Blood of a Poet, The/Sang D’Un Poete, Le (1930)
“Is it not crazy to wake up statues?”
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Response to Peary’s Review: Redeeming Qualities and Moments:
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Good Fight, The (1984)
“There was this enormous feeling of wanting to come to grips, and not being able to.”
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Review: This is all highly complex — made even more so given that the American militia members (men and women, black and white) were overtly joining forces with the USSR and the Mexican Communist Party, an association which led to ostracization and blackballing once they returned back to an increasingly anti-Communist mid-century America. As the film clearly shows, their experiences in Spain were harrowing: they were underfunded, underfed, under-armed, and unexperienced, yet stayed with their cause at any cost, demonstrating the power of convictions and a desire to make a difference in the world. Listening to this feisty group of marginalized Americans discuss their willingness to sacrifice their lives to fight global fascism makes for fascinating viewing. Note: This film was originally much more ambitious in scope, at ~6 hours long. It ended up focusing exclusively on the American militia in its ultimate 98 minute running time, but it is made clear that this truly was an international effort of militias from many nations joining the cause. Redeeming Qualities and Moments:
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Great Locomotive Chase, The (1956)
“Won’t anything stop that train?”
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Review: Redeeming Qualities and Moments:
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Wagon Master (1950)
“Ain’t likely any posse will look for us in a Mormon wagon train, now is it?”
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Apparently the film’s production was an enjoyable family affair, with Ford’s brother, daughter, and son all involved in some way. Ultimately, this western is a must-see for Ford fans or for those, as DVD Savant writes, “who like ‘pure’ westerns that showcase good horse riding and other cowboy skills”. Redeeming Qualities and Moments:
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Stranger on Horseback (1955)
“That’s the funny thing about the Bannermans: folks are always picking on ’em.”
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— arriving in a town which is bound and determined to retain the Mafia-like stronghold of its founding family. Through a series of interactions with the family’s skulking “lawyer” (John Carradine):
we’re quickly shown exactly how much of a stranglehold the Bannermans have on all aspects of life in the town — with the strong and automatic assumption that anyone daring to question the status quo will either be brought into the Bannermans’ fold or bullied out. The film’s omnipresent protagonist is Judge Thorne (stalwart McCrea):
… a man ready and willing to push back against this assumption at every turn. He may be temporarily seduced by beautiful Miroslava:
but quickly gets back on track with his investigation, fighting the forces of both irascible Bannerman Sr. (McIntire is a bully with a childishly petulant bent) and Bannerman Jr. (McCarthy is chillingly sociopathic).
Close attention is paid to detail throughout the film: a cat lounges on the sheriff’s desk in full view; McIntire sits cross-legged (he and his son are selfish children at heart) on a table outside his residence while preventing Miroslava’s would-be suitor (Robert Cornthwaite) from sitting down in a chair nearby.
The supporting roles are filled with great care, including a jumpy town drunk (Emmett Lynn) who literally can’t stay still, and a frightened neighbor (Walter Baldwin) who tries to convince his pretty daughter (Nancy Gates) that she has no realistic chance of breaking into the Bannerman clan through marriage.
Much of the film is shot on location in Sedona, Arizona and Placerita Canyon, California, and the natural sets are gorgeous — though the entire print needs a serious clean-up and restoration.
A couple of minor quibbles include the score (which doesn’t seem to quite jibe with the proceedings) and the oddly paced ending, which leaves several questions unanswered. But overall, this remains a fine and worthy film to seek out. Redeeming Qualities and Moments:
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Intruder in the Dust (1949)
“I don’t want help — I pays my way.”
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The film centers on a young man (Jarman) steeped in his town’s culture of white supremacy, forced to acknowledge and deal with the cognitive distortions that arise when his life is saved by Hernandez and Hernandez rejects payment of any kind. Jarman’s anger at Hernandez — including his desire for the “revenge” of paying Hernandez to complete their “transaction” — is a bold narrative choice, refusing to sugarcoat the intensely personal and challenging process of dismantling racism. Indeed, the entire film could be viewed as an exercise in revealing and exposing racism on every level — from the overtly murderous cries of the lynch-happy white mob, to Jarman’s internalized fury, to Brian’s initial conviction that nothing can ultimately save Hernandez, regardless of his guilt or innocence.
The storyline is atmospherically filmed (by Robert Surtees) throughout, with the very-real threat of white violence present around every corner, adding to the film’s authentic sense of danger — yet there are pleasant surprises as well, primarily the inclusion of a feisty old woman (Patterson) who accepts that it’s her responsibility to help out in whatever way she can.
Indeed, without Patterson’s seemingly random presence as Jarman is talking about the matter with Brian, the film wouldn’t progress as it does. The scene of Patterson and Elzie Emanuel (playing the teenage son of Jarman’s family servants) driving along in her rickety jalopy to the cemetery while Jarman rides a horse in front of them is a truly surreal one:
as is the entire scene that ensues. The gradual discovery of proof exonerating Hernandez is simultaneously miraculous and numbingly mundane — a vivid anecdote of how many black men in American have been killed on circumstantial “evidence” alone. Redeeming Qualities and Moments:
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Jackie Robinson Story, The (1950)
“No matter what happens on the ball field, you can’t fight back.”
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Review: The following exchange early on — between Watson (as Branch Rickey) and Robinson — demonstrates his willingness to put his life and dignity on the line for a chance at an authentically remunerated career (“Negro” leagues were infamously low-paying and non-contracted):
While it’s a modestly made flick, all film fanatics should watch this movie for its historical value as a film which dared to show at least some of the truth of what Robinson experienced during his path to well-earned fame. Redeeming Qualities and Moments:
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Seven Little Foys, The (1955)
“I’m not interested in dogs, women, or children — in the order of their importance.”
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The script does little to elevate the basic storyline of a man whose devotion to his career trumps all else, even leading him to miss the news that his wife is dying (!). It’s no wonder poor Clarke is so pissed off, though she’s never given a chance to emerge as anything other than a dour killjoy.
The most famous sequence shows Hope and Jimmy Cagney (starring once again as George M. Cohan) dancing together on a tabletop at the Friar’s Club — but considering the scene that comes immediately after this, it’s simply more evidence of Foy’s misguided loyalties. The ending wraps things up in a conveniently Hollywoodized bow, but isn’t convincing for a second. Redeeming Qualities and Moments:
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The Kid From Cleveland (1949)
“Johnny’s a normal American boy, and he wanted to see the game today. I’m glad I made that possible.”
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The majority of the storyline focuses on the drama of Johnny, an “all American” boy acting out against his new stepfather in ways that seem destined to land him in juvenile detention (or worse). To the film’s credit, there’s plenty of authentic tension around what will happen next with Johnny — starting with a plot twist early on, and ending with an unexpected conclusion. However, the entire affair is handled and acted with far too much earnest heavy-handedness to recommend. Redeeming Qualities and Moments:
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Time of Your Life, The (1948)
“Living is an art; it’s not bookkeeping.”
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Unfortunately, it hasn’t stood the test of time very well, coming across as a well-meaning yet insistently quirky snapshot-look at diverse lives in San Francisco, all centering around an annoyingly self-satisfied “central hub” (Joe) — presumably meant to represent Saroyan himself. Joe micro-manages every movement made by mentally challenged Morris while attempting to save the life of a suicidal prostitute (Jeanne) and milking the remaining characters’ tales and woes for his own enjoyment. This is fine as long as one enjoys dipping into these particular individuals’ travails, but they’re not overly compelling; an exception is Barton’s wonderfully loquacious cowpoke with a penchant for, shall we say, exaggeration — he lights up the screen. Redeeming Qualities and Moments:
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