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Month: March 2013

On the Town (1949)

On the Town (1949)

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“You know, somewhere in the world there’s a right girl for every boy.”

Synopsis:
Three sailors on leave for the day in New York City become romantically involved with a trio of girls: Ozzie (Jules Munshin) encounters a sexy scientist (Ann Miller) in a museum; Chip (Frank Sinatra) is aggressively pursued by a cab driver (Betty Garrett); and Gabey (Gene Kelly) falls for the girl of his dreams (Vera-Allen) when he spots her on a poster as “Miss Turnstiles”, not realizing she actually hails from a small town.

Genres, Themes, Actors, and Directors:

  • Ann Miller Films
  • Frank Sinatra Films
  • Gene Kelly Films
  • Mistaken Identities
  • Musicals
  • New York City
  • Romantic Comedy
  • Sailors
  • Stanley Donen Films

Response to Peary’s Review:
Peary accurately notes that this “irresistible, cheer-you-up Betty-Comden-Adolph Green musical” — “directed by Gene Kelly and Stanley Donen” — features “lively” songs and “exuberant” dancing. He points out that Kelly’s character “is extremely likable” (note how sweet he is to his “ugly blind date” [Alice Pearce]), and notes how nice it is “to see how well the three female characters get along”, despite having just met each other hours earlier. Of the female leads, Garrett is especially memorable — and “really appealing” — in a hilariously aggressive turn as a “spunky cabbie” who immediately knows what she wants from Sinatra’s “initially shy” character. As for Vera-Allen, while Peary argues that she “makes a good dancing partner for Kelly because she also has an athletic style”, he complains that she lacks the “‘star power’ of some of his other partners”; I agree that she’s well-cast but not all that charismatic in the role.

Peary complains that the wonderful “Bernstein-Edens score could use a couple of more standards to go with ‘New York, New York'”, but I heartily disagree; there are enough clever, memorable songs strewn throughout this one (“Come Up To My Place”, “You’re Awful”, and “Count On Me”, to name just a few) to satisfy most musical lovers, and the accompanying choreography is consistently enjoyable. Meanwhile, the film’s fabled location shooting — particularly during the opening sequence — is deservedly noteworthy; one wishes for even more. Although the storyline is incredibly simple and straightforward — the biggest conflict revolves around Miss Turnstiles’ hidden identity, which we know won’t be a problem for amiable Kelly — this allows us to simply sit back and enjoy the show, which remains enormously entertaining up until the tiresome final chase sequence (but who’s quibbling).

Redeeming Qualities and Moments:

  • Fine location shooting in the charming opening musical sequence, “New York, New York”
  • Many enjoyable musical numbers and dance sequences


  • Betty Garrett as Hilde
  • Alice Pearce as Lucy Schmeeler
  • A memorable score by Leonard Bernstein and Roger Edens (with fun lyrics by screenwriters Adolph Green and Betty Comden)

Must See?
Yes, as a genuine musical classic. Nominated by Peary as one of the Best Films of the Year in his Alternate Oscars.

Categories

  • Genuine Classic

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

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Pride and Prejudice (1940)

Pride and Prejudice (1940)

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“Look at them — five of them without dowries! What’s to become of them?”

Synopsis:
In 19th century England, the mother (Mary Boland) of five young women — headstrong Lizzie (Greer Garson), beautiful Jane (Maureen O’Sullivan), musical Mary (Marsha Hunt), and uniform-loving Lydia (Ann Rutherford) and Kitty (Heather Angel) — attempts to marry them off, given that a distant relative, Mr. Collins (Melville Cooper), will inherit their estate once her husband (Edmund Gwenn) passes on. Jane soon becomes infatuated with wealthy Mr. Bingley (Bruce Lester), while Lizzie fends off advances from Mr. Collins, and engages in heated discussions with a would-be suitor, mysterious Mr. Darcy (Laurence Olivier).

