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Category: Response Reviews

My comments on Peary’s reviews in Guide for the Film Fanatic (Simon & Schuster, 1986).

Sound of Music, The (1965)

Sound of Music, The (1965)

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“When the Lord closes a door, somewhere He opens a window.”

Synopsis:
In 1930s Austria, a nun-in-training (Julie Andrews) is sent to work as a governess for the seven unruly children — Liesl (Charmian Carr), Louisa (Heather Menzies-Urich), Friedrich (Nicholas Hammond), Kurt (Duane Chase), Brigitta (Angela Cartwright), Marta (Debbie Turner), and Gretl (Kym Karath) — of a widowed and retired captain (Christopher Plummer) engaged to a baroness (Eleanor Parker). Soon Andrews and Captain Von Trapp (Plummer) find themselves falling in love, but their family’s happiness is threatened when the captain is called back to active duty with the Nazis.

Genres, Themes, Actors, and Directors:

  • Christopher Plummer Films
  • Eleanor Parker Films
  • Governesses and Nannies
  • Julie Andrews Films
  • Musicals
  • Nazis
  • Nuns
  • Play Adaptation
  • Richard Haydn Films
  • Robert Wise Films
  • Romance
  • Widows and Widowers
  • World War Two

Response to Peary’s Review:
Peary begins his somewhat cynical review of this beloved musical — based on a “stage musical by Howard Lindsay and Russel Crouse” — by noting that it’s “one of the most popular films of all time — which it was calculated to be”. He goes on to write that “You’ll know you’re being manipulated at every turn, that you’re expected to feel a lump in your throat or laugh or cry on cue (when the music swells, when a child smiles, when a stern adult is kind)” — but he concedes that “even if you become sick on the sugar, you’ll find it hard not to appreciate the talents of Julie Andrews, whose exuberance is infectious, whose voice is superb…, [and] who is as good as Streisand at acting while singing a song”. Indeed, Peary is so impressed by Andrews’ performance in TSOM that he names her Best Actress of the Year in his Alternate Oscars, where he refers to her as “single-handedly responsible for TSOM becoming the most profitable musical in history and winning 1965’s Best Picture Oscar”. He argues in Alternate Oscars that “she can sing about such things as ‘raindrops on roses and whiskers on kittens’ and make you want to sing along instead of throw up”; he points out that Andrews’ Maria is refreshingly “brave”, not to mention “outspoken and defiant enough of authority figures to please the most rebellious of viewers”.

I’ll admit I find it somewhat difficult to assess the critical merits of TSOM, which was — along with The Wizard of Oz (1939) — one of two “must-see” movies I happily rewatched on television each year when it aired. Viewing it again recently as an adult, I noticed myself instantly humming “the familiar Rodgers and Hammerstein songs”, which are indeed “cheery and childish and catchy”, and are for the most part, as Peary points out, “skillfully blended into the plot”. I also paid much more attention to the nuanced performance given by Eleanor Parker as Andrews’ romantic rival: younger viewers may tend to reduce her presence to simply that of a stuffy villainess who must be vanquished in order to allow Plummer’s love for Andrews to fully blossom, but in truth she injects her role with an impressive level of nuance and pathos. Parker’s Baroness is a woman who — though wealthy and used to a life of privilege — instantly recognizes that her social cache and glamour hold no weight in the face of a “greater”, truer love. Watch her expression in each and every scene she’s in, noting how seamlessly Parker conveys this character’s complex emotional arc. Meanwhile, it was fun as an adult FF to finally recognize fey character actor Richard Haydn as her (subtly-coded-as-gay) companion.

Of all the lead performances, Plummer’s remains least satisfying, though he’s certainly adequate in his portrayal of a once-stiff man who melts in the presence of Maria’s irresistible charms. I think Plummer’s notorious reluctance to take on the role — and his infamous disregard for the film years after its release — continues to sully my overall impression of his Captain von Trapp. However, Charmian Carr as his eldest daughter Liesl — who remains beloved worldwide by fans of the film — does a convincing job portraying a conflicted teen-in-love, and the rest of the child cast is fine as well. Meanwhile, the use of authentic Austrian/German locales — including the iconic opening shots on verdant hillsides — helps to open up the play enormously; aided by cinematographer Ted McCord, director Robert Wise turns the entire affair into a wonderfully picturesque adventure.

