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Synopsis:
When a railroad employee (Ivan Dixon) marries the daughter (Abbey Lincoln) of a preacher (Stanley Greene) in a small Southern town, their life as newlyweds quickly becomes increasingly complicated as Dixon struggles to stay employed due to pernicious racism.

Genres, Themes, Actors, and Directors:

• African-Americans
• Deep South
• Marital Problems
• Newlyweds
• Racism and Race Relations

Review:
German-born documentarian Michael Roemer helmed this groundbreaking look at the impacts of systemic racism on Black Americans in 1960s Alabama. By telling the story of “everyman” Duff Anderson (Dixon), we see what occurs when a person is unable to secure reasonably paid work that allows them to maintain dignity and self-respect.

While there may be plenty of work to be had, it’s low-paid and always comes at some psychological cost: Lincoln’s successful father (Greene), for instance, is shown acquiescing to the white church elder he reports to:

… while Dixon’s co-worker is openly demeaned by their white foreman (who is clearly pissed off that Dixon won’t similarly kowtow to him).

Women in this world, meanwhile, are relegated to roles as either a prostitute:

… a loyal wife and mother, a caretaker, or a classroom teacher (Lincoln’s position).

Lincoln is clearly attracted to and intrigued by the smart, independent man (Dixon) who is courting her, and boldly decides to take a chance on him against her father’s wishes. However, Dixon’s attempts to convince his co-workers they’re being mistreated (“You know… if you fellows stuck together instead of letting them walk all over you, they might not try it.”) quickly leads to not only his expulsion from the company, but a smear campaign and an inability to find any work at all that pays more than survival wages.

Perhaps most powerfully, we see the ripple effect of unjust treatment in the workplace on families and communities: when an employee is shamed by their boss or customers, that almost inevitably trickles down to loved ones at home, who must take the brunt of the person’s shame and anger.

Lincoln is eventually put into this position — but first we see Dixon witnessing this first-hand himself while visiting the home of his alcoholic father (Julius Harris), where his father’s girlfriend (Gloria Foster) is holding up their meager household on every front.

We also learn that Dixon may have fathered a young boy being cared for by an overwhelmed woman (Helen Lounck) who shares that the boy’s mother has run away to get married, and she herself ain’t “got no use for him, neither.”

An ongoing question throughout the film is whether Dixon will reject his father’s cowardly way of being and choose to “do the right thing” by his son, his wife, and his unborn new child (though what this “right thing” is remains elusive other than simply not abandoning them). All of this is undeniably rough to watch — but the film remains a powerful neo-realist depiction of Black Southern communities in the 1960s, and is must-see viewing.

Notable Performances, Qualities, and Moments:

• Ivan Dixon as Duff Anderson
  
• Fine cinema verite cinematography
  

Must See?
Yes, as a unique American independent film. Listed as a Sleeper and a Personal Recommendation in the back of Peary’s book. Selected for preservation in the United States National Film Registry in 1993 by the Library of Congress as being “culturally, historically, or aesthetically significant”.

Categories

• Historically Relevant

Links:

• IMDb entry
• TCM Article
• Washington Post Review (Desson Howe)

Synopsis:
A lawyer (Robert Mitchum) separated from his wife back in Nebraska begins dating a quirky young woman (Shirley MacLaine) he meets in New York City, and the two begin a rocky, unconventional romance.

Genres, Themes, Actors, and Directors:

• Divorce
• New York City
• Play Adaptation
• Robert Mitchum Films
• Robert Wise Films
• Romance
• Shirley MacLaine Films

Review:
Robert Wise directed this adaptation of a play by William Gibson (originally starring Henry Fonda and Anne Bancroft) about an unconventional couple whose relationship is tinged throughout by doubt. The story is a simple but nicely told tale of two adults who value one another while recognizing their challenges and differences — and we’re left in suspense about how things will end for them.

It’s not must-see viewing, but it’s worth a one-time look for fans of the stars (who embarked upon a three-year romance in real life after meeting on this set, and demonstrate some genuine chemistry).

Notable Performances, Qualities, and Moments:

• Shirley MacLaine as Gittel
  
• Ted McCord’s cinematography
  

Must See?
No, but it’s worth a one-time look. Listed as a Personal Recommendation in the back of Peary’s book.

Links:

• IMDb entry
• TCM Article

Synopsis:
When King Henry II (Peter O’Toole) appoints his best friend Thomas Becket (Richard Burton) as Archbishop of Canterbury, he soon finds that Burton’s loyalty to God is stronger than their friendship.

Genres, Themes, Actors, and Directors:

• Friendship
• Historical Drama
• John Gielgud Films
• Niall MacGinnis Films
• Peter O’Toole Films
• Play Adaptation
• Priests and Ministers
• Religious Faith
• Revenge
• Richard Burton Films
• Royalty and Nobility

Review:
Peter Glenville’s adaptation of Jean Anouilh’s French play won an Oscar for best adapted screenplay (by Edward Anhalt), and was nominated for 11 other awards. It remains a surprisingly compelling character study of friendship, loyalty, leadership, politics, revenge, and spirituality, with King Henry’s toxic narcissism — he needs to be on top, and considers himself more important even than God — as a driving thematic force. One watches with deep discomfort during the first portion of the film as Henry conscripts Becket into his every whim, including planning to bed a young courtesan (Siân Phillips) he knows Becket is romantically involved with:

… and culminating with his insistence that Becket take on the role of Archbishop despite no training or qualifications, simply to suit his own political purposes. What ensues is a fascinating exploration of a concerted attempt to combat evil through integrity:

… and how a petulant tyrant may respond (which, of course, remains as relevant as ever). Watch for Pamela Brown as a put-upon Queen Eleanor of Aquitaine:

… Martita Hunt as Henry’s mother, Empress Matilda:

… Felix Aylmer as the aging Archbishop of Canterbury, who will soon be replaced:

… John Gielgud as King Louis VII of France:

… and Niall MacGinnis as one of the king’s barons.

Notable Performances, Qualities, and Moments:

• Peter O’Toole as King Henry II (nominated by Peary as one of the Best Actors of the Year in his Alternate Oscars)
  
• Richard Burton as Lord Becket
  
• Fine sets, costumes, and cinematography
  

Must See?
No, but it’s well worth a one-time look. Listed as a film with Historical Importance in the back of Peary’s book.

Links:

• IMDb entry
• DVD Savant Review
• TCM Article (spoiler alert)

Synopsis:
During World War I, British officer T.E. Lawrence (Peter O’Toole) is sent by his commander (Donald Wolfit) to the Middle East, where he is tasked with convincing Prince Feisal (Alec Guinness) to fight against the Turks in the Arab Revolt. Once he arrives, Lawrence befriends a local man (Omar Sharif) and convinces a tribal chieftain (Anthony Quinn) to join their cause — but will Britain honor its promise that Arabia will eventually become free and independent?

Genres, Themes, Actors, and Directors:

• Alec Guinness Films
• Anthony Quayle Films
• Anthony Quinn Films
• Arthur Kennedy Films
• Character Studies
• Claude Rains Films
• David Lean Films
• Deserts
• Historical Drama
• Jack Hawkins Films
• Jose Ferrer Films
• Middle East
• Omar Sharif Films
• Peter O’Toole Films
• World War I

Review:
Peary doesn’t review this Oscar-winning historical drama in his GFTFF, though he selects Peter O’Toole as the Best Actor of the Year in his Alternate Oscars, where he writes that Lawrence of Arabia is “the rare epic that has exciting adventure, visual grandeur, and interesting psychological complexity.” In describing O’Toole’s performance, he notes that this character is the first of his “brilliant, bigger-than-life, flawed heroes (some would be royalty) who walk the fine line between humanity and godhood, and struggle to rationalize their godlike actions and attitudes.”

Indeed, O’Toole’s vibrant conception of T.E. Lawrence so thoroughly grounds the film that it’s difficult to imagine anyone else in the role (though both Marlon Brando and Albert Finney were seriously considered). We see Lawrence evolving throughout the film, from an inexperienced would-be explorer (in real life, Lawrence had already done a walking tour across the Negev Desert) to someone radically shaping the course of history in the Middle East.

Lawrence’s fearless sense of right-versus-wrong serves him well when first meeting Sharif, who has the choice to kill him immediately, but doesn’t.

Their odd-couple friendship remains a powerful throughline in the film, underscoring the screenplay’s mild but clear homoerotic undertones — which are brought to a much more sinister level when Lawrence is held captive by Jose Ferrer’s evil Turkish Bey.

An equally prominent theme — one that disturbed many who knew the real Lawrence and other figures portrayed in the movie — is Lawrence’s growing discomfort with his own sadistic impulses. However, this is actually handled remarkably well in terms of showing us a man who recognizes the glee he takes in violence, yet feels an appropriate level of shame. How often do we see that portrayed on film? Not enough.

Indeed, for a wartime adventure flick with plenty of heart-stopping moments — including Lawrence shooting a man (I.S. Johar) he just risked his life to rescue:

… a train being blown up:

… one of Lawrence’s assistants (John Dimech) drowning in quicksand (a truly horrifying sequence):

… and a particularly bloody battle at Damascus:

… this film provides plenty of opportunities to reflect on Lawrence’s character arc, particularly as he travels back and forth to England.

It’s refreshing to see Egyptian movie star Sharif giving such a fine performance in his Hollywood debut as a fictionalized amalgam of various Arabs Lawrence befriended and worked with; meanwhile, well-played supporting roles (of both real-life and fictional figures) include Alec Guinness as Price Faisel (Guinness purportedly spent a couple of hours talking with Sharif, and gleaned an accent from him):

… Anthony Quinn as Auda Abu Tayi:

… and Arthur Kennedy as a fictional journalist named Jackson Bentley (based on Lowell Thomas).

There are a lot of players in this film, and chances are most viewers won’t be familiar with the nuances of this particular historical milieu — so don’t be embarrassed to pause and go read FilmSite’s detailed overview of the movie if you ever feel lost; I’ll confess to doing this. And be forewarned that as much as Lawrence was a champion for Arab independence, he inevitably comes across as a sort of white savior; this is very much a film made from a western perspective to glorify a British folk hero.

Note: There isn’t a single speaking part for a woman in this entire ~4 hour film; it couldn’t even take the Bechdel Test, let alone flunk it.

Notable Performances, Qualities, and Moments:

• Peter O’Toole as T.E. Lawrence
  
• Omar Sharif as Sherif Ali
  
• Numerous exciting action sequences
  
• Stunning cinematography
  
  

Must See?
Yes, as a classic epic.

Categories

• Genuine Classic
• Important Director
• Noteworthy Performance(s)
• Oscar Winner or Nominee

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

Links:

• IMDb entry
• NY Times Original Review
• FilmSite Review
• DVD Savant Review
• Washington Post Review (Rita Kempley)
• Washington Post Review (Desson Howe)
• TCM Articles

Synopsis:
In pre-Revolutionary Russia, a doctor (Omar Sharif) married to the kind daughter (Geraldine Chaplin) of family friends falls in love with a young woman (Julie Christie) who is being abused by her older lover (Rod Steiger), and whose fiance (Tom Courtenay) is becoming an increasingly radical Bolshevik.

