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Month: April 2022

Horse Soldiers, The (1959)

Horse Soldiers, The (1959)

“War isn’t exactly a civilized business.”

Synopsis:
During the Civil War, a cavalry brigade led by Col. Marlowe (John Wayne) is sent behind Confederate lines to destroy a railroad, accompanied by a surgeon (William Holden) who Marlowe has issues with. When the unit stops at a plantation owned by Miss Hunter (Constance Towers), she and her slave Lukey (Althea Gibson) are caught spying and taken along as prisoners during the rest of the raid.

Genres, Themes, Actors, and Directors:

  • Cavalry
  • Civil War
  • Deep South
  • Doctors and Nurses
  • John Ford Films
  • John Wayne Films
  • Westerns
  • William Holden Films

Review:
Loosely based on Grierson’s Raid during the Vicksburg Campaign of the American Civil War, this wartime-western by director John Ford gave John Wayne and William Holden their sole opportunity to co-star in a feature — and is notable for a brief (albeit interrupted) fist fight between the two when they try to “duke it out” (sorry, couldn’t resist that one).

It’s also noteworthy for featuring color-line-breaking tennis star Althea Gibson as Towers’ slave Lukey:

… and for affording Towers — probably best known by film fanatics for her starring roles in Sam Fuller’s Shock Corridor (1963) and The Naked Kiss (1964) — her breakthrough leading role. Ford’s direction and cinematography (with support from DP William Clothier) is as top-notch as always:

… but the storyline isn’t particularly memorable (other than showing us how very, very young — or old — so many Confederate soldiers were).

Note: Watch for Anna Lee in a bit part as a Confederate mom desperate for her young son to stay behind when the only “men” left in town are sent to fight.

Notable Performances, Qualities, and Moments:

  • Fine direction and cinematography


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

Links:

Wings of Eagles, The (1957)

Wings of Eagles, The (1957)

“Say it, mister: I’m gonna move that toe!”

Synopsis:
After becoming paralyzed due to a fall, former WWI ace flier Frank “Spig” Wead (John Wayne) — who is separated from his wife (Maureen O’Hara) and two young girls — receives help from a longtime friend (Dan Dailey) in learning to walk again, and starts a new life for himself as a Hollywood writer before returning to service in WWII.

Genres, Themes, Actors, and Directors:

  • Biopics
  • Dan Dailey Films
  • Disabilities
  • John Ford Films
  • John Wayne Films
  • Marital Problems
  • Maureen O’Hara Films
  • Military
  • Ward Bond Films
  • Writers

Review:
John Ford’s affectionate homage to his screenwriter friend Frank “Spig” Wead — perhaps best knowing for writing the play upon which Howard Hawks’s Ceiling Zero (1936) was based, and for scripting Ford’s They Were Expendable (1945) — is a classic inspirational biopic which plays loose with the facts to portray a man obsessively dedicated to his craft, living through a troubled marriage, and rallying to recover after a seemingly devastating accident. The film’s best-known scene shows the ever-chipper Dailey encouraging Wayne to “move that toe!” and get circulation back into his paralyzed body:

… which, by gum, he manages to do. Ward Bond has fun impersonating a Ford-like director who gives Wayne his chance at success in Hollywood:

… and O’Hara is ever-feisty as his disillusioned wife (who somehow thinks it’s okay to leave her young girls alone at home to fend for themselves while she’s off at a bridge club; what a different era that was).

This one is only must-see for John Ford completists or diehard fans of the lead stars.

Notable Performances, Qualities, and Moments:

  • Fine cinematography

Must See?
No; you can skip this one.

Links:

Big Deal on Madonna Street (1958)

Big Deal on Madonna Street (1958)

“Are we going through with this job or not?”

Synopsis:
A group of inept thieves — including a boxer (Vittorio Gassman), a ladies’ man (Renato Salvatori), a safecracker (Totò), a Sicilian (Tiberio Murga) who keeps his chaste sister (Claudia Cardinale) locked away, and a photographer (Marcello Mastroianni) caring for his young son — attempt to carry out a heist but find their plans continually foiled.

Genres, Themes, Actors, and Directors:

  • Claudia Cardinale Films
  • Ex-Cons
  • Heists
  • Italian Films
  • Marcello Mastroianni Films
  • Satires and Spoofs

Review:
This comedic caper flick by Italian director Mario Monicello — a spoof of Jules Dassin’s Rififi (1955) — shows exactly how many things can go wrong (and will) when a group of bumbling crooks attempt to pull off a heist they’re so clearly incapable of.

Running throughout the featherweight screenplay are two would-be romances. Salvatori is interested in Cardinale:

… while Gassman woos a beautiful young woman (Carla Gravina) working as a maid for the elderly women who live next door to the joint they want to break into.

Meanwhile, Mastroianni takes loving care of his squalling toddler, whose mom is in prison for smuggling cigarettes.

Do the bungling thieves get away with their heist? (Your first guess is probably the correct one.) I’m sure audiences at the time enjoyed this type of escapist fare, but it’s not must-see viewing for modern film fanatics — unless you happen to have a specific interest in Italian cinema.

Notable Performances, Qualities, and Moments:

  • Gianni de Venanzo’s atmospheric cinematography
  • Good use of neorealist sets

Must See?
No, though it’s worth checking out if you’re curious. Listed as a film with Historical Importance in the back of Peary’s book.

Links:

Seven Samurai, The / Magnificent Seven, The (1954)

Seven Samurai, The / Magnificent Seven, The (1954)

“When you think you’re safe is precisely when you’re most vulnerable.”

Synopsis:
In 16th century Japan, a group of farmers offer food to an aging samurai (Takashi Shimura) in exchange for protection against an impending raid by bandits, and Shimura soon gathers six other men to assist him: an old friend (Daisuke Katō), the son (Isao Kimura) of a wealthy samurai, a good-humored fighter (Minoru Chiaki), a skilled swordsman (Seiji Miyaguchi), a skilled archer (Yoshio Inaba), and an untrained wanderer (Toshirô Mifune).

Genres, Themes, Actors, and Directors:

  • Akira Kurosawa Films
  • Japanese Films
  • Medieval Times
  • Samurai
  • Village Life

Response to Peary s Review:
In his overview of this “tremendous achievement by Akira Kurosawa, regarded by most everyone as one of the all-time great films,” Peary points out that each of the samurai join the rag-tag group of defenders for different reasons, ranging from Shimura being “touched that [the farmers] would sacrifice their rice and be stuck eating millet” in order gain protection, to Inaba “who joins because Shimura’s personality intrigues him,” to Chiaki being welcome “because his sense of humor will more than compensate for him being just an average fighter.”

Peary notes that the final battle — which “takes place in the day during a hard rain, with the men racing back and forth through the mud to block off the road into the village and to battle the horsemen who get through the lines” — is “one of the greatest action sequences in the history of cinema:”

… but he adds that “since Kurosawa’s epic… is peerless as action-adventure, one tends to forget that it’s also a remarkably poignant human drama” — a “brilliant character study where we come to understand that each of the seven samurai takes part in the defense of the village for a personal reason.”

Peary points out that “in addition to dealing with the samurai as individuals and as a group”:

… “Kurosawa takes time to probe the nature of farmers, as individuals and as a group,” leading us to understand “that they are selfish, cruel, and cowardly” but have become that way due to, as Mifune’s character points out, “the looting, raping, enslaving samurai of Japan.”

Peary writes that the “best known directorial element” of this “visual tour-de-force” is that “there is always movement within the frame”; indeed, it’s challenging to capture the film’s essence with stills for this very reason. Ultimately, it’s a movie that needs to be seen to be appreciated — and given how much has already been written about it by others, I humbly defer interested readers to any of the many links below, and/or the Criterion disc’s notable extras.

Notable Performances, Qualities, and Moments:

  • Takashi Shimura as Kambei Shimada
  • Gorgeous cinematography
  • Many memorable sequences

Must See?
Yes, as a masterful classic.

Categories

  • Foreign Gem
  • Genuine Classic

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

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