and, using his con act, imitate[s] authority figures”. I think Peary’s a bit too harsh on this cult ’80s favorite: while it may be a “big joke” that Daniel Petrie’s script “received an Oscar nomination” (!), Beverly Hills Cop (the first in a lengthy franchise) remains a serviceable, well-executed, fast-paced thriller with plenty of danger and laughs. Murphy’s loyalty and persistence are charming, and the theme song is catchy enough to deserve its own “must-listen” status.

Redeeming Qualities and Moments:

• Eddie Murphy as Axel Foley
  
  
• Harold Faltmeyer’s catchy theme song

Must See?
Yes, as a cult favorite.

Categories

• Cult Movie

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

Links:

• IMDb entry
• Q Network Review
• Spinning Image Review
• NY Times Original Review

Synopsis:
In 19th century Europe, a real estate agent (Bruno Ganz) is sent by his boss (Roland Topor) to secure a sale with Count Dracula (Klaus Kinski) in Transylvania. Dracula quickly becomes enamored from afar with Ganz’s beautiful wife (Isabelle Adjani), and sets sail to ravish her.

Genres:

• Bruno Ganz Films
• German Films
• Vampires
• Werner Herzog Films

Response to Peary’s Review:
Peary writes that “Werner Herzog’s remake of F.W. Murnau’s horror classic is beautifully filmed but too slow”, and notes that you’ll be “half asleep” by the time Ganz “reaches the castle of Count Dracula”. He writes that “what’s most disappointing is that the themes and storyline are almost identical to Murnau’s still widely circulated film, making one wonder if Herzog undertook the project only to see if he could make Kinski look like Max Schreck’s vampire (he comes mighty close)”. While it’s true that Herzog’s film is an unmistakably direct homage to Murnau’s film — he’s called it the best movie to come out of Germany — Herzog brings a unique vision to the project, making it distinctively his own. Working with cinematographer Jörg Schmidt-Reitwein, he crafts a luminously saturated historical landscape in which mortals interface warily with vampires, and it’s easy to imagine Dracula’s legend taking root. I agree with Peary that the film moves too slowly — patience is required; but Kinski is mesmerizing as the tortured Nosferatu, and the visuals (including impressive sets, costumes, make-up, and hundreds of live rats) are highly memorable.

Redeeming Qualities and Moments:

• Klaus Kinski as Nosferatu
  
• Jörg Schmidt-Reitwein’s cinematography
  
  
• Fine period sets and costumes
  
  
• Effectively creepy make-up
  
• Many memorable scenes and images
  
• The eclectic and haunting soundtrack by Popul Vuh and others

Must See?
Yes, as a visually evocative homage to a cinematic classic.

Categories

• Good Show

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

Links:

• IMDb entry
• DVD Savant Review
• Moria Review
• Q Network Review

Synopsis:
A widowed German housecleaner (Brigitte Mira) falls in love with a much-younger Moroccan mechanic (El Hedi ben Salem), but the couple’s May-December, cross-cultural romance must withstand constant scrutiny and prejudice from their neighbors, friends, and family.

Genres:

• Cross-Cultural Romance
• Fassbinder Films
• German Films
• Marital Problems
• May-December Romance
• Racism

Response to Peary’s Review:
Peary writes that “for those who consider the films of Rainer Werner Fassbinder too esoteric and perverse, here is one that has universal appeal”; in fact, “it was Fassbinder’s breakthrough film internationally, the reason many people worldwide were willing to examine his more difficult, less accessible films.” He writes that “the couple is strong enough to endure” the “constant racial prejudice [Salem] and other Arabs in Germany are subjected to, but in time Mira’s own prejudices surface and threaten to shatter the marriage”. He concludes his review by noting that this remains “a simple, extremely poignant film, all the more fascinating because Fassbinder deals with racial prejudice in modern Germany — against Arabs, not Jews.” Indeed, Mira and Salem’s unique cross-cultural romance remains as touching and relevant as ever — perhaps even more so in the early 21st century, as Europe’s demographics continue to shift contentiously.

Mira is perfectly cast in the central female role, and fans will definitely want to check out the 2003 interview with her on Criterion’s digital restoration DVD. Salem’s personal story (he was Fassbinder’s lover in real life) mirrors his onscreen tragedy, albeit on an even more catastrophic scale; I’d love to find a copy of the 2012 documentary about him entitled My Name is Not Ali, but haven’t had any luck so far. Suffice it to say that this films reminds us how being an “outsider” — whether older, darker-skinner, less-attractive, foreign, lower-class, gay — remains an ongoing challenge for many (if not most) humans across the globe. Ali: Fear Eats the Soul is simultaneously a balm for one’s heart (“When we’re together, we must be nice to each other — otherwise, life’s not worth living.”) and a cautionary tale that our souls are hardly free from the xenophobic fear “Ali” warns us of.

