Films Worth Viewing

[zymurg]

"Mona Lisa"-Neil Jordan-1986

This was Neil Jordan's breakthrough film. Bob Hoskins plays George, recently released from prison. He served seven years for an undisclosed crime. Mortwell, played by Michael Caine, is the crime boss George served. George is given a job as a driver foe a high class prostitute, Simone. She is young, tall, elegant, and black. She and George don't get along. Simone, Cathy Tyson in her first film role, finds George rude, boorish, and poorly dressed. George finds her snobbish and condescending.

George lives with his friend, Tom. Tom repairs cars and surrounds himself with strange things, plastic sphagetti being one of the less strange. As the relationship with Simone develops, George tries to explain things to Tom. George is also trying to re-establish a relationship with his young teenage daughter; she doesn't know
why he left her and her mother. George will only tell her that he was a bad man.

Despite being a criminal, George is an innocent. Hoskins makes George sympathetic despite his nasty temper and his use of violence. Simone manipulates George into searchng for her friend Kate , in an area of sex shops and brothels.
Mortwell wants George to reveal what goes on between Simone and a rich Arab customer. Simone says they drink tea, and pictures are provided which George shows Mortwell. George hasn't realized just how twisted Mortwell's business is. Not only does he run sleezy clubs, but he is directing blackmail schemes, drugs, and vicious hoodlums who keep everything in line. George asks Tom to get him a gun. Tom, Robbie Coltrane, gets the gun . George now carries the gun on his forays into the dark side of Soho.

When George finds Kate, he helps Simone and Kate runaway to the seashore. They are followed by Mortwell's
thugs led by Anderson Kate's current and Simone's former pimp. Anderson is played by Clark Peters, well known to HBO fans. The first ending is very violent, but George finds out that Simone really is the Mona Lisa
of the Nat "King" Cole's song. She loves Kate and has used George. The second ending finds George back at Tom's garage, dressed in a mechanic's uniform working on a car.

Is this film neo-noir, a failed romance, suspense or what? The answer isn't clear, what is clear is that this is a terrific film with complex characters. Neil Jordan supposedly filmed a sax scene between Simone and George, it was cut, thankfully because it preserved the integrity of the characters.

It's available on DVD, I didn't find any streaming options with a quick search. Check your local library.

Are you real Mona Lisa or just a lovely, lonely work of art?

 

[zymurg]

"The Producers"-Mel Brooks-1968

This was Mel Brooks' first film. Brooks scripted the film and wrote the songs. It looked like the film wasn't going to be released after a disastrous preview in Philadelphia, but by chance Peter Sellars had a private viewing. He was knocked out by the film, and he took out full page ads in the trades filled with fulsome praise.
The film had a very limited release in a few major cities where it had very long successful runs. ' I saw the film in it's initial release, I can't remember where. What blew me away was the scene where the fountain in front of Lincoln Center erupts. Leo Bloom declares "I want everything I've ever seen in the movies." This was the last scene filmed. The critics were not kind; the last line line in the New York Times critic Renata Adler's review reads: " 'The Producers" leaves one alternately picking up one's coat to leave and sitting back to laugh." Roger Ebert was one of the few critics to champion the film. Thirty plus years years later he included it in his second volume of The Great Films."
I could stop here, all of you have seen this film, right? Zero Mostel and Gene Wilder are a comedy match without peer. Mostel has a face which can reveal every emotion known to man; Wilder is a mass of insecurities and yes hysteria. Together they come up with a plan to produce the worst play imaginable so that it will be a guaranteed failure. The plan has them raising vastly more money than needed and pocketing the money. This is supposedly the first use of the term "creative accounting." During an exhausting night, they discover the worst play in the world, "Springtime for Hitler."

Mostel ventures into "little old lady land" to raise the money, together they sign the author, a Nazi living in New York, and the worst director in New York, a transvestite whose plays never make it out of rehearsals. There are spasams of uncontrollable laughter for the audience in this extended set up. They happen upon the worst possible Hitler, Dick Shawn as LSD. A moment's reflection upon the production, it is absolutely wonderful and hilarious. The tribute to Busby Berkeley, an overhead shot of stormtrooper dancers forming a swastika, is brilliant.

Naturally, the show becomes an instant hit, and the consequences are dire. In an attempt to close the show prematurely, Bialystock and Bloom and the author Franz Liebkind attempt to blow up the theater. Of course this fails, and the trio end up on trial. Don't worry, the laughs don't end here and there is yet another terrific song, "Prisoners of Love."

Many years later the movie becomes a hit Broadway musical taking twelve Tony's and running for over 2,000 performances. The movie of the musical doesn't compare to the original. This is a great film, I find it difficult to criticize anything, i'm laughing too hard.

I neglected to mention that if you are looking to buy "The Producers" make sure that you get the two disc edition; the extras are excellent. If you're not a film nerd, what are you doing here, the single disc edition is
okay.

 

[dbmill]

"The Producers"-Mel Brooks-1968

This was Mel Brooks' first film. Brooks scripted the film and wrote the songs. It looked like the film wasn't going to be released after a disastrous preview in Philadelphia, but by chance Peter Sellars had a private viewing. He was knocked out by the film, and he took out full page ads in the trades filled with fulsome praise.
The film had a very limited release in a few major cities where it had very long successful runs. ' I saw the film in it's initial release, I can't remember where. What blew me away was the scene where the fountain in front of Lincoln Center erupts. Leo Bloom declares "I want everything I've ever seen in the movies." This was the last scene filmed. The critics were not kind; the last line line in the New York Times critic Renata Adler's review reads: " 'The Producers" leaves one alternately picking up one's coat to leave and sitting back to laugh." Roger Ebert was one of the few critics to champion the film. Thirty plus years years later he included it in his second volume of The Great Films."
I could stop here, all of you have seen this film, right? Zero Mostel and Gene Wilder are a comedy match without peer. Mostel has a face which can reveal every emotion known to man; Wilder is a mass of insecurities and yes hysteria. Together they come up with a plan to produce the worst play imaginable so that it will be a guaranteed failure. The plan has them raising vastly more money than needed and pocketing the money. This is supposedly the first use of the term "creative accounting." During an exhausting night, they discover the worst play in the world, "Springtime for Hitler."

