FilmFanatic.org

Synopsis:
During WWII, a group of shipwrecked Japanese sailors land on the rocky island of Anatahan, where they encounter a man (Tadashi Suganuma) and his common-law wife (Akemi Negishi) living in a shack. Over the next seven years, the men compete for Negishi’s attentions while hoping to hear news of Japan’s victory in the war.

Genres, Themes, Actors, and Directors:

• Deserted Island
• Femmes Fatales
• Japanese Films
• Josef von Sternberg Films
• Rivalry

Review:
When Howard Hughes forced him off the set of his final two films in Hollywood, Josef von Sternberg accepted an invitation to direct a film in Japan; the result is this “curio”, a commercially unsuccessful hybrid movie which has since been recognized as a most unusual and provocative cinematic experiment, and was certainly a personal triumph for von Sternberg at the end of his illustrious career. As noted in Kathy Fennessey’s Siffblog review, Anatahan “plays like a cross between Woman in the Dunes, Underground, Letters From Iwo Jima, and ABC’s Lost” (and, I would add, a dose of Laurel and Hardy’s Block-Heads as well) — a potent mix to be sure.

With Anatahan, von Sternberg very intentionally broke all the “rules” one might expect from a wartime film based on a real-life historical event: he utilized a Kyoto sound stage rather than an actual island, cast Kabuki actors rather than cinematic stars, and implemented a voice-of-God narration over unsubtitled Japanese — all in an effort to create a highly stylized allegory of rivalry and desire. Trapped on an island with only one woman, and patriotically bound to stay put rather than allow themselves to be captured by the enemy, the deluded soldiers’ most basic impulses come into play; they ultimately represent a microcosm of society at its most primitive. Meanwhile, we’re seduced by the beauty of von Sternberg’s unearthly imagery; although he famously said, “I care nothing about the story, only how it is photographed and presented”, Anatahan proves that von Sternberg was entirely capable of marrying the two.

Redeeming Qualities and Moments:

• Akemi Negishi as the Queen Bee
  
• Effective use of stylized, claustrophobic sets
  
• A fascinating tale of rivalry and survival
  
• Von Sternberg’s striking cinematography
  
• Akira Ifukube’s haunting score

Must See?
Yes, as an undeniably unique entry in von Sternberg’s late-life career.

Categories

• Important Director

Links:

• IMDb entry
• NY Times Original Review

Synopsis:
A twice-married woman (Anne Bancroft) with many children marries a screenwriter (Peter Finch), but their happiness is short-lived due to his chronic infidelity.

Genres, Themes, Actors, and Directors:

• Anne Bancroft Films
• Flashback Films
• Infidelity
• Jack Clayton Films
• James Mason Films
• Maggie Smith Films
• Marital Problems
• Mental Breakdown
• Peter Finch Films
• Pregnancy

Review:
Harold Pinter’s adaptation of Penelope Mortimer‘s semi-autobiographical novel about infidelity and childbearing is relentlessly bleak but oddly mesmerizing despite its gloomy trajectory. Pinter’s lean screenplay — it’s been called “fastidious” in its faithfulness to Mortimer’s text — wastes no time in taking us from one phase of Bancroft’s pregnancy-filled, marriage-hopping existence to the next: when we first meet Bancroft’s Jo Armitage, she’s (seemingly) happily married to a violinist (Richard Johnson), with rambunctious kids all around:

Her decision to leave Johnson and marry Finch is never explained (is it love at first sight?), but the downward spiral that quickly ensues — as Finch’s career takes off and their marriage hits the rocks — makes it clear that her desire for an idyllic family existence will become more and more remote.

While we can’t help wanting to understand more about Jo’s addiction to having children (which plays a pivotal role in the dissolution of her marriage to Finch), Bancroft’s performance is nonetheless impressive, and she deservedly earned an Oscar nomination for her work; she embodies her depressive London housewife so fully that it’s easy to forget she’s Brooklyn-born rather than British.

Peter Finch as her philandering husband is appropriately duplicitous, while both James Mason and Maggie Smith are deliciously unforgettable in supporting roles. While it’s rarely enjoyable to watch chronic infidelity played out on-screen — and The Pumpkin Eater is no exception to this rule — the film remains must-see viewing simply for Bancroft’s memorable central performance.

Note: Interestingly, while director Jack Clayton helmed several provocative films about the complex lives of children (The Innocents, Our Mother’s House), Bancroft’s kids aren’t given much of a role here; it’s all about the dysfunctional adults instead.

Redeeming Qualities and Moments:

• Anne Bancroft as Jo Armitage
  
• Peter Finch as Jake Armitage
  
• James Mason as Bob Conway
  
• Maggie Smith as “Philpot”
  

Must See?
Yes, for Bancroft’s Oscar-nominated performance.

Categories

• Oscar Winner or Nominee

Links:

• IMDb entry
• TCM Article (major spoilers alert)
• Time Out Capsule Review

Synopsis:
During the Depression, a group of down-on-their-luck contestants — including Jane Fonda, Michael Sarrazin, Red Buttons, Susannah York, Bruce Dern, and Bonnie Bedelia — compete in a brutal dance marathon hosted by Gig Young.

Genres, Themes, Actors, and Directors:

• Bonnie Bedelia Films
• Bruce Dern Films
• Depression Era
• Flashback Films
• Gig Young Films
• Jane Fonda Films
• Living Nightmare
• Red Buttons Films
• Susannah York Films
• Sydney Pollack Films

Review:
Although Peary designates Pennies From Heaven (1981) “the grimmest of all movie musicals”, surely Sidney Pollack’s They Shoot Horses, Don’t They? tops that film’s melancholia factor to earn a designation as “the grimmest of all Depression-era films”. Indeed, this notoriously bleak adaptation of Horace McCoy’s 1935 novel is, as noted by DVD Savant, a “depressing but riveting… emotional meat grinder”. We know very little about the host of characters populating the screen other than the following cursory information: Fonda is from Kansas, Bedelia is pregnant, Sarrazin is a drifter, aging Buttons is a former dance marathon winner, and York is desperate for a chance to make it big in Hollywood:

What they all have in common, however, is a willingness to put their health and sanity on the line for three meals a day and the remote possibility of fringe benefits. Remarkably, we can’t help staying gruesomely fascinated by these characters’ fates even as we know (either from gut intuition, or from previous viewings of the film) that little good will come to them. The metaphor of Dance Marathon-as-Life — both are nasty and brutish, and then you die (or lose) — is apparent, but is so effectively framed as a bleakly vibrant history lesson that it’s easy to forget we’re watching anything other than a unique human drama playing out in front of our eyes. They Shoot Horses… isn’t for the faint of heart, and won’t likely be a repeat favorite — but it’s certainly must-see viewing at least once for all film fanatics.

Redeeming Qualities and Moments:

• Gig Young’s Oscar-winning performance as Rocky
  
• Jane Fonda as Gloria (nominated by Peary for an Alternate Oscar as Best Actress of the Year
  
• Red Buttons as Sailor
  
• Fine cinematography and period detail
  
• Fredric Steinkamp’s relentless editing
  

Must See?
Yes, for its historical significance and undeniable impact. Nominated as one of the Best Pictures of the Year in Peary’s Alternate Oscars book.

Categories

• Historically Relevant
• Noteworthy Performance(s)
• Oscar Winner or Nominee

Links:

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

Synopsis:
Intrigue and chaos abound at the society wedding of a working-class redhead (Amy Stryker) and her half-Italian fiance (Desi Arnaz Jr.).

Genres, Themes, Actors, and Directors:

• Carol Burnett Films
• Class Relations
• Comedy
• Ensemble Cast
• Family Problems
• Geraldine Chaplin Films
• Lillian Gish Films
• Mia Farrow Films
• Robert Altman Films
• Weddings

Review:
A Wedding came about as the result of Altman’s joking comment that perhaps he should film a wedding as his next project; the result, though not all that well received by critics, is one of his most amusing and engaging comedies. Anyone who’s either participated in or planned a wedding knows that glitches and emotional meltdowns are inevitable; here, Altman satirizes this inevitability by simply turning everything up a notch — starting with the concealed death of a matriarch (Lillian Gish) at the beginning of the film, and ending with a fatal car crash. Altman had famously brought 24 characters together for Nashville (1977), and decided (presumably just for kicks) to double this number in A Wedding; naturally, not all these characters get their due, but his masterful interweaving of so many disparate storylines works remarkably well.

Interestingly, the characters one would consider most central to the event — that is, the bride (unknown, braces-clad Amy Stryker) and her groom (Desi Arnaz, Jr.) — are among the most peripheral; only gradually do we learn what brought them together, and they never become fully developed protagonists. While their future happiness is threatened a few times throughout the film — by Arnaz’s former high society girlfriend (Pam Dawber), by Stryker’s wigged-out sister (Mia Farrow), and, later, in an infamous shower scene, by Arnaz’s military academy roommate — this isn’t really the primary thrust of the story; there isn’t one.

The most humorous of the film’s many subplots concerns beefy Pat McCormick’s relentless pursuit of Carol Burnett (mother-of-the-bride) — not out of lust, as we might expect, but from a pure conviction that she is his long-lost soul-mate. While Burnett’s cinematic performances are often (as here) over-the-top, she does a hilarious job showing her character’s gradual shift from absolute lack of comprehension to giddy acceptance of McCormick’s overtures. Meanwhile, deeper familial dramas (such as Nina Van Pallandt’s drug addiction, and the truth behind her marriage to Vittorio Gassman, who seems to have mafia ties) are handled with both humor and sensitivity. Part of Altman’s genius lies in the way he treats all his characters — no matter how minor — with respect; we sense that each has an interesting story to tell, if only we had the time to spend with them.

Redeeming Qualities and Moments:

• Pat McCormick’s zealous pursuit of Carol Burnett
  
• Vittorio Gassman and Nina Van Pallandt as Mr. and Mrs. Corelli
  
• Howard Duff as lecherous Dr. Meecham
  
• Countless unexpected moments of bizarre humor
  
  

Must See?
Yes, as one of Altman’s funniest films.

Categories

• Important Director

Links:

• IMDb entry
• Roger Ebert’s Review
• Time Out Capsule Review

Synopsis:
Openly-gay politician Harvey Milk finally achieves a seat on San Francisco’s city council, only to be assassinated shortly thereafter by his bitter colleague, Dan White.

Genres, Themes, Actors, and Directors:

• Biopics
• Documentary
• Homosexuality

Review:
Rob Epstein’s Oscar-winning documentary about the tragic assassination of California’s first openly-gay politician has generated renewed interest given the 2008 release of Gus Van Sant’s Milk (starring Sean Penn in an Oscar-winning performance as Harvey Milk). Those who’ve seen Milk and would like to learn more about Milk’s rise to political prominence would do well to check out this conventionally crafted but provocative film; together, the two movies provide a rich portrait of a man who dared to live his life honestly and openly, despite the risks he inevitably faced. And Penn’s performance is simply that much more impressive after seeing the real Milk in action.

Redeeming Qualities and Moments:

• An engaging portrait of Milk’s charismatic rise to power
  
• Touching testimonials by friends and colleagues of Milk
  
• Effective incorporation of archival footage
  

Must See?
Yes, as an Oscar-winning documentary.

Categories

• Oscar Winner or Nominee

Links:

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

Synopsis:
Two con-artists (Clark Gable and Jean Harlow) fall in love, but are separated when pregnant Ruby (Harlow) takes the rap for Eddie (Gable) and is sent to a reform school.

Genres, Themes, Actors, and Directors:

• Clark Gable Films
• Con-Artists
• Jean Harlow Films
• Morality Police
• Star-Crossed Lovers

Review:
After the success of their pairing in Red Dust (1932), Jean Harlow and Clark Gable teamed up once again for this financially successful but ultimately disappointing tale of doomed con-artists in love. The story — scripted by Anita Loos — starts off with plenty of zingy potential (Harlow and Gable have great chemistry together, naturally), but — per the directive of Louis B. Mayer, who wanted Ruby to “pay for her sins” — eventually devolves into sappy melodrama. As noted in David Boxwell’s analysis of the film for Senses of Cinema, it represents “a fascinating mix of racy pre-Code cynicism and post-Code sentimentality and piety”. Hold Your Man is worth a look for its first half, but ultimately not must-see viewing.

Redeeming Qualities and Moments:

• Harlow and Gable’s initial “meet cute” in the bathtub
  

Must See?
No, though Harlow and/or Gable fans will likely be curious to check it out.

Links:

• IMDb entry
• NY Times Original Review
• TCM Article

Synopsis:
A clumsy young window cleaner (Robin Askwith) working for his brother-in-law (Anthony Booth) finds it easy to bed his scantily-clad female clients, but really wants to date a sexy female cop (Linda Hayden).

Genres, Themes, Actors, and Directors:

• Comedy
• Sexuality

Review:
Confessions of a Window Cleaner was the highest grossing film at the U.K. box office in 1974, and it’s easy to see why: full of naughty sexual encounters and low-brow humor, Confessions… is essentially soft-core porn on laughing gas. The script is filled to the brim with groan-inducing double entendres (“I don’t know what came over me.” “Well, it wasn’t me.”), and occasionally stoops a bit too low for laughs, as when Askwith’s pregnant sister (Sheila White) appears to be going into labor, only to let out a huge belch instead — but ultimately it’s all much too innocuous to find fault with. As “Timothy Lea”, Robin Askwith — who looks like a goofy Mick Jagger — is horny but has his heart in the right place, as evidenced by his sincere pursuit of marriage with baby-faced Linda Hayden. Followed by three Confessions… sequels, all starring Askwith as Timmy. Note the following refrain from Timmy’s theme song: “You’re not a loser, you just find it hard to win.” (!!)

