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Synopsis:
At the start of World War II, an American Navy captain (John Wayne) begins a romance with a divorced nurse (Patricia Neal) and meets his estranged son (Brandon De Wilde), who is serving as an ensign in the Naval Reserve and engaged to a young nurse (Jill Haworth); meanwhile, “Rock” (Wayne) gives a troubled naval aviator (Kirk Douglas) a second chance by asking him to serve on a crucial mission, but Douglas’s presence causes unexpected challenges.

Genres, Themes, Actors, and Directors:

• Burgess Meredith Films
• Dana Andrews Films
• Franchot Tone Films
• George Kennedy Films
• Henry Fonda Films
• John Wayne Films
• Kirk Douglas Films
• Military
• Otto Preminger Films
• Patricia Neal Films
• Patrick O’Neal Films
• Paula Prentiss Films
• World War II

Review:
Otto Preminger directed this big-budget adaptation of a novel by James Bassett, focusing on the efforts of the U.S. Navy in the Pacific Theater during World War II. For a lengthy war film, there are surprisingly few fighting sequences; instead, the sprawling narrative covers numerous character-driven subplots, some better limned than others. The primary protagonists are Wayne’s “Rock” and Neal’s Maggie, representing a refreshingly mature new couple who are comfortable with what they want from one another.

Much less likable is Douglas’s Commander Eddington, who we feel sorry for early in the film given his wife’s outrageous behavior, but who eventually shows his own dark side.

We also see brief snippets of a loving couple (Tom Tryon and Paula Prentiss) who’ve been kept apart while Tryon is MIA, and are reunited for an uncertain amount of time.

Meanwhile, we observe De Wilde and Wayne making uneasy peace with one another:

… as De Wilde begins working for a public relations commander (Patrick O’Neal) who in turn reports to an incompetent admiral (Dana Andrews).

Looking much more mature than she did in her breakthrough role in Preminger’s Exodus (1960) is Jill Haworth as De Wilde’s fiancee.

The vast supporting cast also includes many other minor characters, including Burgess Meredith as Wayne’s loyal assistant:

… Henry Fonda in an extended cameo as a stoic admiral:

… and Franchot Tone in a short sequence as a commander, among others.

Notable Performances, Qualities, and Moments:

• Fine cinematography and location shooting
  

Must See?
No, though of course Preminger fans will be curious to check it out.

Links:

• IMDb entry
• NY Times Original Review
• DVD Savant Review
• TCM Article

Synopsis:
An agent (Richard Benjamin) in New York tries to convince his uncle — aging vaudeville star Willy Clark (Walter Matthau) — to do one final show with his former partner, Al Lewis (George Burns); but given that Willy and Al despise each other, this is much more challenging than expected.

Genres, Themes, Actors, and Directors:

• Comedy
• Elderly People
• Feuds
• George Burns Films
• Has-Beens
• Herbert Ross Films
• Neil Simon Films
• Play Adaptations
• Richard Benjamin Films
• Vaudeville and Burlesque
• Walter Matthau Films

Review:
Herbert Ross directed this adaptation by Neil Simon of his own 1972 stage play, about quibbling vaudeville performers whose resentment of one another makes it just about impossible for them to co-exist in the same room for more than a few minutes, let alone perform on stage in a revue. However, a reunion performance is exactly the goal of Benjamin’s determined agent and loving nephew, who puts up with outrageous levels of abuse and frustration from his uncle in order to get the performing couple back together — and unfortunately, we see this playing out on screen for far too long.

With that said, Matthau is remarkably effective at playing a cantankerous elder (despite only being 55 in real life), and Burns makes an impactful screen comeback after 36 years away (he won an Oscar for his efforts). Seeing the fictional duo finally performing their “doctor’s office” act on stage during a rehearsal is a welcome throwback to the simplicity of the joy they once enacted for audiences as vaudevillians:

… though of course we watch them with trepidation, knowing things will inevitably go sour at some point. This comedy is likely one of those films that will either tickle your funny bone or not: if it’s your cup of tea, you’ll be delighted; personally, I was simply eager to not have to watch this duo making each others’ lives miserable for any longer than necessary.