Genres, Themes, Actors, and Directors:

  • Cross Class Romance
  • Edmund Gwenn Films
  • Greer Garson Films
  • Historical Drama
  • Karen Morley Films
  • Laurence Olivier Films
  • Looking for Ms./Mr. Right
  • Maureen O’Sullivan Films

Review:
While literary fans may continue to quibble over the details of how Jane Austen’s beloved novels have been translated to the screen over the years, it’s generally acknowledged that this early MGM adaptation of Austen’s most beloved book deserves recognition as one of the best, and is notable for sparking a renaissance of interest at the time in Austen’s work. Despite the decision to place the story within a slightly later historical setting — and the inevitable truncation of various thematic elements from the novel — the film feels relatively faithful to the spirit of the book, merging more serious social concerns (a family will be forced to hand over its entire estate simply given lack of a male heir!) with plenty of levity, most specifically in the character of Mr. Collins (who is accompanied by his own musical motif whenever he enters the screen). The complex but never too-complicated plot — revolving around class relations, romantic infatuations, and hidden secrets of character — is portrayed in such a way that even modern audiences will be able to understand the nuances of life in Austen’s unique historical milieu.

Thirty-six-year-old Garson — fresh from her Hollywood debut in Goodbye, Mr. Chips (1939) — nicely inhabits the pivotal role of 20-year-old Elizabeth “Lizzie” Bennett, investing her with requisite amounts of intelligence and independence while simultaneously demonstrating her enduring loyalty towards her (often wacky) family members. Olivier, meanwhile, is suitably handsome and mysterious as Mr. Darcy — perhaps literature’s most desirable bachelor. Indeed, the central storyline of P&P — a seemingly arrogant millionaire turns out to have secret depths of compassion, generosity, and romantic desire — is so compelling that it’s nearly impossible not to get caught up in it. Meanwhile, the screenplay — co-written by none other than Aldous Huxley (!) — nicely preserves much of Austen’s witty, trenchant dialogue, respecting audience members’ intelligence and desire for authenticity:

Mr. Darcy: “She looks tolerable enough, but I am in no humor tonight to give consequence to the middle classes at play.”

Note: While Garson turns out to be nicely cast as Lizzie, one can’t help wondering what Vivien Leigh — Olivier’s original choice for the role — would have done with the character…

Redeeming Qualities and Moments:

  • Greer Garson as Elizabeth Bennet (nominated by Peary as one of the Best Actresses of the Year in his Alternate Oscars)
  • Laurence Olivier as Mr. Darcy
  • Charming period sets (though the costumes themselves are too contentiously anachronistic to praise — see IMDb message boards for evidence of the ongoing debate)

Must See?
Yes, as an enjoyable literary adaptation. Listed as a film with Historical Importance and a Personal Recommendation in the back of Peary’s book.

Categories

  • Genuine Classic

Links:

Suddenly, Last Summer (1959)

Suddenly, Last Summer (1959)

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“My son and I had a rare and wonderful love and trust between us — a sort of contract, a covenant.”

Synopsis:
A wealthy widow (Katharine Hepburn) attempts to convince a renowned brain surgeon (Montgomery Clift) to perform a lobotomy on her niece (Elizabeth Taylor) in exchange for a generous endowment to a cash-strapped mental hospital — but Clift soon learns that Hepburn’s request is motivated by a desire to suppress memories of her beloved son’s unsavory death.

Genres, Themes, Actors, and Directors:

  • Elizabeth Taylor Films
  • Flashback Films
  • Joseph L. Mankiewicz Films
  • Katharine Hepburn Films
  • Mental Breakdown
  • Mercedes McCambridge Films
  • Montgomery Clift Films
  • Play Adaptation
  • Tennessee Williams Films

Review:
Based on a one-act play by Tennessee Williams, this Gothic Freudian “horror” story — directed by Joseph Mankiewicz, with a screenplay by Gore Vidal and Williams — tells a surprisingly suspenseful tale of toxic secrets and dysfunctional maternal love, with “homosexuality, incest, lobotomy, [and] even cannibalism… discussed or implied”. The storyline revolves around a mysterious character (“Sebastian Venable”) whose figure we only glimpse briefly in flashback:

The fact that we never actually “meet” him adds to the power of the narrative, as we struggle to understand exactly what caused his gruesome death, and why his mother is so determined to conceal the truth about her enigmatic son. Vidal and Williams’ screenplay is wonderfully dense, full of hidden insinuations — indeed, one spends the entire movie in awe by how cleverly layers of implications are stacked. Sebastian was gay, no doubt about it, and his homosexuality drives the entire tragedy in question; yet this is never openly stated.