Redeeming Qualities and Moments:

• An overall air of lighthearted silliness
  
• A bouncy ’70s score

Must See?
No; despite its historical popularity, this one isn’t must-see viewing — though it’s worth a look if you’re curious. Listed as a Cult Movie in the back of Peary’s book.

Links:

• IMDb entry
• NY Times Original Review
• Spinning Image Review
• Movie House Review
• TV Guide Capsule Review

Synopsis:
Edith Beale and her daughter, “Little” Edie (Jacqueline Kennedy’s cousin), live together in a decaying East Hampton mansion known as Grey Gardens.

Genres, Themes, Actors, and Directors:

• Documentary
• Grown Children
• Nonconformists

Review:
After the success of their documentary chronicling the Rolling Stones’ tragic Altamont Speedway concert (1970’s Gimme Shelter), the Maysles brothers set out to make a film about Jacqueline Kennedy Onassis’s childhood — but their attention was diverted once they discovered the existence of Kennedy’s unbelievably eccentric aunt and cousin, “Big” and “Little” Edie Beale. The result was this beloved cult film, in which the Beales allow their quirky, unconventional existence together in a large decaying mansion to be recorded for the general public. Indeed, both Edies are exhibitionists, and seem to take genuine delight in “performing” for the camera: Big Edie considers herself a world-class singer, while Little Edie foster dreams of a dancing career, and we get to witness ample evidence of both their “talents”.

Viewers and critics often wonder whether the Beales — who come across as not-just-a-little unhinged here — were taken advantage of by the Maysles, but in truth, the Beales were flattered by the film, and enjoyed the notoriety it brought them; as a result of her newfound fame, Little Edie — always seeking the limelight — was even given the opportunity to perform in a nightclub. Diehard Beales fans have long championed this documentary, giving it automatic cult status, but it’s gained even more attention recently given the airing of an HBO special (starring Jessica Lange and Drew Barrymore) which fills in the gaps of the Beales’ lives pre-squalor, and serves as an invaluable counterpart to this film; both are must-see.

Redeeming Qualities and Moments:

• Remarkably quirky “performances” by both Big and Little Edie
  
• Countless humorous scenes — such as when Little Edie describes her “costume for the day”
  
• Many bizarrely memorable quotes:
  

  “He always compliments me on the way I do my corn.”
  “Of course, I’m mad about animals, but raccoons and cats become a little bit boring.”
  “You know, they can get you in East Hampton for wearing red shoes on a Thursday.”

Must See?
Yes, as a certifiable cult favorite. Listed as a Cult Movie in the back of Peary’s book.

Categories

• Cult Movie

Links:

• IMDb entry
• Roger Ebert’s Review
• SF Chronicle Review
• Q Network Review
• TCM Article

Synopsis:
A man (Richard Dix) despondent over the death of his wife puts out a contract on his own life; when he discovers his wife is still alive, however, he tries to reverse the contract, only to find that the man he originally contacted (Don Costello) has been killed, and a hired hitman (J. Carrol Naish) is determined to complete his job.

Genres, Themes, Actors, and Directors:

• Hit Men
• Race-Against-Time
• William Castle Films

Review:
Based on one of the most popular radio mystery serials in American history, The Whistler offers a surprisingly effective cinematic translation of the show’s formulaic intrigue and suspense. Director William Castle — who went on to greater glory as the “schlockmeister” behind films such as The Tingler (1959) and Strait-Jacket (1964) — reportedly used “creative tactics” to elicit a suitably haggard and tense performance from wooden leading man Richard Dix, who wanders through the one-hour film desperate to reverse a chain of events he himself has put into motion; we can’t help vicariously experiencing his anxiety. Despite a few minor plot holes, The Whistler is worth a look both for its cultural significance and for the simple yet honest enjoyment it brings. Listen for the iconic opening whistled tune, which surely was an influence on Ennio Morricone’s scores for the “Man With No Name” films.

Redeeming Qualities and Moments:

• Effectively stark cinematography
  
• A clever screenplay with many suspenseful twists
  

Must See?
Yes, as a nifty little B-thriller.

Categories

• Good Show

Links:

• IMDb entry
• NY Times Original Review (Spoiler Alert!)
• SciFilm Review
• TCM Article
• Noir of the Week Review