FilmFanatic.org

Synopsis:
A troubled young army deserter (John Cassavetes) who is being bullied by a vicious stevedore (Jack Warden) befriends a fellow worker (Sidney Poitier) and starts hanging out with Poitier’s wife (Ruby Dee) and their friend (Kathleen Maguire). Poitier tries to help Cassavetes regain his confidence and stand up to Warden — but tragedy soon strikes.

Genres, Themes, Actors, and Directors:

• Friendship
• John Cassavetes Films
• Martin Ritt Films
• Racism and Race Relations
• Ruby Dee Films
• Sidney Poitier Films
• Waterfront

Review:
Martin Ritt made his impressive cinematic directorial debut with this adaptation of Robert Alan Arthur’s television play A Man is Ten Feet Tall. We’re not at all sure where things will head as we see young Cassavetes enter the dockyards looking for work:

When he finally encounters the man whose name he’s been told to give as a contact (Warden’s “Charlie Malick”), we can tell that Cassavetes has a rough history which we’ll presumably learn more about:

We’re especially kept in suspense when Cassavetes befriends Poitier, and ends up being taken under his wing:

In a most refreshing change of pace (at least for films of this era), Poitier and Cassavetes develop a meaningful cross-racial friendship, with Poitier listening closely as Cassavetes gradually shares details about his past.

Soon Poitier is encouraging Cassavetes to take risks with dating, and introduces him to a friend of his wife’s (Maguire):

Things take a dark turn, however, when Warden — a pathological bully — decides to push an issue to its limits, at which point Cassavates must make a challenging decision. To that end, many have pointed out the similarities between this film and On the Waterfront (1954), with both taking place on the docks of New York and featuring a protagonist who must decide whether to “squeal” or not — however, they are different enough to watch and consider on their own merits, and this one, too, remains worth a look.

Notable Performances, Qualities, and Moments:

• John Cassavetes as Axel
  
• Sidney Poitier as Tommy
  
• Ruby Dee as Lucy
  
• Fine use of location shooting
  
• Atmospheric cinematography
  

Must See?
Yes, as a good and unusual show.

Categories

• Good Show

Links:

• IMDb entry
• TCM Article
• Time Out Capsule Review
• NY Times Original Review (spoiler alert)

Synopsis:
During the final days of the Civil War, a trio of trappers — Jed (Victor Mature), Gus (James Whitmore), and Mungo (Pat Hogan) — arrive at a fort that’s short on men, and are hired by a friendly captain (Guy Madison). Jed quickly falls for the wife (Anne Bancroft) of the fort’s reigning colonel (Robert Preston), who is dead set on rampaging the local Indians despite the danger this poses to his inexperienced new recruits; will Jed be able to convince Colonel Marston (Preston) not to follow through on his foolhardy plan?

Genres, Themes, Actors, and Directors:

• Anne Bancroft Films
• Anthony Mann Films
• James Whitmore Films
• Robert Preston Films
• Victor Mature Films
• Westerns

Review:
Director Anthony Mann made numerous westerns during his lengthy career, including this Technicolor flick filmed in Mexico with Mount Popocatépetl seen in the background of the fort:

The storyline centers on differing conceptions of masculinity and success, with Mature wondering if it’s time for him to finally settle down with a wife and kids (he has his eye on Bancroft), and Preston determined to regain his reputation after leading a disastrously lethal charge during the war and being nicknamed The Butcher of Shiloh.

Bancroft (how strange to see her as a blonde!) serves as the tension point between the two men; she’s loyal to her husband, but attracted to Mature’s insistent virility:

Meanwhile, Mature is, ironically, too immature to handle life at the fort after years in the wild, and quickly makes enemies, especially when drunk (which is often). Will he be able to redeem himself by the end? I found myself surprisingly caught up in this tale, especially the excitingly filmed final shoot-out.

However, with that said …

SPOILER ALERT:

… the film’s very last sequence is jarring and unexpected. According to TCM’s article:

The Last Frontier’s ending, with Mature in a blue army jacket, having been recruited into the ranks, saluting while Bancroft smiles down on him from a platform above as an inanely upbeat song blares over the soundtrack, was, Mann has said, forced on him.

Be forewarned.

Notable Performances, Qualities, and Moments:

• Victor Mature as Jed
  
• James Whitmore as Gus
  
• Fine direction by Mann
  

Must See?
No, but it’s recommended for one-time viewing.

Links:

• IMDb entry
• TCM Article
• DVD Talk Review
• NY Times Original Review

Synopsis:
When a former Air Force Colonel (James Stewart) is drafted away from his baseball career to serve in active duty during the Cold War, his new wife (June Allyson) must adjust to life as a military spouse.

Genres, Themes, Actors, and Directors:

• Airplanes and Pilots
• Anthony Mann Films
• Cold War
• Frank Lovejoy Films
• Jimmy Stewart Films
• June Allyson Films
• Military

Review:
Jimmy Stewart and director Anthony Mann collaborated on eight films together: five westerns (Winchester ’73, 1950; Bend of the River, 1952; The Naked Spur, 1953; The Far Country, 1954; and The Man From Laramie, 1955); an oil-drilling drama (Thunder Bay, 1953); a biopic (The Glenn Miller Story, 1954); and this love letter to the skies — an Air Force flick so successful that it helped increase recruitment by 25%. Indeed, it’s a stunningly filmed movie, using VistaVision technology to maximum effect.

As described by Bosley Crowther of the New York Times, it was “far and away the most elaborate and impressive pictoral show of the beauty and organized power of the United States air arm that has yet been put upon the screen.”

Storywise, however, there’s a lot less going on. Allyson once again plays a put-upon ’50s housewife who nonetheless stands by her man despite not being allowed to know where he is half the time:

Other dramatic incidents include Stewart managing an engine fire requiring bail-out and a forced landing:

… and facing windstorms on a non-stop flight from MacDill AFB to Yokota Air Base while nursing an increasingly debilitating shoulder injury:

During this flight, we’re also treated to spectacular footage of mid-air refueling:

Stewart was perfectly cast in the lead role; according to Wikipedia, he:

“… had been a B-17 instructor pilot, a B-24 squadron commander, and a bomb group operations officer, completing 20 combat missions. At the time of filming, Stewart, much like the character he portrays, was also a colonel in the Air Force Reserve, serving with the Strategic Air Command when on duty and at the time was qualified as a pilot on the B-47.”

Talk about serendipity! Clearly, this film will appeal to those who enjoy plenty of air action, but it’s not must-see viewing for all-purpose film fanatics.

Note: It’s been pointed out that Stanley Kubrick may have been influenced by some of the footage here when conceiving of Dr. Strangelove (1964):

Notable Performances, Qualities, and Moments:

• Fine VistaVision cinematography
  
  

Must See?
No, unless you’re a fan of such films.

Links:

• IMDb entry
• NY Times Original Review
• TCM Article
• DVD Talk Review

Synopsis:
A cellist (Zdenek Bezusek) and his girlfriend (Vera Kresadlova) visit Bezusek’s friend Bambas (Karel Blazek) in his country house, where life follows a leisurely and family-driven pace.

Genres, Themes, Actors, and Directors:

• Eastern European Films
• Musicians

Review:
Czech New Wave filmmaker Ivan Passer’s directorial debut was this hour+-long glimpse into an overnight stay at a country house, filled with music:

… laughter:

… eating and drinking:

… animals:

… children:

… wandering the grounds:

and sexual longing.

There truly doesn’t seem to be much point to any of it, which may be exactly the point; however, I’ll admit to feeling restless and waiting for a narrative hook of some kind (which never came). Given that I’m not a fan of at least two of Passer’s later American-made films — Born to Win (1971) and Law and Disorder (1974) — I’m not all that surprised I found this earlier work to be a disappointment, though it’s lauded by many.

Notable Performances, Qualities, and Moments:

• Fine cinematography
  

Must See?
No, though of course fans of Eastern European cinema will definitely want to check it out.

Links:

• IMDb entry
• TCM Article
• Village Voice Review (Andrew Sarris)

Synopsis:
When a white supremacist agitator (William Shatner) shows up in a southern town about to integrate its schools, he enlists help from a newspaperman (Frank Maxwell) and a local bigot (Robert Emhardt) to stir up hatred while romancing Maxwell’s teenage daughter (Beverly Lunsford) and putting the moves on the disturbed wife (Jeanne Cooper) of a neighbor (Leo Gordon). Will Shatner succeed in his goals of preventing integration and sowing violence?

Genres, Themes, Actors, and Directors:

• Deep South
• Racism and Race Relations
• Roger Corman Films

Review:
Made on a shoestring budget (of course), this Roger Corman-produced, Charles Beaumont-scripted independent film is a marvel of brave innovation: rather than centering a white savior showing up in a racist town to save Blacks, we’re shown a white anti-hero who easily stokes existing bigotry into increasingly violent outcomes.

I’ll admit I kept waiting for a “big reveal” — Shatner’s true motivations must surely be good — that never came; what we see here is what we get, in unvarnished docu-realism:

While the storyline ultimately ends with an “easy out”, it’s made crystal clear that nothing has changed in this town. A near-lynching of an innocent black teenager (Charles Barnes):

… only doesn’t happen given another man’s non-race-related personal grudges against Shatner. Film fanatics should most definitely check out this unusual flick, which remains one of the most potent films about racism from its era.

Notable Performances, Qualities, and Moments:

• William Shatner as Adam Cramer
  
• Taylor Byars’ stark b&w cinematography
  

Must See?
Yes, as a brave and unique (if flawed) independent film. Listed (appropriately so) as a Sleeper in the back of Peary’s book.

Categories

• Good Show

Links:

• IMDb entry
• Time Out Capsule Review
• DVD Savant Review
• TCM Article
• Not Coming to a Theater Near You Review

Synopsis:
A big-game hunter (Clark Gable) in Africa has an affair with a sassy playgirl (Ava Gardner) who arrives at his camp, but falls hard for the prim wife (Grace Kelly) of a scientist (Donald Sinden) hoping to study local gorillas; which of the two beauties will Gable end up with?

Genres, Themes, Actors, and Directors:

• Africa
• Ava Gardner Films
• Clark Gable Films
• Grace Kelly Films
• Hunting
• Infidelity
• John Ford Films
• Love Triangle

Review:
John Ford directed this remake of Red Dust (1932), starring the same leading man (naturally, 20 years wouldn’t make a difference in Gable’s sexiness factor) and incorporating much footage shot on location in Africa.

Gable and Gardner have tremendous chemistry together:

… though Gable’s attraction to beautiful Kelly (whose husband is a complete milquetoast) makes sense as well:

There’s not too much to the storyline other than this sticky love triangle — and those who’ve seen the original know how things will turn out; however, it’s easy to understand why audiences in the ’50s would enjoy seeing these gorgeous stars together, and also appreciate the location footage (which today comes across as both exoticizing and — in terms of the perceived harm caused to several wild animals — somewhat disturbing). The film primarily remains noteworthy for Gardner’s Oscar-nominated performance, which is consistently a delight — and of course, Ford’s direction is solid throughout.

Notable Performances, Qualities, and Moments:

• Ava Gardner as “Honeybear” Kelly
  
• Robert Surtees’ and Freddie Young’s cinematography
  

Must See?
No, though it’s worth a look if you’re a fan of any of the three stars.

Links:

• IMDb entry
• TCM Articles
• NY Times Original Review
• DVD Talk Review (scroll down)
• Spinning Image Review

Synopsis:
A nurse (Jane Fonda) on her honeymoon with a Korean War veteran (Jim Hutton) sees their relationship challenges mirrored in Hutton’s friend (Anthony Franciosa), whose six-year marriage to his wife (Lois Nettleton) is on the brinks as well.

Genres, Themes, Actors, and Directors:

• George Roy Hill Films
• Jane Fonda Films
• Jim Hutton Films
• Marital Problems
• Newlyweds
• Play Adaptations
• Romantic Comedy
• Tennessee Williams Films
• Veterans

Review:
George Roy Hill’s feature-length directorial debut was this adaptation of a play by Tennessee Williams, which Hill also directed on Broadway. Unfortunately, the play itself — intended by Williams to be a “serious comedy” in an attempt to lighten up his approach for once — is a clunker. As Bosley Crowther described it in his review for The New York Times, “Whatever there is in the way of humor in watching young married people quarrel and display attitudes in their relations that range between juvenile and immature is made abundantly available [in this film].” Poor Jane Fonda was just a few years into her career, having made the non-GFTFF-listed Tall Story (1960), Walk on the Wild Side (1962), and The Chapman Report (1962); this fourth cinematic feature posits her as a naively altruistic nurse with far too much compassion for her pill of a new husband.

Indeed, there’s no excusing Hutton’s obnoxious treatment of Fonda from their first married moments together, driving in a used hearse he purchased without consulting her:

… and we struggle to understand what she saw in him in the first place. While we’re meant to have compassion for Hutton as a damaged vet afraid of his ability to “perform”, all we feel is deep regret for Fonda’s bad choice. Meanwhile, their marital difficulties are echoed in a parallel story of Franciosa finally standing up to his overbearing father-in-law (John McGiver) and quitting his job:

… but we struggle to sympathize much with him, either, given how poorly he treats his wife (supposedly once “homely”, though she’s actually quite beautiful) and his young son, whose beloved doll he cruelly throws into the fire:

[Nice try, Tennessee; I know you were going for something a little less Southern Gothic, but this scene alone … ]

There are attempts at romantic “comedy” by having Nettleson see Fonda in Franciosa’s house and misinterpret her as his mistress:

… but this doesn’t really lighten things up. Meanwhile, setting the film on Christmas Eve while a group of increasingly drunk carolers make their rounds through the neighborhood also doesn’t help to lift spirits.

By the time Williams tries to wrap things up by having the women better understand their poor emasculated husbands, we still can’t help feeling sorry for them (the women), knowing they’re in for some rocky years ahead.

Notable Performances, Qualities, and Moments:

• Paul Vogel’s cinematography
  

Must See?
Nope; you can safely skip this one.

Links:

• IMDb entry
• NY Times Original Review
• Time Out Capsule Review
• Bright Lights Film Journal Review

Synopsis:
When a bored housewife (Shirley MacLaine) in New York City is bit by a stray cat, her lawyer-husband (Kenneth Mars) insists she have her hand looked at by a doctor; meanwhile, Sophie (MacLaine) reflects back on a former affair and socializes with various friends — including her husband’s soon-to-be ex-partner (Gerald S. O’Loughlin) and a former-activist friend (Sada Thompson) who is visited frequently by her ex-boyfriend (Jack Somack).

Genres, Themes, Actors, and Directors:

• Housewives
• Marital Problems
• Shirley MacLaine Films

Review:
Playwright Frank D. Gilroy’s directorial debut was this adaptation of a novel by Paula Fox about an upper-middle-class childless wife seeking meaning and connection of some kind. Despite MacLaine’s decent performance, it’s excruciatingly challenging to care much about her character’s overall malaise; in an interview, Fox herself complained that the film “lacked a certain kind of inner gravity”. Sophie’s life is at least beautifully shot, as we see her lounging around in her apartment:

… wandering the city in the wee hours of the morning with O’Loughlin:

… and having lunch in the cavernous apartment of her very-odd friends.

Eventually she and Mars end up at their summer house, where they encounter an unpleasant surprise:

… but again, it’s hard to feel too sorry for this privileged if clearly troubled couple. If the point is that money can’t buy happiness, point taken — but it’s been made elsewhere many times, to more lasting effect.

Note: It was interesting reading DVD Savant’s review of this film, in which he refers to it as “a real downer, an intelligent but unrewarding slice of despair” that is “a theater owner’s worst nightmare, a picture that inspires mass walkouts.” He notes that it “must be the antithesis of a Date Flick,” as he “can’t imagine a marginal relationship surviving the experience of a trip to this picture.”

Notable Performances, Qualities, and Moments:

• Urs Furrer’s cinematography
  
  

Must See?
Nope. Listed as a Sleeper and a Personal Recommendation in the back of Peary’s book.

Links:

• IMDb entry
• DVD Savant Review

Synopsis:
When a vindictive young girl (Karen Balkin) attending a boarding school run by friends Karen (Audrey Hepburn) and Martha (Shirley MacLaine) tells a lie to her grandmother (Fay Bainter) that Karen and Martha are lovers, the entire community erupts in scandal.

Genres, Themes, Actors, and Directors:

• Audrey Hepburn Films
• Boarding Schools
• Fay Bainter Films
• James Garner Films
• Lesbianism
• Love Triangle
• Miriam Hopkins Films
• Morality Police
• Play Adaptations
• Shirley MacLaine Films
• William Wyler Films

Review:
William Wyler directed two versions of Lillian Hellman’s 1934 play about two women whose lives are ruined by a child’s lie: a 1936 version co-starring Miriam Hopkins and Merle Oberon entitled These Three (in which all themes of lesbianism were removed), and this more faithful adaptation (keeping the original play’s name), with Hopkins returning as her original character’s meddling Aunt Lily:

… and James Garner cast as Karen’s loyal fiance, Dr. Joe Cardin (originally performed by Joel McCrea).

Unfortunately, this updated version was made at a time when homosexuality was still largely considered as “awful” as the characters all proclaim it to be. As MacLaine stated in an interview she gave for the documentary The Celluloid Closet (1995):

“None of us were really aware [of the ramifications of the play’s central topic]. We might have been forerunners, but we weren’t really, because we didn’t do the picture right. We were in the mindset of not understanding what we were basically doing.”

Indeed, one waits… and waits… to hear any of the characters questioning the fact that an implied lesbian relationship would merit such shock and scandal — but this never emerges; instead, we’re asked to simply believe that an entire school would be shut down within a few days given rumors about its owners’ sexual preferences. While this may be realistic, it’s jarring to see it accepted without question: the only consideration is whether Balkin’s rumor — substantiated by her bullied classmate (Veronica Cartwright) — is true, not whether it merits a response of any kind. Speaking of Balkin, she’s much less “enjoyable” as a Bad Seed than Bonita Granville was in the original:

Bainter, on the other hand — giving her final screen performance — is nuanced and note-perfect in a villainous role that she manages to imbue with humanity:

… and Franz Planer’s cinematography is gorgeous throughout.

Notable Performances, Qualities, and Moments:

• Audrey Hepburn as Karen
  
• Shirley MacLaine as Martha
  
• Fay Bainter as Amelia Tilford
  
• Franz Planer’s cinematography
  
  

Must See?
No, though it’s worth a one-time look simply for its importance in the history of LGBTQ-themed cinema.

Links:

• IMDb entry
• NY Times Original Review
• TCM Article