“I’m really a sick man. My brain is rotten.”
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… but we never really feel connected to their characters. The cinematography is appropriately stark:
… and the storyline’s setting in snowy, Russian-influenced Hokkaido is an effective choice:
… but I’ll wager that most viewers will find it a struggle to remain authentically engaged in the narrative. Notable Performances, Qualities, and Moments:
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“There’s nothing so terrible as war.”
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… though it’s questionable how much of a role Hess himself actually played in the evacuation, given that (much to Sirk’s consternation) he was overly involved in the making of the film and the crafting of his image. The screenplay itself is pure Americana hokum of the 1950s, showing Hudson leaving behind a beautiful housewife (Martha Hyer):
… while also sparking (unintentional) romantic flames with an ethereally beautiful Korean-Indian woman (Anna Kashfi) who ends up caring for the orphans Hudson finds running around his base:
Perhaps most cringe-worthy is the inclusion of a bearded elderly Christian Korean (Philip Ahn) who dispenses pearls of wisdom to Hudson at just the right moments (“In order to save, at times we must destroy”):
At least Dan Duryea has a fun comedic role as a sergeant who gets to cleverly steal candy and gum from the Navy (!):
… and Hudson acquits himself nobly as the handsome pilot who “redeems” himself.
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“Hey, look what I found — dry socks!”
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Response to Peary’s Review:
I would argue that the minefield scene — in which Basehart is forced to test his own mettle, inch by harrowing inch — is right up there in terms of most memorable moments:
Peary challenges us to “try to pick… out” James Dean (in his first, uncredited role), which is possible with careful scrutiny:
Overall, this compact thriller tells an effectively authentic tale of survival and bravery under extreme duress, and remains well worth a look. Notable Performances, Qualities, and Moments:
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“All we need’s a shack to live and sleep in.”
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… as does an ensuing scene in which Gramatica is giddy to discover spilled milk on her cottage floor:
… given that she can instantly turn it into a makeshift map of a village with a milk-river running through it. As she exclaims to Toto, “What a great big place the world is!”
Once Toto has grown up into a preturnaturally positive young man (Golisano):
… he continues to turn every challenge into an opportunity for gratitude and charity — starting with having his valise stolen by an impoverished man, then bunking with him in his freezing-cold, tent-like accommodations.
From there, Toto helps turn their local dump into a livable village, all while ensuring the children learn their multiplication facts by painting them on all the signs:
We root for Toto when he falls instantly in love with a sweet, mistreated servant (Brunella Bovo):
… and are disheartened by the persistent baddies eager to exploit the “disposable” masses:
Thankfully, Gramatica’s magical charm arrives at just the right moment to turn everything around — but to say more would spoil the story. This neo-realist fable remains an unusual treat, and is worth seeking out. Notable Performances, Qualities, and Moments:
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“I’ve gotta be free, or I don’t stay at all.”
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Unfortunately, I found it hard to have much sympathy for Carmen, whose very first song has her gloating openly:
She does everything she can to lure Belafonte away from poor James, who’s done nothing wrong and is simply waiting to marry the man she loves.
If one can get past this initial insult, however, it’s easy enough to get caught up in the travails of star-crossed Dandridge and Belafonte — and along the way, we’re treated to some rousing songs, including “Beat Out Dat Rhythm on a Drum” by Pearl Bailey as Frankie, an acquaintance who wants to take Carmen with her to Chicago:
… and “Whizzin’ Away Along de Track”:
… among others. Carmen Jones remains worthy viewing both for Dandridge’s Oscar-nominated performance (her too-short life and career were truly tragic), and for the film’s historical relevance. Notable Performances, Qualities, and Moments:
Must See? Categories
(Listed in 1001 Movies You Must See Before You Die) Links: |
“No such thing as an innocent man.”
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The duo remain tenuously aligned when confronting hundreds of white-clad revolutionaries, stooping to the level of endangering young children in order to get away:
Other characters are equally morally dubious — such as Montiel’s beautiful, brazen pickpocket-stowaway:
… and Darcel’s calculating countess:
Naturally, the men fall for these women, though loyalty from any of the players is far from guaranteed. The main drama in the storyline comes from wondering who will outwit who, in order to secure the gold hidden in the carriage:
Interestingly, Bosley Crowther of the NY Times completely slammed this movie upon its release, referring to it as a “pretty atrocious film” “loaded with meaningless violence and standard horse opera clichés,” with “nothing to redeem” it. However, it made a ton of money and has become a critical darling in years since. Watch for Ernest Borgnine in a key supporting role before his breakout performance in Marty (1955):
… and Charles Bronson as an especially aggressive baddie:
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“You think you can do with people precisely what you want — that life is as you say it is?”
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… while Simmons is gorgeous but also not given too much depth.
We’re glad she meets kind Rennie, and we enjoy the beautiful sets and costumes throughout:
… but there’s not much otherwise to hold our attention. I did get a chuckle out of reading NY Times reviewer Bosley Crowther’s pun at the end of his mostly panning review, in which he describes this film as “a colorful vehicle for a pseudo-Napoleonic outing, a streetcar named ‘Désirée’.” Notable Performances, Qualities, and Moments:
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“Yes, I’m upset — and I’ll probably stay that way for a long time.”
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… to the torrid dance Bancroft performs while Brady watches with prurient lust, and her guardian (Williams) watches with… well, let’s call it trepidation:
(Thankfully, he has a painting of her dancing to glance up at again and again throughout the film, to remind us of his horror.)
We see an oft-repeated glimpse of someone sneaking a peak at barroom action through a colorfully wallpapered peephole:
… leading to some “suspense” about who this might be; and we’re “treated” to a relentless theme (in a score by Edward L. Alperson Jr.) that appears over… and over… and over again in various iterations and instrumentations. (Be forewarned: it’s an earworm.) There’s really not much to the rest of the storyline, but I’m sure western fans at the time were simply happy to watch multiple shoot-outs handled with efficiency.
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“Don’t ever forget — I’m still Dizzy Dean!”
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… most likely to show us Dean’s unique “way with words”, and how he simply won’t take no for an answer. This comes back to bite him later in his career, when a random injury escalates his arm beyond repair and he’s finally forced to acknowledge that he can’t pitch in the big leagues anymore. This leads to mild marital challenges… SPOILER ALERT … though the remaining narrative tension comes — believe it or not — from school marms upset that Dean’s colloquial English on radio broadcasts is corrupting America’s youth!
Dean appears to have been a beloved figure, and baseball lovers (and/or Dan Dailey fans) may be curious to check this one out — but all-purpose film fanatics shouldn’t consider it must-see. Notable Performances, Qualities, and Moments:
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“I’d prefer an engaging rogue to a complete fool.”
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The biggest divide between Tracy’s Frank Skeffington and Fitzsimons’ Kevin McCluskey — other than their ethnic and religious heritage (Catholic versus Protestant) — is campaign style, with television making a huge difference for the younger candidate:
Indeed, we see ample evidence of nearly everyone under fifty (excepting Hunter and his wife) being addle-brained and easily manipulated, as when Tracy bribes his political enemy’s son (O.Z. Whitehead) with a position as “fire chief”:
… or any of the several times we see Tracy’s own son (Arthur Walsh) breezing in and out of various events with immense privilege and ignorance:
There’s not much to the storyline other than following Tracy around on voting day, and waiting to see how things turn out; to that end, the voting tally sequence is appropriately tense and well-filmed.
Meanwhile, Ford fans will likely enjoy seeing a bevy of his stock actors (too many to list) in various supporting roles.
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