Niagara (1953)
“For a dress like that, you have to start laying plans when you’re about thirteen.”
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Casablanca (1942)
“It doesn’t take much to see that the problems of three little people don’t amount to a hill of beans in this crazy world.”
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Response to Peary’s Review: While it’s hard to know just how much of the script is original (Peary argues “it hasn’t been sufficiently acknowledged that almost everything in the film was in Everybody Comes to Rick’s, the unproduced source play by Murray Burnett and Joan Alison”), it’s difficult to find fault with the end result: a remarkably intelligent and witty screenplay, co-written by (among others) the Epstein twins (Julius and Philip) and Howard Koch. In addition to its countless now-iconic lines (“Here’s looking at you, kid”), one particular exchange — between Rains and a police inspector as Rick’s Cafe Americain is about to be shut down for gambling — remains a personal favorite, and has me giggling with delight every time I hear it. Much has been made about the fortuitous casting behind Casablanca, with Bogart and Bergman making a most unlikely yet inspired pair of star-crossed lovers. Bogart — who Peary refers to as “tough, introspective, ugly” — hits just the right notes of vulnerability and machismo, and, once we learn his backstory with “soft, generous, beautiful” Bergman, it’s easy to see why he’s remained so cynical and bitter for so long. Claude Rains nearly steals the show, however, in yet another stand-out performance: he manages to transform the corrupt overseer of Casablanca from a potential villain into a three-dimensional protagonist who’s both human and humorously droll. Rains’s friendship with Bogart — which evolves over the course of the film — adds yet another level of nuance (and, perhaps, “romance”) to this complex, emotionally charged story, one which will likely continue to delight audiences for decades to come. Redeeming Qualities and Moments:
Must See? Categories (Listed in 1001 Movies You Must See Before You Die) Links: |
Body Snatcher, The (1945)
“They’re uncommon bold, the grave robbers — and the daft doctors who drive them on!”
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Indeed, it’s the complexity of the film’s two central characters which elevates The Body Snatcher well above its B-level status: we watch with fascination as Karloff (giving a stellar, nuanced performance) repeatedly torments McFarlane with hints about his sordid past, insistently reminding him, “You’ll never get rid of me.” McFarlane’s steadfast dedication to teaching young medical students about anatomy — which in turn requires a steady stream of “fresh” corpses to dissect — has caused him to breach the most important rule of ethics in medicine (“First, do no harm”), and the guilt he lives with because of this eats away at his very soul. Meanwhile, Gray remains unable to rise above his working-class status as a cabbie, but does everything in his power to remind McFarlane that they’re really cut from the same cloth: neither one is ultimately “better” than the other. As Peary notes, director Robert Wise does a “superb and tasteful” job depicting the horror elements of this “morbid”, highly atmospheric film, which remains one of producer Val Lewton’s most successful thrillers. Note: Peary also argues that the script is “in truth overwritten and dull in spots”, but I disagree; at just 77 minutes, The Body Snatcher moves along quickly and never feels stale. Redeeming Qualities and Moments:
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Contest Girl (1964)
“You take someone from nowhere, you give them something… Then when the party’s over, you say, ‘You’ve lost — go home!'”
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Unfortunately, an ongoing subplot in which Scott must fend off Hendry’s amorous advances fails to generate much interest, primarily because there’s so little chemistry between the two leads; instead, we’re left to focus on Scott’s inevitable education about the cruel realities (who knew?) of competitive pageantry. Fans of Guest’s eclectic body of work will likely be curious to check this obscure little film out; others, however, needn’t bother. Redeeming Qualities and Moments:
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Mrs. Wiggs of the Cabbage Patch (1934)
“I never had no great hankering to be awful rich and have a carriage and all.”
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Review: P.S. Click here to read Rice’s original novel online at Project Gutenberg. Redeeming Qualities and Moments:
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Support Your Local Sheriff (1969)
“When you set out to clean up a mess, you don’t just sit around and wait for that mess to get bigger and bigger!”
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As a humble marksman — likely the fastest gun in the west — who is perpetually “on his way to Australia” (which he considers to be the “real frontier”), Garner is coolly unfazed by the chaos and violence surrounding him, including the town’s infamous baddy, Joe Danby (nicely played by the reliably psychotic Dern). In one of the film’s most humorous subplots, Garner manages not only to keep Danby in an unfinished prison by using simple psychological intimidation, but to get him to install the bars himself!
Some aspects of William Bowers’ screenplay are less successful than others: I’m unimpressed, for instance, by Joan Hackett’s character — the hot-headed daughter of Mayor Olly Perkins (Harry Morgan) — and her ongoing would-be romantic encounters with Garner; she comes across as needlessly shrill.
Yet there are enough genuinely corny laughs and fine performances to carry Support Your Local Sheriff through till its inevitable final shoot-out, and to recommend it for at least one-time viewing. Redeeming Qualities and Moments:
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Fast Times at Ridgemont High (1982)
“You’re the one who told me I was gonna get a boyfriend at the mall.”
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Response to Peary’s Review: The other supporting performances in this episodic film (nobody’s really the primary protagonist, though Leigh comes close) are all fine as well — many of the young actors (most notably Leigh and Penn) went on to create big names for themselves. Indeed, Penn is in some ways the truly memorable “star” of this ensemble show: his turn as Jeff Spicoli — a perpetually stoned-out, bleary-eyed, happy-go-lucky surfer — is one of the most iconic performances in recent cinematic history; his “verbal duels” with his “sarcastic, rule-conscious” history teacher, Mr. Hand (Ray Walston), are both “hilarious” and perhaps (as Peary argues) “the major reason to see this film”. Meanwhile, one of the most sympathetic characters in the film, surprisingly enough, turns out to be Judge Reinhold as Stacy’s older brother, Brad, who’s experiencing work and love troubles of his own; his caring response when he discovers his sister needs some help is likely my favorite scene in the film, and offers proof that Fast Times — while far from perfect — is much more honest about the multi-faceted lives of teens than Peary, Ebert, and others would have you believe. Redeeming Qualities and Moments:
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(Listed in 1001 Movies You Must See Before You Die) Links: |
Indiana Jones and the Temple of Doom (1984)
“Nothing shocks me: I’m a scientist.”
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Response to Peary’s Review: As many have pointed out, Temple of Doom — which is high on action, low on character development — is actually more like the old-time serials it’s based on than Raiders; to that end Capshaw’s blonde floozy singer — a “heroine of a type that hasn’t been around since feminism hit Hollywood” — may be more authentic to the time period as well. Arguing in Capshaw’s defense, Peary notes that “if someone like Willie [Capshaw], who worries about broken nails, can become brave and tough in a crisis, then all women have the potential” — but I would argue right back that she never really exhibits either bravery or toughness. And while it’s true that the film has “great sets” and “exciting adventures”, each enjoyable moment is counterbalanced by one that it’s either unduly gross (such as the infamous “banquet scene” in the Maharajah’s palace) or falls flat (such as Indy and Willie’s aborted attempt to bed each other). Film fanatics should see Temple of Doom simply to be familiar with the franchise, but all things considered, it’s a major disappointment. Redeeming Qualities and Moments:
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Raiders of the Lost Ark (1981)
“Inside the Ark are treasures beyond your wildest aspirations — you want to see it opened as well as I.”
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(Listed in 1001 Movies You Must See Before You Die) Links: |
King of Kings (1961)
“For I say unto you, love your enemies; bless them who curse you; and pray for those who despise and persecute you! For if you love only those who love you, what reward shall you have?”
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Review: Ray and Yordan are at their best when humanizing iconic biblical events, such as the justly praised Sermon on the Mount sequence, and their intimate recreation of the Last Supper; less interesting are the massive battle scenes, which perhaps are expected fare in an epic drama but distract from the very real human story being told. Some have argued that too much time is spent showing the Romans’ reactions to Jesus’s growing popularity, but the actors in the key Roman roles — including Viveca Lindfors, Frank Thring, and Hurd Hatfield — are all enjoyable to watch, and their decadent lifestyle ultimately provides a nice contrast with that of the hard-working Jews. My favorite “Roman scene” shows the infamous Salome (played by Brigid Bazlen as a sexy teenage hussy) tempting her stepfather, King Harrod (Thring), into decapitating John the Baptist (a shaggy-headed Robert Ryan) and bringing her his head on a platter; while this vignette may not be substantiated by biblical scholars, it plays well on the screen! Ultimately, King of Kings will be of most interest either to Christians (who likely will be pleasantly surprised by how events are depicted) or fans of mid-century historical epics; for all-purpose film fanatics, it’s worth a look simply for its historical notoriety. Note: In 1980, Hunter was (perhaps unfairly) nominated by the Medved brothers as one of the worst actors to play Jesus Christ in a film — though he lost out on winning the Golden Turkey Award in this category to Ted Neeley in Jesus Christ Superstar. Redeeming Qualities and Moments:
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