FilmFanatic.org Movie discussions for the true film fanatic

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Synopsis:A young woman (Jennifer Jones) from the wrong side of the tracks who has been adopted by businessman Jim Gentry (Karl Malden) and his sickly wife (Josephine Hutchinson) is dismayed when her lover (Charlton Heston) decides to marry a wealthy socialite (Phyllis Avery). Ruby (Jones) makes the best of things by marrying Malden once his wife passes away, but society still won t accept Ruby and when a tragic accident ensues, the town s relentless disparagement drives Ruby to seek revenge.Synopsis:A man (Kirk Douglas) and his brother (Arthur Kennedy) find work at a diner, where Douglas romances the beautiful daughter (Ruth Roman) of the owner but disappears when he s forced by her father into a shotgun marriage. With the help of a retired trainer (Paul Stewart), Douglas works his way to the top of his game and eventually becomes famous but will he alienate everyone he loves during his climb to success?Response to Peary’s Review: Peary writes that while most boxing films contend that the sport corrupts individuals , this classic directed by Mark Robson, and shot like a B-film in shadowy noir style by Franz Planer contends that some individuals want to be corrupted . Kirk Douglas stars as Midge Kelley one of his quintessential heels' , a ruthless man who ll do anything necessary, rub shoulders with anyone , and step on friends and loved ones in order to get people to call me mister . Peary describes him as the typical man in the American rat race, a scoundrel moving up in the business world in which boxers sell out their scruples to get ahead, and men such as Midge dupe the public into idolizing them and buying tickets to their fights. In Alternate Oscars where Peary gives Douglas the Best Actor Award he adds that Midge s motivation isn t so bad and we like Midge at times because he is protective of his brother, smothers his mother with kisses, and has guts enough always to get in the last punch, even when defeated. In addition to Douglas s fine central performance, Champion is noteworthy for its striking cinematography and a well-cast roster of supporting players, especially Kennedy as Douglas s lame brother: Ruth Roman as a young woman who falls for Douglas s charms before he makes a name for himself: Paul Stewart as a self-proclaimed boxing addict who agrees to help Douglas out. and Lola Albright as a sculptress who s shocked to find that Douglas s ambitions really do trump all else. Note: To see Roman, Stewart, and Kennedy co-starring the same year in very different roles, be sure to check out The Window (1949). Redeeming Qualities and Moments:Kirk Douglas as MidgeFine supporting performancesFranz Planer s cinematographyMust See? Yes, for Douglas s performance and as an all-around good show. CategoriesGood ShowNoteworthy Performance(s)Links: IMDb entryTCM ArticleDVD Savant ReviewNY Times Original ReviewTV Guide ReviewSynopsis:A young woman (Judy Davis) travels to British-colonized India with the mother (Peggy Ashcroft) of her intended (Nigel Havers), and given their interest in getting to know the real India, they soon find themselves invited by a local widowed doctor (Victor Banerjee) to visit the nearby Marabar Caves. When the journey turns unexpectedly traumatic, Banerjee s name and livelihood are in jeopardy; can he count on the support of the local school superintendent (James Fox) to help him be acquitted of a crime he didn t commit?Response to Peary’s Review: As Peary writes, David Lean returned after a 14-year hiatus to write and direct this epic adaptation of E.M. Forster s novel, which had long been considered unfilmable. He notes that just like the sexual tension when the virgin girls move through phallic and vaginal rock formations in Picnic at Hanging Rock, that sensation is captured again when the dazed, sexually repressed/frustrated Miss [Adela] Quested [Davis] stands inside a dark cave and looks out toward the entrance, where Aziz stands, ready to come inside (he is eventually accused of attempted rape). Peary argues, however, that the ambiguities that result from our not knowing what happened make us even further detached from the major characters than we already are. He posits that while we watch an interesting story, we marvel at the majestic sights, and we re impressed by the acting, it s hard to be more than a spectator and get emotionally involved. He adds that while we delight in watching Lean become another British director to take swipes at the snooty British upper crust, his failure to individualize a sufficient number of Indians is regrettable. I m ultimately more taken with this adaptation than Peary seems to be. Of course the issue of what happened in the caves is of paramount importance and was famously never revealed by Forster himself but is meant to be shrouded in mystery, as it is here. (I disagree with Peary s suggestion that the film indicates Aziz did attempt something and might have been guilty. ) What is clear, however, is that Adela s ambivalence over whether or not to marry Havers combined with the sensory overwhelm of being in a hot new country with so many sights, sounds, smells, tastes, and customs to become used to combine to put her into a decidedly hallucinatory and unwell state. As DVD Savant writes in his review, In one of the best-edited scenes, Lean communicates Adela s sexual fear in a confrontation with erotic sculptures and a horde of very non-cute monkeys. She s never even in the same frame with a monkey, yet Lean makes us feel their threat. Monkeys show up at several key moments in the movie, and seem to represent the savagery and sexual chaos that the British fear in the Indian culture. To that end, Lean does a powerful job representing the very-real tensions between colonial Britons and fed up Indians, who are rightfully ready for change and increasingly intolerant of Britain s patronizing attitudes