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Month: April 2013

Gigi (1958)

Gigi (1958)

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“They’ve pounded into my head I’m backward for my age — but I know what all this means.”

Synopsis:
In turn-of-the-century Paris, a teen (Leslie Caron) living with her grandmother (Hermione Gingold) is groomed by her great-aunt (Isabel Jeans) to be a courtesan — but when a family friend (Louis Jourdan) takes a romantic interest in young Gigi (Caron), she begins to question her future.

Genres, Themes, Actors, and Directors:

  • Coming-of-Age
  • Cross-Class Romance
  • Historical Drama
  • Leslie Caron Films
  • Louis Jourdan Films
  • Maurice Chevalier Films
  • May-December Romance
  • Musicals
  • Vincente Minnelli Films

Response to Peary’s Review:
Peary writes — and I agree — that Vincente Minnelli’s “exuberant musical, the winner of nine Academy Awards including Best Picture”, features a “bright and witty” script (based on Colette’s 1944 novella), “appealing” stars, “colorful costumes and sets [evocative of] Paris [in] 1900”, and “some charming songs” — including Peary’s (and my) favorite, “I Remember It Well”, as Gingold and Maurice Chevalier “warmly sing of their long-ago romance”. Indeed, I was pleasantly surprised to revisit this film for the first time in over 20 years (I last saw it as a teenage ff), and to find that I appreciate it much more now that I’m better able to understand the nuances of its social milieu. Without a grasp of the “Belle Epoque” societal norms that Colette was depicting in her story, it’s difficult to understand the basic premise of the story, or to fully appreciate the type of dilemma faced by Gigi and Jourdan’s “Gaston” — so younger film fanatics should be duly forewarned.

Storyline aside, however, the film — often designated as the last great MGM musical — works on nearly all other levels. To elaborate on Peary’s points above, it also features excellent use of authentic outdoor locales in France, vibrant Technicolor cinematography, and songs that are integrated seamlessly into the narrative (I’m especially fond of how “Waltz at Maxim’s [She’s Not Thinking of Me]”, with Eva Gabor as Jourdan’s mistress, is handled). Meanwhile, most of the cast is top-notch, with Caron in particular demonstrating a tremendous leap in acting ability since her 19-year-old debut in Minnelli’s An American in Paris (1951). She manages to effectively portray Gigi both as an innocent adolescent and as an emergent courtesan; we can easily understand why Jourdan would fall for her. Jourdan (second choice after Dirk Bogarde, who would have been wonderful) capably embodies bored Gaston (his clever duet with Chevalier — “It’s a Bore” — allows us to understand his character within just a few minutes); but I’ll admit I find Chevalier — especially as he sings “Thank Heaven for Little Girls” (my least favorite number) — a tad creepy.

Redeeming Qualities and Moments:

  • Leslie Caron as Gigi
  • Hermione Gingold as Madame Alvarez
  • Lovely musical numbers — especially Gingold and Chevalier’s duet “I Remember It Well”
  • Fine period production design and costumes
  • Vibrant Technicolor cinematography
  • Excellent use of authentic Parisian locales

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

Categories

  • Genuine Classic
  • Oscar Winner or Nominee

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

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American in Paris, An (1951)

American in Paris, An (1951)

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“What gets me is, I don’t know anything about her.”

Synopsis:
An aspiring painter (Gene Kelly) in post-WWII Paris, living in the same building as his piano-playing buddy (Oscar Levant), is discovered by a beautiful patroness (Nina Foch) who hopes Kelly will become her new lover; meanwhile, Kelly falls in love with a shopgirl (Leslie Caron) he spies in a restaurant, not realizing that she’s engaged to the man (Georges Guétary) who kept her safe during the war.

Genres, Themes, Actors, and Directors:

  • Artists
  • Expatriates
  • Gene Kelly Films
  • Leslie Caron Films
  • Love Triangle
  • Musicals
  • Oscar Levant Films
  • Romance
  • Vincente Minnelli Films

Response to Peary’s Review:
As Peary writes, it’s too bad that the “potentially interesting storyline” for this “lavish M-G-M musical” is “given short shrift by Alan Jay Lerner”, who fails to exploit what should be the “intriguing relationships” between the four romantic leads. He argues that “instead of a steamy, complicated love affair between Kelly and Caron… their romance is movie-musical predictable” and “too proper”, and he notes that “Caron’s character, who no doubt had an interesting past, is very artificial”. He accurately points out that while “it’s nice to see her dance” (she’s given a clever introduction in a colorful montage early in the film), she “doesn’t yet look like a romantic lead”; he quips that “they hadn’t figured out her makeup, I suppose”, which isn’t all that far off the mark, given that she’s not nearly as attractive as she appears in her later films.

Peary further posits that “Minnelli’s elegant balletic style of dancing is too tame for [Kelly]” — though he concedes that Kelly is finally allowed to “let loose in the extravagant 20-minute musical finale” which features “several striking ballet interludes”; he notes that with its “imaginative use of color, costumes, and sets to create scenes in the styles of French artists … it is [indeed] one of the best production numbers in cinema history”. He argues that “the other, shorter song-and-dance numbers shouldn’t suffer so badly in comparison” — but I don’t quite agree with this sentiment; I’m fond of Kelly performing “I Got Rhythm” with a group of street kids, as well as his joy-filled tap dance routine to “Tra-la-la (This Time It’s Really Love)” in his friend Jerry’s apartment.

The primary problem with An American in Paris is its insufficiently developed storyline. Kelly’s crush on Caron is so paper-thin (especially given, as noted above, that she’s not particularly stunning — and he doesn’t see her opening dance sequence, as we do) that we simply can’t understand his instant obsession; meanwhile, Levant’s character is little more than a standard comedic foil, and Guetary is essentially a one-dimensional sap. What we’re left to enjoy are the stunningly vibrant Technicolor sound stage sets, fun costumes (particularly during the black-and-white ball), the Gershwin brothers’ incomparable score, and world-class dance routines — but without a suitable narrative to back all this up, An American in Paris comes up sadly short. It’s certainly worth at least a one-time look, but hasn’t endured as one of the best MGM musicals.

Redeeming Qualities and Moments:

  • Caron’s impressive dancing in her cinematic “introduction”
  • Kelly performing “I Got Rhythm”
  • Vibrant Technicolor cinematography
  • Impressive sets and costumes
  • The justifiably lauded ballet finale

Must See?
Yes, once, as an Oscar-winning (if flawed) classic.

Categories

  • Genuine Classic
  • Oscar Winner or Nominee

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

Links:

Sadie Thompson (1928)

Sadie Thompson (1928)

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

“Sadie Thompson, you are an evil woman!”

Synopsis:
A fun-loving woman (Gloria Swanson) fleeing from San Francisco arrives in Pago-Pago, where a judgmental missionary (Lionel Barrymore) tries to convince her to repent her sins, and a handsome soldier (Raoul Walsh) tempts her with the prospect of a new life in Australia.

Genres, Themes, Actors, and Directors:

  • Gloria Swanson Films
  • Lionel Barrymore Films
  • Literature Adaptation
  • Morality Police
  • Prostitutes and Gigolos
  • Raoul Walsh Films
  • Silent Films
  • South Sea Islands

Review:
W. Somerset Maugham’s short story “Rain” was adapted for the screen three times — most famously in 1932 with Joan Crawford, and later as Miss Sadie Thompson (1953) with Rita Hayworth. However, this early silent version — directed by and co-starring Raoul Walsh — remains worth a look on its own merits, both as an atmospheric adaptation of the story, and for Swanson’s iconic performance as Sadie. As I noted in my review of Cecil B. DeMille’s Male and Female (1919), Peary only includes three Gloria Swanson titles in his GFTFF, none of which portray her at her silent-era best — this title, I think, fits that bill. Given that Peary nominates both Swanson and Barrymore (nicely epitomizing moral hypocrisy) in his Alternate Oscars, it seems especially suitable to include here as a “missing must-see” title; however, be forewarned that its final reel is missing. Check out Wikipedia’s article to read more about the film’s troubled birth and production history.

Redeeming Qualities and Moments:

  • Gloria Swanson as Sadie (nominated by both Peary and the official Academy as Best Actress of the Year)
  • Lionel Barrymore as Mr. Davidson
  • Fine cinematography

Must See?
Yes, simply to see Swanson’s Oscar-nominated performance, and for its general historical interest.

Categories

  • Noteworthy Performance(s)
  • Oscar Winner or Nominee

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Darby O’Gill and the Little People (1959)

Darby O’Gill and the Little People (1959)

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“I declare my soul, when I tell ’em this down at the pub, they won’t believe a word of it.”

Synopsis:
An elderly Irishman (Albert Sharpe) whose livelihood is about to be taken over by a strapping young stranger (Sean Connery) earns three wishes from the king of the leprechauns (Jimmy O’Dea), but struggles to determine how he can best guarantee the happiness of his grown daughter (Janet Munro), who is being pursued by a bullying local (Kieron Moore).

Genres, Themes, Actors, and Directors:

  • Cat-and-Mouse
  • Fantasy
  • Folk Tales, Fairy Tales, and Mythology
  • Ireland
  • Leprechauns
  • “No One Believes Me!”
  • Sean Connery Films

Review:
I was pleasantly surprised to visit this live-action Disney film for the first time recently, and to learn that it fully deserves its status as one of the best in its genre. The clever, dialect-filled script (based on early-20th-century stories by Herminie Templeton Kavanagh) will appeal to adults as well as kids, bringing ancient legends of leprechauns to life within the realistic context of a garrulous old man who may or may not simply be spinning tall tales. The performances are top-notch across the board — most notably Albert Sharpe as wily Darby O’Gill (I’m glad he was cast rather than Disney’s first choice, Barry Fitzgerald), and an entirely convincing Jimmy O’Dea as pint-sized King Brian; we never tire of seeing these two interacting with one another in a relentless yet consistently respectful game of cat-and-mouse. Janet Munro, meanwhile, sparkles as Sharpe’s strong-willed daughter, and Sean Connery is suitably handsome as her would-be lover; smaller supporting roles (i.e., Estelle Winwood as a meddling old neighbor) are also nicely filled.

But it’s the truly stunning special effects which really impress, as full-sized Darby interacts seamlessly with tiny King Brian, and the leprechaun kingdom is brought to magical life. A special “must-see” documentary on the DVD goes behind the scenes of the film’s production to reveal the genius of Peter Ellenshaw’s special effects, which ranged from labor-intensive use of forced perspective to strategic integration of gorgeous matte backgrounds (meticulously painted by Ellenshaw himself). The later presence of a menacing banshee and “death coach” floating in the air are a bit less spectacular, but still quite spooky (as attested by legions of viewers who recall being scared witless by them as children). Thankfully, the film’s impressive special effects are put to good use within a story that remains engaging and suspenseful until the very end; you will likely find yourself believing just a tiny bit in leprechauns yourself by the time the film is over.

Note: I recommend watching this one with subtitles running, to catch all the nuances of the rich dialect spoken by the characters.

Redeeming Qualities and Moments:

  • Albert Sharpe as Darby O’Gill
  • Jimmy O’Dea as King Brian
  • Janet Munro as Katie O’Gill
  • Sean Connery as Michael McBride
  • Truly stunning special effects and sets




  • Oliver Wallace and Lawrence E. Watkin’s lilting score

Must See?
Yes, as an unsung gem from Disney’s vaults.

Categories

  • Good Show
  • Historically Relevant

Links:

Waitress! (1981)

Waitress! (1981)

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“Admit it — you’re a chauvinist! You hate the idea that my career is just as important as yours.”

Synopsis:
An aspiring actress (Carol Drake) working as a waitress at a hectic restaurant owned by her boyfriend (Jim Harris) will stop at nothing to convince a producer (Ed Fenton) to cast her as Joan of Arc; meanwhile, her naive co-worker (Carol Bevar) — an aspiring journalist — does “research” for a story on how to catch a man, while a young new colleague (Renata Hickey) resents being put to work by her wealthy father.

Genres, Themes, Actors, and Directors:

  • Comedy
  • Feminism and Women’s Issues

Review:
Troma Studios is an independent production and distribution company whose B-films are “known for their surrealistic … nature, along with their use of shocking imagery”. The company’s most beloved cult hit is The Toxic Avenger (1985), but they’ve released quite a few other titles over the decades, including this excruciatingly unfunny “comedy” centering on the travails of three sexy waitresses. Purportedly written with a feminist sensibility in mind — two of the three women have bigger career goals, and must fight off either sexual aggression or unwanted male enabling — the movie is really little more than a trashy low-budget exploitation flick. To its credit, no matter how consistently awful the script is, it’s never exactly boring; the pace is truly relentless, and there’s always something going on in some corner of the screen to catch one’s attention (i.e., two bystanders using cables to jump-start a man who’s just had a heart attack on the street). But the humor throughout is far too low-brow to appeal to most film fanatics.

Redeeming Qualities and Moments:

  • A relentlessly zany sensibility

Must See?
No; skip this one.

Links:

Royal Wedding (1951)

Royal Wedding (1951)

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“This is a pretty box of pickles!”

Synopsis:
A successful brother (Fred Astaire) and sister (Jane Powell) dancing team head to London just as a royal wedding is about to take place. Once there, Astaire falls in love with a dancing ingenue (Sarah Churchill), while Powell pursues romance with a lord (Peter Lawford) she met on board the ship.

Genres, Themes, Actors, and Directors:

  • Fred Astaire Films
  • Jane Powell Films
  • Keenan Wynn Films
  • Musicals
  • Peter Lawford Films
  • Siblings
  • Stanley Donen Films

Review:
This innocuous MGM musical — loosely inspired by Fred Astaire’s dancing partnership with his sister Adele, as well as the upcoming real-life nuptials of Princess Elizabeth and Philip Mountbatten — is perhaps best known as the film that features Fred Astaire dancing on the ceiling and walls (see TCM’s article for more information on how these nifty effects were achieved). Judy Garland was originally slated to co-star with Astaire, but due to her infamous health concerns was replaced by Powell, who (fortunately) does a fine job portraying Astaire’s spunky younger sister, and more than keeps up with Astaire during their dance numbers together — especially during the wonderfully named, energetically performed “How Could You Believe Me When I Said I Loved You When You Know I’ve Been a Liar All My Life?” (purportedly the longest-titled song in MGM’s musical history). Unfortunately, the storyline itself is negligible at best, and Astaire’s romantic interest — Churchill, the daughter of Winston himself — is utterly bland. The primary reason to check this one out is for the fun musical-dance sequences.

Redeeming Qualities and Moments:

  • Astaire’s hatrack dance
  • Astaire’s fun ceiling-and-wall dance number
  • Astaire and Powell performing “How Could You Believe Me When I Said I Loved You When You Know I’ve Been a Liar All My Life?”

Must See?
No, but the three musical numbers listed above make it worth a one-time look. As a public domain title, this one is available for free viewing on www.archive.org.

Links: