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Month: August 2020

Jackie Robinson Story, The (1950)

Jackie Robinson Story, The (1950)

“No matter what happens on the ball field, you can’t fight back.”

Synopsis:
After being hired by a Major League scout (Minor Watson), Jackie Robinson — with support from his wife Rae (Ruby Dee) — faces prejudice, doubt, and threats to his life while demonstrating his tremendous skills on the field.

Genres, Themes, Actors, and Directors:

  • African-Americans
  • Baseball
  • Biopics
  • Ruby Dee Films

Review:
Jackie Robinson starred as himself in this poignant depiction of his groundbreaking integration into Major League Baseball. Made on a small budget, the film covers just the basics of Robinson’s earlier life, but we learn enough to understand how he arrived at his historical role. To its credit, the film — made during ongoing segregation in many U.S. states — doesn’t shy away from showing ample evidence of systemic racism: the n-word is used several times; Robinson and his wife sit at the back of the bus; a game is cancelled when it’s announced Robinson will be playing; riots are threatened. Equally distressing is the onslaught of personal prejudice Robinson faces from both his teammates (some of whom sign a petition against him) and audience members (he endures no end of taunts, boos, and jeers, including a black cat being tossed down to him and his life being threatened by the KKK).

The following exchange early on — between Watson (as Branch Rickey) and Robinson — demonstrates his willingness to put his life and dignity on the line for a chance at an authentically remunerated career (“Negro” leagues were infamously low-paying and non-contracted):

Branch Rickey: Think you’ve got guts enough to play the game no matter what happens? They’ll shout insults at you. They’ll come into you spikes first. They’ll throw at your head.

Jackie Robinson: They’ve been throwing at my head for a long time, Mr. Rickey.

Branch Rickey: Suppose I’m a player in the heat of an important game. Suppose I collide with you at second base and when I get up I say, ‘You – you dirty black so-and-so!’ What do you do?

Jackie Robinson: Mr. Rickey, do you want a ballplayer who’s afraid to fight back?

Branch Rickey: I want a ballplayer with guts enough not to fight back. You got to do this job with base hits, stolen bases, and fielding ground balls, Jackie. Nothing else! Now I’m playing against you in a World Series and I’m hot-headed. I want to win this game. So I go into you spikes first. You jab the ball in my ribs and the umpire says, ‘Out.’ I flare. All I can see is your black face – that black face right over me. So I haul off and punch you right in the cheek. What do you do?

Jackie Robinson: Mr. Rickey, I’ve got two cheeks.

Branch Rickey: Good.

While it’s a modestly made flick, all film fanatics should watch this movie for its historical value as a film which dared to show at least some of the truth of what Robinson experienced during his path to well-earned fame.

Redeeming Qualities and Moments:

  • A powerful depiction of mid-century American racism


  • Robinson’s natural performance

Must See?
Yes, for its historical importance.

Categories

  • Historically Relevant

Links:

Seven Little Foys, The (1955)

Seven Little Foys, The (1955)

“I’m not interested in dogs, women, or children — in the order of their importance.”

Synopsis:
Vaudevillian Eddie Foy (Bob Hope) values his career above all else, but when he falls in love with a beautiful ballerina (Milly Vitale), they marry and begin having kids every year. After Vitale passes away, Hope decides to bring his seven kids on the road with him, much to the consternation of his stern sister-in-law (Angela Clarke), who is helping to raise them.

Genres, Themes, Actors, and Directors:

  • Biopics
  • Bob Hope Films
  • Jimmy Cagney Films
  • Musicals
  • Raising Kids
  • Vaudeville and Burlesque
  • Widows and Widowers

Review:
Bob Hope starred in two “serious” dramas throughout his comedy-filled career, both biopics: this one about famed vaudevillian Eddie Foy, Sr. (whose act with his seven children made headlines) and Beau James (1957), about flamboyant New York mayor Jimmy Walker. In this earlier film, Hope comes across as essentially a variation on himself: wise-cracking, self-absorbed, and career-obsessed.

The script does little to elevate the basic storyline of a man whose devotion to his career trumps all else, even leading him to miss the news that his wife is dying (!). It’s no wonder poor Clarke is so pissed off, though she’s never given a chance to emerge as anything other than a dour killjoy.

The most famous sequence shows Hope and Jimmy Cagney (starring once again as George M. Cohan) dancing together on a tabletop at the Friar’s Club — but considering the scene that comes immediately after this, it’s simply more evidence of Foy’s misguided loyalties. The ending wraps things up in a conveniently Hollywoodized bow, but isn’t convincing for a second.

Redeeming Qualities and Moments:

  • Hope and Cagney dancing together on a table top at the Friar’s Club
  • Color VistaVision cinematography

Must See?
No; you can skip this one unless you’re a Hope completist.

Links:

The Kid From Cleveland (1949)

The Kid From Cleveland (1949)

“Johnny’s a normal American boy, and he wanted to see the game today. I’m glad I made that possible.”

Synopsis:
When a sports broadcaster (George Brent) finds a juvenile delinquent (Russ Tamblyn) hiding out in Cleveland Stadium, he introduces him to members of the Cleveland Indians and takes him home for the night. Upon learning that Johnny (Tamblyn) — whose dad died in the war — is having a rough time with his mom (Ann Doran) and stepfather (Louis Jean Heydt), Brent and his wife (Lynn Bari) are willing to take their care and guidance a step farther; but is Johnny’s behavior really the result of a rough home life, or deeper secrets?

Genres, Themes, Actors, and Directors:

  • Baseball
  • George Brent Films
  • Juvenile Delinquents
  • Russ Tamblyn Films

Review:
It’s safe to assume that Peary included this obscure social-drama in his GFTFF given its ethnographic glimpse into a World Series-winning baseball team. (Most of the footage is from news reels, though the players do show up on screen.)

The majority of the storyline focuses on the drama of Johnny, an “all American” boy acting out against his new stepfather in ways that seem destined to land him in juvenile detention (or worse). To the film’s credit, there’s plenty of authentic tension around what will happen next with Johnny — starting with a plot twist early on, and ending with an unexpected conclusion. However, the entire affair is handled and acted with far too much earnest heavy-handedness to recommend.

Redeeming Qualities and Moments:

  • Effective cinematography

Must See?
No; this one is only must-see for Cleveland Indians fans or those curious to see Tamblyn in his first credited screen role.

Links:

Time of Your Life, The (1948)

Time of Your Life, The (1948)

“Living is an art; it’s not bookkeeping.”

Synopsis:
A champagne-drinking armchair-philosopher named Joe (James Cagney) holds court at a San Francisco saloon whose owner Nick (William Bendix) encourages people to “come in as they are”. During his lengthy stay at Nick’s Saloon, Cagney mentors a lost young man (Wayne Morris) who caters to his every whim, and helps Morris woo a down-and-out prostitute (Jeanne Cagney); meanwhile, other characters who stop by include a hungry pianist (Reginald Beane), a tap dancing would-be “comedian” (Paul Draper), a pinball fanatic (Richard Erdman), a love-struck young man (Jimmy Lydon), a world-weary cop (Broderick Crawford), a yarn-filled cowboy (James Barton), and a wealthy socialite (Natalie Schafer) looking for local color.

Genres, Themes, Actors, and Directors:

  • Broderick Crawford Films
  • Ensemble Cast
  • Jimmy Cagney Films
  • Play Adaptation
  • William Bendix Films

Review:
This adaptation of William Saroyan’s Pulitzer Prize-winning 1939 Broadway play was a family affair for Jimmy Cagney, whose brother Will produced and sister Jeanne co-starred.

Unfortunately, it hasn’t stood the test of time very well, coming across as a well-meaning yet insistently quirky snapshot-look at diverse lives in San Francisco, all centering around an annoyingly self-satisfied “central hub” (Joe) — presumably meant to represent Saroyan himself. Joe micro-manages every movement made by mentally challenged Morris while attempting to save the life of a suicidal prostitute (Jeanne) and milking the remaining characters’ tales and woes for his own enjoyment. This is fine as long as one enjoys dipping into these particular individuals’ travails, but they’re not overly compelling; an exception is Barton’s wonderfully loquacious cowpoke with a penchant for, shall we say, exaggeration — he lights up the screen.

Redeeming Qualities and Moments:

  • James Barton’s energized turn as “Kit Carson”
  • James Wong Howe’s cinematography

Must See?
No; you can skip this one unless you’re curious to check it out.

Links:

Kiss Me Kate (1953)

Kiss Me Kate (1953)

“You’d make a perfect shrew!”

Synopsis:
A divorced actor (Howard Keel) tries to convince his ex-wife (Kathryn Grayson), who is about to marry a cattle baron (Willard Parker), that she should co-star with him and his girlfriend (Ann Miller) in an upcoming musical production of Taming of the Shrew, with songs by Cole Porter (Ron Randell). Meanwhile, Miller’s lover (Tommy Rall) signs Keel’s name on an IOU to a mobster, leading two thugs (James Whitmore and Keenan Wynn) to come after Keel.

Genres, Themes, Actors, and Directors:

  • Actors and Actresses
  • Ann Miller Films
  • Battle-of-the-Sexes
  • George Sidney Films
  • Hostages
  • Howard Keel Films
  • James Whitmore Films
  • Kathryn Grayson Films
  • Keenan Wynn
  • Let’s Put On a Show!
  • Musicals
  • Play Adaptation
  • Shakespeare
  • Strong Females

Review:
George Sidney’s vibrant adaptation of Cole Porter’s 1948 Broadway musical remains a delightfully zingy back-stage drama, filled with colorful characters, stunning choreography by Hermes Pan (as well as a song by and with Bob Fosse), fun tunes, and a remarkable ability to make us forget the misogynistic valences of its source material. Most noteworthy of all is Ann Miller, whose dance numbers are uniformly dazzling — starting with “Too Darn Hot” and continuing through “Why Can’t You Behave?” with Rall (if not the keenest of actors, he’s a highly effective dance partner), “Tom, Dick or Harry”, “Always True to You In My Fashion”, and “From This Moment On”. Keel has great fun playing both Fred and ‘Petruchio’, while Grayson is appropriately fiery — though, to her credit, not unlikable — as Lilli and ‘Kate’, and Wynn and Whitmore balance a fine line between brutish and comedic. Meanwhile, the vibrant Technicolor cinematography, sets, and costumes nicely bring both the primary storyline and the “play within a movie” to life.

Redeeming Qualities and Moments:

  • Howard Keel as Fred/Petruchio
  • Kathryn Grayson as Lilli/Kate
  • Ann Miller’s marvelous dancing


  • Vibrant cinematography, sets, and costumes

  • Fine choreography
  • Cole Porter’s score

Must See?
Yes, as a most enjoyable musical.

Categories

  • Good Show

Links:

Call Northside 777 (1948)

Call Northside 777 (1948)

“That’s the trouble with being innocent: you don’t know what really happened.”

Synopsis:
With support from his editor (Lee J. Cobb), a determined reporter (James Stewart) investigates an ad posted by a washer-woman (Kasia Orzazewski) offering $5000 for information that will help free her wrongfully convicted son (Richard Conte), who was falsely accused by a speakeasy owner (Bette Garde) of shooting a cop during Prohibition.

Genres, Themes, Actors, and Directors:

  • Falsely Accused
  • Henry Hathaway Films
  • Jimmy Stewart Films
  • John McIntire Films
  • Journalists
  • Lee J. Cobb Films
  • Murder Mystery
  • Richard Conte Films

Review:
Based on a real-life story that won Chicago Times reporter James McGuire a Pulitzer Prize, this semi-documentary film remains a powerful investigative tale of two men (only one, Joseph Majczek, is focused on here) wrongfully convicted of murder, and the journalist who gradually comes to believe in their innocence. It’s filled with plenty of realistic details — including filming on site in Chicago at actual locations whenever possible, and demonstration of how a lie detector machine works (by its co-creator!) — and features appropriately atmospheric cinematography by Joe MacDonald. Stewart and Conte are both convincing in their respective roles, and there are several notable supporting performances as well. This one remains worth a look.

Note: Watch and listen carefully for Thelma Ritter in an uncredited role as a secretary; you should be able to recognize her distinctive voice.

Redeeming Qualities and Moments:

  • Fine performances by the cast

  • Joe MacDonald’s atmospheric cinematography

  • Effective location shooting

  • Many tense moments

Must See?
Yes, as an overall powerful film.

Categories

  • Good Show

Links:

Indiscretion of an American Wife (1953)

Indiscretion of an American Wife (1953)

“This lady’s here to catch a train.”

Synopsis:
A married American (Jennifer Jones) resists saying goodbye to her Italian lover (Montgomery Clift) at the train station while her nephew (Richard Beymer) looks on in puzzlement, and the clock continues to tick.

Genres, Themes, Actors, and Directors:

  • Infidelity
  • Jennifer Jones Films
  • Living Nightmare
  • Montgomery Clift Films
  • Star-Crossed Lovers
  • Trains and Subways
  • Vittorio De Sica Films

Review:
As discussed in both DVD Savant and TCM’s articles, this “attempt to mix two distinct and incompatible styles” — those of producer David O. Selznick and Italian director Vittorio De Sica — makes for a “fascinating failure”. Indeed, it’s not surprising the entire affair — originally entitled Terminal Station — plays like an extended living nightmare, presenting Jones as trapped within in a real-life set (a Roman train station) where she literally can’t escape her past or move forward. Jones was apparently traumatized by Selznick’s interference throughout filming, which shows in her performance, adding an appropriate air of despair to the surreal proceedings. At just about an hour+ long, this claustrophobic film feels longer than it is, yet simultaneously truncated — which makes sense, given that Selznick cut out about 20 minutes of sub-plots (!).

Note: Check out Criterion’s DVD for a comparison of both the American (72 minutes) and Italian (89 minutes) version; with that said, the version I found online was only 63 minutes (?).

Redeeming Qualities and Moments:

  • Atmospheric cinematography
  • Effective use of a single realistic set

Must See?
No, though it’s worth a one time look.

Links:

Genevieve (1953)

Genevieve (1953)

“I simply don’t see what’s so wonderful about getting into a fifty year old car and driving to Brighton and back.”

Synopsis:
A London couple (John Gregson and Dinah Sheridan) driving their 1904 car “Genevieve” in an annual trip to Brighton Beach quickly find themselves in an increasingly tension-filled race with their friend (Kenneth More) and his guest Rosalind (Kay Kendall).

Genres, Themes, Actors, and Directors:

  • Car Racing
  • Comedy
  • Marital Problems
  • Road Trip

Review:
Referred to by TCM as “one of the most beloved British comedies of all time”, this surprisingly enjoyable road-trip adventure is filled with humor, tension, joy, and plenty of exciting plot twists. Indeed, the entire script leaves us wondering what will happen next to our protagonists — not just in terms of their romantic relationships, but the lengths to which Gregson and More will go in their increasingly driven competitive frenzy. Sheridan is highly sympathetic, and the cinematography and location shooting are gorgeous, making this a pleasant vicarious trip to take despite the many hair-raising automotive challenges faced along the way.

