Old Man and the Sea, The (1958)
“Never have I had such a strong fish – or one that acted so strangely.”
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Review: Redeeming Qualities and Moments:
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Shake Hands With the Devil (1959)
“In time you’ll come to believe as we do. We’re not fighting faces — we’re fighting uniforms, row after row, standing between Ireland and freedom; remember that.”
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While Murray isn’t exactly a charismatic protagonist, he’s sufficient as a player in the broader context of Ireland’s underground fight for independence.
Erwin Hillier’s cinematography is highly atmospheric throughout, showcasing a world in which revolutionary operations must necessarily take place in shadowy spaces:
… and the possibility of violence is ever-present.
Cagney’s character is gradually revealed to be a diehard fanatic for his cause, which comes with a cost — particularly as his prejudice against women plays out and becomes his eventual undoing.
Johns is excellent in a supporting but pivotal role as a barmaid eager to stay involved:
… and Wynter is quietly effective as a kidnapped woman who recognizes the power of her beauty and intelligence to (potentially) influence outcomes.
Redeeming Qualities and Moments:
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Odd Man Out (1947)
“As long as he lives, he’ll belong to the organization.”
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Response to Peary’s Review: I couldn’t diverge more from Peary’s assessment and overall regard for this film, which I find consistently engaging, innovative, and touching. Robert Krasker’s cinematography is simply stunning (especially so in the new Blu-Ray transfer): one feels instantly dropped into a nightmarish yet all-too-real world of policemen on every corner:
… kids playing innocently while refugees flee:
and (nearly) everyone keeping an eye out for their own needs and goals while also offering a tentative hand of support.
(A notable exception is Maureen Delaney’s creepy portrayal of “Theresa O’Brien”, a supposed IRA supporter whose twitchy eye belies her innate corruption.)
Mason’s performance is top-notch throughout: yes, he “falls down” again and again, but this is clearly because he’s mortally wounded and simply trying to stagger his way to the next reasonable haven.
Rather than a Christ-like figure, one could easily argue that he’s a fatally flawed protagonist, given his unwillingness in opening scenes to cede his power and authority to a capable colleague (Robert Beatty) who is ready and willing to take over —
and his men (Dan O’Herlihy, Roy Irving, and Cyril Cusack) are right to (respectfully) question his fitness for the job.
The other supporting characters — including “his girlfriend (Kathleen Ryan) [who] wants to spend his last hours with him;
a priest (W.G. Ray) [who] wants to hear his confession;
a derelict (F.J. McCormick) [who] wants to hand him to either the priest or the police, whoever can offer him more;
[and] a mad artist (Robert Newton) [who] wants to use him as a model because he has the eyes of a dying man” —
are all part of the surreal cityscape in which the “Irish troubles” play out, with tragic results. Redeeming Qualities and Moments:
Must See? Categories
(Listed in 1001 Movies You Must See Before You Die) Links: |
Come Back, Little Sheba (1952)
“I can’t give up just because I made a few mistakes; I’ve gotta keep going!”
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Review: Redeeming Qualities and Moments:
Must See? Categories
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Hot Tomorrows (1977)
“That’s what’s so great about old movies: you get to enter the land of the dead.”
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… hangs out watching Laurel and Hardy films with a clueless friend (Sharkey):
… gets to know tiresome strangers — including a sullen, drunken dwarf (Hervé Villechaize) — at a night club:
… visits a morgue just for kicks (and free coffee):
… and obsesses over the elderly women he sees around him.
This one will strictly be of interest to hardcore devotees of Brest. Redeeming Qualities and Moments:
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She Wore a Yellow Ribbon (1949)
“Never apologize; it’s a sign of weakness.”
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Response to Peary’s Review: Peary argues that while “there are too many false endings… and a silly romantic triangle,” “once the cavalry start singing the title song, you’ll get emotional (if you’re a Ford fan) and forget all the film’s flaws” — which include a running gag about McLaglen’s tippling nature (culminating in a silly bar-room brawl), and a demeaning “cameo appearance” by Chief John Big Tree (who mimics some of his limited lines from Drums Along the Mohawk). Peary ultimately argues that while this is “not as good as Fort Apache,” it remains “essential Ford” — and with reluctance I would agree, simply for the incredible imagery. Redeeming Qualities and Moments:
Must See? Categories
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Red River (1948)
“I don’t like quitters — especially when they’re not good enough to finish what they start.”
