Party Girl (1958)

Party Girl (1958)

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“Let’s put it this way: I need you, Tommy. You’re my boy, like a son. You walk out on me now, what happens to poor Rico?”

Synopsis:
A lawyer (Robert Taylor) working for a Chicago gangster (Lee J. Cobb) falls in love with a showgirl (Cyd Charisse) and tries to leave the mob; but he soon finds that this isn’t as easy as he thought.

Genres, Themes, Actors, and Directors:

  • Cyd Charisse Films
  • Gangsters
  • John Ireland Films
  • Lawyers
  • Lee J. Cobb Films
  • Nicholas Ray Films
  • Robert Taylor Films
  • Romance
  • Showgirls

Review:
Party Girl is a disappointing entry in Nicholas Ray’s otherwise impressive oeuvre. Despite high production values, fine performances by the leads (especially Cobb), a couple of fun dance numbers by Charisse:

and occasional moments of directorial ingenuity, the film is ultimately hampered by an uninteresting script which covers material trodden many times over. Taylor’s character (a savvy, successful lawyer):

should know better than to assume he can simply leave his life with the mob behind him; and when things go wrong for both him and his new love (Charisse), it’s hard to feel either much compassion or curiosity about what will happen next.

Redeeming Qualities and Moments:

  • Lee J. Cobb as Rico
  • Charisse’s dancing
  • Fine cinematography and production values

Must See?
No. Although Ray does a competent job with the material he’s given, this is not among his best work.

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Always (1985)

Always (1985)

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“I really think it’s about coming out the other side.”

Synopsis:
A married couple (Patrice Townsend and Henry Jaglom) on the brink of an amicable divorce spend a Fourth of July weekend with their friends and family.

Genres, Themes, Actors, and Directors:

  • Divorce
  • Get Togethers and Reunions
  • Marital Problems

Response to Peary’s Review:
Peary expresses little tolerance for this “confessional” film by independent director Henry Jaglom, noting, “We’re made to feel we got waylaid to an intense weekend therapy session.” Indeed, Always was Jaglom’s first attempt to use circumstances taken directly from his own life to tell a semi-fictional story — and, regardless of one’s tolerance for this type of movie (I happen to like it), it clearly shows Jaglom’s talent for such an approach; he went on to make numerous other films in much the same vein. Townsend (Jaglom’s real-life ex-wife, who never made another movie) is appealing here as Judy — though, as Peary notes, it gets annoying to watch her bursting into natural laughter (“usually through her tears”) every other minute.

Redeeming Qualities and Moments:

  • An oddly compelling look at the breakup of a friendly marriage

Must See?
No. Since the publication of Peary’s book, Jaglom has made other films — such as Eating (1990) — which are better candidates for “must see” viewing. But fans of Jaglom’s work will certainly want to check this one out.

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Crowd Roars, The (1932)

Crowd Roars, The (1932)

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“That guy of yours thinks ’cause he’s riding in a one-seater he’s riding alone — he doesn’t know that you’re covering every lap of every race with him!”

Synopsis:
Champion car racer Joe Greer (James Cagney) tries to protect his younger brother Eddie (Eric Linden) from a life of booze, cars, and women. But Eddie is determined to become a racer, and soon falls in love with the friend (Joan Blondell) of Joe’s girlfriend, Lee (Ann Dvorak).

Genres, Themes, Actors, and Directors:

  • Ann Dvorak Films
  • Car Racing
  • Downward Spiral
  • Howard Hawks Films
  • Jimmy Cagney Films
  • Joan Blondell Films
  • Maureen O’Sullivan Films
  • Morality Police
  • Rivalry
  • Siblings

Response to Peary’s Review:
As Peary notes, this early Howard Hawks film — while ostensibly yet another movie about “men of action” — is actually a “tribute to the women who stick by men in dangerous professions, and, when they are finally treated as equals, give the men needed support, love, and direction.” Indeed, The Crowd Roars gives enormous credence to the age-old dictum that behind every successful man is a woman: without the unconditional love and support of his selfless girlfriend, Cagney quickly goes downhill; and once Linden falls in love with Blondell, his fame and fortune skyrocket. Cagney is fine here in one of his earliest leading roles, but it’s Joan Blondell who truly shines: this wonderful comedic actress enlivens every film she’s in, including this one.

Redeeming Qualities and Moments:

  • James Cagney as the well-meaning but wrong-headed racer
  • Joan Blondell as Eddie’s love interest
  • Ann Dvorak as Joe’s hopelessly loyal girlfriend
  • An interesting time-capsule glimpse at early motor car racing

Must See?
No, though it’s a must for fans of Jimmy Cagney and/or Joan Blondell.

Links:

Prisoner of Shark Island, The (1936)

Prisoner of Shark Island, The (1936)

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“In the sight of the holy God I worship, I am innocent!”

Synopsis:
Dr. Samuel Mudd (Warner Baxter) is wrongly convicted of conspiracy in the plot to assassinate President Lincoln, and sentenced to life in prison.

Genres, Themes, Actors, and Directors:

  • Biopics
  • Doctors
  • Falsely Accused
  • John Carradine Films
  • John Ford Films
  • Prisoners
  • Warner Baxter Films

Review:
John Ford’s paean to infamous Civil War-era doctor Samuel Mudd was purportedly one of his personal favorites, and holds up reasonably well today. Although reviewers at the time praised the film for its historical veracity, however, recent research shows that Ford conveniently tweaked the truth to serve his own purposes: in the film, Mudd professes to only having seen John Wilkes Boothe performing on stage; in reality, the two met several times and were definitely at least acquaintances. Also frustrating is Ford’s treatment of African Americans, who — perhaps inevitably for the time — are shown as both servile and weak. Despite these flaws, however, The Prisoner of Shark Island remains an atmospheric, engrossing historical drama with a powerful message about our tendency to look for scapegoats when emotions run high.

Redeeming Qualities and Moments:

  • Warner Baxter as Dr. Mudd
  • John Carradine as a sadistic prison guard hell-bent on making Mudd’s life miserable
  • Gloria Stuart as Baxter’s long-suffering wife
  • Atmospheric cinematography

Must See?
No, though it’s certainly a must for John Ford fans.

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Death of a Salesman (1951)

Death of a Salesman (1951)

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“The only thing you’ve got in this world is what you can sell.”

Synopsis:
Aging salesman Willy Loman (Fredric March) pins all his hopes on his eldest son, Biff (Kevin McCarthy).

Genres, Themes, Actors, and Directors:

  • Arthur Miller Films
  • Father and Child
  • Flashback Films
  • Fredric March Films
  • Kevin McCarthy Films
  • Mid-Life Crisis
  • Mildred Dunnock Films
  • Play Adaptations
  • Salesmen

Review:
Arthur Miller’s Pulitzer-prize-winning 1949 play has been produced on stage and for television many times (most notably with Dustin Hoffman in 1985), but only once for the big screen. Although the powerful material itself almost defies negative treatment, this early cinematic version by director Laszlo Benedek remains successful on its own merits. Benedek makes effective use of sparse sets and dramatic lighting to showcase Loman’s delusional despair, and directs a powerhouse team of actors (most of whom were part of the original Broadway cast; March is a notable exception). Especially poignant is Kevin McCarthy as Biff Loman; he perfectly captures both the teenage Biff’s naive idolatry of his father (in Willy’s flashbacks), and his adult resignation.

Redeeming Qualities and Moments:

  • Fredric March as the delusional, aging salesman
  • Kevin McCarthy as “Biff” Loman
  • Mildred Dunnock as Willy’s long-suffering wife

Must See?
Yes. This first and only cinematic version of Arthur Miller’s acclaimed play deserves wider viewing.

Categories

  • Noteworthy Performance(s)
  • Oscar Winner or Nominee

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Cul-de-sac (1966)

Cul-de-sac (1966)

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“Well, here we are — in the shit.”

Synopsis:
Two wounded gangsters (Lionel Stander and Jack MacGowan) seek refuge at the remote castle of a newly married couple (Donald Pleasence and Francoise Dorleac).

Genres, Themes, Actors, and Directors:

  • Black Comedy
  • Catalysts
  • Donald Pleasence Films
  • Gangsters
  • Hostages
  • Jacqueline Bisset Films
  • Marital Problems
  • Masculinity
  • Roman Polanski Films

Review:
This unusual black comedy — Roman Polanski’s follow-up to Repulsion (1965) — stars American character actor Lionel Stander, a young Donald Pleasence, and Catherine Deneuve’s ill-fated sister, Francoise Dorleac (who died in an automobile accident the following year). Like Repulsion, Cul-de-sac clearly shows Polanski’s genius for hitting hard where we’re most vulnerable — he spares nothing in his depiction of a weak-willed man (Pleasence) who is literally emasculated at every turn, from his wife’s insistence that he dress up in her nightgown, to his inability to protect his own home (his “castle”) from invading gangsters.

For the first 15 minutes of the movie, we don’t know who any of these characters are, or how they’ve ended up at such a remote location. Yet this simply makes the bizarre imagery (bug-eyed MacGowan stuck in a car surrounded by high tide; Pleasence opening his refrigerator door to find nothing but cartons upon cartons of eggs) that much more intriguing. Eventually we succumb to the movie’s odd logic, and recognize that Stander’s gravelly gangster is a catalyst who will force Pleasence to confront his own insecurities, and disrupt the couple’s tenuous status quo. Cul-de-sac ultimately isn’t for every taste, and will be most satisfying for those who enjoy their cup of humor bitterly dark. Yet it’s finely photographed, well-acted, and possesses countless memorable scenes. Regardless of how much you actually enjoy it, this unique film is guaranteed to stick in your mind long after it’s over.

Redeeming Qualities and Moments:

  • Donald Pleasence as the cuckolded male hostage
  • Gruff-voiced Lionel Stander as the no-nonsense gangster
  • Countless memorable, truly bizarre images
  • A darkly comedic look at machismo, emasculation, and marital insecurity
  • Effective use of an isolated, windswept locale
  • Gilbert Taylor’s cinematography
  • Krzysztof Komeda’s jazzy score

Must See?
Yes, as one of Polanski’s quirkiest films. Peary votes for it as the best movie of 1966 in his Alternate Oscars book (with no runners-up), and lists it as both a Cult Movie and a Personal Recommendation in his GFTFF.

Categories

  • Important Director

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Girls Town/The Innocent and the Damned (1959)

Girls Town/The Innocent and the Damned (1959)

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“There’s no such thing as a bad girl — not really bad. But sometimes when a group of you get together, you act just like the lemming: reckless and suicidal for no reason!”

Synopsis:
After being falsely implicated in the death of a classmate she was dating, 16-year-old Silver (Mamie Van Doren) is sent to a boarding school — Girls Town — run by sanctimonious nuns. When Silver finds out her younger sister (Elinor Donahue) is in trouble, she enlists the help of teen heartthrob Jimmy Parlow (Paul Anka).

Genres, Themes, Actors, and Directors:

  • Falsely Accused
  • Juvenile Delinquents
  • Mamie Van Doren Films
  • Nuns

Review:
This infamously bad exploitation flick by producer Albert Zugsmith is a veritable showcase of 1950s cliches: horny teens make out, cat fights erupt between territorial girls:

and foolhardy punks play “chicken” in their cars. 27-year-old Van Doren — who nearly busts the seams of her tight clothing:

— fared much better playing someone closer to her age in Sex Kittens Go to College (1960); here, she’s stuck mouthing rebellious jargon as though reading from a 1950s dictionary of slang. Strategic appearances by musical favorites Mel Torme and Paul Anka are worthless: weak-chinned Torme is utterly miscast as a tough guy:

and Anka (whose singing is lame) is insipid.

Only recommended for diehard Mamie Van Doren devotees, or fans of truly bad juvenile delinquent flicks.

Redeeming Qualities and Moments:

  • An abundance of campy ’50s slang:

    “Can I use your Alexander Graham?”

Must See?
Yes, simply for its status as a cult favorite. Peary lists it in the back of his book as a Camp Classic, and it was lampooned by MST3K in 1994.

Categories

  • Cult Movie

Links:

All the Right Moves (1983)

All the Right Moves (1983)

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“Scholarship here, no scholarship here. Who the hell gave you that power?”

Synopsis:
A high school football star (Tom Cruise) hoping for a college scholarship clashes with his coach (Craig Nelson) and gets kicked off the team.

Genres, Themes, Actors, and Directors:

  • Coming of Age
  • Dick Miller Films
  • Football
  • High School
  • Mining Towns
  • Teenagers
  • Tom Cruise Films

Response to Peary’s Review:
1983 was a busy year for young Tom Cruise; he starred in no less than four feature films, including Losin’ It, The Outsiders, Risky Business, and All the Right Moves, a “sadly underrated ‘youth film’ set in a poor Pennsylvania mining town.” Ostensibly about football, All the Right Moves is actually a poignant coming-of-age fable: its protagonist, Steff (Cruise), faces a life-altering challenge, and must learn to renegotiate his relationships with his girlfriend, his coach, his parents, and himself. Cruise does a fine job as Steff, but it’s Lea Thompson who truly shines here; it’s too bad her character’s story isn’t given equal weight.

Redeeming Qualities and Moments:

  • Tom Cruise as the young football star itching for a ticket away from home
  • Lea Thompson’s “mature and appealing” performance as Cruise’s musician girlfriend
  • Craig Nelson as Cruise’s coach

Must See?
No, but it’s worth watching.

Links:

Age D’Or, L’ (1930)

Age D’Or, L’ (1930)

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“The impossible force that thrusts two people together, the impossibility of their ever becoming one.”

Synopsis:
A sexually voracious young couple (Gaston Modot and Lya Lys) are constantly interrupted as they try to make love.

Genres, Themes, Actors, and Directors:

  • Black Comedy
  • Experimental Films
  • Luis Bunuel Films
  • Sexual Repression
  • Surrealism

Response to Peary’s Review:
Perhaps the definitive surrealist classic, L’Age D’Or is, as Peary notes, a “devilishly hilarious affront to bourgeois society, clericalism, and morality, as well as to movie-audience complacency.” In his review, Peary — like most others (see links below) — lists many of the strange vignettes which make up this infamous film’s loosely woven plot; but the power of Bunuel and Dali’s “story” (their final collaboration together) ultimately lies in its visual impact, and thus these scenes should be seen rather than described one more time here. Bizarre imagery aside, when watching L’Age D’Or one is bearing witness to an essential piece of cinematic history: during the first few weeks of the movie’s release, outraged members of the League of Patriots and the Anti-Semitic League threw ink at the screen, while incensed patrons destroyed Surrealist art in the foyer; French censors eventually burned all existing prints, and the film was “denied a major U.S. release for 50 years.”

Note: While Peary doesn’t list Un Chien Andalou (1929) in his Guide for the Film Fanatic, this short film — Bunuel and Dali’s first together — is an equally important piece of cinematic history, and should also be seen by all film fanatics. Along with L’Age D’Or, it may very well be the epitome of early subversive cinema.

Redeeming Qualities and Moments:

  • Many truly bizarre, darkly comedic images
  • The opening “scorpio sequence”

Must See?
Yes. This surreal classic must be seen to be appreciated, and merits multiple viewings.

Categories

  • Controversial Film
  • Historically Relevant
  • Important Director

(Listed in 1001 Movies You Must See Before You Die)

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Bringing Up Baby (1938)

Bringing Up Baby (1938)

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“Now it isn’t that I don’t like you, Susan, because, after all, in moments of quiet, I’m strangely drawn toward you, but — well, there haven’t been any quiet moments.”

Synopsis:
When a wacky heiress (Katharine Hepburn) falls for a nerdy paleontologist (Cary Grant), she does everything in her power to keep him at her side.

Genres, Themes, Actors, and Directors:

  • Barry Fitzgerald Films
  • Cary Grant Films
  • Comedy
  • Heiresses
  • Howard Hawks Films
  • Katharine Hepburn Films
  • Living Nightmare
  • Mistaken Identities
  • Romantic Comedy
  • Scientists

Response to Peary’s Review:
Howard Hawks’ “zany, lightning-paced screwball comedy” received a scathing review from The New York Times upon its release, where it was panned as simply one predictable comedic gag after the other: “After the first five minutes of the Music Hall’s new show—we needed those five to orient ourselves—we were content to play the game called ‘the cliche expert goes to the movies’ and we are not at all proud to report that we scored 100 percent.” Indeed, …Baby bombed at the box office, Hawks was fired from his next production, and Hepburn was forced to buy out her contract. Nowadays, however, Bringing Up Baby is recognized as a true classic of 1930s cinema, with hilarious dialogue, countless well-executed pratfalls, and excellent comedic performances by both Grant and Hepburn (who is accurately described by DVD Savant as “a female cross between Bugs Bunny and Groucho Marx”). As Peary notes, however, “your enjoyment of the film may depend on how long you can tolerate” watching Hepburn mischievously causing one problem after the other for Grant; indeed, in order to fully appreciate Bringing Up Baby, you must give yourself over to its inspired lunacy, and rest assured that everything will turn out — as it should — just fine in the end.

Redeeming Qualities and Moments:

  • Katharine Hepburn’s marvelously loopy performance (her first comedic role) as the screwball heiress; as noted by DVD Savant, she “makes the script play like her own improvisation”
  • Cary Grant as the put-upon, bespectacled scientist who wants nothing more than to retrieve his “intercostal clavicle” and get married at 3:00
  • Charles Ruggles as “big game hunter” Major Horace Applegate
  • Hepburn limping gaily after losing the heel of one shoe, chanting, “I was born on the side of the hill… ”
  • Countless hilarious lines and rejoinders:

    “There is a leopard on your roof and it’s my leopard and I have to get it and to get it I have to sing.”

Must See?
Yes. This classic comedy should be seen at least once by all film fanatics.

Categories

  • Genuine Classic
  • Historically Relevant
  • Important Director
  • Noteworthy Performance(s)

(Listed in 1001 Movies You Must See Before You Die)

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