“Listen to me, my darling — you’re not that bad.”
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Response to Peary’s Review: Note: Peary writes that this film “ranks with De Sica’s Shoeshine” — which he adores — but I find Bunuel’s non-sentimental approach more impactful than De Sica’s. Redeeming Qualities and Moments:
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(Listed in 1001 Movies You Must See Before You Die) Links: |
“If you’re an Eastman, you’re not in the same boat with anyone.”
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Response to Peary’s Review: While I understand Peary’s reservations, I don’t share them. Clift is attracted to Winters because she’s an available female in a soul-stifling environment, and he’s lonely. His wish to dump Winters for Taylor is understandable (if utterly shameful), and is due to a mix of all the factors named by Peary above. Peary writes that while “it’s obvious that Clift wants to escape poverty for wealth”, it “becomes apparent that he’d run off with Taylor at the first opportunity, leaving behind her family, her rich young friends, and her money” — which is true; one doesn’t cancel out the other. Peary also criticizes Clift’s “mannered performance”, which he claims “has been much overrated — rather than seeming cerebral and attractive, he has the expression and stance of someone who is one step away from a psycho ward” — but Clift is in a pretty darn miserable situation, with no positive solution in sight, so it’s hard to blame him or fault his deep angst. What goes unstated in Peary’s review is that Stevens’ adaptation is ultimately a fatalistic noir — although it’s debatable exactly who the femme fatale is: is it Taylor, without whose alluring presence Clift would never have found himself in this mess? Or is Winters the direct cause of his downfall? The atmospheric cinematography (by William C. Mellor) and carefully crafted direction show how clearly allegorical this “American tragedy” is (though it could really be a tragedy of any nationality). While it’s hard to sit through this film more than once or twice, it’s worth a look by all film fanatics — especially given, as Peary concedes, that “when [Clift] and Taylor dance closely, gaze into each other’s eyes, or kiss passionately… these two superstars are a remarkably romantic duo”. Redeeming Qualities and Moments:
Must See? Categories
(Listed in 1001 Movies You Must See Before You Die) Links: |
“Why must men betray themselves with doubts?”
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Burton’s Oscar-nominated, impassioned performance is impressive, however, and his on-screen chemistry with Simmons (borne out in real life) is potent.
Ultimately, however, this one is only must-see viewing for fans of the genre or those who like to watch all Oscar winners. Redeeming Qualities and Moments:
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“I love you, with all the longing in this lonely world.”
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“A woman, too, must make the barren land fruitful. She must make life grow where there was no life. Just as the Mother Nile feeds and replenishes the Earth, I am the Nile.”
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Review: Elizabeth Taylor was a notorious diva throughout the making of this film, which most definitely translates onto screen. To her credit, she puts forth a Cleopatra both hopelessly entitled and surprisingly sympathetic — albeit not without a healthy dose of campiness; my favorite unintentionally hilarious scenes include her infamous carpet-roll-out emergence, her “Mother Nile” speech (see quote above), and her appearance in countless over-the-top outfits and hairstyles. Other performances throughout the film — this was an all-star cast, for sure — are fine as well; despite not working from a coherent script, and/or having much of their scenes left on the cutting room floor, the characters seem reasonably well-formed — at least, enough to understand the general tenor of the complex, back-stabbing politics at play in this era. Speaking of politics, watching this film in 2017, one can’t help taking note of the portrayal of Caesar as a Trump-like dictator. When Caesar complains that he “must wish what needs commanding”, one of his senators asks him in horror, “Do you suggest that the Senate no longer deliberate the welfare of Rome? Do you suggest an end to the process of Roman Law?” — to which Caesar replies, “I must be the law!” without any hint of awareness that his request is unreasonable. When Caesar humble-brags by insisting, “I want no more meaningful privileges and considerations, no more honors designed to pacify me. I’d far rather have nothing — remain what I am at heart, a humble man, anxious only to serve.”, we once again hear eerie echoes of the current U.S. President (“I think I’m much more humble than you would understand,” Trump stated in all earnestness to Barbara Walters during an interview). Suffice it to say that this film remains an especially timely and potent reminder about the cyclical nature of humanity — including our group-like tendency to adore spectacle and ‘royalty’, the seemingly inescapable lust for power and domination, and the corrupt inner workings of love and politics. Note: Diehard fans will likely want to read producer Walter Wanger’s memoir My Life With Cleopatra: The Making of a Hollywood Classic. Redeeming Qualities and Moments:
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“Something ain’t right: you’re childless, and my son drinks.”
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“I, too, believe that everyone should have a chance at a breathtaking piece of folly once in his life.”
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Oscar-winning Revere is appropriately stoic as Velvet’s supportive mother, who knows first-hand what it means to chase a sporting dream despite all odds.
Less engaging — though he tries hard — is Rooney as the troubled son of Revere’s former coach, who spends the entire film waffling between loyalty to Taylor’s family and a penchant for less savory pursuits.
Ultimately, one’s enjoyment of this film will depend on their tolerance for its folksy charm and feel-good storyline, as well as their overall love of anything horse-related. (Call me a wet blanket, but all I could think about was when Velvet would fall and get seriously hurt. Does she? I won’t say a word.) Note: Watch for Angela Lansbury — the same year as her debut in Gaslight (1944) — in a small role as Velvet’s love-sick older sister.
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“I don’t want to be the same as everybody else! That’s why I’m a Mod, see?”
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Response to Peary’s Review: Given that most film fanatics these days weren’t alive in the 1960s, Quadrophenia may hold less personal appeal — though it remains a potent depiction of a “character we can all identify with”, someone who “represents all youths in the throes of growing pains, in desperate search for their identities”. As uncredited screenwriter Pete Townshend said in an interview:
Perhaps most representative of adolescent angst is beautiful Steph (Ash), an embodiment of the toxic MGTOW movement in that she “marries up” as soon as a new bloke holds dominance or interest. Daniels’ pain and bewilderment at Ash (and at life in general) are completely understandable, given he’s someone who “doesn’t fit in anywhere because he tries too hard to be different” and is “always more excited, angrier, or more frustrated than anyone else; to him every moment has great significance”. His final sequence with Ace Face (Sting) is an appropriately crushing denouement. Redeeming Qualities and Moments:
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“I love you, my daughter, and wish to marry you.”
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“I’m making jokes because I’m scared, but I’ve never been more serious in my life.”
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Regardless of her appearance, Taylor’s overall situation simply doesn’t garner much sympathy, primarily because we barely meet the supposed object of her affections (Braswell) before he’s gone again. Beatty adds a bit of pathos to the role of a gambling addict, and the film come alive during an early sequence when he takes Taylor on the town.
But from there, we’re simply waiting for an inevitable romance between the two gorgeous co-stars to ensue, despite their professed disinterest. Redeeming Qualities and Moments:
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