FilmFanatic.org

Synopsis:
A former border raider (James Stewart) helps a group of settlers — including two beautiful sisters (Julie Adams and Lori Nelson) — cross safely into Oregon while rescuing a vigilante (Arthur Kennedy) who then joins their troupe. When food supplies become scarce due to a gold rush in Portland, Stewart must try to secure their safe shipment back to the settlers — but will Kennedy be lured by the exorbitant prices being offered by miners?

Genres:

• Anthony Mann Films
• Arthur Kennedy Films
• Ex-Cons
• Jimmy Stewart Films
• Julie Adams Films
• Rock Hudson Films
• Settlers
• Westerns

Response to Peary’s Review:
Peary notes that this “exciting” “second of five westerns Anthony Mann made with James Stewart” centers, “like most Mann westerners”, on men who “can’t escape [their] past”, and “how violent men choose to lead their lives now that the West is becoming civilized”. He writes that the “script by Borden Chase is first-rate”, with “the dialogue between Stewart and Kennedy… particularly strong”, conveying that “each knows what the other is thinking at all times”. Indeed, Stewart and Kennedy make for a fascinating pair of (anti-)heros, with each demonstrating the better or worse part of their natures when confronted by temptation. Tension in the storyline is near-constant, given the confluence of naturally rugged terrain, limited supplies, a small handful of beautiful women, and gold fever infesting men’s hearts and minds. When basic supplies can be sold for 100 times their “natural” cost, will greed outweigh basic decency and respect for human life? That dilemma drives the narrative, which takes place within “excellent cinematography of the beautiful landscape” by Irving Glassberg.

Redeeming Qualities and Moments:

• Excellent use of outdoor locales
  
• An action-packed screenplay
  

Must See?
Yes, as another fine outing between Mann and Stewart.

Categories

• Good Show

Links:

• IMDb entry
• TCM Article
• DVD Savant Review
• NY Times Original Review

Synopsis:
An embittered bounty hunter (Jimmy Stewart) seeks help from a grizzled prospector (Millard Mitchell) and a dishonorably discharged “Indian fighter” (Ralph Meeker) in trapping an outlaw (Robert Ryan) who is travelling with a vulnerable young female companion (Janet Leigh).

Genres:

• Anthony Mann Films
• Janet Leigh Films
• Jimmy Stewart Films
• Love Triangle
• Outlaws
• Ralph Meeker Films
• Revenge
• Robert Ryan Films
• Westerns

Response to Peary’s Review:
Peary writes that “in his third Anthony Mann western, James Stewart is a hard-bitten man” whose actions — “like most Mann westerners” — are “determined by his past. … Having lost everything dear to him, he suffers guilt and self-hatred — his need to take out his anger on another man, who is much like the immoral ‘beast’ he has become, is obviously his way of attacking himself”. Peary adds that “as usual, Mann uses his landscape as more than a backdrop: as the terrain becomes rougher and the stream they follow becomes more turbulent, the tension among the characters increases and their cruelty becomes more evident”. However, Peary writes that “the script by Sam Rolfe and Harold Jack Bloom is weaker than those used in other Mann westerns”, with “trite” dialogue and Stewart’s “character… poorly developed, so that we can’t really understand… the exact nature of his neurosis”. He notes that “this is the one Stewart hero in a Mann film that could just as easily have been played by other actors”, but he concedes that “Ryan makes a great villain”.

I share Peary’s concerns. Stewart’s character is too much of an enigma to relate to: we hear in passing about the injustices he suffered while away at war, but his bitterness and deceit prevent us from sympathizing with his goal of bringing Ryan back (dead or alive) at any cost.

While Ryan is a “great villain”, his psychopathy — emblemized by his near-constant sneering smile — is so obvious it’s a bit of a stretch to imagine Leigh maintaining her loyalty to him for so long. Indeed, this entire group of men are so tough and self-serving that it’s difficult watching naive Leigh navigate among them, knowing she’ll inevitably be taken advantage of.

However, the action scenes are all exciting, Mann keeps the pace moving quickly, and excellent use is made of rugged outdoor locales. Film fanatics will want to check this one out.

Redeeming Qualities and Moments:

• Fine cinematography and direction
  
• Excellent use of outdoor locales
  

Must See?
Yes, as a well-crafted if harsh outing by a master director.

Categories

• Good Show

(Listed in 1001 Movies You Must See Before You Die)

Links:

• IMDb entry
• TCM Article
• DVD Savant Review (scroll down)
• Spinning Image Review
• Chicago Reader Interview by Jonathan Rosenbaum

Synopsis:
When a physician (Errol Flynn) in 17th century England is convicted of conspiracy against the crown after tending to a wounded rebel, he and others are sent to work as slaves in an American colony overseen by a cruel governor (Lionel Atwill) whose beautiful niece (Olivia de Havilland) purchases Flynn, much to Flynn’s chagrin. Flynn and his men eventually become pirates on the high seas, partnering with a captain (Basil Rathbone) who takes de Havilland as a hostage — but will Flynn rescue her, or let his resentment continue to drive a wedge through their nascent cross-class romance?

Genres:

• Basil Rathbone Films
• Cross-Class Romance
• Errol Flynn Films
• Historical Drama
• Lionel Atwill Films
• Michael Curtiz Films
• Olivia de Havilland Films
• Pirates
• Slavery

Response to Peary’s Review:
Peary writes that this “rousing adaptation of Rafael Sabatini’s novel about a 17th century English pirate made a star of Errol Flynn, who made the most of his first lead role”, and notes that it “boasts of marvelous action sequences; extremely intelligent dialogue; spirited direction by Michael Curtiz; and an earnest, strong performance by Flynn.”

He adds that a highlight of the film is the “Flynn-Basil Rathbone swordfight-to-the-death on a rocky beach, during which the opponents smile constantly” — and that the inaugural on-screen pairing of beautiful young de Havilland and Flynn represents “one of the cinema’s truly wonderful romantic teams”.

Indeed, fans of swashbuckling romantic dramas will find much to enjoy here, though I’ll admit it’s not a personal favorite: I’m not thrilled by the buffoonish nobility, Rathbone’s faux-French accent, or Flynn’s hairstyle (!). In the film’s favor are marvelous cinematography (by Ernest Haller and Hal Mohr), rousing action scenes (Curtiz is indeed masterful), and Erich Wolfgang Korngold’s “excellent” debut score. As a curiosity, listen for Blood’s surprisingly forthright and graphic proclamation that “If a man molest a woman captive against her will, he, too, shall receive the same punishment.”

Note: Sadly, supporting character Ross Alexander — who plays Jeremy, the ship’s navigator — had a tragic (closeted gay) personal life and killed himself just after this film was made.

Redeeming Qualities and Moments:

• Atmospheric cinematography
  
  
  
• Expertly directed combat scenes
  
  
  
• Erich Wolfgang Korngold’s score

Must See?
Yes, once, for its historical importance.

Categories

• Historically Relevant

(Listed in 1001 Movies You Must See Before You Die)

Links:

• IMDb entry
• DVD Savant Review
• TCM Article

Synopsis:
When his visiting buddy (James Russo) is murdered, a Detroit-based detective (Eddie Murphy) travels to Beverly Hills to investigate potentially criminal dealings at the art gallery where Russo worked, managed by their mutual friend (Lisa Eilbacher); but will Murphy’s efforts be foiled by local cops (John Ashton and Judge Reinhold) who resent his involvement?

Genres:

• Criminal Investigation
• Eddie Murphy Films
• Police

Response to Peary’s Review:
Peary writes that this “phenomenally successful Eddie Murphy comedy-crime drama” contains “some nice moments between Murphy and Beverly Hills cops Judge Reinhold and John Ashton, whom he wins over”, but argues that the “story is terribly written” and that director Martin Brest’s “comic touches are always disruptive”. However, he concedes that “Murphy saves the day, successfully fighting through his bad lines and improvising — hilariously — like crazy” as he “invade[s] ritzy establishments (fancy hotels, restaurants, art galleries, Beverly Hills mansions) or institutions and, using his con act, imitate[s] authority figures”. I think Peary’s a bit too harsh on this cult ’80s favorite: while it may be a “big joke” that Daniel Petrie’s script “received an Oscar nomination” (!), Beverly Hills Cop (the first in a lengthy franchise) remains a serviceable, well-executed, fast-paced thriller with plenty of danger and laughs. Murphy’s loyalty and persistence are charming, and the theme song is catchy enough to deserve its own “must-listen” status.

Redeeming Qualities and Moments:

• Eddie Murphy as Axel Foley
  
  
• Harold Faltmeyer’s catchy theme song

Must See?
Yes, as a cult favorite.

Categories

• Cult Movie

(Listed in 1001 Movies You Must See Before You Die)

Links:

• IMDb entry
• Q Network Review
• Spinning Image Review
• NY Times Original Review

Synopsis:
In 19th century Europe, a real estate agent (Bruno Ganz) is sent by his boss (Roland Topor) to secure a sale with Count Dracula (Klaus Kinski) in Transylvania. Dracula quickly becomes enamored from afar with Ganz’s beautiful wife (Isabelle Adjani), and sets sail to ravish her.

Genres:

• Bruno Ganz Films
• German Films
• Vampires
• Werner Herzog Films

Response to Peary’s Review:
Peary writes that “Werner Herzog’s remake of F.W. Murnau’s horror classic is beautifully filmed but too slow”, and notes that you’ll be “half asleep” by the time Ganz “reaches the castle of Count Dracula”. He writes that “what’s most disappointing is that the themes and storyline are almost identical to Murnau’s still widely circulated film, making one wonder if Herzog undertook the project only to see if he could make Kinski look like Max Schreck’s vampire (he comes mighty close)”. While it’s true that Herzog’s film is an unmistakably direct homage to Murnau’s film — he’s called it the best movie to come out of Germany — Herzog brings a unique vision to the project, making it distinctively his own. Working with cinematographer Jörg Schmidt-Reitwein, he crafts a luminously saturated historical landscape in which mortals interface warily with vampires, and it’s easy to imagine Dracula’s legend taking root. I agree with Peary that the film moves too slowly — patience is required; but Kinski is mesmerizing as the tortured Nosferatu, and the visuals (including impressive sets, costumes, make-up, and hundreds of live rats) are highly memorable.

Redeeming Qualities and Moments:

• Klaus Kinski as Nosferatu
  
• Jörg Schmidt-Reitwein’s cinematography
  
  
• Fine period sets and costumes
  
  
• Effectively creepy make-up
  
• Many memorable scenes and images
  
• The eclectic and haunting soundtrack by Popul Vuh and others

Must See?
Yes, as a visually evocative homage to a cinematic classic.

Categories

• Good Show

(Listed in 1001 Movies You Must See Before You Die)

Links:

• IMDb entry
• DVD Savant Review
• Moria Review
• Q Network Review

Synopsis:
A widowed German housecleaner (Brigitte Mira) falls in love with a much-younger Moroccan mechanic (El Hedi ben Salem), but the couple’s May-December, cross-cultural romance must withstand constant scrutiny and prejudice from their neighbors, friends, and family.

Genres:

• Cross-Cultural Romance
• Fassbinder Films
• German Films
• Marital Problems
• May-December Romance
• Racism

Response to Peary’s Review:
Peary writes that “for those who consider the films of Rainer Werner Fassbinder too esoteric and perverse, here is one that has universal appeal”; in fact, “it was Fassbinder’s breakthrough film internationally, the reason many people worldwide were willing to examine his more difficult, less accessible films.” He writes that “the couple is strong enough to endure” the “constant racial prejudice [Salem] and other Arabs in Germany are subjected to, but in time Mira’s own prejudices surface and threaten to shatter the marriage”. He concludes his review by noting that this remains “a simple, extremely poignant film, all the more fascinating because Fassbinder deals with racial prejudice in modern Germany — against Arabs, not Jews.” Indeed, Mira and Salem’s unique cross-cultural romance remains as touching and relevant as ever — perhaps even more so in the early 21st century, as Europe’s demographics continue to shift contentiously.

Mira is perfectly cast in the central female role, and fans will definitely want to check out the 2003 interview with her on Criterion’s digital restoration DVD. Salem’s personal story (he was Fassbinder’s lover in real life) mirrors his onscreen tragedy, albeit on an even more catastrophic scale; I’d love to find a copy of the 2012 documentary about him entitled My Name is Not Ali, but haven’t had any luck so far. Suffice it to say that this films reminds us how being an “outsider” — whether older, darker-skinner, less-attractive, foreign, lower-class, gay — remains an ongoing challenge for many (if not most) humans across the globe. Ali: Fear Eats the Soul is simultaneously a balm for one’s heart (“When we’re together, we must be nice to each other — otherwise, life’s not worth living.”) and a cautionary tale that our souls are hardly free from the xenophobic fear “Ali” warns us of.

Note: Peary writes that “Fassbinder admired the work of Douglas Sirk, and critics were quick to point out the film’s similarity to Sirk’s All That Heaven Allows,” as well as themes from Sirk’s Imitation of Life.

Redeeming Qualities and Moments:

• Brigitte Mira as Emmi
  
• Many memorable, poignant scenes
  
• Rich cinematography
  

Must See?
Yes, as a foreign classic.

Categories

• Foreign Gem

(Listed in 1001 Movies You Must See Before You Die)

Links:

• IMDb entry
• NY Times Original Review
• Roger Ebert’s Greatest Films Review
• TCM Article
• Bright Lights Film Essay
• Spinning Image Review
• Q Network Films