Note: Peary writes that “Fassbinder admired the work of Douglas Sirk, and critics were quick to point out the film’s similarity to Sirk’s All That Heaven Allows,” as well as themes from Sirk’s Imitation of Life.

Redeeming Qualities and Moments:

• Brigitte Mira as Emmi
  
• Many memorable, poignant scenes
  
• Rich cinematography
  

Must See?
Yes, as a foreign classic.

Categories

• Foreign Gem

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

Links:

• IMDb entry
• NY Times Original Review
• Roger Ebert’s Greatest Films Review
• TCM Article
• Bright Lights Film Essay
• Spinning Image Review
• Q Network Films

Synopsis:
After the onset of plague-inducing global war, the tyrant (Ralph Richardson) of Everytown is visited by an aviator (Raymond Massey) who hopes to bring peace and progress through his organization Wings Over the World. After decades of technological advancement, all humans are living underground in a leisurely communal society — but a sculptor (Cedric Hardwicke) urges society to resist ceaseless advances, and a battle ensues over whether to send a “space gun” to the moon.

Genres:

• Ralph Richardson Films
• Raymond Massey Films
• Science Fiction
• World Domination

Response to Peary’s Review:
Peary writes that this “monumental, extremely ambitious, and lavish Alexander Korda production” — the “most expensive British film of the time” — possesses “truly innovative special effects and bizarre set designs and ‘futuristic’ costumes’ [that] are still of interest”, but “what gives [this] fantasy special interest is that it was scripted by 70-year-old H.G Wells”, whose goal was to write a “predictive history” rather than purely speculative fantasy. Peary notes that the “film depicts [the] Wellsian view that near future will be catastrophic but in time man will build a marvelous, peaceful world”, and points out that “this is the rare SF film that is pro-scientific advance, pro-knowledge, pro-technology”. He adds that “unfortunately, Wells’s spokesman… sounds today like a lunatic when he delivers his final speech about mankind spreading out into the universe”, and notes that the “picture is dated and flawed in other areas”; he ultimately posits that the film “presents a futuristic vision that is at once ridiculous and fascinating”.

Peary’s take on this film remains accurate: it’s impossible not to stare at the “architectural wonders” on display, and wonder if we might one day find some way to live in global peace and harmony through technological advances. However, the hive-like nature of the underground village looks uncomfortably like an antiseptic ant hill — and, as pointed out by DVD Savant, “we of course aren’t told how the population is controlled, or where all the non-Anglo people might be.” Savant further points out that “the imagery is also uncomfortably close to depictions of racial glory in Nazi art: unyielding Nordic faces seeking perfection in the stars.” The characters themselves are noticeably flat: with Wells caring most about the accuracy of his vision, and director William Cameron Menzies primarily concerned about the sets and visuals, nuanced performances and meaningful character arcs are missing. However, that doesn’t seem to matter as much as one would think: this really is a broad-scope tale of a planet in transformation, attempting to move beyond barbarian conflict and literally towards the stars.

Note: Interestingly, Peary writes in his review that “Wells’ script was greatly revised by Lajos Biros and [Wells] detested the finished film”, but this isn’t discussed in the extras provided on Criterion’s DVD release. Rather, according to Criterion’s website:

Wells, at the height of his popularity as a best-selling author and monumental cultural personality, held a huge amount of sway over all aspects of the production. There was one battle he did not win, however; although he wanted the film to be presented as “H. G. Wells’ Things to Come” and have no on-screen credits, relying instead on programs handed out to audiences to supply the credit information—“This is a long-needed innovation upon cinema practice,” he said. “Few people remember the names that are just flashed on the screen” — ultimately, the credits appeared in both places.

Redeeming Qualities and Moments:

• Magnificent sets and art production
  
  
  
• Highly effective cinematography
  
  

Must See?
Yes, as an early (albeit flawed) classic of the genre, and for the fantastic art design.

Categories

• Historically Relevant

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

Links:

• IMDb entry
• CageyFilms Review
• DVD Savant Review
• Q Network Review
• TCM Article
• NY Times Original Review