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Month: October 2007

Hush… Hush, Sweet Charlotte (1964)

Hush… Hush, Sweet Charlotte (1964)

[Note: The following review is of a non-Peary title; click here to read more.]

“Some folks seem to think they got a natural born right to get away with murder.”

Synopsis:
Nearly forty years after her married beau (Bruce Dern) is viciously murdered with an axe, Charlotte Hollis (Bette Davis) — the prime suspect in the case, though she’s never been convicted — lives a secluded life in a vast Southern mansion, with only her devoted maid (Agnes Moorehead) for company. When county officials insist that Charlotte must move out of her house to make way for a new bridge, she calls on her cousin Miriam (Olivia De Haviland) for help — but Miriam and a local doctor (Joseph Cotten) have other plans for Charlotte…

Genres, Themes, Actors, and Directors:

  • Agnes Moorehead Films
  • Bette Davis Films
  • Bruce Dern Films
  • Cecil Kellaway Films
  • Deep South
  • Falsely Accused
  • George Kennedy Films
  • Horror
  • Joseph Cotten Films
  • Mary Astor Films
  • Murder Mystery
  • Olivia de Havilland Films
  • Robert Aldrich Films

Review:
After the unexpected success of What Ever Happened to Baby Jane? (1962), Robert Aldrich attempted to repeat his luck by casting the film’s aging leads (Bette Davis and Joan Crawford) in this similarly themed Southern Gothic tale. When Crawford bowed out of production due to [psychosomatic] illness, she was replaced by Olivia De Haviland — who, fortunately, was the perfect choice to play Miriam, an eminently genteel woman who may not be as sweet and guileless as her demeanor indicates. Indeed, “bland” De Haviland is the perfect cinematic foil for Davis, whose scenery-chewing turn as Charlotte is in many ways simply an incarnation of her earlier “Baby Jane” (yet still highly enjoyable to watch).

The supporting performances in Hush… Hush are all fine: Agnes Moorehead received an Oscar nomination for her over-the-top portrayal as a white trash housekeeper; Mary Astor is lovely in a tiny role (her last) as Charlotte’s cynical cousin; and Joseph Cotten is perfectly cast as a two-faced country doctor. Hush… Hush‘s primary fault lies in its script, which offers plenty of thrills and chills upon first viewing, but fails to sustain the same level of interest once the major plot twists have been revealed. With that said, it remains must-see viewing simply for Aldrich’s atmospheric direction, and for its historical importance as Baby Jane‘s infamous “sequel”; I’m surprised it’s missing from Peary’s book.

P.S. It’s utterly bizarre to see ’60s-generation Bruce Dern playing Davis’s beau in the film’s earliest scenes; talk about cognitive dissonance!

Redeeming Qualities and Moments:

  • Bette Davis as Charlotte
  • Olivia De Haviland as Charlotte’s refined cousin, Miriam
  • Joseph Cotten as Dr. Drew
  • Mary Astor as Jewel Mayhew
  • Agnes Moorehead as Velma Cruther
  • Joseph Biroc’s atmospheric cinematography
  • Effective use of stylized angles and blocking

Must See?
Yes. While not a classic, this campy follow-up to What Ever Happened to Baby Jane? should be seen at least once by all film fanatics.

Categories

  • Historically Relevant
  • Important Director
  • Oscar Winner or Nominee

Links:

Pauline at the Beach (1983)

Pauline at the Beach (1983)

“Only a wagging tongue bites itself.”

Synopsis:
While spending the summer at the beach in Normandy, a beautiful young divorcee (Arielle Dombasle) and her 14-year-old cousin Pauline (Amanda Langlet) become involved in complex romantic entanglements.