Notable Performances, Qualities, and Moments:

• Walter Matthau as Willy Clark
  
• George Burns as Al Lewis
  
• Good use of location shooting in New York
  
• The amusingly vulgar vaudeville sketch
  

Must See?
No, unless you’re a fan of Simon, Matthau, or Burns.

Links:

• IMDb entry
• DVD Savant Review
• NY Times Original Review
• TV Guide Review
• TCM Article

Synopsis:
In late 19th century New York, a Russian-Jewish immigrant (Steven Keats) whose girlfriend (Dorrie Kavanaugh) is unaware he’s married struggles to adjust to life with his newly-arrived wife (Carol Kane) and son (Paul Freedman). Meanwhile, Kane receives support from both her caring landlady (Doris Roberts) and the studious boarder (Mel Howard) living in their house.

Genres, Themes, Actors, and Directors:

• Carol Kane Films
• Historical Drama
• Immigrants and Immigration
• Jews
• Marital Problems
• New York City

Review:
Writer-director Joan Micklin Silver found breakthrough success with this poignant look at life for Jewish immigrants at the turn of the century, as they navigated shifts between their old existence back in Europe and the hustle and bustle of New York City. Based on the 1896 novella Yekl: A Tale of the New York Ghetto by Abraham Cahan, the movie tells a simple yet powerful tale of marital challenges when cultural norms and expectations collide.

Despite her very low budget, Silver convincingly recreates a specific era and location in American history:

… and elicits a heartbreaking performance from Kane, who is perfectly convincing as a shell-shocked young woman unprepared for what she finds in America, yet who eventually adapts and finds her own voice.

To that end, sharing more about the directions the storyline goes in would give away spoilers; suffice it to say we remain invested and curious about how things will resolve, and the final outcome isn’t as gloomy as one might expect.

Notable Performances, Qualities, and Moments:

• Carol Kane as Gitl
  
• Strong supporting performances across the cast
  
  
• Fine historical detail
  

Must See?
Yes, as a unique independent film. Listed as a Sleeper, a Cult Movie, and a Personal Recommendation in the back of Peary’s book.

Categories

• Good Show
• Noteworthy Performance(s)

Links:

• IMDb entry
• NY Times Original Review (major spoiler alert)
• DVD Savant Review
• TCM Article

Synopsis:
A devout Scottish missionary (Ian Charleson) and a determined Jewish Cambridge student (Ben Cross) face diverse challenges as they compete to earn spots in the 1924 Paris Olympics.

Genres, Themes, Actors, and Directors:

• Dennis Christopher Films
• Historical Drama
• Ian Holm Films
• John Gielgud Films
• Olympics
• Rivalry
• Sports

Review:
Peary doesn’t review this Oscar-winning British historical drama in his GFTFF, but he does reference it in his Alternate Oscars, where he describes it as a “slow-moving film about running” that “received mostly excellent reviews and had numerous admirers” but was “detested by… many.” He shares his own frustration at the time that “this ‘true story’ about two British runners… at the 1924 Paris Olympics — Jewish Harold Abrahams (Ben Cross) and Scottish missionary Eric Liddell (Ian Charleson) — distorted the facts,” but adds that he was “impressed by the leads (and supporting actors Ian Holm and John Gielgud), admired its noble themes (having to do with courage and integrity in the face of bigotry), and… felt a surge of emotion as a parade of proud athletes glided across the screen to Vangelis’s myth-making, Oscar-winning score.”

Reviewers since then seem divided between resentment that such a “minor” film won the Oscar, and appreciation for it as a well-crafted period piece. I’m in the latter camp. While it took me a while to understand the film’s purpose and get into the rhythm of its pacing, I eventually became invested in its protagonists and their outcomes — primarily because both men are likable, immensely talented underdogs who deserve a chance at success. The supporting stories about the pressure Charleson feels from his disapproving sister (Cheryl Campbell):

… and the burgeoning romance between Cross and a beautiful actress (Alice Krige):

… help to more fully humanize them, as does the mentorship Cross receives from his coach, Sam Mussabini (Ian Holm):

… and the disapproval of said support expressed by two stuffy college masters (John Gielgud and Lindsay Anderson).