Mostel ventures into "little old lady land" to raise the money, together they sign the author, a Nazi living in New York, and the worst director in New York, a transvestite whose plays never make it out of rehearsals. There are spasams of uncontrollable laughter for the audience in this extended set up. They happen upon the worst possible Hitler, Dick Shawn as LSD. A moment's reflection upon the production, it is absolutely wonderful and hilarious. The tribute to Busby Berkeley, an overhead shot of stormtrooper dancers forming a swastika, is brilliant.

Naturally, the show becomes an instant hit, and the consequences are dire. In an attempt to close the show prematurely, Bialystock and Bloom and the author Franz Liebkind attempt to blow up the theater. Of course this fails, and the trio end up on trial. Don't worry, the laughs don't end here and there is yet another terrific song, "Prisoners of Love."

Many years later the movie becomes a hit Broadway musical taking twelve Tony's and running for over 2,000 performances. The movie of the musical doesn't compare to the original. This is a great film, I find it difficult to criticize anything, i'm laughing too hard.

Great movie! One of my two favorite Mel Brooks movies (Young Frankenstein is the other one). As for my wife, this is probably her favorite film comedy of all time.

 

[zymurg]

I agree on Young Frakenstein, but Producers is still my #1 choice.

 

[dbmill]

I agree on Young Frakenstein, but Producers is still my #1 choice.

It is mine as well.

 

[zymurg]

"The Seventh Seal"-1957-Ingmar Bergman

I have spent some quality and non quality time watching films for this effort. I have eliminated some well known films from consideration, "Farewell My Concubine: is one for instance. Some others I passed on after re-viewing. There are some directors one has to confront directly; I've fiddled with Fellini recently, grappled with Renoir, ignored Ray (but he and Renoir are coming) declined to preview "The Search" and still Bergman was a cloud on the horizon. So here I am dealing with my Bergman ambivalence. "The Seventh Seal" is virtually a right of passage for serious fans of my generation. No film was more widely shown by college film societies, and art cinemas; no film was more discussed with appropriate seriousness. As you probably aware, this intro probably means that my commentary isn't going to conclude that watching this film is one of the five things you must do before you die.

I've delayed enough. Bergman has stayed near the top of any list of great directors for more than half a century for some very good reasons. His images, particularly those from his black and white films, have a way
of becoming part of your personal image memory. The opening scene of the chess game between Death and the Knight has never left me. Think back and from all the films you have seen, how many have given you a visual memory that is still fresh and vivid?

After many years crusading, Antonious Bloch and his squire return home to Sweden. It is the mid 14th century;
if returning after 10 years of killing with the feeling that the Crusade had no value, and the questioning of your moral values isn't bad enough, the knight and the squire are confronted with the Plague. In the medieval church the Plague was considered to be a punishment from God. We see a horde of flagellants egged by a monk preaching end of days; the burning of a witch, attempted rape, bawdy songs, disturbing paintings, and the normal disruptions of life: infidelity, mob violence, theft, and I could go on; critics argue that there is humor and life affirming substance in this film. There is, but for me the entertainment value of
Bergman has always been far in the background. I acknowledge that the questions he deals with in this film are among the most important in life, but using Sturges' "Sullivan's Travels" as a counterpoint; isn't it important to Laugh?

Given a very limited budget, $150,000, and primitive equipment this is a striking visual film, the music score I find pedantic, the acting is world class. Bergman has adeptly dealt with these major questions of Life, Death,
God, the nature of humanity, and done it within a tight story structure. The characters are not billboards for a point of view; they are surprisingly believable. The elements of the supernatural are grounded in the story.

Unlike Kane the Knight has a potential future. The Knight diverts Death's attention from the minstrel family.
They escape; the Knight believes that his action gives meaning in a moral sense to his life. Has Death really been diverted? Perhaps it isn't the family's time? The Knight desperately wants answers to profound questions; Death tells him he has no answers. The Knight struggles, searches, works to find answers despite his growing feeling that he will never find answers, and in fact there may be no answers at all.

That's just my take; is this a "great" movie, probably. It wouldn't be my choice to show to friends as the starting point to a fun filled weekend.

 

[Palatine]

"The Seventh Seal"-1957-Ingmar Bergman

I have spent some quality and non quality time watching films for this effort. I have eliminated some well known films from consideration, "Farewell My Concubine: is one for instance. Some others I passed on after re-viewing. There are some directors one has to confront directly; I've fiddled with Fellini recently, grappled with Renoir, ignored Ray (but he and Renoir are coming) declined to preview "The Search" and still Bergman was a cloud on the horizon. So here I am dealing with my Bergman ambivalence. "The Seventh Seal" is virtually a right of passage for serious fans of my generation. No film was more widely shown by college film societies, and art cinemas; no film was more discussed with appropriate seriousness. As you probably aware, this intro probably means that my commentary isn't going to conclude that watching this film is one of the five things you must do before you die.

I've delayed enough. Bergman has stayed near the top of any list of great directors for more than half a century for some very good reasons. His images, particularly those from his black and white films, have a way
of becoming part of your personal image memory. The opening scene of the chess game between Death and the Knight has never left me. Think back and from all the films you have seen, how many have given you a visual memory that is still fresh and vivid?

After many years crusading, Antonious Bloch and his squire return home to Sweden. It is the mid 14th century;
if returning after 10 years of killing with the feeling that the Crusade had no value, and the questioning of your moral values isn't bad enough, the knight and the squire are confronted with the Plague. In the medieval church the Plague was considered to be a punishment from God. We see a horde of flagellants egged by a monk preaching end of days; the burning of a witch, attempted rape, bawdy songs, disturbing paintings, and the normal disruptions of life: infidelity, mob violence, theft, and I could go on; critics argue that there is humor and life affirming substance in this film. There is, but for me the entertainment value of
Bergman has always been far in the background. I acknowledge that the questions he deals with in this film are among the most important in life, but using Sturges' "Sullivan's Travels" as a counterpoint; isn't it important to Laugh?

