“You could melt her heart right down to butter, if you’d only turn on the heat!”
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Response to Peary’s Review: Note: The hotel chain Holiday Inn was indeed named after this movie; see TCM’s article for more trivia. Redeeming Qualities and Moments:
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“I’m the only one I know here who doesn’t have a past.”
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“We’re fighting a thing we can’t understand, with everything against us.”
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Review: A 1992 video release removed some of the most offensive dialogue (“Would you all have maidens like this for your wives? Then conquer and breed! Kill the white man and take his women!”), but these scenes have all been restored in the recent DVD release, so modern viewers can see for themselves how riddled with vitriol it truly is: “Men of Asia! The skies are red with the thunderbolts of Genghis Khan! They rain down on the white race… and burn them!” Just as disturbing as these racist rants are the seemingly endless scenes of torture inflicted by Manchu on his various victims, which literally dominate the final 20 minutes or so of the film; while his devices are indeed ingenious, they’re fetishized to the point that your tolerance will likely be sorely tested (mine was). Watch for Myrna Loy in her last performance as an “exotic temptress”, playing Manchu’s sadistically predatory daughter (she herself is reported to have said, “Say, this is obscene!” when reading the script). Note: Fu Manchu wouldn’t appear again on-screen until over 30 years later, in the Hammer Studios production The Face of Fu Manchu (starring Christopher Lee in the title role). Read Wikipedia’s article on this infamous character if you’re curious to read about other cinematic adaptations. Redeeming Qualities and Moments:
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“Strangely enough, we’re in the same business — the business of escaping.”
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Review: However, Kaye — who won a Golden Globe award as best actor — does a fine job, and surely must have been thrilled at this chance to tackle such an important cinematic topic. And Nicole Maurey is charming and believable in a challenging role as Jurgens’ fiancee, who finds herself drawn towards Kaye — but the central love triangle conflict that plays itself out during the middle of the film (culminating in a comedic duel) fails to leave any impact. While it’s difficult to understand why Maurey fell for the two-timing Jurgens in the first place, it’s eminently clear that her “attraction” to Kaye is simply admiration for his resourcefulness and gentle charm, and never poses a real threat to Jurgens. By the film’s inevitable climactic denouement at the border, we’re marginally invested in these characters’ survival, but can’t help wishing that the titular relationship offered more heft and realism. Redeeming Qualities and Moments:
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“Yeah, they’re dead. They’re all messed up.”
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Response to Peary’s Review: Peary notes that this “pessimistic and unsentimental” film taps into our most “basic fears: monsters that won’t go away, darkness, claustrophobia”, with “even blood relations [turning] on their loved ones when infected by a ghoul’s bite”. He offers numerous other titles for comparison, noting that NOTLD has “much in common with Invisible Invaders, Carnival of Souls, and, the most obvious influences, Psycho and The Birds;” he points out that in both NOTLD and The Birds, for instance, “people congregate in [a] house for one reason only: fear”. He notes parallels between the literal attacks perpetrated from the outside of the house by the “ghouls”, and the internal verbal sparring between Jones (interestingly, the “script never mentions that [he] is black”) and boorish Hardman — and points out the ironic fact that “Hardman’s plan for survival… turns out to be superior to the implemented plan of Jones”, something apparently not noted by any other critics at the time. Be forewarned: for first-time viewers, the powerful surprise ending is sure to make you go, “Now wait a minute!!!” It comes as a visceral shock, and was a bold move by screenwriter John A. Russo. Note:Why does Peary call the zombies “ghouls” throughout his review? I’m really not sure. Redeeming Qualities and Moments:
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(Listed in 1001 Movies You Must See Before You Die) Links: |
“Ridicule is the one thing we must avoid at all costs.”
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Review: While I certainly can’t refute the deeply reverent relationship many viewers have with this film, I must admit that I found myself surprisingly unmoved by it. Bresson’s distinctive cinematic style — strategically designed to emulate a marriage of music and painting, with emotionless, non-acting “models” rather than actors inhabiting roles — is ultimately not for all tastes. While I admire his intentions, his approach doesn’t work for me on a basic empathetic level. I’m so distracted watching his “models” move self-consciously across the screen that I’m overly aware of their role as dramatic placeholders, to the detriment of my ability to relate to the film on any personal level. This is all the more of a shame given that Bresson’s visuals are consistently stunning; frame after frame is lovingly composed, and gorgeously shot by his D.P. (Ghislain Cloquet). Call me a Bressonian grinch, but I’m only recommending this one as must-see for its undeniable cinematic stamp of approval by most critics. You’ll have to judge its ultimate merit for yourself. Instead, I’ll continue to rally for Diary of a Country Priest (1951) as the film for which Bresson’s unique approach is best suited. Redeeming Qualities and Moments:
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“We’re talking about kids — kids like yours and mine!”
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a female runaway introduced in the film’s appalling opening sequence, in which she watches mutely while a young baby is mauled to death by a wild dog. (This scene is so viscerally disturbing I had to turn the movie off immediately, and didn’t return to it until well over a year later — so consider yourself duly forewarned.) Other characters in the ensemble cast include the teenage son (Bill Coyne) of an abusively alcoholic mother (Donna Lamana), and his six-year-old brother (Andrew Pece); a charismatic but bigoted skinhead (Chris Pedersen) who’s upset about having a black police officer (Don Allen) as a stepdad; a druggie (Grant Miner) whose stash plays a pivotal role in a later plot element; a rat-lover (Flea in his screen debut!); and more. While refreshingly sympathetic to these disturbed teens’ sorry lot in life, Spheeris ultimately tends to fetishize their existence a bit too much (watch for the slo-mo musical interlude about halfway through the film, shown as a still on the poster):
thus turning their communal existence into the ultimate sleepover fantasy. Yes, they must deal with unruly neighborhood thugs (those pesky adults!) who threaten their very existence — but at least they have each other. However, therein lies its cult appeal; check comments on IMDb for a flavor of how many people have fond memories of this film from their own youth. Note: Suburbia (also known as The Wild Side) won the Best First Feature award at the 1983 Chicago International Film Festival; Spheeris went on to craft an oddly mainstream Hollywood career for herself. Redeeming Qualities and Moments:
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“There is no more foul or relentless enemy of man in the occult world than this dead-alive creature, spewed up from the grave.”
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“That will is practically an invitation to commit murder.”
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Review: NB: Paul Leni’s 1927 silent film is another notable screen adaptation of this classic play, and well worth a look. Redeeming Qualities and Moments:
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“Vermont should be beautiful this time of year, with all that snow.”
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Review: It’s hard to fault White Christmas, given that it never tries to be more than what it is — a colorful, romantic, Vista Vision vehicle for Kaye and Crosby, with plenty of song and dance routines thrown in. With that said, I’m hard-pressed to call this one a genuine “classic”, given that it never really transcends its premise or dares to try anything particularly unique. The performances are all fine, but not particularly noteworthy. Vera-Allen (now known to be suffering from anorexia) is often distractingly thin, and while her performances are as technically proficient and impressive as always, she comes across as somewhat emotionally stiff. Her best dance sequence by far is when she lets her hair down — literally! — to perform “Abraham” with John Brascia (what a treat!); meanwhile, Rosemary Clooney gets to sing some fine ditties, and looks wonderful in Edith Head’s gowns. Irving Berlin’s score is predictably enjoyable, though “What Can You Do With a General?” remains a notorious clunker (but who’s quibbling?). Directed by Michael Curtiz. Note: White Christmas debuted as a stage musical in 2004, a testament to its enduring popularity. Redeeming Qualities and Moments:
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