FilmFanatic.org

Synopsis:
When his 20-year-old daughter (Elizabeth Taylor) announces that she’s going to be marrying her boyfriend (Don Taylor), Stanley Banks (Spencer Tracy) and his wife Ellie (Joan Bennett) begin the heady — and expensive — process of planning her wedding.

Genres, Themes, Actors, and Directors:

• Comedy
• Elizabeth Taylor Films
• Father and Child
• Grown Children
• Joan Bennett Films
• Russ Tamblyn Films
• Spencer Tracy Films
• Vincente Minnelli Films
• Weddings

Review:
Vincente Minnelli’s Father of the Bride (remade with Steve Martin, Diane Keaton, and Kimberly Williams in 1991) remains a slightly dated yet undeniably charming piece of mid-century Americana, providing an amusing snapshot of what middle- and upper-middle-class citizens were, at heart, most concerned with: “doing things right” without breaking the bank. Despite its socio-economic and ethnic specificity, however, Father of the Bride manages to transcend both class and race in its astute depiction of the trials and tribulations inherent in planning an enormous family event; indeed, what middle-aged man can’t relate to the struggle to fit into his former best suit, or trying to balance an increasingly out-of-control budget? Equally effective is the way in which Tracy manages to convey — without undue pathos — the deep sense of emptiness and panic he feels at “losing” his only daughter to another man; his close relationship with Taylor is quite special.

In addition to offering many amusing vignettes (see Redeeming Qualities and Moments below), FOTB features spot-on performances throughout; indeed, Peary is so impressed by Spencer Tracy’s turn as Stanley Banks that he awards him a Best Actor Oscar in his Alternate Oscars book (a questionable, albeit noble, choice). Joan Bennett is equally fine as Tracy’s harried wife, a middle-aged woman who’s living out her own unrequited wedding fantasies through her daughter; and Elizabeth Taylor is simply luminous as Tracy’s young daughter (she helped enormously with publicity by graciously getting married — for the first time — just before the film’s release).

Redeeming Qualities and Moments:

• Spencer Tracy as Stanley Banks
  
• 17-year-old Elizabeth Taylor as Tracy’s grown daughter
  
• Joan Bennett as Ellie Banks: “Stanley, from now on, don’t answer the phone.”
  
• Tracy trying to fit into his far-too-small “cut-away” suit
  
• Stanley’s surreal nightmare-before-the-wedding
  
• “Mr. Tringle” (Melville Cooper) demonstrating to the wedding party how to “step, stop” down the aisle
  
• Mr. and Mrs. Banks checking out a particularly hideous wedding present from “Aunt Hattie”
  
• A spot-on look at the chaos surrounding wedding preparations
  

Must See?
Yes, for its erstwhile popularity and Oscar-nominated status.

Categories

• Historically Relevant
• Oscar Winner or Nominee

Links:

• IMDb entry
• NY Times Original Review
• TCM Article
• Time Out Capsule Review

Synopsis:
Deposed King Shahdov (Charlie Chaplin) experiences America’s rampant materialism first-hand when he’s tricked by a beautiful advertising executive (Dawn Addams) into appearing on television. Later, while visiting a progressive school, Shahdov meets a young boy (Michael Chaplin) who stridently spouts Communist rhetoric; when Shahdov shelters the runaway boy (whose parents are under investigation by HUAC), he is suspected of Communist sympathies himself.

Genres, Themes, Actors, and Directors:

• Charlie Chaplin Films
• Cold War
• New York City
• Royalty and Nobility
• Satires and Spoofs

Review:
Charlie Chaplin’s notorious critique of American materialism, media, and politics — filmed in London during his political exile — remains a bitter, occasionally spot-on, but rarely genuinely funny film. Chaplin is unrepentant in his skewering of our nation’s worst tendencies, satirizing topics as diverse as “reality T.V.” (years before it existed), progressive education, and Americans’ fascination with royalty; in this respect, he’s to be applauded. As a narrative, however, A King in New York doesn’t really satisfy; about midway through, once the plot becomes more serious in its attempt to nail the absurdity of McCarthyist witch-hunts, the overall tone of the picture becomes far too solemn and didactic. And while Chaplin’s son Michael is appropriately intense playing the son of martyred Rosenberg stand-ins, it’s painful to watch his performance during the school visit scene, when he can be seen silently mouthing Chaplin Sr.’s words whenever he’s not talking himself (no future actor, he).

Redeeming Qualities and Moments:

• Dawn Addams inserting obvious commercials into a “surprise” televised dinner party for King Shahdov
  

Must See?
No, though film fanatics may want to be curious to check out this late-life entry in Chaplin’s career. Listed as a Cult Movie in the back of Peary’s book.

Links:

• IMDb entry
• NY Times Original Review
• Roger Ebert’s Review
• DVD Savant Review (scroll down)
• TCM Article
• Combustible Celluloid Review
• Time Out Capsule Review

Synopsis:
A destitute farmer (Van Heflin) and a drunk (Henry Jones) are hired by stagecoach company owner Mr. Butterfield (Robert Emhardt) to accompany an outlaw (Glenn Ford) to Contention City, where the 3:10 train will take him to prison in Yuma. In the meantime, Ford’s posse — led by Richard Jaeckel — plots to rescue him, while Ford tries to bribe Heflin into letting him go.

Genres, Themes, Actors, and Directors:

• Cat-and-Mouse
• Delmer Daves Films
• Glenn Ford Films
• Machismo
• Outlaws
• Richard Jaeckel Films
• Van Heflin Films
• Westerns

Review:
This character-driven western, directed by Delmer Daves, tells a simple yet taut tale of a weary family man (Heflin) who wants nothing more than to keep his farm afloat, and the cocky outlaw (Ford) who gradually grows to admire his principles. In essence, it’s an extended cat-and-mouse narrative, as each man carefully plays off the other:

Along the way, we’re asked to question — primarily through the character of Heflin’s spitfire teenage son, who’s eminently scornful of his “wimpy” dad:

— what it means to “be a man” and stand up for one’s self. Heflin is appropriately complex and troubled in the lead role:

… but it’s Glenn Ford’s turn as Ben Wade which most impresses — his intense performance never misses a beat.

Unfortunately, 3:10‘s ending takes an unexpected turn which beggars belief and goes far beyond reasonable expectations — but it’s difficult to fault the script (based on an Elmore Leonard short story) too harshly, given the fine ride until then.

Note: 3:10 has achieved renewed interest given the compelling 2007 remake by James Mangold, starring Christian Bale and Russell Crowe. Interestingly, the new film — fine in nearly every respect — sports an equally unsatisfying ending.

Redeeming Qualities and Moments:

• Glenn Ford as Ben Wade
  
• Atmospheric direction by Delmer Daves
  
• Fine b&w cinematography
  
• A satisfying script

Must See?
Yes, simply for Ford’s performance.

Categories

• Noteworthy Performance(s)

Links:

• IMDb entry
• NY Times Original Review
• DVD Savant Review
• TCM Articles
• Time Out Capsule Review

Synopsis:
A deeply religious girl (Cheryl Smith) living with a preacher (Richard Blackburn) receives a letter stating that her estranged father (William Whitton) is dying, and runs away from home to find him. Soon Lila (Smith) discovers that her father has been captured by a mysterious, pale woman named Lemora (Lesley Gilb) — and that Lemora has unusual plans for Lila herself.

Genres, Themes, Actors, and Directors:

• Coming-of-Age
• Horror
• Vampires

Review:
Widely unavailable until its recent release on DVD, this low-budget vampire flick (commonly known as Lemora: A Child’s Tale of the Supernatural) has developed a serious cult following, with fans proclaiming it one of the best of the genre. Despite an intriguing premise and a winning performance by 16-year-old Cheryl Smith, however, it’s ultimately a rather tedious, muddled affair, one which never follows through on its potential. The essential problem lies in the fact that writer/director Richard Blackburn is less concerned with developing a cohesive storyline than with evoking atmosphere — thus, his archetypal tale of innocence lost peters out by the end of the film, ultimately leaving little impact. With that said, Lemora is beloved by enough followers to be considered must-see viewing for any serious film fanatic.

Redeeming Qualities and Moments:

• Cheryl “Rainbeaux” Smith as Lila Lee
  
• Creepy Leslie Gilb as Lemora
  

Must See?
Yes, but only for its status as a cult favorite. Listed as a Sleeper in the back of Peary’s book.

Categories

• Cult Movie

Links:

• IMDb entry
• NY Times Review
• DVD Savant Review
• TV Guide Review

Synopsis:
A crew sent to destroy an asteroid before it hits the Earth accidentally brings back to its space station a speck of green slime, which multiplies rapidly and soon morphs into one-eyed tentacled aliens. It’s up to arrogant Commander Rankin (Robert Horton) and feisty Commander Elliott (Richard Jaeckel) to overcome their fierce rivalry for sexy Dr. Lisa Benson (Luciana Paluzzi) in time to save the station from destruction.

Genres, Themes, Actors, and Directors:

• Aliens
• Astronauts
• Richard Jaeckel Films
• Rivalry
• Science Fiction

Review:
The fact that the first half-hour of this decidedly campy Japanese-American sci-fi thriller is competently executed makes the ensuing tedium that much more disappointing. Working on what was clearly an ultra-low budget, director Kinji Fukasaku and his crew try their best to evoke the fear and tension inherent in stopping a hurtling asteroid in mid-air, and Fukasaku ably transitions the story into its new central threat once the bubbly green slime makes its dastardly appearance:

(Indeed, given recent threats of airborne pathogens and unknown substances beyond our control, the notion of killer slime isn’t really all that far-fetched.) Unfortunately, however, once the slime auto-magically morphs into humanoid creatures (likened by one reviewer to Sigmund the Sea Monster), all credibility is thrown out the window, and Camp becomes the operative word.

Making matters much worse is the insipid love triangle between Horton, Jaeckel, and the super-sexy (naturally) female doctor on board the ship (Luciana Palazzi, Fiona Volpe in 1965’s Thunderball).

This truly inane subplot distracts us from the real emergency on hand, instead shifting the central narrative thrust towards which commander can prove his “manly” worth in front of Palazzi, and thus win her hand. Who cares? To their credit, Jaeckel and Horton take their roles extremely seriously, never breaking concentration despite the fact that they’re basically doing battle with walking Halloween costumes — but even their best efforts can’t save this bomb from sinking.

Skip this one unless you’re a true fan of the genre.

Redeeming Qualities and Moments:

• Richard Jaeckel gamely making the best of his strictly B-level role
  
• The endearingly amateur “special effects” models
  

Must See?
No. While it holds some minor historical importance as the first Japanese-American cinematic collaboration — and as an early film by director Kinji Fukasaku (Battle Royale, 2000) — it’s really only must-see for fans of the genre. Listed as a Camp Classic in the back of Peary’s book.

Links:

• IMDb entry
• NY Times Original Review
• DVD Talk Review
• Bad Movies.org Review
• Moria Review
• TCM Article Review

Synopsis:
A naive young Amish woman (Britt Ekland) with dreams of becoming a dancer arrives at Minsky’s Burlesque Theatre in New York City, and quickly wins the hearts of comedic partners Norman Wisdom and Jason Robards. Meanwhile, Robards and the club’s owner (Elliott Gould) concoct a sure-fire plan to foil a group of do-gooders intending to raid the club that night.

Genres, Themes, Actors, and Directors:

• Aspiring Stars
• Britt Ekland Films
• Comedy
• Elliott Gould Films
• Harry Andrews Films
• Jason Robards Films
• Love Triangle
• Morality Police
• Vaudeville and Burlesque
• William Friedkin Films

Review:
This bawdy historical comedy — directed by William Friedkin — purports to tell the story of the first ever (unintentional) striptease, but is really more concerned with simply honoring and celebrating the infectious joys of burlesque theater. Through ample exposure to ribald skits and songs on stage, one gets a sense of what audience members (primarily men, though women were present as well) were there to enjoy. Friedkin moves the story along at a brisk pace (in nearly real time), neatly juxtaposing the night’s early acts with the converging tales of an innocent Amish girl (Ekland is well-cast) who wants nothing more than to break into show business, and an upcoming raid on the club by local do-gooders. Along the way, Ekland becomes fodder for the romantic interests of both womanizing Jason Robards and his more sincere partner, Norman Wisdom; while we feel concern for her extreme naivete, she shows surprising reserves of chutzpah, and makes for an appealing heroine.

Redeeming Qualities and Moments:

• Norman Wisdom as Chick Williams
  
• Jason Robards as Raymond Paine
  
• Britt Ekland as Rachel Schpitendavel
  
• Harry Andrews as Ekland’s stern Amish father
  
• An exuberant paean to the bygone days of vaudeville burlesque
  
• Many enjoyable skits and songs
  
• An effective depiction of audience reaction to even the mildest of sexual suggestion
  

Must See?
No, but it’s recommended.

Links:

• IMDb entry
• Roger Ebert’s Review
• DVD Savant Review
• NY Times Original Review

Synopsis:
In early 1930s Germany, the wealthy von Essenbeck steelworks family members — including its soon-to-be-murdered magnate (Albrecht Schoenhals), a ferociously ambitious mother (Ingrid Thulin), her pedophilic son (Helmut Berger), her power-hungry lover (Dirk Bogarde), and a Nazi-loving Brownshirt (Reinhard Kolldehoff) — find themselves trapped in a web of corruption, intrigue, and murder.

Genres, Themes, Actors, and Directors:

• Dirk Bogarde Films
• Family Problems
• Luchino Visconti Films
• Nazis
• Pedophiles
• World War II

Review:
Luchino Visconti’s epic saga of familial corruption and depravity — notorious for its original “X” rating — is a tough pill to swallow. While many critics (at the time and now) view it as brave, intelligent, and artistic, all I see is plenty of bombastic emperor’s clothing. It’s hampered by several serious flaws: horrendous dubbing (what was Visconti thinking?!), lame performances (very few actors, despite their credentials, emerge unscathed), overly self-conscious camera techniques (Visconti relies on zoom shots far more than he should), and a poorly written, convoluted script. In truth, The Damned is a tedious, never-ending affair, only redeemed (partially) by its sumptuous cinematography and costumes.

Redeeming Qualities and Moments:

• Helmut Griem as Commander Aschenbach
  
• An effective (albeit historically suspect) recreation of the Night of the Long Knives gathering and massacre
  

Must See?
No. While it holds some historical importance for its Oscar-nominated (!) screenplay and its erstwhile status as an X-rated import, I can’t in good conscience recommend it as must-see viewing. Listed as a film with Historical Importance in the back of Peary’s book.

Links:

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

Synopsis:
A carnival mentalist (Edward G. Robinson) soon discovers that he has legitimate psychic powers, and is distressed to learn that he can predict tragic events. When he foresees the violent, imminent death of an heiress (Gail Russell), Russell’s concerned boyfriend (John Lund) suspects foul play — but Robinson remains determined to protect Russell at any cost.

Genres, Themes, Actors, and Directors:

• Edward G. Robinson Films
• Gail Russell Films
• Heiresses
• “No One Believes Me!”
• Psychic Powers

Review:
This nifty little B-thriller (directed by John Farrow, Mia’s dad) packs a powerful wallop, offering plenty of suspense and tension in its 81-minute running time. Edward G. Robinson is remarkably sympathetic as an unwitting psychic who’d rather not be able to see into the future, and who resists exploitation at any cost — indeed, he’s essentially a tragic hero, given that his powers cost him his fiancee (Virginia Bruce), his integrity (no one believes him), and any chance at a normal, happy life. Gail Russell (does any actress have more expressive eyes?) is perfectly cast as a brooding heiress with much on her mind; we genuinely fear for her safety. John Seitz’s stark b&w cinematography adds to the rich atmosphere of the tale, which may lack standard noir tropes but offers a similarly bleak, fate-ridden take on the world.

Redeeming Qualities and Moments:

• Edward G. Robinson as John Triton
  
• Gail Russell as Jean
  
• John Seitz’s noirish cinematography
  

Must See?
Yes, as an all-around “good show”.

Categories

• Good Show

Links:

• IMDb entry
• Noir of the Week Review

Synopsis:
An advertising executive (Doris Day) is furious to learn that her womanizing rival (Rock Hudson) has snagged a key account using unethical bribes. When she learns that a (fictional) new product known as “VIP” is being created by Dr. Linus Tyler (Jack Kruschen), she is determined to win the account; things get complicated, however, when she’s mistakenly led to believe that Hudson himself is “Dr. Tyler”, and the two start falling in love.

Genres, Themes, Actors, and Directors:

• Advertising
• Doris Day Films
• Mistaken or Hidden Identities
• Rivalry
• Rock Hudson Films
• Romantic Comedy
• Tony Randall Films

Review:
Made directly to capitalize on the success of Doris Day and Rock Hudson’s first teaming together — Pillow Talk (1959) — Lover Come Back offers more of the same: the story’s specifics have changed, but the essential dynamic of mistaken identities and unexpected romance remains intact. It received glorious reviews from the New York Times upon its release, with Bosley Crowther calling it “one of the brightest, most delightful satiric comedies since It Happened One Night“; and it remains innocuously good fun. Modern-day audiences won’t be able to resist giggling over virile, closeted Hudson mouthing lines like, “I find him very intriguing — in a man-to-man sort of way,” and there are plenty of other racy double entendres sprinkled liberally throughout:

Day (as Carol): Leonard, who has a lilac floor in their kitchen?
Chet Stratton (as Leonard): I have.
Day (as Carol): Oh. Well, Leonard, everyone isn’t as artistic as you are.

The film’s unrealistic denouement — with events wrapping up far too neatly — detracts somewhat from the story’s overall integrity, but Lover Come Back offers enough enjoyment to recommend for one-time viewing.

Note: The third and final Day/Hudson romantic comedy — Send Me No Flowers (1964) — isn’t listed in Peary’s book, though I’ve reviewed it as a “Missing Title”.

Redeeming Qualities and Moments:

• Doris Day as Carol Templeton
  
• Rock Hudson as Jerry Webster
  
• Day’s outrageous hats
  
  
• Tony Randall as Pete Ramsey
  
• Fine use of split-screen camerawork
  
• Vibrant Technicolor sets
  
• A clever screenplay with plenty of witty dialogue and double entendres: “You look wonderful without your clothes!”

Must See?
Yes, as a good show.

Categories

• Good Show

Links:

• IMDb entry
• NY Times Original Review
• TCM Article
• Reel Film Review