FilmFanatic.org

Synopsis:
A renowned actress (Jeanne Moreau) and her friends (Lucia Bose, Caroline Cartier, and Francine Racette) deal with love and career choices in Paris.

Genres, Themes, Actors, and Directors:

• Actors and Actresses
• Bruno Ganz Films
• French Films
• Friendship
• Jeanne Moreau Films
• Keith Carradine Films

Review:
Jeanne Moreau’s directorial debut offers more of a meditation on women’s lives than a compelling narrative; her attempt, a la Robert Altman, to touch upon the travails of a host of interwoven characters necessarily fragments the story, often to its detriment. Moreau herself ultimately emerges as the most sympathetic (and central) character: her story — thanks in no small part to her luminous performance — is eminently watchable, and her three love interests — played by Francois Simon (as her older “companion”), Francis Huster, and Bruno Ganz — are all perfectly cast. Unfortunately, we learn much less about either Cartier (virtually a non-presence) or Bose (a fine Italian actress whose character possesses an intriguing, though unplumbed, back story). Meanwhile, Racette primarily provides comic relief — as in the film’s most humorous scene, involving a hilarious Keith Carradine as a horny American who catches sight of Racette in a restaurant and tracks her down ruthlessly; this could be creepy, but Moreau wisely chooses to play it for laughs. Ultimately, Lumiere‘s fractured, imbalanced narrative prevents it from being “must see”, but Moreau’s ability to effortlessly evoke a particular milieu — one she’s intimately familiar with — makes it worth viewing at least once.

Redeeming Qualities and Moments:

• Jeanne Moreau as Sarah
  
• Lucia Bose as Laura
  
• Bruno Ganz as Heinrich Grun
  
• Francois Simon as Gregoire
  
• Julienne (Francine Racette) negotiating a romantic encounter with a horny American (Keith Carradine)
  

Must See?
No, though fans of Moreau’s work will likely be curious to check it out.

Links:

• IMDb entry
• NY Times Original Review (spoilers alert)

Synopsis:
Professor Turner (Henry Fonda) is warned by his supervisor (Eugene Pallette) that he cannot read a letter by a controversial anarchist in his class or he will risk losing his job; meanwhile, his wife (Olivia de Havilland) is courted by a returning football star (Jack Carson), and Turner finds his sense of masculinity sorely tested.

Genres, Themes, Actors, and Directors:

• Comedy
• Henry Fonda Films
• Jack Carson Films
• Love Triangle
• Masculinity
• Olivia de Haviland Films
• Play Adaptations
• Professors

Review:
This dated but amusing comedy about censorship in academia — as well as what it means to be a “real male” — is based on a 1940 play by James Thurber and Elliott Nugent, and was directed by the latter. Henry Fonda is well-cast as bespectacled Professor Turner, who finds himself increasingly put upon in both career and marriage, and must eventually decide to stand up for what he believes in and cares most about. Even more enjoyable than Fonda, however, is the ever-reliable Jack Carson as returning football star Joe Ferguson:

Carson manages to present Joe as a realistic threat to Turner’s marriage without ever coming across as villainous or unlikable; his opening greeting with trustee Ed Keller (nicely played by Eugene Pallette) is priceless.

Audiences today will likely have no idea who the controversial writer in question (Bartolomeo Vanzetti) is, but this shouldn’t affect one’s ability to appreciate the underlying dilemma at stake.

Redeeming Qualities and Moments:

• Fonda’s drunken diatribe about human males in relation to other animals
  
• Jack Carson as erstwhile football star Joe Ferguson
  

Must See?
No, but it’s recommended. Listed as a Personal Recommendation in the back of Peary’s book.

Links:

• IMDb entry
• NY Times Original Review
• TCM Article

Synopsis:
A high-ranking government official (Yves Montand) in Communist Czechoslovakia is taken prisoner and forced to confess to treason he never committed.

Genres, Themes, Actors, and Directors:

• Cold War
• Costa-Gavras Films
• Falsely Accused
• Historical Drama
• Prisoners
• Simone Signoret Films
• Yves Montand Films

Review:
Costa-Gavras followed up his Oscar-nominated political thriller Z (1969) with this hopelessly grueling tale based on Artur London’s experiences during the infamous Czechoslovakian Slansky trial, in which 13 innocent men (11 of them Jewish) were forced to confess to crimes of treason against the Communist Party. Costa-Gavras’ gift for depicting no-holds-barred realism and eliciting fine performances from his actors is in full evidence here; unfortunately, however, the story he’s chosen to tell is so nightmarishly Kafka-esque that it’s truly difficult to sit through for over two hours. Even knowing that the protagonist (who is occasionally shown telling his story in flashback) will survive to write a book about his travails doesn’t help matters much. The Confession is ultimately a film one admires rather than enjoys, and will be of most interest either to Costa-Gavras fans or history buffs interested in the dysfunctional machinations of Stalinism.

Redeeming Qualities and Moments:

• Yves Montand as “Gerard”
  
• Simone Signoret as Montand’s wife
  
• An uncompromising depiction of sustained psychological and physical torture
  

Must See?
No, although it’s recommended for those who can stomach it. Listed as a film with Historical Importance in the back of Peary’s book.

Links:

• IMDb entry
• NY Times Original Review
• Roger Ebert’s Review
• Time Out Capsule Review

Synopsis:
A drifter (Jack Nicholson) begins a steamy affair with the wife (Jessica Lange) of his new boss (John Colicos), and soon the two are plotting to commit murder.

Genres, Themes, Actors, and Directors:

• Bob Rafelson Films
• Courtroom Drama
• Infidelity
• Jessica Lange Films
• Jack Nicholson Films
• Plot to Murder

Review:
Remaking a certified cinematic classic is always tricky business, given that the question “Why bother?” lingers naggingly in one’s head. In this case, director Bob Rafelson and screenwriter David Mamet (whose distinctive voice is nowhere in sight) seem interested in creating a more “authentic” version of James M. Cain’s Depression-era novel, which they achieve primarily by incorporating explicit scenes of steamy sexuality between Cora (Lange) and Frank (Nicholson), and restoring cuckolded husband Nick Papadakis’s Greek ethnicity (he was simply “Nick Smith” in the 1946 version). Unfortunately, however, Rafelson and Mamet are unable to create a more interesting or compelling drama than that told in Tay Garnett’s MGM classic: while both Nicholson and Lange are excellent actors, they can’t compete with the iconic status of their predecessors (Lana Turner and John Garfield), and neither one is particularly well cast. With that said, Rafelson’s update is at the very least a visual treat: Sven Nykvist’s glowing cinematography is as seductive as always, and set designer George Jenkins effectively recreates a specific time and place in history. Nonetheless, this re-envisioning of Postman ultimately remains optional viewing rather than a must-see gem.

Redeeming Qualities and Moments:

• John Colicos as Nick Papadakis
  
• George Jenkins’ Depression-era set designs
  
• Sven Nykvist’s cinematography
  

Must See?
No, though film fanatics will likely be curious to at least check it out.

Links:

• IMDb entry
• NY Times Original Review
• Roger Ebert’s Review
• Time Out Capsule Review

Synopsis:
A drifter (John Garfield) falls for the beautiful wife (Lana Turner) of an older restaurant proprietor (Cecil Kellaway), and the two young lovers are soon plotting murder.

Genres, Themes, Actors, and Directors:

• Audrey Totter Films
• Cecil Kellaway Films
• Courtroom Drama
• Femmes Fatales
• Hume Cronyn Films
• Infidelity
• John Garfield Films
• Lana Turner Films
• Plot to Murder

Review:
Although two foreign adaptations had already been made of James M. Cain’s 1934 novel — Pierre Chenal’s Le Dernier Tournant in 1939, and Luchino Visconti’s Ossessione in 1943 — this 1946 MGM iteration is widely referred to as “the original” version of Cain’s story, in contrast with Bob Rafelson’s steamy but disappointing 1981 remake. While the latter is more authentic to both the novel and the time period in which it takes place, the stylized look and feel of MGM’s version (Tay Garnett‘s best directorial effort) nonetheless lend it a sort of classic timelessness: from Lana Turner’s infamous “lipstick entrance”, to Turner’s (nearly) all-white wardrobe, to the spic-‘n-span cleanliness of Kellaway’s roadside diner, this Postman lingers in one’s memory long after viewing.