Katharine Hepburn is truly chilling in the pivotal role of Mrs. Venable — perhaps theater/cinema’s most inappropriately protective mother ever, she’s unafraid to make her character completely evil, and entirely unsympathetic.

Meanwhile, Taylor is equally fine in the challenging role as her troubled niece:

… who must deal not only with the trauma of what she saw and experienced while vacationing with Sebastian, but fear for her very life, as her (greedy) mother (Mercedes McCambridge) and brother (Gary Raymond) seem willing to “trade” her mind in exchange for financial recompense by Hepburn.

Gothic sets contribute to the film’s overall sense of psychological terror, while smartly chosen costumes — in particular Hepburn’s hideous “feather hat” (reminiscent of Cruella De Vil):

… accentuate the heightened melodrama of the material.

The only section of this undeniably dialogue-bound film that feels overly staged is the climactic finale, as all the “players” gather ’round to hear Taylor (who’s been given a “truth serum”) spill the beans about what, exactly, happened “last summer”.

The choice to literalize Sebastian’s death is probably necessary, but doesn’t prevent all sorts of lingering questions from remaining in viewers’ minds. While it’s not for all tastes, I’m recommending Suddenly, Last Summer for one-time viewing, as an engrossingly tawdry melodrama and for Hepburn’s unforgettable performance.

Redeeming Qualities and Moments:

  • Katharine Hepburn as Mrs. Venable
  • Elizabeth Taylor as Catherine
  • Effectively “spooky”, Oscar-nominated sets

Must See?
Yes, as a powerful melodrama, and for the Oscar-nominated lead performances.

Categories

  • Oscar Winner or Nominee

Links:

African Queen, The (1951)

African Queen, The (1951)

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“Could you make a torpedo? Well, do so, Mr. Allnut.”

Synopsis:
As World War I reaches the heart of German-controlled Africa, a boozy boat captain (Humphrey Bogart) and a religious spinster (Katharine Hepburn) whose minister-brother (Robert Morley) has just died make their way down a treacherous river in hopes of torpedoing a German battleship; along the way, they unexpectedly fall in love.

Genres, Themes, Actors, and Directors:

  • Africa
  • At Sea
  • Character Arc
  • Humphrey Bogart Films
  • John Huston
  • Katharine Hepburn Films
  • Missionaries and Revivalists
  • Romance
  • World War I

Response to Peary’s Review:
Peary writes that “[director John] Huston and his stars injected humor and playfulness” into this “sure-fire ‘feel-good’ movie”, which remains “perhaps the cinema’s greatest romantic adventure… set in the 20th century”. Adapted from C.S. Forester’s novel, it relates the tale of a mismatched pair of middle-aged individuals who “at first… can’t stand each other” but are drawn together during their “perilous journey”, and “become one of the cinema’s truly wonderful romantic couples”. Although the entire scenario defies belief on nearly every count (with the ending in particular most inconceivable), it’s impossible not to be swayed by the magic of Hepburn and Bogart’s unlikely romance, as neither individual is “reticent about expressing love for the other, even when in the midst of tragedy”. As Peary writes, “their endearing gestures have a cheering effect on the viewer”, and “fifty-three-year old Bogart and 45-year-old Hepburn get sexier by the minute”.

Peary’s rather short review of this enduring classic fails to mention much about its fabled production history (recounted by Hepburn in her creatively titled memoir The Making of the African Queen: Or, How I Went to Africa with Bogart, Bacall and Huston and Almost Lost My Mind). As noted in TCM’s “Behind the Camera” overview, while Hepburn and Huston adored shooting on-location in Africa, Bogart was miserable and couldn’t wait to return back home to “civilization”; fortunately, his wife (Lauren Bacall) was on hand to help make things more tolerable for everyone. Throughout filming — while Huston was tangentially obsessed with hunting an elephant — the cast and crew were bedeviled by all kinds of challenges (torrential rains, wild animals, contaminated water, and much more), thus adding to the authenticity of the final product.