Genres, Themes, Actors, and Directors:

  • Coming-of-Age
  • Eric Rohmer Films
  • French Films
  • Romantic Comedy
  • Vacation

Review:
After completing his cycle of “Six Moral Tales” (which ended with 1972’s Chloe in the Afternoon), French New Wave director Eric Rohmer embarked on a new cinematic series entitled “Comedies and Proverbs”; Pauline at the Beach is the third of these six films. A surprisingly breezy sex farce with an undercurrent of philosophical contemplation, Pauline… remains one of Rohmer’s most enjoyable and accessible outings — indeed, it was enormously successful upon its release in America (thanks in part, no doubt, to a poster depicting sexy Arielle Dombasle in a close-cut bathing suit). As usual in Rohmer’s low-budget films, the narrative consists primarily of long shots with characters conversing, and not many “action” scenes; the emphasis instead is on exploring the diverse ways in which humans approach sex and love, and how this inevitably leads to misunderstandings and hurt feelings. The final exchange in the movie — between Pauline (wonderfully played by the worldly-wise Amanda Langlet) and Marion (Dombasle) — reveals that Marion will likely continue to delude herself in affairs of the heart, while Pauline has learned some valuable lessons from the adults around her on how not to approach romance.

Redeeming Qualities and Moments:

  • Amanda Langlet as Pauline
  • Arielle Dombasle as Pauline’s sexy but clueless cousin, Marion
  • Feodor Atkine as womanizing Henry
  • An effective look at females of different ages struggling to understand love and sex
  • Pauline reacting to Henry’s “innocent” caresses

Must See?
Yes. This surprisingly light-hearted romantic comedy is one of Rohmer’s most enjoyable movies, and should be seen by all film fanatics.

Categories

  • Important Director

Links:

Narrow Margin, The (1952)

Narrow Margin, The (1952)

“You’re just a job to me — a C.O.D. to be delivered to the L.A. grand jury.”

Synopsis:
A detective (Charles McGraw) escorting a gangster’s widow (Marie Windsor) on a cross-country train tries to protect her from ruthless assassins.

Genres, Themes, Actors, and Directors:

  • Detectives and Private Eyes
  • Hit Men
  • Marie Windsor Films
  • Mistaken or Hidden Identities
  • Richard Fleischer Films
  • Widows and Widowers

Review:
Richard Fleischer’s Oscar-nominated The Narrow Margin is widely regarded as one of the best B-noirs ever made. At just 71 minutes, the story moves quickly, making effective use of claustrophobic locales (most of the action takes place on a rattling train), mistaken identities (hardly anyone is who he/she seems to be), and hardboiled characterizations (McGraw and Windsor are both perfectly cast). While there are some minor plot discrepancies — which can’t be discussed without revealing spoilers — they’re easily excused, given that they don’t detract from the overall urgency of the narrative. I watched The Narrow Margin years ago, but had (conveniently) forgotten the central plot twist, and found it just as enjoyable the second time around. Highly recommended.

Redeeming Qualities and Moments:

  • Gravelly-voiced Charles McGraw as Detective Brown
  • Marie Windsor as the irrepressible Mrs. Neall
  • Paul Maxey in a bit role as Mr. Jennings: “Nobody loves a fat man — except his grocer and his tailor.”
  • Creative cinematography and direction
  • Plenty of zingy dialogue:

    Detective Brown: You make me sick to my stomach.
    Mrs. Neall: Well, use your own sink!

  • Earl Felton’s Oscar-nominated screenplay — taut, crisp, never lagging

Must See?
Yes. This well-received B-thriller is an all-around good show.

Categories

  • Good Show
  • Oscar Winner or Nominee

Links:

Where the Green Ants Dream (1984)

Where the Green Ants Dream (1984)

“We mustn’t disturb the dreaming of the green ants; we mustn’t talk the green ants up.”

Synopsis:
When an Australian mining company tries to conduct geological tests on sacred land, Aborigines stage a protest, and their struggle soon goes to court.

Genres, Themes, Actors, and Directors:

  • Australian Films
  • Mining Towns
  • Native Peoples
  • Race Relations and Racism
  • Werner Herzog Films

Review:
Iconoclastic German director Werner Herzog remains somewhat unique in his lifelong commitment to making both narrative and documentary films — with significant overlap between the two. Indeed, Where the Green Ants Dream is a classic example of Herzog’s refusal to draw a fine line between fiction and reality, with the titular Aboriginal “myth” created out of whole cloth by Herzog himself. Unfortunately, Green Ants’ title remains the most creative thing about it: the screenplay is stilted and overly sincere, the acting is fairly awful, and, despite its compelling subject matter, the movie as a whole fails to engage. This one is only for true Herzog fans.

Redeeming Qualities and Moments:

  • Striking imagery of Australian Aborigines refusing to deviate from their long-held beliefs
  • Many typically Herzog-ian panning shots of vast landscapes

Must See?
No. As one of Herzog’s more self-indulgent films, this will likely only be of interest to true fans of his work. Listed as a Sleeper and a Personal Recommendation in the back of Peary’s book.

Links:

Fata Morgana (1971)

Fata Morgana (1971)

“Paradise is available to everybody. In Paradise, only God is looking on. There, you cross the sand without seeing your face.”

Synopsis:
A Mayan creation myth accompanies footage shot by Werner Herzog in the Sahara Desert and other parts of Africa.

Genres, Themes, Actors, and Directors:

  • Africa
  • Deserts
  • German Films
  • Werner Herzog Films

Review:
Fata Morgana — named after a Sicilian mirage believed to be caused by fairies — is perhaps Werner Herzog’s most representative early work, clearly displaying his fascination with landscapes, diverse humans, and moments of unexpected quirkiness. Unfortunately, while it’s lauded by nearly every critic as an experimental masterpiece (Time Out calls it “brilliantly original, utterly haunting”), I find Fata Morgana to be three parts emperor’s clothing to one part enigmatic vision. Herzog originally set out to create a science fiction story, but abandoned this idea and ended up editing his footage into a three-part “creation story” — Creation, Paradise, and The Golden Age — which doesn’t really reveal much about any of these three topics. Instead, in characteristic Herzog-ian fashion, he seems primarily concerned with aiming his camera at random images, then holding it there for far longer than convention would imply; sometimes this works, but more often it’s simply tedious. Listening to Herzog’s commentary on the DVD illuminates much of what was going on in his mind while shooting and editing the film — but without these insights, it’s difficult to maintain interest even for 79 minutes; the images in Fata Morgana will remain with you, but the “story” — such as it is — won’t.

Redeeming Qualities and Moments:

  • Some trippy desert mirages
  • Disturbing shots of desiccated cattle strewn across the sand
  • The truly odd closing shots of a pimp and a madam performing in a brothel
  • Many striking images of desert landscapes and peoples




Must See?
No, though it’s worth a look simply for its place in cinematic history. Listed as a Personal Recommendation and a film with historical importance in the back of Peary’s book.

Links:

Susan and God (1940)

Susan and God (1940)

“Oh, you poor, miserable, unhappy things — civilization’s a failure! It’s a poor, poor, sick, unhappy world!”

Synopsis:
A wealthy socialite named Susan (Joan Crawford) “finds God” while vacationing in Europe, and uses her newfound religious convictions as an excuse to meddle in her friends’ affairs; meanwhile, her tippling husband (Fredric March) and awkward teenage daughter (Rita Quigley) hope that Susan will decide to settle down into family life.

Genres, Themes, Actors, and Directors:

  • Fredric March Films
  • George Cukor Films
  • Joan Crawford Films
  • Marital Problems
  • Play Adaptation
  • Religious Faith

Review:
Anita Loos’ adaptation of Rachel Crothers’ stage play (originally starring Gertrude Lawrence as Susan) gave Joan Crawford one of her most unusual vehicles, playing a self-absorbed woman who one IMDb poster has accurately labeled “Crystal Allen on speed”. Susan’s new religion — based on Frank Buchman’s Oxford Group, which inspired the 12-step movement — requires converts to freely confess their “sins”, a fact which Susan’s eternally hopeful husband (a rather bland Fredric March) uses to force her into acknowledging her own shortcomings as a wife and mother. Crawford is perfectly cast as Susan — all grandiose arm spans and mile-a-minute monologues — and, naturally, completely overshadows her co-stars; while her character isn’t particularly likable (and it’s difficult to see why March is still so in love with her), her sheer level of energy and enthusiasm is impressive. The second hour isn’t nearly as engaging as the first, and the stagy narrative goes on for too long altogether; but Susan and God remains an intriguing entry in Crawford’s oeuvre, and is worth a look for her performance alone.