As the unwitting femme fatale who causes the downfall of both Garfield’s drifter and Kellaway’s bumbling restaurateur, “sweater girl” Lana Turner gives what is widely considered her best, most iconic performance: she’s all tanned legs, platinum hair, and seductive poses — literally a cheesecake model come to life — and while some (see DVD Savant’s review) have argued that she’s too pristine and wooden for the role of a gritty roadside waitress, Turner’s sunkissed looks are the perfect embodiment of a seductive force too strong to resist.

John Garfield is well-cast as smitten Frank Chambers, and is a perfect match for Turner, effectively capturing the frustrations of a man torn between erotic desire, wanderlust, and a basic sense of decency. Other bit roles are nicely played as well, particularly Hume Cronyn as the brilliant if corrupt lawyer who first plays Turner off of Garfield, thus starting a downward spiral which ends — in typical noir fashion — tragically.

Redeeming Qualities and Moments:

• John Garfield as Frank Chambers
  
• Lana Turner — in her best role — as Cora Smith
  
• Hume Cronyn and Leon Ames as competing lawyers
  

Must See?
Yes, for its status as an undisputed noir classic. Listed as a film with Historical Importance and a Personal Recommendation in the back of Peary’s book.

Categories

• Genuine Classic

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

Links:

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

Synopsis:
A war veteran (Richard Barthelmess) whose cowardly comrade (Gordon Westcott) has accepted all the glory for his heroism battles a morphine addiction, then starts life anew in Chicago, where he prospers as the co-owner of a labor-saving laundry machine and marries his sweetheart (Loretta Young). His luck turns again, however, when he’s falsely accused of inciting a riot, and sent away to prison — but he refuses to give up on his dream of helping those less fortunate than himself.

Genres, Themes, Actors, and Directors:

• Depression Era
• Do-Gooders
• Falsely Accused
• Loretta Young Films
• Veterans
• William Wellman Films

Review:
William Wellman’s hard-hitting tale of an unsung war hero whose [for]giving nature brings him both deep satisfaction and cruel treatment is, as noted in TCM’s review, “ungainly” yet “also unfailingly urgent and never boring”. The film starts off with a compelling exploration of bravery and cowardice during the heat of battle, and we wait with bated breath to hear Barthelmess’s reaction to Westcott’s stinging betrayal:

Once this is revealed, however (no revenge is taken by the extraordinarily good-hearted Barthelmess), the screenplay veers from one episode to another in rapid-fire succession — Westcott does show up again, but only in the film’s final scene, in order for Wellman to make the point that both rich and poor suffered under the iron grip of the Great Depression. In the meantime (as indicated in TCM’s assessment) we become oddly compelled by Barthelmess’s travails, watching his character emerge as a true “hero” of the era — someone who is decidedly not for sale, at any cost. The fine cast of supporting actors (particularly Aline MacMahon in a pivotal role) adds to the enjoyment of this unusual little film.

Redeeming Qualities and Moments:

• Richard Barthelmess as Tom Holmes
  
• Gordon Westcott as Tom’s cowardly comrade
  
• Aline MacMahon as Tom’s landlady and friend
  
• Loretta Young as Tom’s wife
  

Must See?
No, but it’s recommended.

Links:

• IMDb entry
• NY Times Original Review
• TCM Article

Synopsis:
An anti-war editorialist (Claude Rains) goes mad when he discovers that his editor (Lionel Atwill) has betrayed his trust by collaborating with munitions manufacturers.