Indeed, it’s remarkably refreshing to see how truly filthy both Bogart and Hepburn get during their onscreen adventures — and it’s equally satisfying to witness how “there is a division of labor” throughout, with Hepburn’s seemingly prim and proper spinster immediately proving herself to be unexpectedly savvy, brave, and thrill-seeking, thereby slowly seducing Bogart’s crusty captain. Though you’d never know it from watching her pumping organ pedals in the film’s opening sequence (a wonderfully droll snapshot of her life as a missionary), Hepburn’s Rose Sayer turns out to be one of cinema’s strongest female protagonists; her character arc is truly a joy to behold. My favorite scene is probably the one in which the couple team together to fix The African Queen, utilizing the “primitive” tools and materials they have at hand (suggested by Hepburn herself), and doing the bulk of their work underwater.

Bogart won an Academy Award for his humorous performance as Charlie Allnut (a great last name!), though as Peary notes, “for some reason the equally fine Hepburn (who based her character [in part] on Eleanor Roosevelt) didn’t even get nominated”; both actors — who literally carry the entire movie — are at the peak of their game. The location shooting (with cinematography by Jack Cardiff) is equally noteworthy — and again, reading about the film’s production history gives one added appreciation for what it took to achieve such authenticity. With that said, I’ll admit to finding the obvious use of rear-screen projection at times to be somewhat distracting; however, one must simply accept this as an artifact of the times.

Finally, the screenplay — co-written by James Agee and Huston, with assistance from Peter Viertel and John Collier — is consistently suspenseful, never dumbing down the material, and allowing for plenty of humorous interplay between the leads. As noted in Bosley Crowther’s review for the New York Times (where he refers to it as “a well-disguised spoof”), the tale “is so personally preposterous and socially bizarre that it would take a lot of doing to be made convincing in the cold, clear light of day” — and “so Mr. Huston merits credit for putting this fantastic tale on a level of sly, polite kidding and generally keeping it there, while going about the happy business of engineering excitement and visual thrills.” Well put, Mr. Crowther.

Redeeming Qualities and Moments:

  • Humphrey Bogart as Charlie Allnut (nominated by Peary as one of the Best Actors of the Year)
  • Katharine Hepburn as Rose Sayer (nominated by Peary as one of the Best Actresses of the Year)
  • Jack Cardiff’s cinematography
  • Fine location shooting in the Belgian Congo
  • James Agee and John Huston’s script

Must See?
Yes, as a most enjoyable romantic-adventure.

Categories

  • Genuine Classic
  • Oscar Winner or Nominee

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

Links:

Hand, The (1981)

Hand, The (1981)

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“Mandro doesn’t think.”

Synopsis:
While arguing with his wife (Andrea Marcovicci), a comic strip artist (Michael Caine) loses his right hand in a car accident, and soon comes to believe that the severed hand has taken on a life of its own.

Genres, Themes, Actors, and Directors:

  • Artists
  • Disembodied Parts
  • Horror
  • Michael Caine Films
  • Oliver Stone Films

Review:
Written and directed by Oliver Stone, this hokey psychological horror film about a necrotic, dismembered hand taking on a life of its own — guided by, or guiding, the will of its original owner — was apparently viewed as simply a paycheck-opportunity by Michael Caine, who nonetheless turns in a surprisingly invested (if occasionally overblown) performance. With just a couple of exceptions (i.e., Caine’s shower knob morphing into a metal hand), the special effects are laughably shoddy — which, interestingly enough, Stone himself acknowledges in the refreshingly candid, detail-filled commentary provided on the DVD release. Indeed, one’s opinion of the movie may alter somewhat after listening to Stone’s humble reflections; knowing some of the issues he faced (including lack of full creative control) gives one a bit more compassion for the end result. Regardless, this one is really only recommended for diehard horror fans, Caine completists, and/or those curious to see Stone’s early work.