Redeeming Qualities and Moments:

  • Julie Andrews as Maria
  • Eleanor Parker as the Baroness
  • Richard Haydn as Max
  • Charmian Carr as Liesl
  • Excellent use of authentic Austrian/German settings

  • Ted McCord’s cinematography
  • Rodgers’ and Hammerstein’s immensely popular and hummable score



Must See?
Yes, of course. Haven’t you already, multiple times?

Categories

  • Genuine Classic
  • Good Show
  • Oscar Winner or Nominee

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

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Show Boat (1936)

Show Boat (1936)

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“Love is such a funny thing; there’s no sense to it.”

Synopsis:
When the lead singer (Helen Morgan) on a show boat is discovered to be a half-black woman married to a white man (Donald Cook), she leaves and is replaced by the daughter (Irene Dunne) of the boat’s owner (Charles Winninger), despite the disapproval of Dunne’s shrewish mother (Helen Westley). Meanwhile, Dunne falls in love with her leading man (Allan Jones), a riverboat gambler, but their marriage remains a decidedly rocky affair.

Genres, Themes, Actors, and Directors:

  • Actors and Actresses
  • African-Americans
  • Irene Dunne Films
  • James Whale Films
  • Marital Problems
  • Musicals
  • Paul Robeson Films
  • Play Adaptation

Response to Peary’s Review:
Peary notes that this James Whale-directed adaptation of the “Jerome Kern-Oscar Hammerstein musical” (which retains “soap-opera elements from Edna Ferber’s novel“) is “flavorful, schmaltzy, and rewarding”, with “lavish production, wonderful music, and a splendid cast”. He points out that “dramatic highlights include the scene in which the play is performed on the Show Boat, and conversations between Paul Robeson and Hattie McDaniel” (playing married servants on the boat); he also points out some of the film’s “musical highlights”, including “the McDaniel-Robeson duet, Helen Morgan giving a soulful rendition of ‘Bill’, some surprisingly effective singing by Dunne (in a role that would have been ideal for Jeanette MacDonald), and, of course, Robeson’s spellbinding ‘Ol’ Man River’.”

I’m in agreement with most of Peary’s assessment points: the production is indeed “lavish”, the cast is in fine form, and many of the songs are quite enjoyable. I also appreciated the opportunity to see Show Boat-theater so lovingly revived for modern audiences, who otherwise would have little understanding of this erstwhile form of traveling entertainment. However, I don’t find the film as a whole nearly as engaging as Peary seems to. The primary problem is that the central narrative — about Dunne’s rocky road to fame and troubled marriage with Jones — simply isn’t all that interesting, and the most compelling characters — Morgan, McDaniel, and Robeson — are relegated to supporting roles. The miscegenation subplot which propels the earliest portion of the screenplay is quite fascinating, and Whale deftly handles a pivotal scene in which Cook takes unusual measures to demonstrate his commitment to Morgan; but other than a critical appearance once more later in the story, Morgan’s tragic story is left sadly unexplored.

Meanwhile, Robeson’s performance of “Old Man River” does indeed remain (for me) the film’s indisputable highlight, leading me to wish we could learn more about his soulful character as well (the Expressionist montage flashing across the screen while Robeson sings could easily morph into a film of its own). To that end, as Peary notes, “the film’s portrayal of blacks is a sticky issue”, given that “on the one hand, they fit into stereotypes”, but “on the other, they display class, talent, [and] strength”, and are “given quality screen time”; overall, I think Whale does a respectful job handling the film’s thorny race issues, despite the unfortunate yet historically realistic appearance of Dunne in black-face at one point. Indeed, Whale’s direction is never at fault, and fans of his work will surely be interested to check out his foray into a genre completely different from the one he’s best known for (horror). But unfortunately, I can’t quite recommend this title as must-see viewing for all film fanatics.

Redeeming Qualities and Moments:

  • Paul Robeson’s incomparable rendition of “Ol’ Man River”
  • Irene Dunne as Magnolia
  • Helen Morgan as Julie
  • An amusing glimpse at 19th century small-town entertainment
  • John Mescall’s cinematography

Must See?
No, though it’s recommended.

Links:

Freshman, The (1925)

Freshman, The (1925)

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“I’ve got a new one on Speedy: he thinks he made the football team, and he’s only the water boy!”

Synopsis:
An enthusiastic student (Harold Lloyd) looks forward to becoming a freshman in college, where he imagines he will be the most popular guy on campus; but much to the chagrin of his new sweetheart (Jobyna Ralston), he becomes a laughing stock instead.

