“We make sacred pact. I promise teach karate to you, you promise learn. I say, you do, no questions.”
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Response to Peary’s Review: Note: Interestingly, Peary notes near the end of his review that he wishes “Morita would dump Zabka’s sadistic coach in the garbage” — which is exactly how The Karate Kid, Part II (1986) (not listed in Peary’s book) begins… Redeeming Qualities and Moments:
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“Such a pretty world; I can’t wait until it’s all mine.”
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“Nothing can stop him… A man in the fourth dimension is indestructible!”
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which brings him to his more “established” older brother’s laboratories.
Next, a potentially rocky love triangle emerges between Congdon and feisty Lee Meriwether (Lansing’s assistant, who he’s about to propose to).
Finally, the story shifts to its central premise — the surprise powers possessed by Lansing, who becomes the film’s conflicted protagonist. By the time Lansing begins to experiment with his “4D” abilities (the film’s special effects are low-budget but effective):
and discovers the hideous truth that he is sapping his own “lifeforce” at an astonishing rate, we care about him as an individual, and feel sorry for the inevitable mess he’s gotten himself into.
For a much more detailed analysis of the film (giving away additional plot spoilers), see DVD Savant’s thorough review. Redeeming Qualities and Moments:
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“We don’t know the enemy’s strength or his disposition — and while he may have the advantage of familiar terrain, we have the advantage of military training.”
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Response to Peary’s Review: With that said, the film has much going for it: it’s beautifully shot (the seemingly endless bayou is all muted greens and grays and browns); Ry Cooder’s score is a “good” one; Powers Boothe gives a fine, enigmatic performance; and there are many genuinely tense sequences — particularly the “nerve-wracking” finale, “in which [Carradine and Boothe] nervously party with seemingly friendly Cajun villagers while looking over their shoulders for the vengeful backwoodsmen”. This extended sequence, shot with dozens of seemingly authentic locals, makes one intensely curious to learn more about this mysterious segment of American society. Note: The film’s tone and subject immediately bring to mind Jon Boorman’s Deliverance (1972), but film fanatics may also be reminded of the little-seen Peary title Shoot (1976). Redeeming Qualities and Moments:
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“People don’t commit murder on credit.”
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It’s much stagier than most of Hitchcock’s films, and relies an awful lot on dialogue to further the plot, but Knott’s story is so cleverly constructed that it’s easy to remain engaged till the end, despite the relatively static action. Milland, Kelly, and Cummings are fine in their respective leading roles:
… however, the most enjoyable performances are given by Anthony Dawson as Milland’s unwitting “hired hand” (as DVD Savant notes, he’s “really the victim of the piece”):
and John Williams as a mustache-twirling Inspector, who has more than one card up his sleeve.
Note: Dial M for Murder was shot in 3-D, but looks just fine in its “flat” version as well. Redeeming Qualities and Moments:
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“I must say: for a charming, intelligent girl, you certainly surrounded yourself with a remarkable collection of dopes.”
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Response to Peary’s Review: In his most iconic role, Dana Andrews plays a “tough, crude police detective who is… totally out of his element” in Laura’s upper-crust milieu; meanwhile, Gene Tierney will always be equated with her performance in the film’s title role as an ambitious woman who is ultimately “attracted to men because of brawn rather than brains”. But it’s Laura’s two primary rivals — Clifton Webb and Vincent Price — who easily steal the show. The much-older Webb (as Waldo Lydecker — what a name!) never emerges as a viable sexual partner for 20-something Laura (in the book, he’s impotent; here, he’s merely posited as a companion), but it’s clear she would be nothing without him: he is her Svengali, and he is literally obsessed with making her his personal “project”. Webb delivers many of the film’s most memorable lines with droll aplomb (“I don’t use a pen; I write with a goose quill dipped in venom.”), and never apologizes for his view of the world: “I should be sincerely sorry to see my neighbors’ children devoured by wolves.” Meanwhile, Price — looking “weak and hungry” — is hilariously snivelly and self-absorbed as Laura’s two-timing fiance (“I can afford a blemish on my character, but not on my clothes.”); fans of his later work in campy horror flicks will likely be surprised by his early turn here. Redeeming Qualities and Moments:
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(Listed in 1001 Movies You Must See Before You Die) Links: |
“Everyone has somebody that they want to put out of the way.”
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Response to Peary’s Review: With that said, the film has its flaws: as one avid poster on IMDb has pointed out, there are more than 20 instances in which the characters in the film act irrationally and/or foolishly, simply to move the plot forward (a policeman shoots into a crowd with children, for instance). But Hitchcock’s films aren’t designed to present the most “logical” progression of events; they’re strategically crafted for maximum dramatic and psychological effect. Indeed, the story is presented as a sort of “living nightmare” for Guy, who — desperately hoping for some kind of resolution to the seemingly impossible situation with his sluttish, obstinate wife (delightfully played by Elliott, a.k.a. Kasey Rogers, in Coke-bottle glasses) — finds that her convenient “disappearance” merely resolves one dilemma while opening up a host of others. Most of Peary’s review in GFTFF centers on an analysis of Walker’s character (Bruno Anthony), who he refers to as a “picaresque hero” — someone who, “if it weren’t for a domineering father and daffy mother (Marion Lorne), might have been a great person.” He argues that “we like this fellow Walker plays; it’s as if we were under his skin, sweating his sweat. We care more about his hurt feelings than about the survival of Guy and Ann’s relationship.” But I can’t entirely agree. While it’s true that Walker does a remarkable job humanizing Bruno, I disagree that we actually “like” him; he’s far too vengeful and unhinged to really empathize with. And while it’s true that Granger (who Peary argues is miscast; I think he’s ideal for the part) fails to project even a fraction of Walker’s complexity, his character remains at the very least a decent fellow, someone we can’t help hoping will emerge from the situation unscathed. Meanwhile, watch for a host of other engaging performances — most notably Patricia Hitchcock (in what was arguably the best role of her brief acting career) as Granger’s fiancee’s younger sister, and Marion Lorne as Bruno’s incomparably eccentric mother. Note: There are multiple other “layers” to the film as well; while Peary doesn’t touch upon it at all in his review, it’s impossible to ignore the homoerotic tensions between Walker (fairly openly “coded” as gay) and Granger (bisexual in real life). Redeeming Qualities and Moments:
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(Listed in 1001 Movies You Must See Before You Die) Links: |
“I have to go into court and play a part in a stupid charade to convince some judge that I’m not really me in order to receive some justice!”
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“I have a strange premonition that the Canary is headed for disaster.”
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“And dad, I might add that she’s the finest wife any man could hope to have!”
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