“None of this — this madness that has touched some of us — none of this is coincidence; this was planned.”
|
Synopsis: |
|
Genres, Themes, Actors, and Directors:
Review: Redeeming Qualities and Moments:
Must See? Categories
Links: |
“Any fulfillment obtained at the expense of normality is wrong, and should not be allowed to bring happiness.”
|
Synopsis: |
|
Genres, Themes, Actors, and Directors:
Review: Underlying the entire film are two primary strengths: first is its unique look, as specifically envisioned by Huston, who (working with DP Aldo Tonti) had the color strategically desaturated from the film stock in an attempt to emulate the story’s titular perspective. While the film was only allowed to run in theaters for a week with this color scheme (before saturation was added back in to make it more palatable to mass audiences), the restored version is now available, and is quite a visual treat. Second, it features a truly heartbreaking and noteworthy performance by Brando, embodying a tragically repressed army major who has clearly maintained a facade of “normalcy” and rigor for far too long. Brando’s every expression reveals the depth of his character’s confusion, anger, and desire, and he’s consistently fascinating to watch. Meanwhile, the supporting actors all do fine work in their respective roles. Both Taylor and Harris are well-cast as Brando and Keith’s unhappily married wives, who find solace through radically different venues; Keith once again demonstrates his capability as the ultimate “everyman” with a surprising depth of heart; and unknown actor Zorro Davis makes an indelible mark as the flamboyantly “artistic” Filipino manservant Anacleto. In his screen debut, Forster isn’t called upon to do much more than brood, sniff lingerie, and ride naked on horseback, but he suits the role. Together, the ensemble presents a powerful if at times mind-boggling drama about (sexual) identity and one’s place in a world which would much rather not accommodate square pegs in round holes. Note: There was once a rather active message board for this film on IMDb, where one poster offered this interesting perspective on the various characters and their sexual identities:
This breakdown, while perhaps overly simplistic, does give one additional food for thought. Redeeming Qualities and Moments:
Must See? Categories
Links: |
“You’re everything in the world to me; you know that. Without you, I should be quite alone.”
|
Synopsis: |
|
Genres, Themes, Actors, and Directors:
Review:
Redeeming Qualities and Moments:
Must See? Categories
Links: |
“It’s a wise man that knows his own wife.”
|
Synopsis: |
|
Genres, Themes, Actors, and Directors:
Review:
… the other an unrepentantly vampish ladies’ man. There are countless details of the screenplay to quibble with (Ruth Gordon’s role as Douglas’s secretary is sadly underdeveloped, for instance):
… but there’s also surprising depth to be found when conducting a closer analysis of the film as a story of feminine “split personalities” — as elucidated in this insightful Bright Lights Film Review essay, which also discusses Cukor’s earlier Sylvia Scarlett (1935). Ultimately, this one’s not at all a must-see title, but certainly worth a look by Garbo fans. Redeeming Qualities and Moments:
Must See? Links: |
“His home? When did he ever have a home? Something that wasn’t a cross between a toy department, a sweet shop, and the bank of England, presided over by a perpetual fairy godfather who granted his every wish before he thought of it himself?”
|
Synopsis: |
|
Genres, Themes, Actors, and Directors:
Review: Redeeming Qualities and Moments:
Must See? Links: |
“I assure you, I would never try to be heroic.”
|
Synopsis: |
|
Genres, Themes, Actors, and Directors:
Response to Peary’s Review: Peary points out that this movie allowed Fonda “another chance to play a woman who becomes politicized and who has a special bond with another woman”; he notes that you can “see the love these women have for each other”, and argues that “the most interesting point of the film” — given that “it breaks with movie stereotyping” — is how “being a leftist has not deprived Julia of her warmth, her humility, and her concern for people like Lillian who are not as politically dedicated as she is”. Regarding their special relationship, some have taken issue with the fact that the theme of lesbianism in the play (The Children’s Hour) Hellman is seen slaving over in her Cape Cod beach house — where she’s mentored by her older lover, Dashiell Hammett (Jason Robards) — is never openly discussed. While there is a later scene in which a character (John Glover) mentions the “gossip” surrounding the play, some critics believe a chance is missed to more concretely connect the play’s theme of strong female friendship and accused lesbianism with Lillian and Julia’s own story of intense love and devotion. However, while those familiar with Hellman’s work may find deeper meaning in these earlier scenes, those viewing the film without such literary insight will still appreciate the fact that Fonda’s character is not only being asked to risk her life to help Julia’s cause, but to leave behind a clearly defined world of newfound fame and fortune — thus highlighting the magnitude of her “sacrifice”. Oscar-winning screenwriter Alvin Sargent incorporates just enough flashback scenes from Lillian and Julia’s youth to help us understand why Lillian would feel such intense loyalty for her friend; and while some complain that the title character (Redgrave won an Oscar for her supporting work) is on screen far too little, I believe this merely adds to one’s sense of her commitment to a world far, far removed from the comforts of Hellman’s existence. The climactic train journey into Berlin is especially well-handled, nicely highlighting the magnitude of the dangers Fonda is exposing herself to — and while it may or may not have happened to Hellman herself, it certainly makes for good storytelling. Redeeming Qualities and Moments:
Must See? Categories
Links: |
“You realize you’re the only one who can help us, don’t you?”
|
Synopsis: |
|
Genres, Themes, Actors, and Directors:
Review:
… deserves a discussion all its own. In an unexpectedly complex role, Keith emerges as perhaps the most nuanced actor in the film:
Meanwhile, Robinson does fine supporting work in a low-key yet critical role:
.. and Katherine Anderson is memorable in a bit part as the kind matron watching over Rogers.
Burnett Guffey’s cinematography is suitably noir-ish at critical moments in the screenplay — but one ultimately wishes for even more of the same; indeed, while the storyline remains intrinsically taut (given both the constant danger Rogers is in, and a critical later plot twist), Rogers’ performance imparts the entire affair with an oddly misplaced sense of light-heartedness. With that said, fans of Karlson’s oeuvre will certainly want to check this one out once. Redeeming Qualities and Moments:
Must See? Links: |
“When you have something, and you know you have it, nothing can keep you down.”
|
Synopsis: |
|
Genres, Themes, Actors, and Directors:
Review:
… and/or those truly in love with early-20th-century popular music. Redeeming Qualities and Moments:
Must See? Links: |
“We’re free to do what we want.”
|
Synopsis: |
|
Genres, Themes, Actors, and Directors:
Review: Schlesinger situates Finch and Jackson’s sticky romantic scenario within the cultural milieu of early-1970s Britain; to that end, there’s a sense of disconnectedness to some of the contextualizing and/or supporting scenes — I’m still not sure what the significance is, for instance, of a dramatic incident involving a dog and an accident. However, it’s the central performers and their romantic dilemmas which really ground the film, as we watch to see how Finch and Jackson will handle their growing realization that the America-bound Head may soon become an even less permanent part of their lives. Indeed, there’s an undeniable sense of sadness and ambiguity to both Finch and Jackson’s plights, giving one pause to reflect on what, exactly, one “should” be looking for in life and in romance. Are Finch and Jackson compromising their chances for a more fulfilling and “stable” relationship with someone else? Or are they smart to accept the limited happiness they have with Head? These are decidedly sticky questions with no easy answers, and Sunday Bloody Sunday respectfully acknowledges that reality. Redeeming Qualities and Moments:
Must See? Categories
Links: |
“There’s a certain charm about a dreamer — even if he dreams of iron and steel.”
|
Synopsis: |
|
Genres, Themes, Actors, and Directors:
Review: Meanwhile, the sexy daughter (Helen Vinson) of a primary financier (C. Aubrey Smith) is naturally waiting in the wings for a chance to nab McAllan for herself, and Vinson’s would-be suitor (Basil Sidney) plays a conveniently situated villain in the entire affair. Yet another dramatic tension arises later in the film, as McAllan’s grown son (Jimmy Hanley) enters into the tunnels to work, and McAllan must reconcile his very-real concern with the fact that he routinely asks hundreds of other workers to place their lives in similar risk. While these plot elements all serve to add some personal dramatic tension to the storyline, I was surprised to find myself wishing for even more of a “hard” scientific emphasis; details of the dangers inherent in the tunnel-building itself are glossed over far too superficially. Throughout the film, much is made about the fact that building a transatlantic tunnel remains a critical element in the pursuit of world peace — which doesn’t make much sense at all, until one contextualizes the movie within a global pre-WWII tableau; yet it still comes across like a weak argument at best. Nonetheless, this film may be of interest to those curious to see its creatively conceived “futuristic” sets (including wide-spread use of television) and its early vision of the type of engineering moxie necessary to carry out such a grand, as-of-yet unrealized plan. Redeeming Qualities and Moments:
Must See? Links: |