Genres, Themes, Actors, and Directors:

  • College
  • Comedy
  • Football
  • Harold Lloyd Films
  • Silent Films

Response to Peary’s Review:
Peary writes that “Harold Lloyd usually played cheery characters who wouldn’t be denied success at whatever it is they want” — and his performance here as “Speedy” is no exception. He argues that while the section in which Lloyd “is determined to be the star of the big game” remains “one of Lloyd’s most hilarious sequences”, the “entire film is filled with great comedy” — especially the “noteworthy” party sequence in which “Lloyd wears a hastily sewn tux which unravels a piece at a time”. Peary writes that “other gags remind [him] of Buster Keaton”, and argues that the “film is ideal to be on a double bill with Keaton’s College.” I’m in agreement with Peary’s enthusiasm. While it’s painful to see Lloyd’s character remain a deluded chump for so long, we take solace in the love he receives from his sweet, loyal girlfriend (Ralston), and feel inspired by his inability to let the opinions of others color his own self-worth. Among the many Lloyd titles listed in GFTFF, this remains one of the few — along with Grandma’s Boy (1922), Safety Last! (1923), and The Sin of Harold Diddlebock (1947) — that all film fanatics should check out.

Redeeming Qualities and Moments:

  • Several cleverly conceived comedic sequences
  • The genuinely sweet romance between Lloyd and Ralston

Must See?
Yes, as one of Lloyd’s most famous and popular films.

Categories

  • Genuine Classic

Links:

Lavender Hill Mob, The (1951)

Lavender Hill Mob, The (1951)

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“Most men who long to be rich know inwardly that they will never achieve their ambition — but I was in the unique position of having a fortune literally within my grasp.”

Synopsis:
A seemingly meek bank clerk (Alec Guinness) who oversees the daily transport of gold bullion is inspired by his new housemate (Stanley Holloway) to secretly steal a shipment of gold and smuggle it overseas in the form of molded Eiffel Towers.

Genres, Themes, Actors, and Directors:

  • Alec Guinness Films
  • Black Comedy
  • Flashback Films
  • Mistaken or Hidden Identities
  • Thieves and Criminals

Review:
Alec Guinness starred in four top-notch Ealing Studios comedies between 1949-1955: Kind Hearts and Coronets (1949), The Man in the White Suit (1951), The Ladykillers (1955), and this delightfully comedic caper flick. What’s most appealing about The Lavender Hill Mob is how utterly likeable its thieving protagonists are: despite knowing that they’re committing a crime of enormous monetary proportions, we can’t help genuinely rooting for them — especially given how roundly underestimated Guinness’s character is by his superiors during early scenes. Both Guinness and Stanley Holloway (as the two primary movers behind the heist) are in top form, and T.E.B. Clarke’s Oscar-winning screenplay is consistently clever, throwing just enough loopholes into the mix to keep us guessing what will happen next. While some find the final madcap car chase to be a bit of a cop-out, I think it’s a fitting ending to the increasingly surreal scenario in which Guinness and Holloway find themselves. Watch for a truly surprising final shot, which places the entire film in a different context.

Redeeming Qualities and Moments:

  • Alec Guinness as Holland (nominated by Peary as one of the Best Actors of the Year in his Alternate Oscars)
  • Stanley Holloway as Pendlebury
  • Douglas Slocombe’s cinematography
  • A deliciously witty script

Must See?
Yes, as another most enjoyable Ealing Studios comedy.

Categories

  • Genuine Classic

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

Links:

Block-Heads (1938)

Block-Heads (1938)

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“If you want me to go, I’ll stay as long as you like.”

Synopsis:
A WWI soldier (Stan Laurel) stays in the trenches for 20 years, not realizing the war is over; when he’s finally discovered, his buddy (Oliver Hardy) brings his home to meet his wife (Minna Gombell), who mistakenly believes Ollie is having an affair with an old flame (Patsy Moran).

Genres, Themes, Actors, and Directors:

  • Comedy
  • Homecoming
  • Laurel and Hardy Films
  • Marital Problems
  • Veterans

Response to Peary’s Review:
Peary argues that while this “enjoyable Laurel-and-Hardy comedy” “hasn’t many high points and the ending is too quick”, it’s “consistently amusing and a good showcase for the team’s unique style”. I agree. While the storyline is ultimately more episodic than narrative-driven (nothing more is ever made of Laurel’s infamous over-stay in the trenches, for instance), there are enough fun sight gags throughout to keep one engaged. By the way, having watched nearly all the Laurel and Hardy titles in Peary’s book, only a handful stand out to me as “must see” for all-purpose film fanatics: this title, Babes in Toyland (1934), Sons of the Desert (1933), and Way Out West (1937). By watching all four of these films, ffs will have a chance to see the gamut of L&H’s best gags; and those who become enamored with the duo will be delighted to know they made literally dozens of other films, both short and full-length.

Redeeming Qualities and Moments:

  • Plenty of wonderful gags



Must See?
Yes; this remains one of Laurel and Hardy’s most amusing films, and will likely be enjoyed by most film fanatics.

Categories

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Man They Could Not Hang, The (1939)

Man They Could Not Hang, The (1939)

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“To operate on a living body is like trying to repair a motor when it’s still running.”

Synopsis:
A doctor (Boris Karloff) experimenting with a radical form of surgery is captured by police after temporarily putting his student (Stanley Brown) to death; unwilling to believe that he meant no harm, a jury sentences him to death by hanging. But Karloff’s assistant (Joe De Stefani) resurrects him using Karloff’s own methods, and soon Karloff begins seeking revenge on those responsible for his death.

Genres, Themes, Actors, and Directors:

  • Boris Karloff Films
  • Horror<
  • Mad Doctors and Scientists
  • Revenge

Review:
As noted in my review of The Walking Dead (1936), Boris Karloff was cast in an ordinate number of B-level “living dead” flicks after achieving fame as the Monster in Frankenstein (1931); in The Man They Could Not Hang, he plays the “mad doctor” rather than the subject of experimentation. The first half of the film — in which the premise is established, and characters are clearly divided between Sympathetic and Unsympathetic to Karloff’s cause — is rather standard fare; it’s not until the second half that things really kick into high gear, as the resurrected Karloff calls together all the remaining individuals who have wronged him, and proceeds to cause their deaths one by one. This section is nicely handled, and makes the film as a whole worth a look; otherwise, this one is strictly must-see for Karloff fans.

Redeeming Qualities and Moments:

  • The gripping “old dark house” revenge sequence
  • Atmospheric cinematography

Must See?
No, though it’s worth a look simply for its tense second half.

Links:

Ilsa, She Wolf of the SS (1975)

Ilsa, She Wolf of the SS (1975)

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“Once a prisoner has slept with me, he will never sleep with a woman again. If he lives, he will remember only the pain of the knife.”

Synopsis:
A sadistic Nazi prison warden (Dyanne Thorne) gleefully tortures both male and female prisoners in her camp, not realizing that her latest sexual conquest — an American named Wolfe (Gregory Knoph) — is helping to plot her downfall.

Genres, Themes, Actors, and Directors:

  • Concentration Camps
  • Horror
  • Nazis
  • S&M
  • Strong Females

Response to Peary’s Review:
I’ll admit to avoiding this “indefensible” sexploitation flick (a “cult film for [the] sick set, with a plot suitable for S&M porno books”) for as long as possible before finally giving in to write a review for this site — which is not to say I haven’t been weirdly curious about it for years; with such a “notorious reputation” (and a morbidly intriguing title), it’s hard not to at least wonder what this film and its three similarly-titled sequels have to offer.

In his review of this first entry in the series, Peary notes that “at least the torture/violence is not as convincing as one might fear”, and points out that “the brutality looks staged”; yet the “poor acting, pedestrian direction, and a repelling overdose of bondage and violence” still “put the film at [the] bottom of the women-in-prison genre”. Indeed, it’s genuinely distressing to know that this film has a cult of diehard followers who find nothing wrong with what they refer to as its “campy” sex and violence; why in the world would people choose to sit through something this distasteful? (Clearly I’m not the target audience.) Unfortunately, I’ll eventually have to subject myself to a bit more, given that Peary lists one of the sequels — Ilsa, Harem Keeper for the Oil Sheiks (1976) — in the back of his book, despite openly referring to it as “worse”. Why, oh why, Peary?

Redeeming Qualities and Moments:
Nothing.

Must See?
No; despite its undeniable notoriety, film fanatics should only check this one out at their own peril.

Links:

Testament (1983)

Testament (1983)

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“Tell it to stop.”

Synopsis:
In the aftermath of a nuclear attack, a mother (Jane Alexander) whose traveling husband (William Devane) is presumed dead struggles to keep her three kids — Mary Liz (Roxana Zal), Brad (Rossie Harris), and Scottie (Lukas Haas) — and herself alive.

Genres, Themes, Actors, and Directors:

Response to Peary’s Review:
Peary accurately argues that this “meaningful, heartfelt film by Lynne Littman is the bleakest of all nuclear-holocaust pictures”; indeed, I believe it’s actually one of the most emotionally devastating films ever made (so be forewarned!). Peary notes that while “in most nuclear-holocaust films the survivors struggle but eventually figure out the way to start a new world”, in this film “there will be no future”, which makes it particularly touching to see how Alexander’s two eldest children (Zal and Harris) “reveal tremendous qualities” during their final weeks and months of remaining alive; both actors do an impressive job conveying their resignation and sorrow (and fans of Airplane! will be especially gratified to see that young Harris really should be remembered for more than just being asked about his knowledge of grown men and Turkish baths). Alexander, meanwhile, clearly deserved her Oscar nomination (seconded by Peary) as the children’s grieving yet resilient mother, who does what she can to provide for her family in the face of unspeakable devastation and loss.

What’s most impressive (and effective) about Testament is its quiet authenticity. As the film opens, rather than presenting an idyllic, pastoral representation of life in small-town America, we see a typically hectic morning in the Wetherly household, with Alexander frantically trying to get her kids ready to leave for school, and Harris feeling slightly put-upon by his over-eager dad, who insists on challenging him to a rigorous, semi-competitive bike ride early each morning; meanwhile, Alexander and Devane quibble (she pours dry cereal over his head in frustration when he refuses to take time for breakfast), but they make up with one another later that night in a way that demonstrates the ultimate solidity of their marriage. The time Littman takes to show us all of these seemingly mundane details results in an even more powerful sense of shock and loss when “there is a flash in the sky from [a] bomb” — a moment that “should give every viewer a sick feeling in the stomach”, given that “a nuclear explosion cannot be reversed”.

Community relations are quickly strained, and we see the effect on more than just Alexander’s family. Kevin Costner and Rebecca De Mornay, for instance, play a young couple whose newborn quickly becomes a casualty of the blast; meanwhile, a Japanese-American gas station owner (Mako) with a mentally retarded son (Gerry Murillo) suddenly finds himself in an unexpected position of power, given his access to valuable fuel. Other than a few such contextualizing scenes, however (including the casual arrival of a neighborhood boy whose parents have disappeared, and who comes to live with Alexander’s family), the story remains heavily focused on Alexander’s attempts to help her own family survive. To that end, viewers have debated the ultimate wisdom of her character’s choice to simply stay put in her house, waiting for what seems like the inevitable, painful death of herself and her loved ones; many wonder why she doesn’t attempt to flee with her family to a different, less exposed location (which is what Costner and De Mornay’s characters do). Yet I find her decision eminently logical and realistic; in the face of ultimate powerlessness, it makes sense to stay in a comfortable and “known” location, and the film is no less potent or revealing because of this pivotal narrative choice.

Redeeming Qualities and Moments:

  • Jane Alexander as Carol Wetherly
  • Ross Harris as Brad Wetherly
  • Roxana Zal as Mary Liz Wetherly
  • A truly chilling, haunting screenplay

Must See?
Yes, most definitely — but get ready to be devastated.

Categories

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Hail the Conquering Hero (1944)

Hail the Conquering Hero (1944)

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“We’re doin’ it for your ma, kid!”

Synopsis:
A would-be Marine (Eddie Bracken) discharged with hayfever meets a group of veteran Marines who convince him to tell his mother (Georgia Caine) he was wounded in battle. Soon Woodrow (Bracken) finds himself nominated for mayor of his hometown, much to the dismay of the current mayor (Raymond Walburn), who hopes to be re-elected; meanwhile, Woodrow’s former fiancee (Ella Raines) tries to get up the courage to let Woodrow know she’s now engaged to Walburn’s son (Bill Edwards).

Genres, Themes, Actors, and Directors:

  • Comedy
  • Ella Raines Films
  • Living Nightmare
  • Mistaken or Hidden Identities
  • Naïve Public
  • Preston Sturges Films
  • Small Town America
  • Veterans

Response to Peary’s Review:
Peary notes that this “frantically paced satire” is “skillfully directed in the usual … manner” by writer/director Preston Sturges, with “confused, fast-talking, philosophical characters zip[ping] in and out of the crowded frame, fighting for space to stand in and time to say their two cents’ worth”. However, he argues that while “there are funny scenes and moments”, overall he “finds the script pretty weak, like Capra at his phoniest and corniest”, and points out that “the naive, easily fooled and manipulated common folk have counterparts in Meet John Doe” (which neither of us much likes). He accurately notes that “the most interesting aspect [of the film] is that in 1944 Sturges dared and got away with satirizing Momism, patriotism, politicians and the political process, honor, the military (imagine Marines pulling a hoax to influence an election!), hero worship, and the ingenuous American public”.

While I agree with the gist of Peary’s sentiments, I’m impressed enough by Sturges’ astonishing ability to get away with so many pointed satirical barbs that I ultimately disagree with Peary’s assertion about the script being “weak”. Though the film made me uncomfortable at times (it’s truly relentlessly paced), there were enough clever moments and humorous performances to keep me fully engaged throughout. Freddie Steele gives a particularly focused (and quietly hilarious) performance as a ferociously mother-loving Marine, and Franklin Pangborn (perfectly cast as the reception organizer) simply steals the scene whenever he’s on screen (which is refreshingly often). Meanwhile, Bracken is note-perfect in the lead role; one can’t help empathizing with his plight from the get-go.

Redeeming Qualities and Moments:

  • Eddie Bracken as Woodrow Truesmith
  • Franklin Pangborn as the Reception Committee Chairman
  • Freddie Steele as mother-loving Bugsy
  • William Demarest as Sgt. Heppelfinger
  • Raymond Walburn as weaselly Mayor Noble
  • Sturges’ boldly satirical screenplay

Must See?
Yes, as one of Sturges’ many enjoyable satiric comedies.

Categories

  • Genuine Classic

Links:

Ninotchka (1939)

Ninotchka (1939)

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“Don’t make an issue of my womanhood.”

Synopsis:
Three Russian representatives (Sig Ruman, Felix Bressart, and Alexander Granach) sent to Paris to sell some jewels formerly belonging to a countess (Ina Claire) are converted into fun-loving capitalists by Claire’s lover (Melvyn Douglas). When a solemn Russian emissary (Greta Garbo) arrives to rectify the situation, Douglas finds himself smitten with her, and an unexpected romance ensues.

Genres, Themes, Actors, and Directors:

  • Bela Lugosi Films
  • Cross-Cultural Romance
  • Ernst Lubitsch Films
  • Greta Garbo Films
  • Melvyn Douglas Films
  • Romantic Comedy

Response to Peary’s Review:
Peary notes that Garbo “gives an intelligent, witty performance” in this “comedy classic” by Ernst Lubitsch, which was marketed to audiences as the film in which “Garbo laughs!” Peary spends the bulk of his review analyzing the script (by Billy Wilder, Charles Brackett, and Walter Reisch), which he claims “levels so many zingers at bureaucratic Russia… that one believes [the screenwriters] are unfavorably contrasting it with France”, at least until it’s implied that “the country belongs to aristocrats (we rarely see the common folk) and other decadent elements”. He argues that “this is not one of Lubitsch’s funniest comedies”, given that “almost all of the humor is supposed to emanate from poor Russian characters being impressed by what we take for granted”, and notes that “the constant barrage of anti-Russian propaganda makes us feel we’re back in grammar school and having our first (manipulative) political-science lesson (indoctrination)”.

It’s true that the strongly anti-Communist bent of the screenplay feels a bit heavy-handed at times, but it’s difficult not to be impressed by the filmmakers’ ability to get away with such a bold political satire during a time of increasing turmoil on the global landscape. Meanwhile, what most people remember about the film — rather than its contextualizing narrative — is the central romance between Garbo and Douglas (who Peary argues “is an acquired taste”; I think he suits the role well). They have fine chemistry together, and while we don’t quite understand why Douglas falls so head-over-heels in love with icy-cold Garbo at first sight (she’s nearly robotic in her calculated responses to him), it’s undeniably charming to see her eventually “melting” in the heat of his charms.

Redeeming Qualities and Moments:

  • Greta Garbo as Ninotchka (nominated as one of the Best Actresses of the Year in Peary’s Alternate Oscars)
  • A fine, witty script by Charles Brackett, Billy Wilder, and Walter Reisch:

    “The last mass trials were a great success. There are going to be fewer but better Russians.”

Must See?
Yes, as a genuine comedic classic.

Categories

  • Genuine Classic
  • Oscar Winner or Nominee

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

Links: