FilmFanatic.org

Synopsis:
A headstrong Naval Aviation Officer candidate (Richard Gere) with a troubled past butts heads with his hard-nosed drill sergeant (Louis Gosset, Jr.) while engaging in a no-commitment romance with a local girl (Debra Winger).

Genres, Themes, Actors, and Directors:

• Debra Winger Films
• Military
• Richard Gere Films
• Romance

Response to Peary’s Review:
Peary’s right to refer this “surprise smash hit” — directed by Taylor Hackford and written by Douglas Day Stewart (of Blue Lagoon screenwriting fame) — as “slick, manipulative, and hackneyed”. He notes that the “training scenes are drivel, taken from countless other basic-training pictures”, but points out that the “erotic performances by Gere and Winger, and [Winger’s] sympathetic character… wear down most resistance” from viewers. Adding to the film’s appeal is the Oscar-winning theme song “Up Where We Belong”, and a powerful supporting performance by Lou Gossett, Jr., who Peary posits “shouted his way to an Oscar”. Despite its strengths, however, An Officer and Gentleman is ultimately a disappointing romance, given how closely it hews to old-fashioned, anti-feminist norms.

Winger plays an appealingly independent-minded character, yet she’s reduced — like all the working-class women in her town, apparently — to waiting for a man to rescue her from her situation, whether it’s for a temporary month-long fling, or a longer commitment. We’re meant to tsk at the tactics employed by Winger’s best friend Lynette (Lisa Blount) when trying to snag a cadet of her own (David Keith), but Winger isn’t necessarily a much better role model. Meanwhile, petite Lisa Eilbacher is cast in a gratuitous role as a female trainee struggling to make her way through candidacy, who breaks down into tears every time she tries to progress through a particularly challenging component of the obstacle course — and, naturally, she’s helped by a man in the end. The famous final factory scene between Gere and Winger is perhaps most egregious of all, though I won’t spoil the film by saying too much more. Ultimately, this erstwhile hit remains erotic eye candy at best, with the added bonus of seeing Winger in one of her too-few leading roles before she left Hollywood semi-permanently in the mid-1990s.

Redeeming Qualities and Moments:

• Richard Gere as Zack
  
• Debra Winger as Paula
  
• Lou Gosset, Jr. as Sergeant Foley
  

Must See?
No, though it’s worth a one-time viewing simply for the performances.

Links:

• IMDb entry
• NY Times Original Review
• Digitally Obsessed Review
• Roger Ebert’s Review
• TV Guide Review
• Time Out Capsule Review

Synopsis:
In post-WWII Italy, a homeless teenager (Franco Interlenghi) and his friend (Rinaldo Smordoni) shine the shoes of American G.I.s while saving money to buy a beloved horse. To get the last payment required, they assist Smordoni’s brother in selling a pair of stolen American blankets, but are caught and sent to prison, where their friendship and loyalty are quickly tested under the strain of the harsh environment.

Genres, Themes, Actors, and Directors:

• Betrayal
• Italian Films
• Juvenile Delinquents
• Prisoners
• Vittorio De Sica Films

Response to Peary’s Review:
Peary argues that “Vittorio De Sica’s first major film” — a “classic of Italian neorealism” — is “one of the most powerful social dramas in cinema history”. He notes that while the movie is “unsparingly harsh” (De Sica “wanted to show how postwar Italian society was insensitive to the plight of the poor”), it “also has a tender, poetic quality”, and he posits that we “feel tremendous sympathy for Pasquale [Interlenghi] and Giuseppe [Smordoni],” “inseparable pals” who “are ignored by society and are at the mercy of the times”. He points out that we “understand their fears, confusion, desperation, misplaced anger, and worry about being betrayed by the only person they love (each other)”.

I agree with Peary on most of these major points, yet wouldn’t quite assert that Shoeshine has held its place as one of the “most powerful social dramas in cinema history”. Indeed, in comparison with more recent, no-holds-barred films like the Brazilian social drama City of God (2002) — or its earlier counterpart, Pixote (1981) — Shoeshine‘s storyline comes across as both contrived and highly scripted. Once the boys enter into a “brutal, corrupt reform school”, the plot eventually turns into a youthful variation on a Mafia flick, as familial loyalty and the fatal costs of betrayal become central themes. With that said, Anchise Brizzi’s cinematography on the streets of Rome remains noteworthy, and the lead performances are impressively natural. While it’s not must-see viewing, film fanatics will likely be curious to see this precursor to De Sica’s best-known neo-realistic classic, The Bicycle Thief (1948).

Redeeming Qualities and Moments:

• Natural performances by Interlenghi and Smordoni
  
• Fine neo-realist cinematography on the streets of Rome
  

Must See?
No, though it’s certainly worth a look simply to see the evolution of De Sica’s neo-realist sensibilities.

Links:

• IMDb entry
• NY Times Original Review
• Cinematic Threads Capsule Review

Synopsis:
A widow (Shirley MacLaine) and her daughter (Debra Winger) clash over Winger’s decision to marry an aspiring English professor (Jeff Daniels), but maintain a close relationship even when Winger and her family move away.

Genres, Themes, Actors, and Directors:

• Death and Dying
• Debra Winger Films
• Grown Children
• Illness
• Jack Nicholson Films
• John Lithgow Films
• Marital Problems
• Shirley MacLaine Films

Response to Peary’s Review:
I was pleasantly surprised to revisit this “Best Picture Oscar Winner of 1983”, a “slice-of-life seriocomedy that chronicles the combative yet loving 30-year relationship between [an] infuriatingly resolute widow… and her equally indomitable daughter”. Peary notes that while “the mix of ‘human’ comedy, outrageous comedy, perceptive family drama, and morbidity” (a major character dies) “doesn’t always mesh”, “no one will be disappointed in the splendid performances by the three leads”. Indeed, in his Alternate Oscars, Peary agrees with the Academy both that Winger deserved her nomination, and that MacLaine deserved her Best Actress award for her role as Aurora Greenway, noting that MacLaine “gave the performance of her career” here. He points out that she “doesn’t treat her [acerbic] character with condescension, because she recognizes Aurora’s extraordinary qualities. Instead she makes sure we know that Aurora recognizes her own peculiarities and foibles” (which include being “overbearing, opinionated, [and] tactless”).

Peary notes in his GFTFF review that TOE is fortunately “not one of those pictures in which a stern parent lets her… daughter know that she indeed loves her deeply although she could never express it”; instead, “there is never any question that they love each other”, which is what makes the film as a whole so refreshing. When we watch Winger’s young character butting heads with her mom in opening scenes — and witness MacLaine actually admitting she’d prefer not to attend Winger’s wedding — we believe we’re being set up for a story that will center around ongoing mother/daughter strife; instead, what we see is a film “about two different women who become close friends“. While they remain “adversaries, they [also] seek out each other’s advice and support”, as they “begin leading parallel lives” (“both have affairs… at the same time”).

In the remainder of his review, Peary mentions numerous major spoilers that probably won’t be news to most film fanatics, but I’ll refrain from discussing them here. Suffice it to say that “the tragedy that befalls [one of the main characters] leads us to the film’s reassuring theme: in a crisis, especially a life-and-death situation, even irresponsible people will come through for those they love”. Peary notes that “we get a unique look at what makes even the most common people special”, and argues that TOE remains a “touching, tear-inducing film”. He points out that writer/director James L. Brooks’ project (based on a novel by Larry McMurtry) “was rejected by several studios because executives thought it was more appropriate for a television movie”, which makes sense — but the actors and the screenplay ultimately elevate this one above the level of most made-for-TV melodramas. It’s definitely worth a watch.

Redeeming Qualities and Moments:

• Shirley MacLaine as Aurora
  
• Debra Winger as Emma
  
• Jeff Daniels as Flap
  
• Jack Nicholson as retired astronaut Garrett Breedlove
  
• A fine adaptation of Larry McMurtry’s novel
  

Must See?
Yes, as a powerful, Oscar-winning tearjerker.

Categories

• Good Show
• Oscar Winner or Nominee

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

Links:

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

Synopsis:
By secretly raising a chimpanzee like his own child, a psychology professor (Ronald Reagan) whose father was a notorious thief attempts to prove to his future father-in-law (Herbert Heyes) that environment is more important than heredity when it comes to building character, and that he’s thus worthy of marrying Heyes’ daughter (Lucille Barkley). Complications arise, however, when Barkley becomes jealous of the lovely young nanny (Diana Lynn) Reagan hires to care for Bonzo the chimp, and Lynn finds herself falling in love with Reagan.

