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Synopsis:
In Victorian England, Dr. Frederick Treves (Anthony Hopkins) rescues a severely disfigured man (John Hurt) from his abusive carnival “owner” (Freddie Jones), and allows him his first chance at a life of dignity and respect.

Genres, Themes, Actors, and Directors:

• Anne Bancroft Films
• Biopics
• Carnivals and Circuses
• Character Arc
• David Lynch Films
• Doctors and Nurses
• Historical Drama
• John Gielgud Films
• John Hurt Films
• Wendy Hiller Films

Review:
Although it’s often considered to be something of an aberration from director David Lynch’s usual oeuvre, this heartbreaking biopic is actually well in alignment with Lynch’s fascination for the disenfranchised and downtrodden. Oscar-nominated John Hurt (who’s completely unrecognizable) plays the title role of Joseph Merrick, a real-life young man who suffered from a rare congenital deformity known as Proteus Syndrome, making him look decidedly freakish and abnormal; and while there’s no denying Hurt’s inestimable skills as an actor, his success here as Merrick is due in no small part to the tremendous efforts of make-up specialist Chris Tucker, who developed an elaborate synthetic “mask” based on a cast of Merrick’s actual head. Anthony Hopkins — equally affecting in a less “showy” role — plays the doctor who at first is merely fascinated with Merrick’s physical condition, but soon comes to realize that an intelligent, sentient being exists underneath the bulbous folds of skin and bone.

Merrick’s transformation from mute “creature” to dignified gentleman — the crux of the film — is truly a wonder to behold; even those who rarely cry at movies (myself included) will find themselves hard pressed not to be moved by this one. Scene after scene — enacted by a crew of exceedingly well-cast supporting actors — prompts a renewed investigation of our own prejudices, as we realize just how important a relatively “normal” appearance is to our acceptance of others as human. My favorite scenes are those between Merrick and a renowned actress (Anne Bancroft) who barely bats an eye upon seeing Merrick for the first time, and remains resolutely dedicated to treating him like the gentle hero he is. Equally touching is the initial scene between Merrick and Dr. Treves’ wife (Hannah Gordon), whose “natural” acceptance of his appearance causes him to break down in sobs of gratitude.

Some (including, I suspect, Peary, who neglects to nominate either Hurt or the film itself in his Alternate Oscars book) find The Elephant Man overly cloying — and there’s no doubt that our heartstrings are strategically tugged throughout the entire film. Indeed, the final portion of the story — in which Merrick is kidnapped back by Jones, and forced to temporarily revert to his former status as a carnival freak — is nearly too much to bear, and shifts the story into undue pathos. Apart from this aberration, however, Merrick’s journey remains a fascinating one to watch, and proves that there’s nothing more uplifting than watching a character transform and transcend his initial limitations.

Redeeming Qualities and Moments:

• John Hurt as Joseph Merrick
  
• Anthony Hopkins as Dr. Treves
  
• Anne Bancroft as an admiring actress
  
• Wendy Hiller as a no-nonsense nurse
  
• John Gielgud as Treves’ superior at the hospital
  
• Freddie Jones as Merrick’s abusive captor
  
• Hannah Gordon as Dr. Treves’ sympathetic wife
  
• Chris Tucker’s extraordinary make-up design
  
• Freddie Francis’s cinematography
  
• Atmospheric period detail
  
• Many heart-breaking scenes
  
• An effective soundtrack by John Morris

Must See?
Yes, as a “good show” by an important director.

Categories

• Good Show
• Important Director
• Oscar Winner or Nominee

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

Links:

• IMDb entry
• NY Times Original Review
• Roger Ebert’s Review
• DVD Savant Review
• Q Network Review
• Time Out Capsule Review

Synopsis:
A young orphan named Pollyanna (Hayley Mills) comes to live with her stern, wealthy aunt Polly (Jane Wyman) in the town of Harrington, where the townsfolk are scared to go against Polly’s wishes. Soon, however, Pollyanna’s ability to seek out the good in any situation spreads to the citizens, who find themselves starting to rethink their priorities and attitudes.