Note: This is often cited as a remake of Robert Florey’s horror classic The Beast With Five Fingers (1945) — but all the two films have in common is a disembodied hand wreaking havoc, and a man going slowly insane because of it; the storylines are otherwise completely different.

Redeeming Qualities and Moments:

  • A committed performance by Caine
  • Atmospheric cinematography

Must See?
No; you can definitely feel free to skip this one.

Links:

Heiress, The (1949)

Heiress, The (1949)

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“Only I know what I lost when she died — and what I got in her place.”

Synopsis:
The socially awkward daughter (Olivia de Havilland) of a wealthy doctor (Ralph Richardson) falls in love with a handsome suitor (Montgomery Clift) who may or may not have mercenary intentions.

Genres, Themes, Actors, and Directors:

  • Father and Child
  • Heiresses
  • Historical Drama
  • Miriam Hopkins Films
  • Montgomery Clift Films
  • Olivia de Havilland Films
  • Ralph Richardson Films
  • Revenge
  • Spinsters
  • William Wyler Films

Review:
Olivia de Havilland won a much-deserved Oscar for her nuanced performance in the title role of this surprisingly bleak historical drama, directed by William Wyler and based upon a play derived from Henry James’ novel Washington Square (1880). Although he doesn’t review the film in his GFTFF, Peary discusses de Havilland’s performance at length in his Alternate Oscars, where he agrees with the Academy in naming her Best Actress of the Year. He begins his assessment by stating that “even without makeup and wearing an unflattering coiffure, de Havilland is too pretty to play a woman who has never been courted” — so “she has the unfortunate task of presenting someone whose manner, lack of talent, and lack of personality make her such a bad catch that men avoid her despite her decent looks, $10,000-a-year inheritance from her mother, and the promise of great wealth when her father dies” — a “task” de Havilland achieves with complete conviction.

Peary further notes that “it’s obvious… [Catherine] has been deprived of love and affection her whole life by her father and other men”; when watching how she “endures her father’s subtle insults”, we can tell that “she has been his target for so long that she accepts them as part of the daily routine”. Indeed, seeing poor Catherine endure so much — and then watching her taken in by Clift’s charms, with only heartache of one kind or another sure to follow — is more than many viewers may want to subject themselves to. But de Havilland’s performance is so achingly vulnerable — and the screenplay (by Ruth and Augustus Goetz) so finely crafted — that we can’t help watching in morbid anticipation to see how Catherine will proceed. Ultimately, The Heiress becomes a tale of sad revenge, as Catherine suddenly realizes she has endured a lifetime of unwarranted mistreatment from her emotionally abusive father, and must tap into an inner strength she’s only beginning to realize she possesses.

While de Havilland’s performance is universally acknowledged as masterful, opinions differ widely on how successful (or not) Clift is as Catherine’s ambiguously-motivated suitor; personally, I find him nicely cast, with oodles of requisite charm and good looks, and fully believable as a closet cad. Meanwhile, Richardson gives a chilling performance as Catherine’s father (the things he says!), and Miriam Hopkins is convincing in a supporting role as Catherine’s over-eager Aunt Lavinia. Adding to the film’s power and authenticity are fine attention to period detail, skilled direction by Wyler, and a noteworthy score by the inimitable Aaron Copland. Film fanatics shouldn’t miss seeing this classic literary adaptation at least once.

Redeeming Qualities and Moments:

  • Olivia de Havilland as Catherine
  • Montgomery Clift as Morris
  • Ralph Richardson as Dr. Sloper
  • Miriam Hopkins as Aunt Lavinia
  • Betty Linley as Mrs. Montgomery
  • Fine sets and period detail
  • Aaron Copland’s score

Must See?
Yes, for de Havilland’s Oscar-winning performance, and as a powerful film overall. Listed as a film with Historical Relevance and a Personal Recommendation.

Categories

  • Noteworthy Performance(s)

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

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