Genres, Themes, Actors, and Directors:

• Betrayal
• Claude Rains Films
• Flashback Films
• Joan Bennett Films
• Lionel Atwill Films
• Play Adaptations
• World War I
• Writers

Review:
The Man Who Reclaimed His Head — based on a stage play by Jean Bart — is not, as its provocative title would suggest, a horror flick; while insanity and murder are involved, they ultimately take a back seat to the central story of a freelance writer (Rains) so in love with his beautiful young wife (Joan Bennett):

that he agrees to work for an unscrupulous former boss (Atwill), only to find his trust sorely misplaced. Unfortunately, while the expose of “special interests” driving the machinery of war — and the complicity of the media in such efforts — was surely shocking at the time of the film’s release, today’s audiences will find such nefarious collaborations sadly commonplace, and thus may have a hard time relating to the enormity of Rains’ emotions (not to mention his drastic actions). Rains — always a compelling actor — is excellent in the title role (indeed, Peary nominates his performance for an Alternate Oscar), but Atwill’s “evil” character isn’t fleshed out nearly enough.

Meanwhile, Bennett (capable of much better) emerges as little more than a pretty face.

While it’s not “must see” viewing for all film fanatics, however, Claude Rains fans will certainly want to check this one out.

Redeeming Qualities and Moments:

• Claude Rains as Paul Verin
  
• An early expose of the military-industrial complex
  

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

Links:

• IMDb entry
• NY Times Original Review
• SciFilm Review

Synopsis:
A doctor (Anne Bancroft) sent to a mission in China clashes with its puritanical director (Margaret Leighton), but is a source of inspiration for many of the other inhabitants, including an older pregnant woman (Betty Field) and an impressionable young recruit (Sue Lyon). When their mission is invaded by the nefarious Mongol warrior Tunga Khan (Mike Mazurki), Bancroft makes a controversial sacrifice in exchange for the others’ safety, and must bear the brunt of Leighton’s disdain for her decision.

Genres, Themes, Actors, and Directors:

• Anne Bancroft Films
• Betty Field Films
• China
• Doctors and Nurses
• Eddie Albert Films
• John Ford Films
• Mildred Dunnock Films
• Missionaries<
• Strong Females
• Woody Strode Films

Review:
John Ford’s final film was a box-office failure upon its release, but has since become a critical darling of many (and is enjoyed as a thinly veiled bastion of homoerotic tensions by others). It’s a curious departure from Ford’s normal oeuvre, given that it focuses primarily on women rather than men, and takes place in Northern China rather than in the American West — nonetheless, as many critics have pointed out, it ultimately touches upon several of Ford’s key thematic concerns, including “an isolated group stranded in a hostile environment, civilization versus savagery, and self-sacrifice.” In truth, the women in this film can easily stand in for many of Ford’s archetypal characters: the dynamics between mannish Anne Bancroft and uptight Margaret Leighton are reminiscent of John Wayne and Henry Fonda in Ford’s Fort Apache (1948), for instance.

Indeed, it’s the interplay between these two females — both independent and strong-willed, but with radically different moral takes on the world — which carries the somewhat uneven script, and keeps us interested to see what will happen next. Leighton’s character eventually devolves into campy hysteria when the situation at “her” mission spirals out of control; her repugnance at being forced to stay in the same room as a woman (Betty Field) giving birth borders on laughable. Bancroft, meanwhile, maintains a fiercely realistic and forceful presence throughout; she’s suffered heartbreak and injustice in the past (simply by being a female doctor in the 1930s), but refuses to compromise her passion for helping others through medicine — even if this means sacrificing herself. The ultimate outcome of the film — in which Bancroft utters a now-classic line — will likely come as a touching surprise to most.

Redeeming Qualities and Moments:

• Anne Bancroft as Dr. Cartwright (Peary nominates her for an Alternate Oscar as Best Actress of the Year)
  
• Margaret Leighton as uptight Agatha Andrews
  

Must See?
Yes, simply for Bancroft’s stand-out performance, and for its historical importance as Ford’s last film. Listed as a Cult Movie in the back of Peary’s book.

Categories

• Important Director
• Noteworthy Performance(s)

Links:

• IMDb entry
• NY Times Original Review
• TCM Article (spoiler alert)
• Time Out Capsule Review