Genres, Themes, Actors, and Directors:

• Adolph Menjou Films
• Agnes Moorehead Films
• Character Arc
• Do-Gooders
• Donald Crisp Films
• Hayley Mills Films
• Historical Drama
• Jane Wyman Films
• Karl Malden Films
• Nancy Olson Films
• Orphans
• Small Town America

Review:
British import Hayley Mills made her American film debut in this classic Disney tale of goodness and cheer. As in her first movie (1959’s Tiger Bay), Mills provides ample evidence of her skills as an actress, buoying a story which could easily have turned into cloying tripe, and investing her character with an air of surprising realism. Contrary to popular myth, Pollyanna isn’t a perfect angel: she’s adventurous, incorrigibly curious, and — as revealed in the film’s tragic denouement — occasionally naughty. Indeed, she’s a highly believable young girl who has learned to cope with tragedy in her life (both her missionary parents died, and she lived an early childhood of poverty) by playing “the glad game”; kids are notorious survivors, and Pollyanna is living (literary) proof of this fact.

While Mills is undoubtedly the main reason to watch Pollyanna, she’s surrounded by a cast of fine actors who invest their roles with nuance and understanding. Most impressive is Jane Wyman as Pollyanna’s Aunt Polly — like Pollyanna herself, Aunt Polly could easily have become a caricature, but, as played by Wyman, she’s immediately revealed to be someone deeply uncomfortable with herself, who uses her control over “her” town as a means of remaining closed off from her feelings. Nancy Olson — 10 years older than when she played William Holden’s young girlfriend Betty in Sunset Boulevard — is also surprisingly good, and it’s fun to see Agnes Moorehead, Adolph Menjou, Karl Malden, and others in key character roles. Chances are you’ll find yourself enjoying Pollyanna more than you expected to, and will be surprised to learn that “being a Pollyanna” doesn’t mean acting holier-than-thou.

Redeeming Qualities and Moments:

• Hayley Mills as Pollyanna
  
• Jane Wyman as Aunt Polly
  
• Nancy Olson as Aunt Polly’s assistant
  
• A heartwarming, seldom cloying tale of living life with good cheer
  

Must See?
Yes, for Mills’ truly noteworthy performance.

Categories

• Noteworthy Performance(s)

Links:

• IMDb entry
• DVD Savant Review
• Films Graded Review

Synopsis:
A choreographer (Fred Astaire) helps his philandering boss (Robert Benchley) get out of hot water with his suspicious wife (Frieda Inescort) by pretending to have purchased an engraved diamond bracelet for one of his beautiful showgirls (Rita Hayworth). He soons finds himself in trouble with Hayworth’s beau (John Hubbard), and enlists in the army to escape; meanwhile, he realizes he really does care for Hayworth, and tries to win her heart.

Genres, Themes, Actors, and Directors:

• Dancers
• Fred Astaire Films
• Musicals
• Rita Hayworth Films
• Romantic Comedy
• Soldiers
• World War II

Review:
Fred Astaire and Rita Hayworth’s first film together was this WWII musical comedy, featuring a catchy yet surprisingly forgettable score by Cole Porter. The ridiculous military “subplot” (actually a major part of the movie) is an enormous distraction from what we really want to see: Astaire and Hayworth dancing and falling in love.

Whenever they’re together — or when Astaire dances alone — we’re in heaven; but when we’re forced to watch Astaire getting in continual trouble with his superiors — and landing repeatedly in an impossibly clean military brig — the story falters and sinks. Robert Benchley is intermittently amusing as the childishly caddish millionaire who lies through his teeth as a matter of course and isn’t above using his employees to get himself out of hot water, while Frieda Inescort as his snobbish wife is perfectly cast:

— but neither they nor Astaire and Hayworth can quite work the necessary magic with this sub-par script. With that said, while I can’t recommend You’ll Never Get Rich as must-see viewing, I suspect most film fanatics will be curious to at least check it out once, given its historical importance as the film which helped propel Hayworth to true cheesecake status.

Redeeming Qualities and Moments:

• Astaire and Hayworth’s too-short initial tap dance together
  
• Astaire’s fabulous solo dances in the guardhouse
  
  
• Astaire and Hayworth dancing to “So Near and Yet So Far” during the army show rehearsal
  

Must See?
No. While it holds some historical importance as Astaire and Hayworth’s first outing together, it’s ultimately not must-see viewing.

Links:

• IMDb entry
• NY Times Original Review
• DVD Savant Review
• TCM Article
• Time Out Capsule Review

Synopsis:
A young orphan named Gillie (Hayley Mills) befriends a Polish sailor (Horst Buchholz) who has just killed his faithless girlfriend (Yvonne Mitchell), and tries her best to prevent him from being captured by determined police Superintendent Graham (John Mills).

Genres, Themes, Actors, and Directors:

• Detectives and Private Eyes
• Friendship
• Fugitives
• John Mills Films
• Orphans

Review:
12-year-old Hayley Mills made a stunning screen debut in this atmospheric, intelligent thriller about cross-generational friendship and loyalty. Mills’ part was originally meant for a boy, but her bob haircut and tomboyish manner make her entirely suitable for the role — which, given Gillie’s propensity for unrepentant lying and stealing, is about as far removed from Mills’ ensuing Pollyanna image as one could imagine. Indeed, part of what makes Tiger Bay so fascinating is the way in which it presents eminently real, flawed characters and allows us to sympathize with them — while we know that Buchholz must be caught and punished for his actions, for instance, we can entirely relate to both his and Gillie’s desire to run away and live freely at sea. Although the story itself occasionally defies belief (particularly by the end), the special friendship that emerges between Gillie and Buchholz — refreshingly free of any sexual overtones — makes this unusual film well worth watching.

Redeeming Qualities and Moments:

• Hayley Mills as Gillie
  
• Horst Buchholz as Korchinsky
  
• John Mills as Superintendent Graham
  
• Megs Jenkins as Gillie’s aunt
  
• Effective use of Cardiff locales and locals
  
• Atmospheric b&w cinematography
  
• A highly affecting story of cross-generational friendship
  

Must See?
Yes, simply for Mills’ stand-out performance. Listed as a Personal Recommendation in the back of Peary’s book.

Categories

• Noteworthy Performance(s)

Links:

• IMDb entry
• NY Times Original Review
• BFI Screen Online
• Time Out Capsule Review

Synopsis:
The Monty Python comedy troupe — Graham Chapman, John Cleese, Terry Gilliam, Eric Idle, Terry Jones, Michael Palin, Carol Cleveland, and Connie Booth — reenact the most popular skits from their Flying Circus television show.

Genres, Themes, Actors, and Directors:

• Comedy
• Episodic Films
• Monty Python Films

Review:
Monty Python’s first feature length film is essentially a compilation of reenacted skits from their popular BBC television show “Monty Python and the Flying Circus”; in this sense, its title was a misnomer for Brits of the day, but not for American audiences, most of whom were witnessing Python’s inimitable sense of wacky humor for the first time. Your enjoyment of And Now For Something Completely Different will inevitably ride upon how well you “get” the group’s particular brand of comedy — yet despite how often you actually find yourself laughing out loud, there’s no denying that the film is, indeed, unlike anything you’ve ever seen. Terry Gilliam’s unusual animation style provides a surreal set of transitions between the skits, which in themselves are often beyond belief, skewering (nay, butchering) every social convention and P.C. hot button imaginable. Listed below are a few of my own favorite “redeeming moments” in the film, but each fan is likely to come up with her or her own. While certainly not for all tastes, this cult movie should be seen at least once by every film fanatic.

Redeeming Qualities and Moments:

• The “Hungarian phrasebook” sketch
  
• The initial “public service” skit: “How Not to Be Seen”
  
• The “dead parrot” skit
  
• The “I’m a Lumberjack and I’m Okay” song
  
• The “Upper Class Twit of the Year” sketch
  
• Countless classic lines, spouted ad infinitum by Python fans: “Nudge, nudge, say no more, know what I mean?”
  
• Terry Gilliam’s surreal inter-skit animation
  
  
  

Must See?
Yes, for its status as a cult favorite.

Categories

• Cult Movie

Links:

• IMDb entry
• Roger Ebert’s Review

Synopsis:
Peter Tchaikovsky (Richard Chamberlain) tries to deny his homosexuality by marrying a socially ambitious young woman (Glenda Jackson), but soon finds himself miserable and unable to compose.

Genres, Themes, Actors, and Directors:

• Biopics
• Composers
• Glenda Jackson Films
• Homosexuality
• Ken Russell Films
• Marital Problems

Review:
Ken Russell’s flamboyant biopic of Peter Tchaikovsky is based on true events, but takes great liberty with details. Indeed, Russell seems most concerned with chronicling the emotional highs and lows of Tchaikovsky’s tortured life, primarily focusing on the ways in which his desire to conform to societal expectations — by marrying, rather than continuing his dalliances with young men — wreaked havoc on both his personal and creative life. Critics at the time of the film’s release were unimpressed, completely missing the point of Russell’s vision; nowadays, audience members accustomed to “creative” imaginings of artists’ lives may well have more tolerance for The Music Lovers, which remains a heady, visually sumptuous experience, one which successfully portrays the havoc wreaked on both husband and wife when marriage is based on pretense rather than authentic desire. Richard Chamberlain is perfectly cast as Tchaikovsky (especially given what we now know about his own closeted homosexuality), and his piano playing (while dubbed by a professional) is truly impressive. Glenda Jackson nearly steals the show, however, as Tchaikovsky’s ambitious, mentally unstable wife who simply can’t understand why her husband has no desire to make love to her.

Redeeming Qualities and Moments:

• Richard Chamberlain as Tchaikovsky
  
• Glenda Jackson as Tchaikovsky’s wife in-name-only
  
• The powerful, fantasy-laden opening concert sequence
  
• An astute look at Tchaikovsky’s tormented sexuality
  
• Sumptuous set designs and costumes
  
• The hilarious “camera obscura” scene
  

Must See?
Yes, as a prime example of Ken Russell’s inimitable biopic style. Listed as a cult movie in the back of Peary’s book.

Categories

• Important Director

Links:

• IMDb entry
• NY Times Original Review
• Roger Ebert’s Review
• Time Out Capsule Review

Synopsis:
When his 20-year-old daughter (Elizabeth Taylor) announces that she’s going to be marrying her boyfriend (Don Taylor), Stanley Banks (Spencer Tracy) and his wife Ellie (Joan Bennett) begin the heady — and expensive — process of planning her wedding.

Genres, Themes, Actors, and Directors:

• Comedy
• Elizabeth Taylor Films
• Father and Child
• Grown Children
• Joan Bennett Films
• Russ Tamblyn Films
• Spencer Tracy Films
• Vincente Minnelli Films
• Weddings

Review:
Vincente Minnelli’s Father of the Bride (remade with Steve Martin, Diane Keaton, and Kimberly Williams in 1991) remains a slightly dated yet undeniably charming piece of mid-century Americana, providing an amusing snapshot of what middle- and upper-middle-class citizens were, at heart, most concerned with: “doing things right” without breaking the bank. Despite its socio-economic and ethnic specificity, however, Father of the Bride manages to transcend both class and race in its astute depiction of the trials and tribulations inherent in planning an enormous family event; indeed, what middle-aged man can’t relate to the struggle to fit into his former best suit, or trying to balance an increasingly out-of-control budget? Equally effective is the way in which Tracy manages to convey — without undue pathos — the deep sense of emptiness and panic he feels at “losing” his only daughter to another man; his close relationship with Taylor is quite special.

In addition to offering many amusing vignettes (see Redeeming Qualities and Moments below), FOTB features spot-on performances throughout; indeed, Peary is so impressed by Spencer Tracy’s turn as Stanley Banks that he awards him a Best Actor Oscar in his Alternate Oscars book (a questionable, albeit noble, choice). Joan Bennett is equally fine as Tracy’s harried wife, a middle-aged woman who’s living out her own unrequited wedding fantasies through her daughter; and Elizabeth Taylor is simply luminous as Tracy’s young daughter (she helped enormously with publicity by graciously getting married — for the first time — just before the film’s release).

Redeeming Qualities and Moments:

• Spencer Tracy as Stanley Banks
  
• 17-year-old Elizabeth Taylor as Tracy’s grown daughter
  
• Joan Bennett as Ellie Banks: “Stanley, from now on, don’t answer the phone.”
  
• Tracy trying to fit into his far-too-small “cut-away” suit
  
• Stanley’s surreal nightmare-before-the-wedding
  
• “Mr. Tringle” (Melville Cooper) demonstrating to the wedding party how to “step, stop” down the aisle
  
• Mr. and Mrs. Banks checking out a particularly hideous wedding present from “Aunt Hattie”
  
• A spot-on look at the chaos surrounding wedding preparations
  

Must See?
Yes, for its erstwhile popularity and Oscar-nominated status.

Categories

• Historically Relevant
• Oscar Winner or Nominee

Links:

• IMDb entry
• NY Times Original Review
• TCM Article
• Time Out Capsule Review