Life and Times of Rosie the Riveter, The (1980)
“We’d never had any opportunity to do that kind of work.”
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Kon-Tiki (1950)
“What is shown is what actually took place.”
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Faces (1968)
“I want a divorce. That’s the only thing to do, isn’t it?”
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(Listed in 1001 Movies You Must See Before You Die) Links: |
Flaming Creatures (1963)
“Do they make a lipstick that doesn’t come off?”
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Silent Running (1972)
“On this first day of a new century, we humbly beg forgiveness.”
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Review: Note: The incredibly dated soundtrack (sung by Joan Baez) quickly becomes insufferable, but is all part of the experience of this uniquely-’70s cult favorite. Redeeming Qualities and Moments:
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Your Three Minutes Are Up (1973)
“Everybody’s always telling me ‘Do this, do that’!”
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Review: Although Your Three Minutes Are Up doesn’t come close to the brilliance of Payne’s celebrated comedy, it does possess some surprisingly humorous moments, as Mike (Leibman) eventually convinces Charlie to join him in a series of small cons; I especially like the scene in which Mike and Charlie ditch two mooching girls at an expensive restaurant. Even the thoroughly obnoxious Mike soon becomes fun to watch, thanks in no small part to Leibman’s energetic performance. The film’s title — referring to the days of pay phones, operators, and limited time to talk — is an indication of its place in history; indeed, one of the movie’s unintentional strengths is the naturalistic time capsule glimpse it affords. But the story itself is flawed: Janet Margolin is wasted in a supporting role as Charlie’s nagging fiancee (she gives us no reason to root for her — no wonder Charlie wants to get away), and the film’s comedic tone is marred by both a confusing beginning and an inexplicably negative ending. Redeeming Qualities and Moments:
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Last Angry Man, The (1959)
“I want to dramatize your own views, your own beliefs — for 30 million people!”
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When he finds out he’s being offered a house in exchange for appearing on T.V., for instance, Abelman is offended rather than grateful; and nothing — not even a house full of crew members ready to film — will stop him from visiting a patient in need. Unfortunately, while Muni’s performance makes us believe in and care about this iconoclastic doctor, the film itself is undone by its simplistic morality. In addition, the final sequences — while heartfelt — are interminable, and insult our intelligence by relying on cliched deathbed pathos rather than the intrinsic power of Abelman’s story. Ultimately, then, The Last Angry Man only remains must-see viewing because of Muni. Redeeming Qualities and Moments:
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Arsenic and Old Lace (1944)
“This is developing into a very bad habit!”
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Response to Peary’s Review: While this is perhaps Frank Capra’s least “Capra-esque” film, he does a fine job opening up the play for the big screen, making good use of the windy environs surrounding the Brewster house, and applying dramatic cinematography to great effect. He directs a powerhouse cast, with Hull and Adair especially notable; their interactions together (notice their smiles!) are truly priceless. The supporting players do a fine job as well: I love the interactions between Massey and Lorre (especially while arguing over how many bodies Massey has killed), and the good-natured oblivion of John Alexander (playing Grant’s insane uncle, who believes he’s Teddy Roosevelt). Finally, while many reviewers (including Peary) have argued that Grant overplays his part (and he apparently hated his own performance here), he serves as a suitable foil for the craziness surrounding him; indeed, it’s hard to imagine Arsenic and Old Lace without him. Redeeming Qualities and Moments:
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Baby It’s You (1983)
“We’re not in high school anymore!”
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Friends of Eddie Coyle, The (1973)
“You help Uncle, Uncle will help you.”
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Review: Eddie Coyle features marvelous performances by each of its male leads — including Steven Keats as an edgy gun-runner, Richard Jordan as a wily federal detective who fully realizes that he holds Coyle’s future in his hands, and an appropriately brittle Mitchum as the eponymous protagonist. Unfortunately, we learn far too little about Coyle himself — an intriguing character who merits much more attention. Instead, Yates spends an enormous amount of screen time showing us a couple of bank heists, which are well-executed but ultimately gratuitous, given that they don’t further the plot in any way. Despites its flaws, however, Eddie Coyle remains an interesting entry in Mitchum’s late-life career, and is certainly a must for fans of this iconoclastic actor. Redeeming Qualities and Moments:
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