Note: A highly memorable moment — featured in the film’s poster and the still below — demonstrates Kendall’s surprising trumpet skills, in a scene which is now “an icon of British comedy.”

Redeeming Qualities and Moments:

  • Fine performances by the leads

  • Excellent use of outdoor shooting locales

  • Sparkling Technicolor cinematography
  • William Rose’s script
  • Larry Adler’s harmonica-driven score

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

Categories

  • Good Show

Links:

Sniper, The (1952)

Sniper, The (1952)

“There’s a maniac on the loose, and the police seem helpless!”

Synopsis:
A mentally disturbed laundry delivery man (Arthur Franz) fantasizes about — and then carries out — repeated sniper-murders of women, including a sympathetic pianist (Marie Windsor). Can a pair of detectives (Adolphe Menjou and Gerald Mohr) solve the mystery of the sniper before even more victims are lost?

Genres, Themes, Actors, and Directors:

  • Adolphe Menjou Films
  • Detectives and Private Eyes
  • Edward Dmytryk Films
  • Marie Windsor Films
  • Serial Killers

Review:
It’s a shame this atmospherically filmed psycho-noir thriller — directed by Edward Dmytryk — takes such a heavy-handed and didactic approach to its material, given the inherently dramatic nature of the storyline and protagonist. Franz is presented as a starkly ill young veteran who’s aware enough of his own psychological problems to burn his hand in an attempt to seek help, yet is dismissed without support, and thus left to his brutal rampage.

This early plea mitigates his guilt, making it especially hard for us to watch his sociopathic actions as he brutally tracks down one woman after the other. The men in charge of searching out “the sniper” are frustratingly incompetent as well — a police line-up scene is especially poorly written — leading us to simply watch the proceedings with increasing dread. With that said, Burnett Guffey’s cinematography is stellar and the location-shooting is highly effective, making this a visual treat but a narrative disappointment.

Redeeming Qualities and Moments:

  • Burnett Guffey’s cinematography


  • Excellent location shooting


  • George Antheil’s score

Must See?
No, though it’s worth a one-time look for its better qualities.

Links:

Sun Shines Bright, The (1953)

Sun Shines Bright, The (1953)

“I must know what’s going on: who am I?”

Synopsis:
With help from his loyal servant (Stepin Fetchit), a Southern judge (Charles Winninger) defends the rights and dignities of the downtrodden in his town, including a young black man (Elzie Emanuel) falsely accused of rape and a newly repatriated sickly prostitute (Dorothy Jordan). Meanwhile, a beautiful southern belle (Arleen Whelan) is courted by a handsome young man (John Russell) who is unaware of her true parentage, and who battles on her behalf against a local bully (Grant Withers).

Genres, Themes, Actors, and Directors:

  • Deep South
  • John Ford Films
  • Judges
  • Mistaken or Hidden Identities
  • Morality Police
  • Prostitutes and Gigolos

Review:
John Ford’s follow-up to his 1934 film Judge Priest — based on characters in several short stories by Irvin S. Cobb — was, along with Wagon Master (1950), purportedly one of Ford’s personal favorites. It tells a meandering if ultimately coherent tale of numerous small-town events, all centering around morality and the need to stand up for the innocent and unfairly maligned. Unfortunately, the film’s morals come across as decidedly problematic, given that Fetchit is reduced yet again to playing a typically servile, lazy, incomprehensible, and fumbling Black companion, while Winninger’s defense of Emanuel posits him unambiguously as the town’s necessary White Savior. This is especially ironic given an extended sequence early in the film — one seemingly included as character enhancement rather than to further the plot — in which Winninger celebrates his former role in the Confederacy. While the final funeral procession does arouse one’s emotions, it seems to come at the cost of a misremembered sense of chivalry, nobility, and racial justice — ideals that have yet to manifest in our nation.

Redeeming Qualities and Moments:

  • Atmospheric cinematography

Must See?
No; you can skip this one unless you’re a Ford completist.

Links: