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Synopsis:
A white man (Paul Newman) raised by Apaches rides on a stagecoach hired by a wealthy man (Fredric March) and his wife (Barbara Rush). When the stagecoach is overtaken by bandits (led by Richard Boone), the other passengers — including a boarding-house manager (Diane Cilento), a young man (Peter Lazer), and Lazer’s wife (Margaret Blye) — turn to Newman for help.

Genres, Themes, Actors, and Directors:

• Barbara Rush Films
• Fredric March Films
• Native Americans
• Outlaws
• Paul Newman Films
• Race Relations
• Richard Boone Films
• Westerns

Review:
As a solid western featuring a stalwart leading performance by Newman, Martin Ritt’s Hombre — listed in 1,001 Movies You Must See Before You Die — remains an odd omission from Peary’s book. Based on a novel by Elmore Leonard, it tells a simple yet powerful tale of race relations under pressure, with Newman’s Apache-like white man retaining the essence of the culture he’s chosen to adopt and maintain, even once he cuts his hair and returns to “civilization”. We first see evidence of his deep convictions when he meets with the woman (Cilento) running the boarding house he’s inherited; he displays absolutely no interest in listening to her proposed compromise to keep the house going. The screenplay shifts slightly at this point to Cilento’s dilemma: as a working woman in the Old West, she knows that her options are limited, and when her proposal to marry her long-time lover — the town’s sheriff (John Cameron) — is likewise turned down, she recognizes that she must move on.

From there, we learn that a wealthy, arrogant couple (Rush and March) are willing to pay any price necessary to hire a stagecoach to get them out of town, and soon find out exactly why they’re in such a hurry. Two characters we’ve met so far turn out to have alter egos and/or hidden agendas (I won’t spoil anything here), and the remaining characters quickly find their lives in peril, as they face a shoot-off between themselves and the bandits, with water supplies dwindling rapidly. The screenplay retains tension until the very end through the question of whether Newman’s character will abandon his “selfish”, loyalty-free stance and continue to help his fellow passengers survive, or leave them to their own devices. In addition to Newman’s memorable performance, the entire supporting cast is in fine form — particularly Cilento (as a refreshingly no-nonsense female presence), Boone (a truly menacing baddie), and Rush (whose haughty composure gradually melts in the face of adversity).

Redeeming Qualities and Moments:

• Paul Newman as Hombre/John Russell
  
• Diane Cilento as Jessie
  
• Richard Boone as Cicero Grimes
  
• Barbara Rush as Audra Favor
  
• Fine location shooting (in Death Valley) by James Wong Howe

Must See?
Yes, as a solid western featuring a host of fine performances.

Categories

• Good Show
• Noteworthy Performance(s)

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

Links:

• IMDb entry
• NY Times Original Review
• Roger Ebert’s Review
• Time Out Capsule Review (spoiler alerts)

Synopsis:
A young housemaid (Ingrid Bergman) determined to become a missionary in China saves up enough money to travel there from Britain, and finds work helping an older missionary (Athene Seyler) run an inn. Soon she finds herself a respected member of a local community led by an aging mandarin (Robert Donat), and falls in love with a half-Chinese captain (Curd Jurgens), who warns Donat and Bergman of an impending invasion by Japan.

Genres, Themes, Actors, and Directors:

• Biopics
• China
• Curt Jurgens Films
• Ingrid Bergman Films
• Mark Robson Films
• Missionaries and Revivalists
• Orphans
• Robert Donat Films
• Strong Females

Review:
Based upon the real-life adventures of missionary Gladys Aylward, this lushly photographed biopic (directed by Mark Robson) notoriously took some liberties with Aylward’s life, to the point where Aylward herself renounced the film. She was most upset about the inclusion of a romantic subplot, given that she claims never to have even kissed a man; see Wikipedia’s article for more specific complaints. Regardless, Inn… remains an entertaining film about a fascinating personality, played to perfection by Bergman (who looks nothing like Aylward; naturally, Aylward complained about this, too). Bergman/Aylward’s utter conviction that she belongs in China rather than England gives one renewed faith in the notion that we all may have a specific path to follow, if we’re willing to listen to our hearts and follow our passions. Aylward never questions the challenges she faces, instead simply accepting them as part of the life journey she’s meant to undertake; for instance, she adopts numerous orphans throughout the course of the film, never doubting whether she has the ability or the resources to care for them — they simply become a part of her ever-expanding household.

The culminating sequence — chronicling Aylward’s harrowing cross-country journey to bring 100+ orphans to safety in the midst of a Japanese invasion — is likely what most viewers will remember years after viewing this film; it remains a gripping adventure, especially knowing that it really occurred. Much less involving is Bergman’s romance with Jurgens, which comes across as strictly Hollywood, and should likely have been cut altogether (the film runs too long as it is); Aylward’s complaint was accurate in this case. However, Bergman’s relationship with Donat’s aging mandarin remains of interest, as we view his growing respect for the vital qualities she brings to his village — most specifically her ability to convince villagers to finally give up the barbaric practice of foot-binding. Her final scene with Donat (who died during the film’s screening) is genuinely touching, and will surely bring a lump to any ff’s throat.

Redeeming Qualities and Moments:

• Ingrid Bergman as Gladys Aylward (nominated by Peary as one of the Best Actresses of the Year in his Alternate Oscars)
  
• Fine cinematography by Freddie Young
  
• The harrowing final escape sequence
  

Must See?
No, though it’s definitely worth a one-time look. Listed as a Personal Recommendation in the back of Peary’s book.

Links:

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

Synopsis:
A callow cowboy (John Travolta) transplanted to Houston marries a feisty young woman (Debra Winger) he meets in a bar, but their marriage is quickly beset by jealousy and infidelity.

Genres, Themes, Actors, and Directors:

• Cowboys
• Debra Winger Films
• James Bridges Films
• John Travolta Films
• Marital Problems
• Masculinity
• Scott Glenn Films

Review:
After achieving phenomenal fame in both Saturday Night Fever (1977) and Grease (1978) — and then enduring ridicule for his role as Lily Tomlin’s lover, “Strip”, in Moment by Moment (1978) — John Travolta starred in this film about a headstrong young country boy whose adventures in the Big City (Houston) include both a tempestuously whirlwind marriage and a nascent obsession with riding mechanical bulls. Indeed, the newly popular sport of mechanical bull-riding — shown on-screen here so many times you’ll likely be yawning by the end — becomes a central element of the storyline, overtly representing Travolta’s quest to prove his manhood to his new wife, especially when faced with stiff competition in the form of ex-convict (and master rider) Scott Glenn.

Unfortunately, the screenplay (co-written by director James Bridges and Aaron Latham, based on Latham’s own story) disappoints in its presentation of marital challenges and machismo run amok. Travolta and Winger’s marriage, while perhaps sadly realistic, is based on nothing more than chemistry and a desire to play at housekeeping, with little real understanding of what such a commitment will entail.

It’s not at all surprising, then, when their romance quickly falls apart, especially given Travolta’s intermittently abusive treatment of Winger. Glenn’s villainous bull-rider is menacing but one-note, and Travolta’s new lover — a beautiful, slumming heiress (Madolyn Smith) with a “thing” for cowboys — simply strikes one as a caricature.

It’s Winger — nurtured by her mentor, Bridges — who gives the film’s most nuanced and noteworthy performance, and remains the primary reason to give this film a one-time look.

Note: For a much better variation on some of the same themes touched upon here, see Nicholas Ray’s The Lusty Men (1952).

Redeeming Qualities and Moments:

• Debra Winger as Sissy
  

Must See?
No, though it’s worth a look simply for Winger’s performance. Listed as a Personal Recommendation in the back of Peary’s book.

Links:

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

Synopsis:
A down-on-his-luck photojournalist (James Woods) drags his reluctant friend (James Belushi) with him to conflict-ridden El Salvador, where he attempts to chronicle the rise of military power and guerrilla resistance.

Genres, Themes, Actors, and Directors:

• James Woods Films
• Journalists
• Michael Murphy Films
• Oliver Stone Films
• Political Corruption
• South and Central America

Review:
Peary doesn’t review Oliver Stone’s Salvador in his GFTFF, but he names it one of the Best Films of the Year in his Alternate Oscars, where he gives Woods the Best Actor of the Year award, and discusses his memorable performance at some length. He notes that “no one is better at playing hustling, live-wire, sleazeball opportunists than James Woods”, who “found his ideal role as Richard Boyle” (upon whose real-life adventures the film is based; he co-wrote the script with Stone). Woods accomplishes the astonishing feat of turning his self-proclaimed “weaselly” character — a man who “drinks and whores; takes drugs and smokes like a furnace; borrows money he’ll never pay back; lies, brags, cons, annoys, gets in everyone’s face” — into someone we don’t mind watching for two hours, and even come to feel some respect for by the film’s harrowing ending. Indeed, we can’t help (on some level) admiring this man who willingly puts himself in the middle of a war zone simply to hustle a story; sure, he’s selfishly doing it to make a buck, but his actions take guts, and he consistently demonstrates a remarkable degree of savvy (in notable contrast with the stupidly reckless behavior of many of his companions).

Woods’ memorable performance grounds the story, but the film itself remains impressively mounted on every count, sparing no detail in showing us the grim, bloody, chaotic reality of life in El Salvador at the time. Stone struggled to receive adequate financing for the film, which was made on a relatively small budget, but you’d never know; we genuinely believe we’ve been plunged directly into the melee of this specific time and place. Not all the scenes or performances in Salvador work equally well: I’m still not convinced that Belushi’s character is all that relevant, for instance, and a rival “yuppie” news reporter (Valerie Wildman) is painted in overly broad strokes; however, Stone is consistent enough in his presentation of the topic to keep us sufficiently engaged and enraged. Comparing this film with Haskell Wexler’s well-meaning but ultimately disappointing Latino (released the previous year), one further appreciates Stone’s ability to not only humanize the Salvadorian conflict, but to make it dramatically engaging as well. Many consider Salvador to be Stone’s most under-appreciated film, and there may be some truth to this sentiment.

Redeeming Qualities and Moments:

• James Woods as Rick Boyle (voted Best Actor of the Year in Peary’s Alternate Oscars)
  
• An authentically gritty depiction of chaos and war in early-’80s El Salvador
  

Must See?
Yes, as a powerful and important political thriller. Listed as a Sleeper and a Personal Recommendation in the back of Peary’s book, and nominated by Peary as one of the Best Films of the Year in his Alternate Oscars.

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

Links:

• IMDb entry
• NY Times Original Review
• Roger Ebert’s Review
• DVD Savant Review
• Q Network Review
• TV Guide Review
• Time Out Capsule Review

Synopsis:
A hardworking British waitress (Julie Walters) begins a new career as a madam, catering to the whims of middle-aged men with kinky sexual fantasies.

Genres, Themes, Actors, and Directors:

• Morality Police
• Prostitutes and Gigolos
• Strong Females

Review:
Several years after her breakthrough role in Educating Rita (1983), Julie Walters gave another stellar performance in this Terry Jones-directed pseudo-biopic, loosely based on the notorious life story of British “party hostess” Cynthia Payne. Walters immediately convinces us that her “Christine Painter” is a practical, no-nonsense, driven woman who — after only very brief hesitation — finds it pleasantly straightforward to earn a living while orchestrating solutions to men’s secret desires; it’s certainly preferable to a marriage of convenience (her only other obvious way up). The screenplay follows her rise to tenuous success, as she shifts from simply brokering sexual exchanges (and engaging in a few herself) to hosting notoriously gonzo “sex parties” in her house; conflict emerges both in Painter’s troubled relationship with her disapproving father, and her run-ins with Britain’s [morality] police (who are portrayed as unequivocal baddies). Certain scenes — such as Painter’s personal fantasy sequences — feel superfluous and/or poorly handled, but the film as a whole remains true to its intention of presenting Painter/Payne’s story in a sympathetic and lively fashion, and remains worth a look simply for Walters’ strong performance.

Redeeming Qualities and Moments:

• Julie Walters as Christine Painter
  

Must See?
No, though it’s worth a look simply for Walters’ performance.

Links:

• IMDb entry
• NY Times Original Review
• Roger Ebert’s Review
• Spinning Image Review
• Washington Post Review
• Time Out Capsule Review

Synopsis:
A young man (Keith Gordon) in a deeply troubled family is encouraged by a charismatic instructor (Kirk Douglas) to film the story of his life.

Genres, Themes, Actors, and Directors:

• Black Comedy
• Brian De Palma Films
• Family Problems
• Kirk Douglas Films
• Movie Directors
• Nancy Allen Films

Review:
Made in collaboration with some of his students at Sarah Lawrence College, this Brian De Palma-directed film (a throwback to earlier quirky comedies in his oeuvre) remains an unfortunate misfire on every count. Although we’re meant to sympathize with the hapless protagonist — whose doctor-father (Vincent Gardenia) is cheating on his wife (Mary Davenport), and whose narcissistic brother (Gerrit Graham) controls every move made by his adoring fiance (Nancy Allen) — Gordon’s character never emerges as anyone worthy of rooting for. De Palma and his team are clearly aspiring towards some form of absurdist comedy, but there are no meaty existential Truths to be mined from this material; viewers are simply left bored and annoyed. Meanwhile, Pino Donaggio’s invasive score helps not at all, and Douglas’s presence is simply embarrassing.

Redeeming Qualities and Moments:

• Creative opening titles
  

Must See?
No; definitely feel free to skip this one. Listed as a Cult Movie in the back of Peary’s book.

Links:

• IMDb entry
• Spinning Image Review

Synopsis:
A tough, Chicago-based reporter (John Belushi) is sent by his managing editor (Allen Garfield) to cover a story about a scientist (Blair Brown) living an isolated existence in the Rockies. While Blair is resistant at first to Belushi’s presence, soon the pair start to fall for one another — but their incompatible lifestyles remain an obstacle to their romantic success.

Genres, Themes, Actors, and Directors:

• Allen Garfield Films
• John Belushi Films
• Journalists
• Michael Apted Films
• Romantic Comedy
• Scientists

Review:
This quirky romantic comedy (directed by Michael Apted) remains a beloved favorite of Belushi fans, who view it as evidence of the broader acting talents he could have demonstrated had he lived longer (he died the following year). The semi-comedic storyline feels undeniably contrived at times, particularly during scenes set in Chicago, where Belushi’s intrepid mob-busting reporter is depicted as a man of deep principles who’s known and beloved by seemingly all the city’s denizens (hardly likely); and when he first arrives in the Rockies, we understand Blair’s frustration with his intrusive, often abrasive presence. But eventually we come to root for both Belushi and Blair (an appealingly feisty, smart, independent heroine), thanks in part to Lawrence Kasdan’s script, which allows Blair’s affection for Belushi to blossom naturally, culminating in an exciting scene wherein she’s given a chance to save his life. Meanwhile, fine use is made of gorgeous location shooting high in the mountains of Colorado. While it’s not must-see viewing, film fanatics in the mood for something light and frothy might want to check this one out.

Redeeming Qualities and Moments:

• Blair Brown as Nell Porter
  
• John Belushi as Ernie Souchak
  
• Beautiful on-location footage
  

Must See?
No, though it’s worth a one-time look. Listed as a Sleeper and a Personal Recommendation in the back of Peary’s book.

Links:

• IMDb entry
• NY Times Original Review
• Roger Ebert’s Review
• Combustible Celluloid Review
• Qwipster’s Review