Genres, Themes, Actors, and Directors:

• Alec Guinness Films
• David Lean Films
• Doctors and Nurses
• Geraldine Chaplin Films
• Historical Drama
• Infidelity
• Julie Christie Films
• Love Triangle
• Omar Sharif Films
• Ralph Richardson Films
• Revolutionaries
• Rita Tushingham Films
• Rod Steiger Films
• Tom Courtenay Films
• Writers

Review:
Peary doesn’t review this epic film by director David Lean — based on Boris Pasternak’s 592 page 1957 novel — in his GFTFF, but he does mention it briefly in his Alternate Oscars, where he asserts that it “comes across as lumbering, pedestrian, and artificial” and notes that “Omar Sharif’s heart attack sequence” is among “the most wretched in film history” (!). Upon my first rewatching of this Oscar-nominated historical drama since my teenage years, I was, unfortunately, also not very taken in. The sets and cinematography (by Freddy Young) are stunning, but the multi-faceted storyline — so complex in Pasternak’s novel that an intricated character map has been created — perhaps inevitably covers far too much territory, without digging meaningfully into character motivations.

Zhivago himself, for instance, is a cipher, with Sharif simply staring out of his liquidy brown eyes most of the time:

… and while it’s clear that Christie’s character (Lara) has gotten herself enmeshed with a sociopathic monster (Steiger), we don’t really understand her back story, including her relationship with Courtenay (whose character is only very loosely limned).

Meanwhile, a major narrative challenge is that Sharif is married to kind Chaplin, and we can’t help disliking him immensely for harming her through infidelity.

While we’re supposed to root for this couple (Zhivago and Lara, who gets her own theme song), we simultaneously feel terrible about it. The gorgeous visuals are the primary reason to check out this phenomenally popular film, which is “the eighth-highest grossing movie of all time”.

Note: Watch for Klaus Kinski in a brief but memorable role as a haunted soldier.

Notable Performances, Qualities, and Moments:

• Rod Steiger as Komarovsky
  
• Beautiful sets, costumes, and location filming
  
• Freddy Young’s cinematography
  
• Maurice Jarre’s instantly memorable score

Must See?
No, though of course it’s worth a one time look for its historical relevance.

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

Links:

• IMDb entry
• DVD Savant Review
• TCM Articles

Synopsis:
In the summer of 1912, a miserly retired actor (Ralph Richardson) and his morphine-addicted wife (Katharine Hepburn) interact with their alcoholic older son (Jason Robards, Jr.) and consumptive younger son (Dean Stockwell).

Genres, Themes, Actors, and Directors:

• Alcoholism and Drug Addiction
• Dean Stockwell Films
• Family Problems
• Grown Children
• Jason Robards, Jr. Films
• Katharine Hepburn Films
• Play Adaptations
• Ralph Richardson Films
• Sidney Lumet Films

Review:
Sidney Lumet directed this first screen adaptation of Eugene O’Neill’s 1957 semi-autobiographical Broadway play, widely considered his magnum opus. Shot in sequence after three weeks of rehearsal, it tells a harsh, intentionally claustrophobic tale of deep-seated family dysfunctions emerging over the course of one “long day”. Hepburn was nominated for an Academy Award for her performance as Mary Tyrone, a matriarch prescribed morphine upon the challenging birth of her third son (after the early loss of her second) — and to that end, the central theme of a family member who becomes unwittingly addicted to prescription drugs (and simply can’t quit them) rings remarkably true and current.

Meanwhile, the tensions that inevitably emerge whenever grown children return to their parents’ household are shown in full force, with choices around money playing a particularly relevant role. To the credit of everyone involved in this production — from (deceased) O’Neill to Lumet, to the powerful cast, composer André Previn, and a highly capable crew — this undeniable downer of a story never lags, and remains surprisingly compelling throughout its nearly 3-hour running time. While it’s not for all tastes, film fanatics will likely appreciate watching it at least once.

Notable Performances, Qualities, and Moments:

• Katharine Hepburn as Mary
  
• Ralph Richardson as James Tyrone
  
• Dean Stockwell as Edmund
  
• Jason Robards, Jr. as Jamie
  
• Boris Kaufman’s cinematography
  
• André Previn’s intriguing score

Must See?
Yes, as a powerfully filmed adaptation of a classic American play. Listed as a film with Historical Importance and a Personal Recommendation in the back of Peary’s book.

Categories

• Good Show

Links:

• IMDb entry
• NY Times Original Review
• DVD Savant Review
• Time Out Capsule Review