Given a very limited budget, $150,000, and primitive equipment this is a striking visual film, the music score I find pedantic, the acting is world class. Bergman has adeptly dealt with these major questions of Life, Death,
God, the nature of humanity, and done it within a tight story structure. The characters are not billboards for a point of view; they are surprisingly believable. The elements of the supernatural are grounded in the story.

Unlike Kane the Knight has a potential future. The Knight diverts Death's attention from the minstrel family.
They escape; the Knight believes that his action gives meaning in a moral sense to his life. Has Death really been diverted? Perhaps it isn't the family's time? The Knight desperately wants answers to profound questions; Death tells him he has no answers. The Knight struggles, searches, works to find answers despite his growing feeling that he will never find answers, and in fact there may be no answers at all.

That's just my take; is this a "great" movie, probably. It wouldn't be my choice to show to friends as the starting point to a fun filled weekend.

Good flick but I liked Aquaman better.

 

[dbmill]

"The Seventh Seal"-1957-Ingmar Bergman

I have spent some quality and non quality time watching films for this effort. I have eliminated some well known films from consideration, "Farewell My Concubine: is one for instance. Some others I passed on after re-viewing. There are some directors one has to confront directly; I've fiddled with Fellini recently, grappled with Renoir, ignored Ray (but he and Renoir are coming) declined to preview "The Search" and still Bergman was a cloud on the horizon. So here I am dealing with my Bergman ambivalence. "The Seventh Seal" is virtually a right of passage for serious fans of my generation. No film was more widely shown by college film societies, and art cinemas; no film was more discussed with appropriate seriousness. As you probably aware, this intro probably means that my commentary isn't going to conclude that watching this film is one of the five things you must do before you die.

I've delayed enough. Bergman has stayed near the top of any list of great directors for more than half a century for some very good reasons. His images, particularly those from his black and white films, have a way
of becoming part of your personal image memory. The opening scene of the chess game between Death and the Knight has never left me. Think back and from all the films you have seen, how many have given you a visual memory that is still fresh and vivid?

After many years crusading, Antonious Bloch and his squire return home to Sweden. It is the mid 14th century;
if returning after 10 years of killing with the feeling that the Crusade had no value, and the questioning of your moral values isn't bad enough, the knight and the squire are confronted with the Plague. In the medieval church the Plague was considered to be a punishment from God. We see a horde of flagellants egged by a monk preaching end of days; the burning of a witch, attempted rape, bawdy songs, disturbing paintings, and the normal disruptions of life: infidelity, mob violence, theft, and I could go on; critics argue that there is humor and life affirming substance in this film. There is, but for me the entertainment value of
Bergman has always been far in the background. I acknowledge that the questions he deals with in this film are among the most important in life, but using Sturges' "Sullivan's Travels" as a counterpoint; isn't it important to Laugh?

Given a very limited budget, $150,000, and primitive equipment this is a striking visual film, the music score I find pedantic, the acting is world class. Bergman has adeptly dealt with these major questions of Life, Death,
God, the nature of humanity, and done it within a tight story structure. The characters are not billboards for a point of view; they are surprisingly believable. The elements of the supernatural are grounded in the story.

Unlike Kane the Knight has a potential future. The Knight diverts Death's attention from the minstrel family.
They escape; the Knight believes that his action gives meaning in a moral sense to his life. Has Death really been diverted? Perhaps it isn't the family's time? The Knight desperately wants answers to profound questions; Death tells him he has no answers. The Knight struggles, searches, works to find answers despite his growing feeling that he will never find answers, and in fact there may be no answers at all.

That's just my take; is this a "great" movie, probably. It wouldn't be my choice to show to friends as the starting point to a fun filled weekend.

To each his own. I am just very captivated by the images that show up in this film. I find it all very watchable, and because of that, in a very odd way, enjoyable.

 

[zymurg]

I admire Bergman; he's a great craftsman. I am emotionally involved more by other directors. If you have read many of my introductions, you are probably aware of my feelings for Kurosawa, Ford, and Scorcese. I am torn between limiting myself to films I love,or at least really like and providing a more general peak into the vast universe of quality films. I probably should temper some of my opinions, sometimes that is more easily said than done.

 

[dbmill]

I admire Bergman; he's a great craftsman. I am emotionally involved more by other directors. If you have read many of my introductions, you are probably aware of my feelings for Kurosawa, Ford, and Scorcese. I am torn between limiting myself to films I love,or at least really like and providing a more general peak into the vast universe of quality films. I probably should temper some of my opinions, sometimes that is more easily said than done.

I prefer that you give your opinions. There are certainly great films that I am not necessarily in love with either.

 

[zymurg]

"Four Little Girls"-Spike Lee-1997

This is a film Spike wanted to make since he was in film school in the '80's. He wrote a letter to Chris McNair, one of the fathers of the 4 girls who died in the Birmingham church bombing. Fifteen years later he was able to convince HBO to fund the project. He asked Chris McNair if he could talk to him about the bombing and the death of his daughter. The film uses vintage news stock, family films, pictures, as well as interviews with friends and family members of the four murdered girls. In addition George Wallace was interviewed. The entire interview is preserved in the extra on the DVD. Remember George Wallace, the governor of Alabama, who proclaimed:"Segregation today; segregation tomorrow; segregation forever!"

It is difficult for me to explain how Spike Lee was able to make these girls come alive, but he does. He sets the stage brilliantly with pithy descriptions of Birmingham; then a longer introduction to the Civil Rights Movement
of the Southern Christian Leadership Council, and background on the 13th Street Baptist church which connects us to the girls and their families.

Returning to Spike Lee; his interest in the case was provoked by a feature article in "The New York Times Sunday Magazine" by Howell Raines an editor for the paper. Raines is also interviewed in the film; he provides
detailed on the toxic racism in Birmingham and the toxic racism of the times. Church bombings were not unheard in the city. Lee wanted to be sure this film was shown in theatres before it premiered on HBO. It didn't do particularly well; it never had a general release. Years after the bombing, 1977, Robert Chambliss or
"Dynamite Bob" was convicted of the murders. In 2000 several other members of the gang were charged, and several years later, they were convicted. One interesting note, the prosecutor in this second trial, Doug Jones,
was recently elected U.S. Senator from Alabama. One jarring note, one of the luminaries interviewed for the film, Bill Cosby, has been exposed tried and convicted for sexual crimes. History doesn't stop; churches, temples, and mosques are again under attack. That's a good reason to never forget Carole Robertson, Denise McNair, Addie Mae Collins, and Cynthia Wesley, the four little girls.

My highest recommendation.

 

[Palatine]

I sat through "Cries and Whispers." I deserve the Swedish Medal of Honor for making it all the way to the end.

 

[zymurg]

"The Lady Vanishes"-Alfred Hitchcock-1938

This is one of Hitchcock's last films in England before coming to Hollywood. It is considered perhaps the finest of his films made in England. The plot is so convoluted that it is virtually impossible to render it comprehensible in a paragraph or two. An avalanche delays a train in a factitious European country. Travelers
overcrowd the hotel. Among the travelers are two cricket nuts and a wealthy young Englishwoman, Iris Henderson, who is returning from her vacation to be married in London. Iris's sleep is disturbed by a folklorist who has been recording local folk dances in the room above. The noise also disturbs a British governess returning to England because her charges had reached maturity. The two women meet in the hall, and Iris gets the hotel manager to stop the performance by bribing him to throw the folklorist out of his room. The governess had been to a local serenading guitarist, she returns to her room and tosses him a coin. She doesn't
see him being strangled by an unseen assailant.

The train is ready to leave and the two women meet, Iris offers to help the governess retrieve her bag. Iris is hit on the head with a flower pot. It was clearly intended for the governess; most of the audience presume that
the attempt was made because the governess could identify the murderer. Of course Hitchcock is never that
obvious. The governess vanishes, and Iris tries in vain to convince anyone that she was ever on the train. An adulterous couple lie to prevent publicity, the cricket nuts lie so that they will be able to make connections to see a Cricket Test Match. Tests are when England plays another country. The folklorist comes to Iris' aid.

The bulk of the film details their search for the lady, finally identified as Miss Froy. Even after finding the elusive Miss Froy, the danger has only just begun. The physical confrontations and the gunplay are less than believable by today's standards. Still Hitchcock manages to achieve quite a bit of genuine suspense and a good deal of character and plot driven humor. Considering it's age, this is a very watchable film, with witty dialogue. One for instance: "Never judge a country's character by its politics, we English are quite honest."

Not one of Hitch's greats, but enjoyable and more. Surprisingly reviews are available because many early films were re-mastered and widely shown around 15 years ago.

 

[Duncan Idaho]

"The Magnificent Ambersons" -Orson Welles-released in 1942.

Any discussion of this film begins with a mystery of the missing film. The amount missing depends on what source you use. The first preview had a film of 135 minutes; it was a disaster with the audience. RKO cut the
film to 88+ minutes. They didn't work at marketing the film; it was a commercial failure, this theatrical version had to be re-shot to make sense of the changes.. The first 60 minutes are as Welles intended, the last under 30
minutes are the changed version. Supposedly, the 135 minute version was sent to Welles in Brazil, don't ask.
This version has never been found despite the biggest treasure hunt in film history.

Welles has an oversized reputation among film nerds. I'm struggling to give you good reasons to watch this film. The camera work is excellent, production values are great, and there is a lot of excellent acting. The central character is very unlikable. The story is obvious, change (particularly the coming of the automobile) destroys a way of life. Morgan (Joseph Cotton) is an inventor who loved and lost an Amberson. He returns years later a widower with a beautiful daughter. They attend a ball at the Amberson mansion. George Amberson Minniver meets Lucy Morgan. The Ambersons made a ruinous investments in lights. They die like flies, and George and his aunt lose everything. The denoument has George being seriously injured in an automobile accident and Morgan coming to his aid.

This series is supposed to feature films worth viewing; this my 3rd or 4th time watching this film; I don't get the adulation, but then I'm not a Welles fan. I included this film because it deals with the loss of status and its effects.

This reminded me that Cotton and Welles both were in "The Third Man", have to watch that again. Trevor Howard too.

 

[dbmill]

"The Lady Vanishes"-Alfred Hitchcock-1938

This is one of Hitchcock's last films in England before coming to Hollywood. It is considered perhaps the finest of his films made in England. The plot is so convoluted that it is virtually impossible to render it comprehensible in a paragraph or two. An avalanche delays a train in a factitious European country. Travelers
overcrowd the hotel. Among the travelers are two cricket nuts and a wealthy young Englishwoman, Iris Henderson, who is returning from her vacation to be married in London. Iris's sleep is disturbed by a folklorist who has been recording local folk dances in the room above. The noise also disturbs a British governess returning to England because her charges had reached maturity. The two women meet in the hall, and Iris gets the hotel manager to stop the performance by bribing him to throw the folklorist out of his room. The governess had been to a local serenading guitarist, she returns to her room and tosses him a coin. She doesn't
see him being strangled by an unseen assailant.

The train is ready to leave and the two women meet, Iris offers to help the governess retrieve her bag. Iris is hit on the head with a flower pot. It was clearly intended for the governess; most of the audience presume that
the attempt was made because the governess could identify the murderer. Of course Hitchcock is never that
obvious. The governess vanishes, and Iris tries in vain to convince anyone that she was ever on the train. An adulterous couple lie to prevent publicity, the cricket nuts lie so that they will be able to make connections to see a Cricket Test Match. Tests are when England plays another country. The folklorist comes to Iris' aid.

The bulk of the film details their search for the lady, finally identified as Miss Froy. Even after finding the elusive Miss Froy, the danger has only just begun. The physical confrontations and the gunplay are less than believable by today's standards. Still Hitchcock manages to achieve quite a bit of genuine suspense and a good deal of character and plot driven humor. Considering it's age, this is a very watchable film, with witty dialogue. One for instance: "Never judge a country's character by its politics, we English are quite honest."

Not one of Hitch's greats, but enjoyable and more. Surprisingly reviews are available because many early films were re-mastered and widely shown around 15 years ago.

Hitchcock is one of my favorite all time directors. If the The Lady Vanishes isn't in the top tier of Hitchcock's best, I think it is awfully close. Of course, Hitchcock has at least 10+ films that fit into that top tier very comfortably, and there are bunch of very good ones after that top tier that are quite good and very watchable.

The two cricket crazy gents are called Charters and Caldicott, played by Basil Radford and Naughton Wayne. They might be the best thing going in this movie. This double act made such an impression that they repeated these roles in other British movies, sometimes using the same character names. Radford and Wayne followed The Lady Vanishes with the Carol Reed directed Night Train to Munich, starring Rex Harrison and again Mararet Lockwood. The two cricketers absolutely steal that entertaining movie.

 

[zymurg]

Hitch's fabulous five: Vertigo, Psycho, The Birds, Rear Window, and Notorious IMO are above some other very fine films: Rebecca, Strangers on a Train, The lady Vanishes, and Shadow of a Doubt. There are others certainly, and my choices are mine alone, but I can give any of these films very high recommendations.

 

[dbmill]

Hitch's fabulous five: Vertigo, Psycho, The Birds, Rear Window, and Notorious IMO are above some other very fine films: Rebecca, Strangers on a Train, The lady Vanishes, and Shadow of a Doubt. There are others certainly, and my choices are mine alone, but I can give any of these films very high recommendations.

Critics and many people love The Birds. However, that film just doesn’t do much for me. One of those personal preference things that has come up before. The others that you list would all be on my top list of top Hitchcock movies as well. One that I haven’t seen all that much on your list but my wife loves is Shadow of a Doubt. To the list of cream of the crop Hitchcock movies (Rear Window, ect.) I would add Foreign Correspondent. Others that I would throw in to round out my list of top Hitchcock films are Lifeboat and The 39 Steps.

 

[zymurg]

I just watched The 39 Steps;I was choosing between that film and The Lady Vanishes. I also just watched Lifeboat, and I liked it, but not as much as The Lady Vanishes. I haven't seen Foreign Correspondent recently.

 

[dbmill]

I just watched The 39 Steps;I was choosing between that film and The Lady Vanishes. I also just watched Lifeboat, and I liked it, but not as much as The Lady Vanishes. I haven't seen Foreign Correspondent recently.

I just love Foreign Correspondent, it's definitely in my Hitchcock top 5. One of those rare films where George Saunders, who was well known for playing suave cads, is on the side of the "good guys" in this one. The funny thing is, in this movie he tries to a practice a little extortion on "the baddies". I'm not sure if Hitchcock did this on purpose knowing how Sanders was typecast, but it's a great little scene.

The one Hitchcock that is considered top notch that I haven't seen in many years is Spellbound. Anyone up for a Salvador Dali dream sequence?

 

[zymurg]

I haven't seen Spellbound in a while, but my next Hitch venture is going to be comparing Rope (Hitch) to Compulsion. That won't happen on the site, next is Bad Day at Black Rock, then I'm thinking about doing several Huston films.

 

[zymurg]

"Bad Day at Black Rock"-John Sturges-1955

This film comes between two well regarded Westerns ("Escape from Fort Bravo" and "Gunfight at the OK Corral")
in Sturges' body of work. He was primarily regarded as a director of Westerns; his two most highly regarded films are "The Magnificent Seven" and "The Great Escape." This is an early Cinemascope film, and it is in color.

It opens with a major passenger train making an unexpected stop in a nothing town someplace in the West. I write someplace because it is never made clear just where we are, even in the end of the film when the state police arrive we don't see signage which identifies the location. Historically the train has been a symbol of change in Westerns. The first plotted feature is "The Great Train Robbery." Ford's first film is "The Iron Horse."
Black Rock is a town that the railroad has passed by; this is the first passenger stop in four years. A lone passenger disembarks; for some reason he wants to go to Indian Flats.

The passenger is identified as John J Macreedy of Los Angeles. He is dressed in a brown suit and and wears a fedora. It is late 1945, WWII is over. Macreedy inquires of the telegraph operator if he can get a cab. There are no cabs available, he goes to the hotel. I should mention that Macreedy , Spenser Tracy, has only one usable arm. It is never really clear if he has only one arm, or if his left arm is paralyzed. My vote is for only one arm.
Despite the fact that there are no guests in the hotel, the clerk at the desk doesn't want to rent him a room. Macreedy persists and gets a room mentioning that he only expects to stay one day. There is a confrontation in his room with the thuggish Hector David, Lee Marvin, Macreedy handles the unpleasantness without breaking a sweat.

Mcreedy walks to the sheriff's office where he finds the sheriff drunk and sleeping it off in one of the cells. Tracy attempts to find out something about a Japanese farmer who lived at Indian Flats. Macreedy next goes to the Service Station where he manages to rent a jeep. At the station he meets Reno Smith, Robert Ryan, the town's boss. Smith plans to have Macreedy killed, and he dispatches Coley Trimble, Ernest Borgnine, to do the deed. Macreedy finds a burned out farmhouse, a working well with a windmill, and wildflowers which indicate a grave. Trimble attempts to kill Macreedy an the way back by running him off the road.

The rest of the film is devoted to Macreedy's attempts to have the farmer's death investigated and leave town. I should mention the classic fight sequence where Macreedy destroys Trimble using judo and karate.
I believe that this is the first use of martial arts in an American film. We find out that Macreedy came to Black Rock to deliver a medal to the farmer. His son died saving Macreedy's life. Macreedy leaves the medal with the town doctor. As he mounts the train's steps Macreedy corrects the conductor's assertion that this is the first time that the train has stopped in four years; he says it is the second.

I saw this film when it first came out, and the fight sequence remained in my memory for years. Despite what today would be considered a lack of action; this film generates considerable suspense. It also leaves us with two more open questions: what happens to Macreedy and the town.

Well worth viewing, the characters are interesting and the central issue in the plot is one of the very few contemporary efforts to deal with the problem of Japanese Americans in WWII.

 

[zymurg]

Ealing Saturday

Today I propose to cover four films from this iconic British studio all featuring Alec Guinness. First up is "Kind Hearts and Coronets." Directed by Robert Hammer and released in 1949 this film features Guinness playing eight roles. Denis Price plays a young man whose titled mother who married an Italian opera singer. The family disowned her, and Price's character grew up in relative poverty. When his mother is refused burial in the family crypt; Louis Massini's (Price) resolve is set. He will murder all those closer to inheriting the title of Duke so that
he will gain the title. The film's title refers to a Tennyson poem "Lady Clara Vere de Vere." The full line is:"Kind Hearts are more than coronets and simple faith than Norman blood."

Massini plans a series of ingenious murders; he luckily only has to murder six. One dies of a heart attack, and an Admiral dies in a collision at sea. The first murder is accomplished by opening a weir and the heir and his mistress die by drowning going over a fall. Price murders a General with exploding caviar, a vicar with a poison which mimics a heart attack while disguised as a visiting bishop from Africa, a titled sufferagette by shooting down a balloon with an arrow, a photographic hobbyist with flammable developing chemicals, and finally the incumbent Duke by first trapping him in an illegal man trap set to stop poaching and then shooting him with his own shotgun.

Massini becomes the Duke and makes an advantageous marriage to the widow of one of his victims. Just when he has achieved all his dreams Scotland Yard appears. He is tried, convicted of murder, and sentenced to hang not for any of his noble murders but for the death of a man he quarreled with. We see Massini writing his memoirs while awaiting his execution. He completes his memoirs and is taken to his public hanging, but wait a suicide note is found. Massini is freed, as he exits the prison he realizes he has left his memoirs behind. Alas, they detail all his murders. So justice is served.

These films and other classics from this studio were remastered and re-released in 2005. Two other important comic films are:"Passport to Pimlico" and "Whiskey Galore." Considering the age of these films;
they are all supremely watchable. Let me end my first intro with a classic quote from this film: "I shot an arrow in the air, she fell to earth in Berkeley Square." Since this is British English Berkeley is pronounced as if it were written Barclay.

 

[zymurg]

"Memoirs of a Geisha"-Rob Marshall-2005

This a beautiful film and it deservedly won Oscars for cinematography, costume design, and production design.
The story is at once complicated and simple. The protagonist and her older sister are sold from their fishing village to buyers from Kyoto. Ziyi Zang, is chosen for Geisha training; her sister is consigned to a brothel. The training is brutally difficult, but after meeting the chairman, Ken Watanabe, Ziyi Zang decides to do everything in her power to become a Geisha. She succeeds but her triumph is shortlived as WWII intervenes. The coda reunites the Geisha and the chairman, but only partially as she can never have a full human relationship but only the masked Geisha relationship.

There are several comments that should be made. The 3 principal female roles are played by Chinese actresses,
not Japanese actresses. In the book the protagonist had blue green eyes; in the film she supposedly has blue eyes, Wait, unless I have suddenly developed an unknown blue/brown color blindness, her eyes are brown.

Okay, I recommend this film for its brilliant technical aspects. However, despite providing an inside view of another culture, the story doesn't move one emotionally.

Sorry about the absence. If anyone is interested in reading intros to the Ealing comedies, let me know.

 

[dbmill]

If anyone is interested in reading intros to the Ealing comedies, let me know.

I'm definitely interested.

 

[zymurg]

"The Color Of Money"-Martin Scorcese-1985

"I'm back" is the last line of this film; Fast Eddie has risen from the proverbial grave. The character first appeared in "The Hustler" in 1961. Eddie Felson is now a successful liquor salesman/distributor. He observes an obnoxious young pool hustler beating a local pro. His interest is aroused, he makes an overture of partnership. Vinnie and his significant other go on a road to sharpen his abilities to hustle better and thus to make more money. The partnership breaks down with some acrimony.

Eddie has vision problems; he gets fitted for new glasses. This improves his game and he decides to enter a nine ball tournament in Atlantic City. He and Vinnie will become opponents. Vinnie throws the game to Eddie to make money on side bets. He informs Eddie later; the first consequence of this is Eddie's withdrawal from the semi-final match. He then challenges Vinnie to a match of nine ball where Vinnie will play his best. Eddie states repeatedly that he will beat Vinnie if not in this match, then in coming tournaments. Fast Eddie is back.

Paul Newman won an Oscar for his performance as Fast Eddie Felson, many observers believed that this was given to make up for past misses. The acting is excellent; Cruise has more than a few excellent moments. Mary Elizabeth Mastriantonio is excellent as Carmen. The pool sequences are always good, and sometimes they are stunning. While this is not a feel good film; it certainly is more upbeat than the original "The Hustler."

Ordinarily it makes more sense to review the original before the sequel. I chose the alternative because the original is such a downbeat,depressing film. It is also a great film; the sequel isn't great, merely very good. You should watch the sequel even if like me you find the original difficult viewing. In my case it is also quite rewarding. So next up is my preview of "The Hustler."

After that I will delve deeper into the Ealing comedies.

 

[zymurg]

"The Hustler"-Robert Rossen-1961

Paul Newman almost didn't get the lead role. He was scheduled to make "Two for the Seesaw" with Elizabeth Taylor, but she was caught up with the massive failure that was "Cleopatra." The script was co-written by Rossen from a novel by Walter Tevis. Rossen had been a pool hustler as a young man, and he had even written a play about the hustling life. He recognized that the tevis' novel was far superior to his effort The film was shot in cinemascope unusual for a low budget film. The great Willie Mosconi was a technical advisor for the film. He taught Newman to play and more importantly how to become a pool hustler on camera. On some of the pool closeups Mosconi's hands are substituted for Newman's hands.

Fox was worried the the finished film was going to tank, and with the studios' precarious finances; they decided to make cuts. It was serendipity that Richard Burton saw and loved the film; he promoted a special showing which helped with word of mouth. The film wasn't a big box office success, but it garnered Oscar nominations for director, lead actor, lead actress, two nominations for supporting actors, and best picture. It won two oscars in technical categories.

It was filmed primarily in New York, much of it at the Ames Billiard Parlor. The settings are generally low end, this milieu helps set up the action. Fast Eddie Felson is a pool hustler with a manager. They tour the country looking for matches. They arrive at Ames where Minnesota Fats (Jackie Gleeson) comes nightly to meet all comers in high stakes games. The match goes on for more than 12 hours; initially Fast Eddie is up 18,000$,
but he crashes During the match a big time gambler shows up watching carefully from the sidelines. The gambler, Bert Gordon (George C. Scott) fronts Fats to continue the game. Eddie loses everything.

Eddie develops a relationship with a young alcoholic woman, Piper Laurie. Alcoholism isn't her only problem, but she helps Eddie when he gets both his thumbs broken when he flaunts his ability in a tough game. Piper Laurie nurses him through his psychological as well his physical pain. She loves him, but Eddie seems to lack the ability to commit. Eddie turns to Bert Gordon who backs him for 75% of his winnings.
The girl accompanies Gordon and Felson on the road to Louisville where there is plenty of action. After being sent away from an opulent party where Eddie has a match, Laurie returns to the hotel. She and Gordon have a nasty confrontation. She commits suicide or just drinks herself to death. Eddie returns to the hotel hours later and finds the police talking to Gordon with a body on the floor of his room.

Some time passes and Eddie appears again at Ames' to challenge Fats. He wins, but Gordon appears during the match and demands half the winnings. Gordon threatens physical harm, Eddie is unmoved, Gordon then says he can take all the money, but he can't ever hustle again. Eddie leaves and on the way out says:"You play a great game of pool, Fat Man." Fats responds :"So do you Fast Eddie, so do you.."

Great black an white photography, the pool matches are brilliant, the acting is uniformly first rate. I should mention that this was Piper Laurie's last film until playing Carrie's mother 15 years later. Fast Eddie wins the big match; all it cost him was the life of a woman who loved him and his profession. Still this is a riveting film and worthy of your attention.

 

[zymurg]

The Lavender Hill Mob-Charles Crichton-1951

Henry Holland works for the Bank of England supervising the transfer of gold bullion in the form of bars from the smelting works to the bank vault. He has always wanted to become rich; his job puts him so close to his dream, but so far from realizing it. The film opens in an upscale restaurant in Rio de Janerio. Holland is talking to a well dressed Englishman. Prominent individuals including the British ambassador stop by his table to congratulate him. He gives large tips, extravagant gifts of money to among others a socialite who runs an important charity, a beautiful young woman (Audrey Hepburn), and a jockey. We discover that the Englishman conversing with Holland is actually an unspecified legal officer, Holland is in cuffs, and he is returning to England to face his fate as the mastermind of the largest theft in English history.

Holland (Alec Guiness) has succeeded in pulling off robbing the gold bullion bars. The rest of the movie details
the caper. One of the major problems with stealing gold bullion is that it is impossible to convert into cash in England. Alfred Pendlebury, Stanley Holloway, moves into Holland's residence, Pendlebury owns a company which makes English themed geegaws; suprisingly one of their top selling items is a gold plated model of the Eiffel Tower. These statues are sold at the observation deck of the Eiffel Tower.

Two more confederates are recruited and the robbery is pulled off with a few blips. The gold bars are melted down and recast as Eiffel Tower replicas. They are shipped to France in specially marked boxes not to be sold.
Naturally, some are sold, six to be exact. Unfortunately, they are purchased by English school girls on holiday in Paris. The attempts to retrieve the replicas is a triumph of comic failures. Pendlebury is caught, the entire
caper is exposed. "Dutch" Holland barely escapes with six replicas, converted into cash he is able to spend one year living the high life in Brazil. Holland's capture was a necessity to meet the censorship requirements in the U.S.

The screenplay won an Oscar. This delightful film stands up to repeated viewings despite its age. One final bit of trivia the robbery scenario was worked out with the co-operation of the Bank of England. Rated SBS; sure to bring smiles.

 

[dbmill]

The Lavender Hill Mob-Charles Crichton-1951

Henry Holland works for the Bank of England supervising the transfer of gold bullion in the form of bars from the smelting works to the bank vault. He has always wanted to become rich; his job puts him so close to his dream, but so far from realizing it. The film opens in an upscale restaurant in Rio de Janerio. Holland is talking to a well dressed Englishman. Prominent individuals including the British ambassador stop by his table to congratulate him. He gives large tips, extravagant gifts of money to among others a socialite who runs an important charity, a beautiful young woman (Audrey Hepburn), and a jockey. We discover that the Englishman conversing with Holland is actually an unspecified legal officer, Holland is in cuffs, and he is returning to England to face his fate as the mastermind of the largest theft in English history.

Holland (Alec Guiness) has succeeded in pulling off robbing the gold bullion bars. The rest of the movie details
the caper. One of the major problems with stealing gold bullion is that it is impossible to convert into cash in England. Alfred Pendlebury, Stanley Holloway, moves into Holland's residence, Pendlebury owns a company which makes English themed geegaws; suprisingly one of their top selling items is a gold plated model of the Eiffel Tower. These statues are sold at the observation deck of the Eiffel Tower.

