Svengali (1931)
“You are beautiful, my manufactured love.”
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Response to Peary’s Review: Redeeming Qualities and Moments:
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Rashomon (1950)
“It’s human to lie. Most of the time we can’t even be honest with ourselves.”
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Response to Peary’s Review: I disagree with Peary on nearly all the above points. The film’s central premise — that truth is subjective enough that we all approach the telling of a tale with our unique biases and subconscious desires firmly in play — is universal, and so masterfully portrayed by Kurosawa that it serves as an enduring primer for how to relate such a story in cinematic terms. To that end, Peary does concede that “it shouldn’t be forgotten that Kurosawa broke the rules of cinema storytelling”; along with many other critics (see links below), he notes that “it is less important that any four people will tell four different versions of a story than that any filmmaker is capable of taking a story and visualizing it in an infinite number of equally persuasive, audience-manipulative ways”. With regards to the film’s “bookends”, they come across as simply a convenient and effective narrative device; and the inclusion of “Bolero” (actually, a variation thereof) in the soundtrack doesn’t strike me as particularly jarring. Finally, in terms of the film’s central performances, I’m actually less a fan of Mifune’s primal bandit (as noted in Time Out London’s review, he “veers on the hammy side of earthy”) than I am of both Kyo as the samurai’s wife (watch how her expressions and overall demeanor shift from vignette to vignette), and Mori as the samurai himself (though he’s not given much to do, he effectively projects an unnerving, steely reserve). Even more memorable than the actors, however, are Kurosawa’s stunning, haunting visuals — as usual, every frame of his story is composed with craft and care. Redeeming Qualities and Moments:
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(Listed in 1001 Movies You Must See Before You Die) Links: |
Gilda (1946)
“You do hate me, don’t you, Johnny?”
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Response to Peary’s Review:
he complains that the film as a whole is “overlong, silly, and confusing”. Watching it again recently, however, I found myself surprisingly absorbed in its tale of a vitriolic “love-hate” relationship between a couple so clearly meant for one another (if only they could get over whatever it is that keeps them clawing at one another’s throats).
The aspects of the script focusing on Macready’s shady wartime dealings as the head of an international tungsten cartel (!) are a tad incomprehensible and meandering (Joseph Calleia’s detective lurks around the perimeter of the set without much to do), but are ultimately inconsequential, and fortunately don’t distract much at all from the central conflict: the tension-filled menage a trois between Macready, Ford, and Hayworth.
I disagree as well with Peary’s assessment of Macready as “good and sinister” but “not strong enough for such a pivotal role” — it’s exactly his creepy but understated presence that gives his relationship with Ford’s Johnny such an unusual edge:
(Why exactly did he “pick up” Johnny to begin with, off the streets of Bueno Aires?)
I agree with Peary, however, that Ford “gives an uninteresting performance as an unlikable heel-hero” — actually, his performance here is not so much “uninteresting” as it is unconvincing (though the fault is less with Ford than with the studio heads for miscasting him in the first place).
He simply doesn’t have the requisite allure or good looks to be credible as a man that a goddess — er, woman — like Gilda would get herself so hung up over. On that note, the script teasingly neglects to fill us in on the little detail of what exactly tore Gilda and Johnny apart to begin with. Quibbles aside, however, there’s enough to the film — including director Charles Vidor’s more-than-serviceable direction, Rudolph Mate’s noir-inflected cinematography:
… Rita’s inimitable presence, and lots of zingy dialogue — to make it a must-see classic at least once for all film fanatics. Redeeming Qualities and Moments:
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(Listed in 1001 Movies You Must See Before You Die) Links: |
Born to Kill (1947)
“You’re strength… excitement… and depravity.”
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Review: While in some ways gruff-guy Tierney (best known for playing the title role in 1945’s Dillinger) is perfectly cast, he’s ultimately not a nuanced enough actor to bring Wild’s inner life to the surface; we never get a sense of him as anything other than a menacing hulk — and, given his lack of charisma, it’s difficult to see why so many women would fall head over heels for him. (He’s handsome and strong — definitely “not a turnip”, as one character puts it — but not THAT handsome!) Trevor, however, does wonders with her challenging role, managing to make Helen sympathetic even as she stupidly gives up a life of luxury and contentment (with dull but moneyed Phillip Terry) for the questionable [sexual] thrills afforded her by Tierney. While there’s much critical discussion of Trevor’s dramatic eyebrow-raising throughout the film, I find her performance refreshingly sincere. The cast of supporting performers are mostly fine as well, with reliable B-actor Elisha Cook, Jr. playing nicely against type (sort of) as a care-taking “George” to Tierney’s “Lennie” (he has a bit more spunk here than in his usual roles), and the inimitable Esther Howard — whose grotesquely fascinating face is as creaky and crooked as a jalopy — equally effective as the catalyst who brings Walter Slezak’s sleazy PI to San Francisco. Less impressive is Audrey Long as Trevor’s conveniently naive and gold-hearted foster sister, who is simply too beautiful to be credible as a wealthy heiress so easily won over by an uncultured lout like Tierney. Other elements of the plot strain credulity as well, simply through lack of sufficient explanation — i.e., what is Tierney’s relationship, past and present, with Cook, Jr.? How did Trevor get to be Long’s “foster sister”, and why is Long so loyal to her? Ultimately, however, one watches a picture like this simply to see how the corrupt protagonists will meet their ends — and the ride until then (implausibilities aside) is mostly satisfying, thanks to Trevor’s memorable performance, some crackling dialogue, and Robert De Grasse’s noir-ish cinematography. Redeeming Qualities and Moments:
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Scandal Sheet (1952)
“Too bad the guy used an axe on her head; spoiled some pretty pictures for me.”
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Review: Unfortunately, despite his best efforts, John Derek is too much of a pretty boy for his role and is never entirely convincing as the eager-beaver rookie journalist who places Crawford on such a pedestal (though his opening scene with Harry Morgan as his sidekick photographer is a zinger). Meanwhile, Derek’s rocky interactions with Donna Reed (trying hard in a weakly written role as his moralistic female colleague) seem to be included in the screenplay merely to provide a requisite love interest subplot. In addition, while its central premise is inherently exciting, the script is predicated on a series of implausible coincidences, and many scenes simply don’t ring true (c.f. a disturbingly paternalistic sequence near the end of the film involving a bar full of stereotypical “winos”). However, the movie possesses enough noir-ish atmosphere (courtesy of Burnett Guffey‘s stark cinematography), enjoyably hardboiled dialogue, and genuine suspense that film fanatics will surely be curious to check it out at least once. Note: Fuller was apparently so unimpressed by Scandal Sheet that he vowed to helm all his own flicks in the future — and did. Redeeming Qualities and Moments:
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Green for Danger (1946)
“Joseph Higgins was quite dead.”
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Response to Peary’s Review: Peary argues that Alastair Sim’s “supposedly witty” detective is “a poorly conceived character”, seemingly “in the wrong film” — a point I’ll agree with to a certain extent. As enjoyable as this quirky actor always is to watch, his Inspector Cockrill adds incongruous levity to the proceedings; when he first enters the screen with a slapsticky stumble and roll, we feel as though we’ve suddenly switched to watching a Jacques Tati film. Peary also somewhat cynically states that the “picture’s major advantage is that you forget who the murderer is from one viewing to the next”. Interestingly, I was convinced I remembered the killer’s identity from when I first saw this film ~15 years ago, but was absolutely wrong — so his point is well-taken! However, the mystery itself is more enjoyable than Peary’s snarky statement would have you believe: it’s full of conflicted love interests and guilty secrets, with each of the would-be murderers (particularly Jenkins) turning in a solid, believable performance. Definitely worth a look. Redeeming Qualities and Moments:
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Killing, The (1956)
“You like money — you’ve got a great big dollar sign there where most women have a heart.”
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Response to Peary’s Review: As The Killing begins, a solemn voiceover (Art Gilmore) informs us:
This voiceover — a dated relic which mostly feels unnecessary — continues periodically throughout the movie, filling us in on the specifics of each character’s actions, and how they all relate to the grand heist. Indeed, while Sterling Hayden (nominated by Peary as one of the best actors of the year in his Alternate Oscars book) is ostensibly the film’s protagonist:
… screentime is actually distributed amongst the motley crew of heist participants, and our allegiance and attention shift as needed to the other players in the film. For a while, for instance, Elisha Cook, Jr.’s troubled relationship with his “manipulative, unfaithful, double-crossing wife” (played to B-level perfection by Marie Windsor) dominates the story, as his foolhardy desire to save his sham of a marriage propels the entire operation towards its inevitable doom.
During these scenes, Windsor is given some of the best hardboiled dialogue in the film (courtesy of Jim Thompson):
Soon we’re caught up in the mechanics of the heist itself, watching as each player fulfills his well-timed part, and “the pieces of a great puzzle fall into place”. Tension builds incrementally, as we wonder when the inevitable slip-up will occur; the interactions between a hick hired gun (Timothy Carey, reminiscent of John Turturro) and the black racetrack employee (James Edwards) he sweet-talks into letting him into a parking lot ahead of time are particularly riveting and disturbing.
By the end of the film, the story has cycled back to Hayden, and we watch with bated breath to see what fate holds for him and his “nice girlfriend” (an underused Colleen Gray).
All I’ll say is: watch the woman with the dog. Note: Peary accurately points out that the film “recalls Jean-Pierre Melville’s Bob Le Flambeur” — another must-see classic. Redeeming Qualities and Moments:
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Drunken Angel (1948)
“You worry about all of your patients more than yourself.”
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Review: Drunken Angel is an atmospheric, neo-realist rendering of life in post-WWII Japan, with Shimura’s desperate attempt to save the life of his TB-riddled patient symbolizing the nation’s struggle to right itself after years of debilitating warfare. Shimura, while noble in his desires, is ultimately a flawed protagonist — he drinks too much, and is too willing to take unnecessary risks in order to rescue Mifune from himself; meanwhile, Mifune — despite his Yakuza associations — is surprisingly sympathetic, and comes across as imminently redeemable. Their relationship together is both curious and weirdly logical, and we watch with fascination to see how things will turn out for this unconventional “odd couple”. Meanwhile, Kurosawa fills the screen with sensuous yet repellent imagery, continuously evoking fetid water as a palpable metaphor for post-war decay and destruction; it’s impossible to turn away, no matter how disturbing the sight. Redeeming Qualities and Moments:
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Stage Fright (1950)
“I’m afraid the murderer might come here, Madam.”
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Review:
Wyman, never the most charismatic or beautiful of actresses, nonetheless acquits herself nicely in dual roles here as a student actress with the real-life role of a lifetime; while we feel sorry for her initially (she’s clearly enamored with the Wrong Guy), she’s quickly and conveniently given another love interest (Michael Wilding’s investigative detective), and it’s easy to root for her throughout her dramatic travails.
Although Stage Fright is enjoyable while it lasts, and certainly must-see viewing at least once for all Hitchcock fans, it’s not really all that noteworthy; what lingers longest in one’s memory of the film is Sims’ performance, proving that he was one of cinema’s true iconic delights. Redeeming Qualities and Moments:
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Saboteur (1942)
“A man like you can’t last in a country like this.”
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Review: Yet Saboteur remains a highly enjoyable flick in its own right: it’s jam-packed with exciting sequences, creative settings, and memorable character actors (most notably Otto Kruger as one of the first enemies Cummings encounters after his escape from the police, and Norman Lloyd as the real saboteur). As Cummings desperately wends his way across the country to clear his name, he encounters a requisite feisty love interest (nicely played by Priscilla Lane); meanwhile, he must escape from the clutches of an underground network of fascists who seem to lurk around every corner. From the opening act of sabotage — a dramatically filmed factory fire that astonishes me anew each time I see it — Hitchcock keeps his sets fresh and exciting; see stills below for glimpses of Cummings (with Lane) at a deceptively dangerous upper-crust party, escaping gunfire at Radio City Music Hall, and fighting for his life atop the Statue of Liberty. Other memorable scenes include Cummings’ poolside encounter with Kruger and his grandson, as well as Cummings and Lane’s brief interlude with a troupe of circus “freaks”. Note: Listen for some zingy dialogue by Dorothy Parker, who contributed to several key scenes. Redeeming Qualities and Moments:
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