Redeeming Qualities and Moments:

  • Joan Crawford as Susan
  • Adrian’s occasionally stunning, sometimes gaudy, often distracting, but always inimitably unique gowns
  • Clever dialogue

    March: “You’re an awfully pretty woman.
    Leonora (Rita Hayworth): “Aren’t you nice…”
    March: “Not very.”

Must See?
No, though it’s recommended simply for Crawford’s performance.

Links:

Magic Garden of Stanley Sweetheart, The (1970)

Magic Garden of Stanley Sweetheart, The (1970)

“First of all, I don’t know what I want to do; and second of all, I keep changing my mind!”

Synopsis:
College student Stanley Sweetheart (Don Johnson) explores sex, drugs, and underground filmmaking in New York.

Genres, Themes, Actors, and Directors:

  • College
  • Counterculture
  • New York City
  • Sexuality

Review:
Based on Robert T. Westbrook’s semi-autobiographical novel, this counterculture curio is primarily notable for featuring Don Johnson in his screen debut. While Stanley’s not exactly sympathetic (like many 20-something males, he’s both self-absorbed and sex-obsessed), his attempt to keep his two disparate lives — one sex-and-drug filled, the other monogamous — separate from each other is unique and somehow believable. Johnson is a charismatic cutie, and folk singer Holly Near as Stanley’s pudgy yet sexually confident conquest is enjoyable as well. With that said, the screenplay (which clings faithfully to its source material) often feels like simply a filmed version of a more introspective narrative, with the resolution (a key character suddenly dies) coming out of nowhere; because we can’t see into the “magic garden” of Stanley’s mind, we don’t understand the true significance of this event in his life. Ultimately, Stanley Sweetheart remains a flawed and dated film, but is worth a look if you stumble upon it; my dark-hued copy was taped off of TNT years ago.

Redeeming Qualities and Moments:

  • Don Johnson in his screen debut as Stanley Sweetheart
  • Michael Greer as “Cherry”
  • Holly Near as redheaded Fran

Must See?
No, but it’s recommended, and a must for any Don Johnson fans.

Links:

Secret Ceremony (1968)

Secret Ceremony (1968)

“Dear God, by whose mercy I am shielded for a few hours, let no one snatch me from this heaven.”

Synopsis:
When a disturbed young woman (Mia Farrow) insists that a prostitute (Elizabeth Taylor) is her “missing” (dead) mother, Taylor takes advantage of the situation and moves into Farrow’s enormous house. Soon Leonora (Taylor) begins to feels protective of the childlike Cenci (Farrow) — but their domestic tranquility is threatened by the presence of two meddling aunts (Peggy Ashcroft and Pamela Brown) and Cenci’s incestuous stepfather (Robert Mitchum).

Genres, Themes, Actors, and Directors:

  • Elizabeth Taylor Films
  • Incest and Incestuous Undertones
  • Joseph Losey Films
  • Mia Farrow Films
  • Mistaken or Hidden Identities
  • Orphans
  • Robert Mitchum Films

Review:
This melodramatic thriller of mistaken identities, mental disturbance, and sexual deviance — based on a prize-winning short story by an Argentine civil servant — received reasonably positive reviews upon its release, but has since been criticized by most as either campy and/or “ill-conceived”. The truth, as usual, lies somewhere in between: while the convoluted narrative occasionally defies belief (and completely devolves by the end), it remains bizarrely compelling until then, thanks in large part to the brave performances given by both Farrow and Taylor. From her first appearance on-screen, Farrow — wearing a long, black wig and tights:

— is completely convincing as a 22-year-old with the mind of a child; but it’s Taylor who really cements the story: while her performance gets off to a bumpy start, we’re soon captivated by her increasingly nuanced portrayal as a self-sufficient prostitute who knows a good deal when she sees it, yet can’t help feeling genuine maternal concern for Cenci. Despite its flaws, Secret Ceremony offers enough provocative moments to make it worth checking out.

Redeeming Qualities and Moments:

  • Mia Farrow as Cenci
  • Elizabeth Taylor as Leonora
  • Peggy Ashcroft and Pamela Brown as Cenci’s thieving aunts

  • Effective use of mirrors as a visual device

Must See?
Yes, simply for its status as an unusual cult favorite. Listed as a Cult Movie in the back of Peary’s book.

Categories

  • Cult Movie

Links:

One Sings, the Other Doesn’t (1977)

One Sings, the Other Doesn’t (1977)

“From Apple to Suzanne, from Suzanne to Apple, this little postal traffic was a sign of a deep and rather inexplicable friendship.”

Synopsis:
A middle-class French teen (Valerie Mairesse) helps her older neighbor (Therese Liotard) secure money for a much-needed abortion, and a lifelong friendship ensues.

Genres, Themes, Actors, and Directors:

  • Feminism and Women’s Issues
  • French Films
  • Friendship

Review:
One Sings, the Other Doesn’t is Belgian director Agnes Varda‘s unabashed paean to female solidarity. As a narrative, it’s not all that successful: several plot devices (particularly the final one, involving Mairesse, her Iranian husband, and their baby) are clearly contrived, and Varda’s voice-over adds an unnecessary sense of solemnity to the proceedings. Making matters worse, Pomme (Mairesse) is not a very good singer, and the lyrics of her band’s ultra-feminist hymns (“I am woman, I am me”) come across as ultra-laughable today.

Yet the film on a whole is so goodhearted and idealistic that one hesitates to fault it (or Varda) very harshly; it’s best viewed as a quaint if dated fable of womanhood and grassroots feminism.

Redeeming Qualities and Moments:

  • Therese Liotard as Suzanne
  • Valerie Mairesse as Pomme
  • A heartfelt portrait of female solidarity

Must See?
Yes, simply for its historical importance.

Categories

  • Historically Relevant
  • Important Director

Links:

Cleo From 5 to 7 (1961)

Cleo From 5 to 7 (1961)

“I’m afraid of everything — birds, storms, lifts, needles — and now, this great fear of death.”

Synopsis:
While waiting to hear the results of her biopsy, a pop singer (Corinne Marchand) wanders the streets of Paris, first with her devoted maid (Dominique Davray), then with a friend (Dorothee Blank), and finally with a soldier (Antoine Bourseiller).

Genres, Themes, Actors, and Directors:

  • Character Arc
  • Death and Dying
  • French Films

Review:
Agnes Varda — the only woman associated with the French New Wave movement — isn’t nearly as renowned as her male compatriots, but remains an essential part of cinematic history. Her first feature-length film, Cleo From 5 to 7, is likely also her best-known: starring Corinne Marchand (who resembles a svelte Anna Nicole Smith) it tells the nearly-real-time story of a self-absorbed singer who undergoes a subtle shift in attitude while waiting to hear potentially devastating news from her doctor.

Cleo (a stage name, short for “Cleopatra”) is clearly a pampered woman, someone who is inordinately obsessed with her own appearance and self-worth; early in the film, she petulantly demands that a taxi driver turn off the radio when one of her hit songs is on (complaining about its technical quality):

… then later, in a cafe, punches her song into the jukebox machine and pouts when no one seems to be listening.

In essence, she’s not a very likable protagonist, and this is the film’s primary fault — despite Cleo’s potentially life-threatening disease, we never feel much sympathy for her, and can’t help wondering whether the entire affair is simply a psychosomatic plea for attention.

Over the course of the film, Cleo evolves ever so slightly, even taking off her fancy hairpiece and allowing a strange soldier to flirt with her and learn her real name:

By this time, however, it’s too late, and one leaves the film with more memories of Cleo’s excursions throughout Paris than of Cleo herself.

Redeeming Qualities and Moments:

  • Fine cinematography
  • The opening tarot card sequence (in color)
  • Cleo performing a heartfelt song
  • Cleo’s encounter in the park with a talkative soldier
  • Michel Legrand’s musical score

Must See?
Yes, for its historical importance as Varda’s first feature film.

Categories

  • Historically Relevant
  • Important Director

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

Links: