Mask of Dimitrios, The (1944)
“Ingenuity is never a substitute for intelligence.”
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Moon Over Miami (1941)
“Nobody knows anything about anybody.”
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I suppose the point is to call him out as worthy of someone (Grable) who would stoop to deception and golddigging, but he’s simply not a likable character. Redeeming Qualities and Moments:
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Goldfinger (1964)
“No, Mr. Bond — I expect you to die!”
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Response to Peary’s Review:
He points out that the film is filled with “lots of humor, gimmicks (Bond uses his Aston-Martin’s passenger-ejection seat to get rid of one of the villains), excitement (captured Bond watches a laser beam rip through the table he lies on, nearly zapping his crotch), an amusing yet tense golf contest between Bond and Goldfinger, thrilling fights to the death between Bond and Oddjob and Bond and Goldfinger, and a fascinating central crime: Goldfinger wants to destroy all the gold in Fort Knox to both ruin America’s economy and greatly increase the value of his own gold.” Peary adds that while this film is “most enjoyable”, it’s “too bad Eaton’s part isn’t longer and that Frobe’s Goldfinger, a heavy but nimble intellectual in the Sydney Greenstreet tradition, never appeared in another Bond film.” Regardless, there’s no denying that this film succeeds on just about every count — though modern viewers will want to be forewarned about the infamously disturbing “consensual rape” scene, and use caution if watching this movie with kids or teens. (Be prepared for a challenging but important discussion, not only about sex and women but about racial depictions.) With that said, Pussy Galore remains one of the delights of powerful women in cinema — she’s mesmerizing in every scene, and she can’t help the screenplay developments her character is saddled with. Best of all, however, are the many seat-clenching action sequences — zowie, is this film filled with them! Redeeming Qualities and Moments:
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(Listed in 1001 Movies You Must See Before You Die) Links: |
Conquest (1937)
“Perhaps you have been made beautiful, that Poland might be made free.”
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From Russia With Love (1963)
“Training is useful, but there is no substitute for experience.”
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Oh boy. I know he’s Bond, and all women love him… and Connery is undeniably a beefcake. But it’s a bit much. Note: This and all Bond films appear to have quite a specialized and fanatical following, as evidenced by DVD Savant’s essay devoted entirely to a mysterious jump-cut in the final sequence of the film. Redeeming Qualities and Moments:
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Midnight (1939)
“When I was a child, they daren’t leave me in a room with an armchair.”
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We’re never sure where each scene will lead to, and — like the characters — are consistently surprised by what comes next out of each person’s mouth. Colbert and Ameche (not to mention Rex O’Malley as Astor’s droll, fey sidekick):
… prove themselves more than capable of surviving in a world of extreme snobbery and classism: working-class Ameche draws upon collective strength in motivating his fellow cab drivers to help him find Colbert:
… while Colbert relies on both her beauty (Lederer is amusingly smitten the second he lays eyes on her) and quick wit to come up with on-the-spot rationales and back-stories for her newly adopted persona — including plenty of hilariously left-field (yet convincing) one-liners: “And yet, I had warning… Why else should his grandfather have sent me as an engagement present one roller skate covered with Thousand Island dressing?” This film is a treat to rediscover. Note: For a detailed overview of Brackett and Wilder’s contentious yet successful decade-plus collaboration, click here. Redeeming Qualities and Moments:
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Midsummer Night’s Dream, A (1935)
“Lovers and madmen have such seething brains — such wild imaginings that apprehend more than cool reason ever comprehends.”
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Adventures of Robin Hood, The (1938)
“It’s injustice I hate, not the Normans.”
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Response to Peary’s Review:
… “complete with gigantic shadows on castle walls”. He points out that the “splendid color photography, sets, costumes, and rousing Oscar-winning score by Erich Wolfgang Korngold” are “all first-rate, effectively transporting us back to an enchanting world” filled with “such wonderful character actors as Alan Hale (Little John), Eugene Pallette (Friar Truck), Una O’Connor, Montagu Love, and Melville Cooper.”
He informs us that “the casting of Flynn as Robin Hood was pivotal to his career, for it reinforced his Captain Blood image as the sensitive champion of the downtrodden and one of the few freedom fighter (anti-authoritarian) heroes whom conservative Hollywood has ever accepted.”
Peary elaborates upon his appreciation for this film in Alternate Oscars, where he names it Best Picture of the Year. After mentioning seeing this film numerous times on b&w television as a child in the ’50s, he writes, “What always surprises me is that adults can appreciate the film more than children, for this is a classy, literate, inspiringly directed and acted picture” with “much care [going] into every aspect of the production”. He notes that “shot after beautifully composed shot, the visuals are dazzling, even magical” — and while “Sol Polito and Tony Gaudio weren’t among the eleven Cinematography Oscar nominees”, they “deserved to win”. He notes that the “picture has terrific action sequences,” including the “climactic sword fight”, “Robin’s two escapes”, and “a scene in which Robin and his men swing from vines and drop from trees to ambush Prince John’s soldiers”. He adds that “the action never slows down for humor — Robin in battle (like Douglas Fairbanks) keeps smiling and joking”, and while “the action does stop”, the “tension doesn’t dissipate” for romance.
Speaking of romance, Peary writes that “De Havilland’s Marian isn’t the typical heroine of old-time adventure films”: “She is central to the action, devising the plan that frees Robin from the gallows, and defiantly speaking out against Prince John’s Court of Execution after being charged with treason.” De Havilland is both charming and beautiful, and the entire production (from the vibrant Technicolor cinematography to unusual costumes) does her justice. Flynn, meanwhile, has really never been better: as Peary writes, “You’d follow [him] anywhere, sure that his cause is just.” The fine supporting cast is energetic, memorable, and colorful, and the action scenes are indeed consistently stirring. This one can and should be seen (and enjoyed) multiple times. Redeeming Qualities and Moments:
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(Listed in 1001 Movies You Must See Before You Die) Links: |
San Francisco (1936)
“How does it feel to feel like a woman and be afraid of it?”
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He points out that the script by Anita Loos “is one of the first… to deal with a woman experiencing a man-vs.-profession conflict”, and argues that MacDonald “makes a lovely lead” but Gable is just “okay playing his typical tough guy” and Oscar-nominated Spencer Tracy — playing “a priest and Gable’s boyhood chum” — “doesn’t have enough to do.”
He correctly argues that the film’s highlight is its “stunning earthquake sequence, which is famous for its impressive special effects and great montage work” — though he asserts that this “enjoyable film is almost spoiled by a silly finale, in which earthquake victims get carried away with religious fervor.” I’m essentially in agreement with Peary’s review, though I find it more tolerable than “enjoyable” over all, and would simply add that film fanatics should simply be sure to seek out the remarkable earthquake sequence on its own. Redeeming Qualities and Moments:
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Suddenly (1954)
“There’s cruelty and hatred and tyranny in the world. You can’t make believe they aren’t there.”
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