Two more confederates are recruited and the robbery is pulled off with a few blips. The gold bars are melted down and recast as Eiffel Tower replicas. They are shipped to France in specially marked boxes not to be sold.
Naturally, some are sold, six to be exact. Unfortunately, they are purchased by English school girls on holiday in Paris. The attempts to retrieve the replicas is a triumph of comic failures. Pendlebury is caught, the entire
caper is exposed. "Dutch" Holland barely escapes with six replicas, converted into cash he is able to spend one year living the high life in Brazil. Holland's capture was a necessity to meet the censorship requirements in the U.S.

The screenplay won an Oscar. This delightful film stands up to repeated viewings despite its age. One final bit of trivia the robbery scenario was worked out with the co-operation of the Bank of England. Rated SBS; sure to bring smiles.

I generally enjoy the Ealing comedies when I come across them. I don't think I've seen Lavender Hill Mob since my days at UConn many, many years ago. Then again, I've never seen the previously reviewed Kind Hearts and Coronets. I'll have to get this deficiency corrected at some point. One of these days I'm hoping both of these pop up on Turner Classic Movies.

 

[zymurg]

In re Guinness: Selective Filmography

Ealing Comedies: I have the five film Guinness collection: Kind Hearts, Lavender Hill, Man in the White Suit, The Captain's Table, and Ladykillers. It is available on Amazon 20$, a real bargain.

4 Classics with David Lean: Bridge on the River Kwai, Lawrence of Arabia, Dr. Zhivago, and A Passage to India.

2 TV Classics from LeCarre novels: Tinker ,Tailor.Soldier, Spy and Smiley's People. One more I haven't seen: Last Ten Days of Hitler.

A Bunch other films: (starred are worthies) Tunes of Glory*, Our Man in Havana*, The Horses Mouth*, The Mudlark, A Majority of One, Damn the Defiant, and Fall of the Roman Empire.

2 Dicken's classics with Lean: Great Expectations, and Oliver Twist.

3 Films available free for Prime Members: The Malta Story, The Prisoner, and 12th Night.

He also appeared in a few Star Wars films.

I really like The Man in the White Suit, but Ladykillers seems to me to lack the sly cleverness of the other Ealing comedies. In fairness I should state that it is quite highly regarded by others. This ends the Ealing diversion.
Next up "On the Waterfront."

 

[zymurg]

"On the Waterfront"-Elia Kazan-1954

There are 3 areas of significance that I propose to mention before I examine the film on the screen. First, it won 8 Oscars. Second, Marlon's performance is considered by many to be his greatest, and one of the greatest in American Film. Third, for Kazan the film is an answer to his and Bud Shulberg's experience with HUAC.

HUAC was the House Un-American Activities Committee. It investigated Communist activities in the US in the late 40's and early 50's.Hundreds of famous figures in the arts were called to testify before the Committee. Many famous names were "blacklisted" and couldn't work in Hollywood. Kazan's testimony named 8 other individuals. Shulberg also testified. Other famous individuals, Lillian Hellman, for instance, refused. It caused a break in Zazan's relationship with Arthur Miller. Miller's play "The Crucible" is his answer to the problem. "On the Waterfront" is Kazan's answer to his critics.

Marlon Brando set a new more natural paradigm in stage and screen acting. I should mention that I find some of Brando's work mannered. Brando emerged from the Actor's Studio, co-founded by Kazan, and took the stage and film world by storm. His Stanley Kowalski in both the stage and screen versions of "Streetcar Named Desire" was revolutionary. His Terry Malloy in Waterfront justly won him the best actor Oscar

Bud Shulberg wrote the original story and the screenplay based on real life events with the main characters based on real people. It was filmed in 30 days on the docks around Hoboken, New Jersey. The movie violence, mostly off camera, particularly the murders, was nearly replicated during the filming. Kazan was threatened many times and had bodyguards. The Union Local depicted in the movie had its charter pulled.

The story is fairly simple. A corrupt local Longshoreman's union, led by Lee J. Cobb-Johnny Friendly, murders a young popular member who is going to testify in court against the union. Terry Malloy unknowingly helps to set up the murder. He thought Doyle was going to be threatened and/or possibly beaten up. Doyle's sister Edie, Eva Marie Saint, is determined to find out who is responsible for her brother's death. She works with Father Brady, Karl Malden, to try and change the union by removing the corrupt leadership. Terry and Edie fall in love, and Terry is drawn into the conflict. Terry's older brother Charlie is the lawyer for the Union. He is tasked with bringing Terry back into the fold or killing him. In perhaps the film's most famous scene, the two brothers are in the backseat of the cab and Charlie pulls a gun on Tommy. Tommy had been a promising boxer "I could've been a contender' but Charlie and Johnny friendly had him throw fights to clean up on side bets. Charlie is ashamed and gives Tommy the gun. Charlie is murdered and hung on a hook; Tommy takes him down.

Tommy testifies in court against the union. The final scenes show Tommy fighting with Friendly, being beaten by Friendly's toughs, Edie and the priest tending to him, and finally a bloodied Tommy walking into
work followed by the other longshoremen who hadn't come to his aid during the beatdown. The ending has been often criticized as sentimental. They point out that Shulberg's original story has this character put into the East River in a barrel full of lye. Of course in real life the Tommy character survives, but he lives in obscurity. I think that this film served as a reference point for "Goodfellas."

The film is shot realistically on location. Technically, it is a triumph. However, it is Kazan's way with actors that really ensures its classic standing. Three key roles: Father Brady, Johnny Friendly, and Charlie Malloy received Oscar nominations for best supporting actor, none won. Eva Marie Saint and Brando did win. Kazan won best director, Shulberg won for best screenplay, the film won best picture. This is a great film; it holds up superbly. I believe that few Yarder's have seen it; those of you who like/love "Goodfellas" really must see this film. My highest rating.