Menage (1986)
“Bob’s our only friend! He’s changed our lives with his magic wand…”
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King of Kings, The (1927)
“Come unto me — rejoice, and be exceeding glad! I am the Way, the Truth, and the Life.”
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De Mille relies almost exclusively on quotes from Biblical scripture for his intertitles, and was notoriously concerned with maintaining an overall air of religious piety on his set. H.B. Warner was ultimately far too old to be playing the 33-year-old Jesus, but he manages to project an appropriate aura of serenity and strength, and quickly becomes acceptable in the role.
According to TCM’s article, “some 8 billion people” around the world have seen this classic silent film, “partly due to the Cinema Corporation’s policy of loaning the film to civic and religious groups for a small fee to help replace worn prints.” Indeed, “reportedly no week passes without The King of Kings playing in some corner of the world”, thus ensuring its permanent status in cinematic history. Redeeming Qualities and Moments:
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James Dean Story, The (1957)
“Success was nothing more than the concealing leaf which covered the tree of his loneliness.”
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Detour (1945)
“That’s life: whichever way you turn, Fate sticks out a foot to trip you.”
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Response to Peary’s Review: Critics have long debated the role of Fate in “pessimistic Neal’s” downward spiral, with Peary pointing out that “in truth he does nothing to ward it off”, instead using “Fate as an alibi… when [it was] his own foolishness [which] caused him to dump MacDonald and steal his possessions… [and] to pick up Savage when he should have been keeping a low profile.” Regardless of Al’s personal culpability, however, few would wish a vulturous harridan like Savage on him or any man; as Peary notes, “she looks as if she wants to rip you apart with her teeth and devour you piece by piece”, but “even more terrifying than her face is her voice, which is loud, scratchy, vulgar, [and] intolerable” — a femme fatale, indeed! Redeeming Qualities and Moments:
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(Listed in 1001 Movies You Must See Before You Die) Links: |
Naked Dawn, The (1955)
“I’m worth more — I work for my living! I take from no one!”
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Manuel was previously content to simply work his land and plan for a family with his beautiful wife — but once Santiago (Kennedy) unwittingly involves him in a bout of theft and violence against a fence (Roy Engel), Manuel finds himself lusting after the money Santiago seems to obtain so easily.
Meanwhile, Maria — who, it turns out, was essentially purchased by Manuel, along with the land they live on — is smitten by the idea of freedom with Santiago, and longs to leave with him. Santiago (wonderfully played by Kennedy) is a most fascinating central character: a violent but even-handed bandit, his motivations stem from cynicism over failed revolutionary promises to provide land to all who fought for freedom. He shows genuine compassion when ministering to his dying partner (Tony Martinez) during the movie’s opening scene:
… and never intends to disrupt Manuel and Maria’s lives the way he ultimately does; indeed, Santiago is more of a catalyst than anything — an “innocent” spark who taps into both Manuel’s baser, greedy instincts, and Maria’s deeply rooted unhappiness.
His reactions to their sudden revelations are refreshingly uncliched, and help to turn this modest little western into a most enjoyable “menage a trois”. P.S. Truffaut famously noted that this film was an inspiration for his Jules and Jim (1962), but don’t look for literal similarities. Redeeming Qualities and Moments:
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Mad Genius, The (1931)
“I will create my own being: that boy! That boy will be my counterpart, he shall be what I should have been.”
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While the story itself feels somewhat contrived — after all, what proof does Tsarakov have that Fedor’s “serious” relationship with Nana (Marsh) will ruin his chances for success? — Barrymore remains a pleasure to watch, and Barney McGill’s shadowy cinematography creates an appropriately stylized air of imminent doom. Cook, unfortunately, is instantly forgettable as Tsarakov’s young protegee (perhaps he was intentionally cast as someone without much personality?):
but Marsh is at least beautiful to look at, and Luis Alberni as Tsarakov’s drug-addicted musical director is appropriately over-the-top.
Film fanatics take note: Boris Karloff appears briefly in the beginning of the story as Fedor’s abusive father, though only his distinctive voice emerges as proof that he’s part of the proceedings. Note: It’s always enjoyable to look for evidence of “Pre-Code” sensibilities in early Hollywood films; the following comment — made by Nana’s new lover, Count Renaud (Andre Luguet), as they travel together on a train for the first time — is a good example:
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Floradora Girl, The (1930)
“If he should mention matrimony, insist on a practical sign of affection — and remember: there’s nothing so practical as jewelry!”
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Review: Note: The picnic scene in which Daisy “conducts” a group of singing men — and the ensuing scene in which she fakes being rescued while swimming — showcase Davies’ Lucille Ball-like talent with physical slapstick humor.
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Steamboat Round the Bend (1935)
“If his life ain’t worth five hundred dollars, it ain’t worth nothin’!”
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and the grand finale: a steamboat race down the Mississippi (guess who wins?).
As with their previous two collaborations, Steamboat… ultimately doesn’t seem quite worthy of either Rogers’ or Ford’s talents, but it will likely be of minor interest to fans of either man. Redeeming Qualities and Moments:
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Judge Priest (1934)
“The figures in this story are familiar ghosts of my own boyhood…”
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It should be noted that while Fetchit’s role in this film — as well as that of Hattie McDaniel (Priest’s housekeeper) and other “happy” African-American servants — falls into stereotypically offensive territory, Rogers’ interactions with both Fetchit and McDaniel allow for a slightly more nuanced representation of race relations than was usual for the time. His laid-back friendship with Fetchit implies that he cares more about enjoying life than maintaining the illusion of racial superiority, and his participation in McDaniel’s “call and response” singing while she’s cleaning once again shows that the pure joy of music making means more to him than either class or race.
While minor, these tiny deviations from the norm make it clear that Rogers really did try to live by his famous credo of “never meeting a man [sic] he didn’t like”. It’s too bad, then, that Ford’s decision to end the film with a group of black man cheerily bursting into “Dixie” outside the courtroom ultimately turns the film into yet another naively revisionist depiction of Southern history. Redeeming Qualities and Moments:
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(Listed in 1001 Movies You Must See Before You Die) Links: |
Dr. Bull (1933)
“We’re ashamed of your goings-on in this town… It’s a shame and a scandal in the community!”
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