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Response to Peary’s Review:
He notes that “Hawks deals with emotions rarely explored in westerns, including Wayne’s uncharacteristic interrelated senses of fear (of failure) and paranoia” — indeed, “this is Wayne’s only character whose sense of morality becomes clouded, who can’t tell the difference between right and wrong.” Peary adds that “Clift, who makes a passable cowboy in his debut, displays sensitivity and tenderness that were almost nonexistent among western heroes” — but he complains (I agree) that miscast Dru’s role — given she comes “in so late in the film and [has] such an important part” to play — changes the picture’s tone, making the ending “momentarily satisfying” but “more suitable for a comedy.”
Peary’s review covers many of the essentials of this classic western, which has stood the test of time quite nicely and remains an enjoyable, exciting tale. As Peary points out, “Wayne and Clift are both excellent”, and “their different acting styles work to emphasize their characters’ different attitudes.” Wayne’s willingness to play a Bligh-like character (albeit one we feel some sympathy for) is impressive, and speaks to the acting range he was allowed to display after this point. Clift — in his almost-screen debut, after The Search (1948) — couldn’t be more gorgeous:
… and is entirely credible in his role, bringing nuance to an undeniably challenging situation: needing to take over the reins from one’s beloved but now-unstable “parent”.
Harlan’s cinematography is indeed gorgeous, and the many sequences involving thousands of cattle are truly impressive.
Redeeming Qualities and Moments:
Must See? Categories
(Listed in 1001 Movies You Must See Before You Die) Links: |
Macomber Affair, The (1947)
“He was an odd one, Mr. Macomber.”
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Peck (who co-produced) gives an excellent performance as a man thoroughly versed in the “code” of big game hunting, who tries to help Preston see that his protestations and apologies are not only unnecessary but unseemly. (Apparently, while it’s okay to “chicken out” and allow one’s guide to take over at any moment, it’s not acceptable to make a fuss over this and allow one’s insecurities to show too prominently.) This film isn’t must-see viewing, but is a fine adaptation. Redeeming Qualities and Moments:
Must See? Links: |
Doomwatch (1972)
“This island has trouble enough of its own without you coming here and stirring up more!”
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However, Bannen isn’t trapped on the island, and gets plenty of support from his colleagues back in London:
— so the feeling of anxiety and claustrophobia dissipates, turning the story into more of a procedural mystery: what in the world is impacting these people to the extent that they’re experiencing fear of their own loved ones? I’m not a fan of Bannen’s performance (he comes across as brash and smirky), and Geeson’s role is underdeveloped (how did she end up at the island in the first place?).
However, the inherent tension in solving the mystery at least keeps one reasonably engaged throughout. Note: George Sanders appears in a thankless supporting role, one of his last before dying at the age of 65.
Redeeming Qualities and Moments:
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Hud (1963)
“The shape of the country changes depending on the men we believe in.”
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Ouch. Thank goodness for De Wilde’s Lonnie, who represents a better hope for the future. Meanwhile, as we see Douglas grappling with life-altering news about his cattle — it’s nothing short of eerie seeing a “highly communicable viral disease” at the heart of a storyline right now — we can’t help wondering how in the world he developed such intense loathing for his own son. (Apparently Hud was changed from stepson to son when Larry McMurtry’s novel Horseman, Pass By was adapted, and Homer’s wife was removed from story — both of which could help fill in gaps about their relationship.)
Regardless, this is a film about alienation in all its forms — and both director Martin Ritt and DP James Wong Howe portray this sensibility magnificently. The actors are top-notch in their roles, perhaps thanks in large part to Ritt’s theatrically-grounded rehearsal process. It’s harsh knowing Newman was so in character that upon hearing about the recent death of Neal’s seven-year-old daughter, he simply said “Tough”, and walked away. I suppose kudos should be given to the storytellers for daring to show us the reality of such deep-seated self-absorption and disdain for humanity — though viewers should be forewarned that this is an enormously bleak tale on nearly every level; the final cattle scenes are especially brutal to watch.
Redeeming Qualities and Moments:
Must See? Categories
(Listed in 1001 Movies You Must See Before You Die) Links: |
