Guardsman, The (1931)
“It’s a soldier she’s longing for.”
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Lion and the Horse, The (1952)
“I’d of risked my neck to claim that horse for my own.”
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It’s also refreshing to see a girl in the central kid-role (Jackson is likeable and appropriately feisty):
… and there’s a fun musical interlude involving a cowhand learning to play the ukulele by record player:
However, this isn’t must-see viewing for anyone other than Cochran fans, or those who may somehow fondly remember it from their own childhood. Redeeming Qualities and Moments:
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Broken Arrow (1950)
“There can be no peace if there is no good will to try it.”
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Rush to Judgment (1967)
“I figure there’s somethin’ else been goin’ on besides what should be.”
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49th Parallel (1941)
“It’s not the Canadian people we’re against; it’s your filthy government.”
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Jet Pilot (1957)
“General Black, I’m a jet man — not a gigolo!”
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It’s a fairly ridiculous male fantasy featuring a busty female lead who is Russian but speaks English without any accent at all, and is sexy in all the “right” ways — including loving juicy steaks, beautiful lingerie, and fast planes.
Bosley Crowther was merciless in his review for The New York Times, referring to it as a “dud” that’s “silly and sorry,” and noting that “if it lacks for dramatic vitality, which it most certainly does, you can blame that on a weak script, poor direction and indifferent performances by all.” The one redeeming quality is beautiful cinematography by Winston Hoch, with Leigh looking simply dreamy in all shots.
Peary likely includes this title in his book for its one-time historical notoriety, but it no longer holds that status, and certainly isn’t must-see viewing. Redeeming Qualities and Moments:
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Dawn Patrol, The (1938)
“You know what this place is? It’s a slaughterhouse – and I’m a butcher.”
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Desperate Journey (1942)
“We must all do our work before we can go back to doing what we love.”
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Man of the West (1958)
“There’s a point where you either grow up and become a human being, or you rot like that bunch.”
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He adds that the “shootouts are inevitable and exciting,” and points out that “Cooper is not happy to fight [John] Dehner because he is the man Cooper would have been if he hadn’t deserted Cobb years before.”
He writes that “as in most Mann films, there are two men with similar backgrounds, one who chose to put away his guns as the West became civilized and one who chose to keep being an outlaw, which, in Mann’s films, made his demise inevitable.” Peary goes on to write that “this picture is also similar to other Mann films because the rugged outdoor landscapes provide the characters with the appropriate environment for uncivilized behavior.”
He points out that “the film’s most notorious, most publicized scene has [Jack] Lord forcing [Julie] London to strip to her underwear” — and, as “an enlightened hero, Cooper realizes London’s humiliation… and gets revenge on Lord later by making him strip while she watches.”
Peary concludes his GFTFF review by noting that this remains “a solid, smart western” with “impressive CinemaScope photography” by Ernest Haller, but he argues that “Cooper shouldn’t be a ‘hick’ in the opening scene.” Peary elaborates on his thoughts about this film in his first Cult Movies book, where he describes it as a “beautifully filmed, bloody, unsparing western, replete with interesting, complex characters and exciting situations,” and notes that “if it has a major flaw it comes at the beginning,” given that Cooper plays these scenes “as if he were Longfellow Deeds once again.” He adds, “Having [Cooper] come across as being so gullible and innocent that Sam [O’Connell)] and Billie [London] would attempt to wheedle him out of [his] money… is completely deceptive on Mann’s part.”
“If this naive-chump bit were an act by Link to cover up his identity” (which is how I ended up interpreting it) “it would make sense, but it’s for real” (how does Peary know?), and “when we discover that Link used to be a hardened criminal, these early scenes come across as ridiculous.” While “Mann might have been trying to get us to believe Link a weakling so we would be pleasantly surprised later in the film when we see him do heroic deeds,” he asserts that the “change here is too drastic.” I would ultimately agree; regardless of Mann’s motivation, the character shift for Cooper isn’t seamless — though it’s easy enough to forget about the earlier scenes once we enter the “tense melodrama” of “the cabin scenes,” which Mann likened to “those in Key Largo (1948).” Unfortunately, less easy to forgive is Cobb’s overly theatrical performance as the psychotic head honcho of the Tobin gang. Not helping matters any is the fact that 57-year-old Cooper was 10 years older than 47-year-old Cobb in real life, despite playing his adopted son.
However, there’s enough to recommend in this dark western by master-director Mann to make it worthy as once-must viewing. Redeeming Qualities and Moments:
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(Listed in 1001 Movies You Must See Before You Die) Links: |
Seven Days to Noon (1950)
Welcome, CMBA members! I’m happy to be participating in the Classic Movie Blog Association’s “Hidden Classics” blogathon. If you’re new to my site, please click here to read more.
For my entry in this blogathon, I chose to re-post my review of a film I discovered with pure delight last summer: John and Ray Boulting’s Seven Days to Noon (1950). This tense, well-scripted movie about a justifiably unhinged scientist threatening to destroy London unless politicians halt all production of Weapons of Mass Destruction remains as potent today as it must surely have been during the Cold War. It’s well worth a look on numerous levels, including atmospheric cinematography and impressive use of on-location shooting across London. I’m puzzled as to why it’s not more widely known and appreciated. I hope you enjoy my review and the film itself! – Sylvia (FilmFanatic)
P.S. If you’d like to post a comment, please send me an email at filmfanatic.org@gmail.com and I will create an account for you.
“What would you do if you were convinced the results of your life work were being put to an evil purpose?”
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Review: From its opening moments until its almost unspeakably tension-filled finale, we’re held on the edge of our seats during this film, feeling anxiety, dread, and a surprising amount of sympathy for the man (clearly unhinged — can you blame him?) about to annihilate one of the world’s largest cities. Fine attention is paid to small details and ambiance throughout the movie, including effective supporting characters (both speaking and silent) and use of authentic locations and extras. Gilbert Taylor’s atmospheric cinematography perfectly captures both the broad scope of a city at risk, as well as the shadowy underworld Jones is pulled into. Most definitely check this one out. Note: It’s fascinating to read that both Boulting twins married numerous times (John four times, Ray five) and had a total of 13 kids between them (!). They were busy. Redeeming Qualities and Moments:
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