Meanwhile, the cinematography is beautiful; the running scenes are compellingly shot; Vangelis’s score is appropriately haunting (and not over-used); and special note should be made about Terry Rawlings’ expert editing, which cleverly uses cross-cutting to build tension and connection between the various stories. This one remains worth a one-time look.

Notable Performances, Qualities, and Moments:

• Ben Cross as Harold Abrahams
  
• Ian Charleson as Eric Liddell
  
• Fine historical detail
  
• David Watkin’s cinematography
  
• Terry Rawlings’ editing
• Vangelis’s score

Must See?
Yes, as a good show, and for its historical significance as an Oscar winner. Listed as a film with Historical Importance in the back of Peary’s book.

Categories

• Historically Relevant
• Oscar Winner or Nominee

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

Links:

• IMDb entry
• TCM Article
• DVD Savant Review

Synopsis:
In 1991, after a virus has wiped out all cats and dogs on Earth, apes have become non-speaking slaves to humans, with the lone speaking ape (Roddy McDowell) secretly cared for by a kind circus owner (Ricardo Montalban) who hides his skills. However, when “Caesar” (McDowall) is adopted by a local governor (Don Murray), his English fluency is discovered and Montalban is lethally tortured, leading Caesar to start a secret rebellion against the humans with his fellow apes.

Genres, Themes, Actors, and Directors:

• Don Murray Films
• Primates
• Rebellion
• Ricardo Montalban Films
• Roddy McDowall Films
• Science Fiction
• Slavery

Review:
Peary only lists the first and fourth entry in the Planet of the Apes (1968) series in his GFTFF, skipping the two middle movies — Beneath the Planet of the Apes (1970) and Escape From the Planet of the Apes (1971) — and moving straight towards the scenario on display here. (He also omits the fifth and final title — Battle for the Planet of the Apes [1973] — from GFTFF.) It’s possible Peary chose to include this particular follow-up in his book given its strong parallels with the Civil Rights movement in America at the time; to cite the late Graeme Clark in his review for The Spinning Image:

There is a definite sense of class war, and more pertinently, race war in Conquest. The apes are seen to be taking menial jobs like cleaning up, shining shoes and being waiters, all in the service of mankind, much in the way that African American characters would in the earlier movies out of Hollywood. They are second class citizens, and the film deliberately draws parallels with slavery, which… makes for a considerably edgier drama.

Indeed, the persistently abysmal treatment of apes in this film is deeply disturbing:

… and we’re grateful for kind Montalban’s support.

Murray is given most of the film’s laughably if memorably melodramatic lines:

“My god – there’s more!”
“Shoot them – shoot them all!”
“This will be the end of human civilization – and the world will belong to a planet of apes!”
“Man was born of the ape. And there’s still an ape curled up inside of every man – the beast that must be whipped into submission, the savage that has to be shackled in chains. You are that beast, Caesar. You taint us. You poison our guts!”

He effectively depicts a bigoted man terrified of the takeover of his planet.

As it turns out, of course, he’s right to be afraid.

Notable Performances, Qualities, and Moments:

• Roddy McDowall as Caesar
  
• Effective use of location shooting at UC Irvine
  

Must See?
No, though of course fans of the series will want to check it out. Listed as a Sleeper and a Personal Recommendation in the back of Peary’s book.

Links:

• IMDb entry
• Moria Review
• Q Network Review
• Spinning Image Review
• DVD Talk Review

Synopsis:
During the Boxer Rebellion of 1900 — under the rule of Chinese Dowager Empress Cixi (Flora Robson) — an American major (Charlton Heston) falls for a widowed Russian aristocrat (Ava Gardner) while supporting a British ambassador (David Niven) in keeping foreign legion members safe throughout a deadly siege.

Genres, Themes, Actors, and Directors:

• Ava Gardner Films
• Charlton Heston Films
• China
• David Niven Films
• Flora Robson Films
• Harry Andrews Films
• Historical Drama
• John Ireland Films
• Leo Genn Films
• Nicholas Ray Films
• Paul Lukas Films
• Revolutionaries

Review:
Nicholas Ray’s final major film — after directing the Biblical epic King of Kings (1961) — was this large-scale historical drama (produced by Samuel Bronston) taking place in turn-of-the-century China and depicting a highly consequential if under-discussed moment in East Asian global politics. Unfortunately, while the film does an excellent job in its earliest scenes at showing us the impact of western imperialism on China:

… the Chinese themselves quickly become merely supporting characters in a drama focused on the well-being of the colonizers.

To that end, Niven is well cast as an unflappable British ambassador whose decision to stay, fight back, and wait for reinforcements from the Eight Nation Alliance not only puts his own young family at risk, but goes against the sentiment of most others on the compound, who simply want to flee.

Among these are Gardner’s Baroness Natasha Ivanova, whose earlier role in the suicide of her husband has left her ostracized by her social circle:

… and who undergoes an unrealistic change of heart over the course of the film, particularly when joining forces with an over-worked doctor (Paul Lukas). Meanwhile, Flora Robson is nearly unrecognizable playing yet another regal character on-screen:

… and odd character-actor Robert Helpmann plays yet another odd character (check out those fingernails!).

While this movie centers on an intriguing moment in world history, it’s ultimately too Euro-focused (and too battle-heavy) to remain of interest for its lengthy running time — and speaking of battles, there’s enough diverse weaponry on display and in use here to merit this film a spot on the IMFDb (the “F” stands for “firearms”).

Notable Performances, Qualities, and Moments:

• Fine historical sets
  
• Beautiful cinematography
  

Must See?
No, though it’s definitely worth a one-time look.

Links:

• IMDb entry
• DVD Savant Review
• TCM Article
• Spinning Image Review

Synopsis:
When a schoolteacher (Jane Fonda) returns to Wyoming to visit her father (John Marley), she is shocked to find his life and property under threat by a ruthless developer (Reginald Denny). After joining forces with a local Indian (Tom Nardini) and a pair of outlaws (Michael Callan and Dwayne Hickman), “Cat” (Fonda) hires a drunken gunslinger known as Kid Shelleen (Lee Marvin) to fight back against hired killer Tim Strawn (also Lee Marvin).

Genres, Themes, Actors, and Directors:

• Flashback Films
• Jane Fonda Films
• Lee Marvin Films
• Outlaws
• Revenge
• Satires and Spoofs
• Westerns

Review:
Lee Marvin won an Oscar for his dual performances in this comedic western, directed by Elliot Silverstein and starring Jane Fonda in the title role as a young woman who shifts from prim to feisty during the course of the screenplay.

The supporting cast members provide a solid “second family” of sorts for Cat:

… and Nat King Cole and Stubby Kate show up every now and then to provide a Greek-chorus-style commentary.

Marvin doesn’t appear until about half-an-hour into the film, and is more of a supporting character than a primary one, thus leading Peary not to give him the Best Actor award in Alternate Oscars. While Marvin’s work here is definitely amusing and memorable:

… I think I prefer him in his more typical stone-cold-villainous roles.

Notable Performances, Qualities, and Moments:

• Lee Marvin as Kid Shelleen and Tim Strawn
  
• Fine cinematography
  
  

Must See?
No, though it’s worth a look.

Links:

• IMDb entry
• NY Times Original Review
• Spinning Image Review
• Time Out Capsule Review
• TCM Articles

Synopsis:
During the Northern Cheyenne Exodus, a cavalry captain (Richard Widmark) is required to try to stop the tribe — led by Little Wolf (Ricardo Montalban) and Dull Knife (Gilbert Roland) — from returning to its stolen lands; meanwhile, a Quaker teacher (Carroll Baker) accompanies orphaned children on the trek, and a young Cheyenne warrior named Red Shirt (Sal Mineo) is eager to fight on behalf of his people.

Genres, Themes, Actors, and Directors:

• Arthur Kennedy Films
• Carroll Baker Films
• Cavalry
• Dolores Del Rio Films
• Edward G. Robinson Films
• Jimmy Stewart Films
• John Carradine Films
• John Ford Films
• Karl Malden Films
• Native Americans
• Richard Widmark Films
• Ricardo Montalban Films
• Sal Mineo Films
• Westerns

Review:
John Ford’s final western was also his attempt to finally humanize the Native Americans who had simply served as the Enemy in so many of his earlier films. He’s somewhat (though not entirely) successful, given that we see the lethal treatment the tribe is subjected to:

… and get to know a few of them (albeit minimally) as protagonists. (For Marlon Brando’s decidedly different take on the subject, see here.) Front and central to the storyline, however, are Whites — specifically Widmark and Baker as sympathetic allies of the Cheyenne, and would-be lovers kept apart due to Baker’s rock-solid dedication to her students.

The film’s most notorious misstep — actually cut out of some viewings — was a section Ford purportedly added as an informal intermission (!!), in which Wyatt Earp (Jimmy Stewart) and Doc Holliday (Arthur Kennedy) suddenly emerge as comedic figures in Dodge City.

Setting that sequence aside (as one must do; it simply doesn’t “belong”), the remainder of the storyline gives us Edward G. Robinson as Secretary of the Interior Carl Schurz:

… and Karl Malden as a sadistic concentration camp commander with a German accent.

Mineo’s role is pretty thankless, as is that of his mother (played by Dolores Del Rio).

Most notable is the beautiful cinematography by William Clothier, with good use made of location settings in Monument Valley and elsewhere.

Notable Performances, Qualities, and Moments:

• An honorable attempt to more authentically portray history from a Native perspective
  
• William Clothier’s cinematography
  

Must See?
No, though Ford fans will likely want to check it out. Listed as a Personal Recommendation in the back of Peary’s book.

Links:

• IMDb entry
• Native American Review
• DVD Savant Review
• NY Times Original Review
• TCM Article

Synopsis:
A domineering stage mother (Rosalind Russell) does whatever it takes to ensure her daughters June (Ann Jillian) and Louise (Natalie Wood) achieve success in vaudeville, including stretching the long-lasting patience of her loyal suitor (Karl Malden).

Genres, Themes, Actors, and Directors:

• Aspiring Stars
• Biopics
• Karl Malden Films
• Mervyn LeRoy Films
• Musicals
• Natalie Wood Films
• Rosalind Russell Films
• Strippers
• Strong Females
• Vaudeville and Burlesque

Review:
Mervyn LeRoy directed this adaptation of the hit 1959 Broadway musical of the same name, with music by Jule Styne and lyrics by Stephen Sondheim. The original stage star, Tony-nominated Ethel Merman, was notoriously passed over in favor of a more bankable (and well-connected) Hollywood star, Rosalind Russell, who effectively comes across as a royal bitch of an overbearing mother.

While there’s no accounting for tastes, I find it challenging watching Malden allowing himself to be strung along by her for so many years. Meanwhile, Russell’s treatment of her children as pawns of her own dreams for glory is, of course, beyond atrocious.

As DVD Savant writes in his review:

Arthur Laurents’ play subverts the standard showbiz biography to show the ugly side underneath. Stage mother Mama Rose has enough energy and will to keep poor Herbie [Malden] on a string. She relentlessly pushes one of her daughters into the limelight, only to have the shy one [Wood] blossom into a sensational career as a stripper, as the famed Gypsy Rose Lee.

Indeed, the turn of events that leads to Wood’s character suddenly having a chance to shine as the title character — whether she wants it or not (which is debatable) — is a unique spin on the storyline:

… though it should be said that the view on display here of strippers is decidedly sanitized, and primarily milked for laughs.

While this movie has its fans (see Tired Old Queen’s video review, for instance), LeRoy’s direction is uninspired; it’s primarily worth a one-time look simply to hear some of the musical’s most famous tunes — including “Everything’s Coming Up Roses” and “Let Me Entertain You”.

Notable Performances, Qualities, and Moments:

• Harry Stradling’s cinematography
  
• Several fine musical numbers
  

Must See?
No; only fans of Russell, Wood, or the musical itself need to check this one out.

Links:

• IMDb entry
• TCM Article
• DVD Savant Review
• NY Times Original Review
• Time Out Capsule Review
• Tired Old Queen at the Movies Video Review