Burroughs (1983)
“My whole life has been resistance to the ugly spirit.”
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Review: Redeeming Qualities and Moments:
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From the Earth to the Moon (1958)
“No one on this Earth will ever know the secret of Power X!”
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(Naturally, a romance — involving an impossibly made-up Debra Paget — is included as well.)
Making matters worse, the science is both sloppily handled and inconsistent: for instance, an elaborate, presumably essential centrifugal spinner is used during take-off to “counterbalance gravity”, yet stowaway Paget emerges perfectly fine from the limp space suit she’s hidden out in. Don’t bother seeking this one out. Redeeming Qualities and Moments:
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Strangler, The (1964)
“Everyone has to grow up, Mrs. Kroll — even your son.”
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Snake Pit, The (1948)
“The whole place seemed to me like a deep hole, and the people down in it were strange animals — snakes! And I’d been thrown into it, as though I were a snake, too.
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is the primary reason to watch this sincere yet dated adaptation of Mary Jane Ward’s bestselling, semi-autobiographical novel. In the wake of One Flew Over the Cuckoo’s Nest (1975), nothing in The Snake Pit comes across as particularly shocking, but audiences at the time must have been horrified by its depiction of inhumane overcrowding (the didactic script makes sure we’re aware of the impossibly mounting number of inmates):
… seemingly abusive treatment methods (including shock therapy):
… and power-playing nurses (Helen Craig’s evil Nurse Davis is an eerie precursor to Nurse Ratched).
Leo Genn’s saintly “Dr. Kik” conveniently mitigates much of this impersonal horror, emerging as Virginia’s literal savior:
While his Freudian analysis of Virginia’s childhood is ridiculously simplistic:
… it’s hard not to feel for de Havilland’s highly sympathetic protagonist, and wish her well. Redeeming Qualities and Moments:
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(Listed in 1001 Movies You Must See Before You Die) Links: |
Hitler’s Madman (1943)
“You think words will stop the Nazis?”
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(particularly the brutal finale — an infamous crime against humanity):
… but it suffers from trite dialogue (“Hope — I’d forgotten there was such a word”), wooden acting (particularly by Alan Curtis in the lead):
… and an overall production air of “Hollywood Studio as Europe”. Evidence of Sirk’s visual genius emerges every now and then (particularly in the use of extreme angles), and John Carradine is well-cast as villainous Heydrich (Peary nominates his performance for an Alternate Oscar!), but the limited script and cast prevent this from being anything more than simply dated entertainment. Redeeming Qualities and Moments:
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When a Woman Ascends the Stairs (1960)
[Note: The following review is of a non-Peary title; click here to read more.]
“Bars in the daytime are like women without make-up.”
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Review: Note: When a Woman… evokes Mizoguchi’s post-war work — particularly A Geisha (1953) and Street of Shame (1955) — but with a decidedly “jazzy” twist, thanks to Toshiro Mayuzumi’s xylophone-heavy score and Satoshi Chuko’s “modern” interiors. Redeeming Qualities and Moments:
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Bonnie and Clyde (1967)
“Bonnie and Clyde are the Barrow gang, I’m sure you all have read / How they rob and steal, and those who squeal, are usually found dyin’ or dead.”
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Review: Notoriety aside, Bonnie and Clyde is a creative, well-acted drama, one which effectively portrays the alienation and frustration felt by many during the Great Depression. Dunaway (who’s never looked more beautiful) and Beatty (young and studly) are perfectly cast as the titular leads, who come together out of a desperate need for mutual recognition. They’re surrounded by a host of fine supporting actors — including Gene Wilder in a hilarious bit part, and the inimitable Michael Pollard in a role seemingly tailor-made for him. Ironically, Estelle Parsons’ Academy Award-winning performance as Beatty’s shrill sister-in-law is the least impressive of the bunch. Those looking for historical accuracy should read a book about Parker and Darrow instead: Bonnie and Clyde is just barely more authentic than its ’50s predecessor, The Bonnie Parker Story (starring sassy Dorothy Provine). For instance, while Penn’s inclusion of Clyde’s sexual “issues” was a daring move for the time, it’s nonetheless inaccurate (Barrow was reportedly bisexual, not impotent); and the real Bonnie and Clyde (both short) looked nothing like glamorous Dunaway and Beatty. Ultimately, Bonnie and Clyde is more of a tragic romantic fable than a biopic, with the infamous final shoot-out (featuring superb, oft-analyzed editing by Dede Allen) providing a shocking yet appropriate end to this warped fairy tale — how else could Bonnie and Clyde go out but violently, together? Redeeming Qualities and Moments:
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(Listed in 1001 Movies You Must See Before You Die) Links: |
Nightmare Alley (1947)
“It gives you a sort of superior feeling — it’s as if you were in the know, and they were on the outside, looking in…”
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Savage Innocents, The (1960)
“To the white man, Arctic ice and snow are pitiless enemies; but to the Eskimo they can be useful friends.”
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Review: For every moment we’re allowed to admire the Eskimos’ estimable survival skills (especially in contrast with the ignorant troopers, who fatally refuse to follow Inuk’s guidance about riding over ice), we’re supposed to laugh at the silliness of their quaint customs. For instance, while it’s impressive that Asiak is able to give birth on her own (how this scene must have shocked audiences at the time!), it defies belief that she and Inuk don’t know babies are born without teeth (have they never seen babies nursing before?). The film partially redeems itself once Peter O’Toole’s (American-dubbed) trooper arrives in the story, and is given a detailed explanation of why it’s the ultimate insult to refuse to “laugh” with another man’s wife — but, once again, this cautious respect is undermined in the final scene, when O’Toole is posited as ultimately savvier than the naive Inuk can ever hope to be. Even the lovely Arctic cinematography can’t save this film from its own worst tendencies; I recommend renting Never Cry Wolf (1983) or the recent Inuktitut-language Fast Runner (2001) instead. Redeeming Qualities and Moments:
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Young Girls of Rochefort, The (1967)
“I’ve looked everywhere, I’ve sailed the seven seas… Can she be far? Is she close to me?”
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Review: Deneuve and her real-life sister Dorleac (who died in a car accident before the film was released) are also perfectly cast as the fraternal Garnier twins — their initial song together (“Chanson Des Jumelles”) is a delight. Fortunately, Demy moved away from the gimmick of Cherbourg (which was entirely sung), and was more flexible here with his dialogue: some is sung, some is rhymed, and some is simply spoken; though purists may disagree, I find this ultimately more successful. As with all musicals, … Rochefort will not be to every film fanatic’s taste — but it’s certainly must-see at least once. Redeeming Qualities and Moments:
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(Listed in 1001 Movies You Must See Before You Die) Links: |