Genres, Themes, Actors, and Directors:

• Comedy
• Governesses and Nannies
• Love Triangle
• Primates
• Professors
• Ronald Reagan Films

Response to Peary’s Review:
In his review of Bedtime for Bonzo, Peary dates himself (and GFTFF) by writing that “Democrats have often screened this farce at political fundraisers, believing that when voters saw candidate Reagan playing papa to a chimp it would reduce his credibility as a candidate for Governor or President”. He points out, however, that “of course these attempts… have always backfired because the picture is surprisingly enjoyable, amusing rather than campy”. He argues that “the cute and affectionate Bonzo is a lot of fun to watch”, and that “Reagan proves to be an adequate partner to the chimp, only rarely being his foil and never playing the fool”. He writes that “as would-be voters discovered, Reagan comes across as reliable, friendly, earnest, and an all-around good sport” — not to mention “predictable — a characteristic that would appeal to voters who always confuse the character on screen with the actor who plays him”.

In his more extended review of BfB in his Cult Movies book, Peary elaborates upon the film’s importance as perhaps the most notorious entry in Reagan’s limited, largely unexceptional acting career (with just a few pleasant surprises — such as the pre-WWII melodrama Kings Row — demonstrating his greater potential). These days, however — several decades after Reagan’s political career is over — Bedtime for Bonzo holds much less cult appeal than it once did, and must instead be judged upon its own merits. As such, it remains an “amiable film”, innocuous and reasonably entertaining, but certainly not one film fanatics need to stand up and take notice of. Its primary audience, naturally, will be people who enjoy watching trained animals on screen. With that said, Bonzo is nicely supported by no-nonsense Lynn (always a treat) and by Walter Slezak in a rare good-guy role as the professor who loans Bonzo to Reagan.

Redeeming Qualities and Moments:

• Diana Lynn as Jane Linden
  
• Walter Slezak as Prof. Neumann
  

Must See?
No, though it’s worth a look for its erstwhile curiosity value.

Links:

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

Synopsis:
The son (Roddy McDowall) of an out-of-work Yorkshireman (Donald Crisp) and his wife (Elsa Lanchester) is heartbroken to learn that they’ve sold his beloved collie, Lassie (Pal), to a Scottish duke (Nigel Bruce). Fortunately, Bruce’s kind-hearted granddaughter (Elizabeth Taylor) helps set Lassie free, and the intrepid dog makes her way back home to Yorkshire via a long and arduous journey.

Genres, Themes, Actors, and Directors:

• Donald Crisp Films
• Edmund Gwenn Films
• Elizabeth Taylor Films
• Elsa Lanchester Films
• Pets
• Road Trip
• Roddy McDowall Films

Response to Peary’s Review:
Peary writes that this “classic family film” — a “classy, colorful MGM production” — is “sentimental but not as gushy as one might imagine”. He accurately notes that it “boasts an outstanding human cast” (including Dame May Whitty, Elsa Lanchester, and Donald Crisp) and that “of course, Lassie” (actually played by a male dog named Pal) “is a remarkable talent”. He points out how refreshing it is that “Lassie is portrayed here as a very smart dog, rather than as the genius of the television show”; indeed, given how often we hear stories of pets enduring unimaginable hardships to make their way back home, it’s not that difficult to swallow Lassie’s adventures as somewhat realistic. McDowall is excellent in the critical role as Lassie’s beloved “Joe”, and “pretty little Elizabeth Taylor, who still sported an English accent” is surprisingly charismatic in a bit part as the dog-loving girl who supports Lassie’s quest to “come home”. While the human storyline wraps up far too conveniently for its own good (you’ll be groaning at the final reel), Lassie Come Home remains an enjoyable family flick, one which film fanatics should check out simply for its historical relevance as the “grand-daddy” of all beloved canine movies.

Redeeming Qualities and Moments:

• Fine performances throughout
  
  
  
  
• Oscar-nominated Technicolor cinematography
  
• A heart-warming, well-crafted family tale

Must See?
Yes, as a “family friendly” classic (though thankfully, Peary doesn’t list any of the sequels in his book; this first entry is sufficient).

Categories

• Historically Relevant

Links:

• IMDb entry
• NY Times Original Review
• Digitally Obsessed Review
• Spinning Image Review
• DVD Savant Review
• TCM Article

Synopsis:
A former gunslinger (Alan Ladd) is invited to stay and work at a farm run by a homesteader (Van Heflin), his wife (Jean Arthur), and their son (Brandon De Wilde) — but when a local rancher (Emile Meyer) and his associates continue to threaten Heflin and other homesteaders in the area, Shane (Ladd) realizes he may have to resurrect his gun-slinging ways.

Genres, Themes, Actors, and Directors:

• Alan Ladd Films
• Ben Johnson Films
• George Stevens Films
• Jack Palance Films
• Jean Arthur Films
• Ranchers
• Van Heflin Films
• Westerns

Response to Peary’s Review:
Peary writes that “if you want to understand the form of the ‘classic’ western,” Shane — directed by George Stevens, and based on a novel by Jack Schaefer — “is the picture to study”. He notes that the character of Shane (Ladd) fits the archetype of a classic “westerner” — “a loner who has a mysterious, violent past that he cannot escape”, someone who “would like to settle down in the civilized West” but “comes to realize he has no future”. He points out that “the overlap of this [mythological] West (embodied by gunslingers like Shane) with the beginnings of the civilized historical West is essential to classic westerns” — indeed, the particular trope played out here (of “ranchers versus settlers”) remains an iconic one in its own right, and can be seen as far back as John Ford’s silent film Straight Shooting (1917). TCM’s article on the film furthers Peary’s argument about its classic structure, positing that “Shane is the real McCoy — a powerful cinematic myth with a stoic hero at its center who simply wants to do the right thing”.

Given its iconic status, it’s easy to approach Shane with a sense of cinematic duty — but despite overly slow pacing and an occasionally disruptive musical score, for the most part it’s held up quite nicely. Indeed, there’s plenty to enjoy and appreciate about Shane, which features “remarkable authenticity” (check out stills of the sets below), is “beautifully shot” by Oscar-winning DP Loyal Griggs, and is “beautifully acted” by Ladd, Heflin, Arthur, and others. While some have argued that Ladd was miscast in the title role, I disagree; he shows off an appropriately fit, muscular body, and is entirely believable both during the excitingly brutal extended fight scenes, and during the film’s many quieter moments, as we see how much he’s come to care for both Arthur and her adoring son, Joey.

Heflin is equally notable in the critical secondary role as Joe Starrett, a man determined to hold onto his land and fight back against bullies at any cost — and Arthur (lured out of semi-retirement by Stevens) is a fine, believable choice to play Starrett’s wife. Meanwhile, other familiar faces — including Elisha Cook, Jr. as a hot-headed southern homesteader, and Jack Palance as the black-hatted gunslinger brought in to “take care of” the homesteaders — are a welcome presence as well. Unfortunately, De Wilde’s performance as young Joey is the one dissatisfying outlier; he’s far too often shown simply staring wide-eyed at the proceedings, and/or asking whiny “why?” questions like a four-year-old. However, his nearly worshipful adoration of Shane is made abundantly clear, which I suppose is what’s most important in this tale of a larger-than-life western hero.

Redeeming Qualities and Moments:

• Alan Ladd as Shane (nominated as one of the Best Actors of the Year in Peary’s Alternate Oscars)
  
• Van Heflin as Joe Starrett
  
• Jean Arthur as Marian
  
• Fine supporting performances
  
  
  
• Loyal Grigg’s cinematography
  
• Authentic production values and sets
  
  

Must See?
Yes, as a justified western classic. Voted Best Picture of the Year in Peary’s Alternate Oscars.

Categories

• Genuine Classic
• Oscar Winner or Nominee

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

Links:

• IMDb entry
• NY Times Original Review
• FilmSite Review
• Digitally Obsessed Review
• Roger Ebert’s Great Movies Review
• TCM Article
• Tired Old Queen at the Movies Video Review