and actions. Dr. Aziz (Banerjee) personifies this tension, with his attitude shifting over the course of the film as he gradually realizes that his own well-being and that of his nation will depend on extrication from his desire to present well to the British. Fox s role (though minor) is equally pivotal in the movement towards respectful equality between Indians and the British. While Peary writes that it s hard to tell if Lean is trying to impress us with the glorious scenery or the cinematography itself , this comment doesn t make much sense he does impress us, but I m not sure how or why this is problematic. India s landscape is indeed gorgeous and awe-inspiring, and Ernest Day s cinematography is stellar. Meanwhile, the performances across the board particularly by Davis, Ashcroft, and Banerjee: are outstanding, with just one exception: Lean s selection of Alec Guinness to play a minor role as a Hindu-Brahmin professor feels decidedly antiquated and inappropriate. (They apparently didn t get along well on set.) However, Guinness is on screen for such little time that it doesn t much impact the overall movie. This remains a powerful, finely crafted epic by a master director, and is well worth a one-time visit. Redeeming Qualities and Moments: Victor Banerjee as Dr. AzizJudy Davis as AdelaPeggy Ashcroft as Mrs. MooreGorgeous cinematographyExcellent use of outdoor localesMust See? Yes, as a beautifully-mounted and haunting adaptation. CategoriesImportant DirectorOscar Winner or Nominee (Listed in 1001 Movies You Must See Before You Die) Links: IMDb entryNY Times Original ReviewDVD Savant ReviewTime Out Capsule ReviewSynopsis:An ex-con (Farley Granger) who has just escaped from prison with two compatriots Chickamaw (Howard Da Silva) and T-Dub (Jay C. Flippen) falls in love with the daughter (Cathy O Donnell) of a collaborating gas station owner (Will Wright) and they are quickly married by an officiant (Ian Wolfe) who knows they re on the run. Will Keechie (O Donnell) and Bowie (Granger) who is pressured into committing more crimes with Chickamaw and T-Dub have a chance at happiness together, or will the determined wife (Helen Craig) of Chickamaw s still-imprisoned brother take advantage of her knowledge of the criminals whereabouts?Review: Nicholas Ray s feature debut was this adaptation of Edward Anderson s Depression-era novel Thieves Like Us (remade under its original title by Robert Altman in the 1970s). At this point in his young career, Farley Granger had just three films under his belt The North Star (1943), The Purple Heart (1944), and Rope (1948) while Cathy O Donnell was best known for her breakthrough role in The Best Years of Our Lives (1946); together, they present an authentically fresh-faced couple who clearly can t get a break, yet are given the gift of each other for at least a short while. Ray effectively portrays a hard-edged world in which the future happiness of a young criminal (Granger insists he was innocent when sent to jail as a teenager) is dependent on his collaboration with career-long crooks, who have no interest in giving up their life of crime, and ineluctably draw Granger back in time and again. O Donnell, meanwhile, has been stuck living with criminals her entire life: and is naively desperate for a viable chance at romance and a normal life. Of course, everything about their courtship and marriage is tinged by the inevitable fatality of living life on the lam, so we mostly watch their travails with a sense of sadness and doom. The film is atmospherically shot throughout, presenting a shadowy world of criminality and deception, but also moments of tentative intimacy. O Donnell s loyalty to Granger exists in parallel with that of Helen Craig s Mattie, who will stop at nothing to secure the funds needed to free her own man, and plays a pivotal role in the film s resolution. Other supporting performances are strongly drawn as well most notably Howard Da Silva as malicious yet insecure one-eyed Chickamaw: Ian Wolfe as a man used to marrying couples under all kinds of hurried circumstances: and Byron Foulger as an innkeeper eager to tutor his young son (Teddy Infuhr) in the ways of his craft. Many have pointed out that this film bears similarities to Fritz Lang s You Only Live Once (1937), and it is also often cited as the forerunner to Bonnie and Clyde (1967) but Ray brings his own unique sensibility to the genre of criminal couples on the run this one remains worth a look. Redeeming Qualities and Moments: Farley Granger as BowieCathy O Donnell as KeechieMany memorable supporting performancesHighly atmospheric cinematographyMust See? Yes, as a powerful noir debut by a master filmmaker. Listed as a Cult Movie and a Personal Recommendation in the back of Peary s book. Nominated as one of the Best Pictures of the Year in Peary s Alternate Oscars. CategoriesGenuine ClassicImportant DirectorLinks: IMDb entryNY Times Original ReviewTCM ArticleTV Guide ReviewDVD Savant ReviewSynopsis:Now housed in a mental asylum, aging Antonio Salieri (F. Murray Abraham) former court composer for Emperor Joseph II (Jeffrey Jones) tells a priest (Richard Frank) about his intense rivalry with Wolfgang Amadeus Mozart (Tom Hulce), whose musical brilliance was often overshadowed by his struggles to support his wife (Elizabeth Berridge) and child.Response to Peary’s Review: Peary writes that Milos Forman s Oscar-winning, large-scale adaptation of Peter Shaffer s 1979 fictional play about the obsessive jealousy an 18th-century Italian hack composer, Antonio Salieri, felt for Wolfgang Amadeus Mozart s musical genius features great acting but he argues that while the characters are interestingly unusual the first time we see them, they don t vary in the slightest from then on and anyone could fill in their dialogue, reactions, etc. He posits that in fact, each time a group of characters gets together, they virtually replay an earlier scene there are only about four basic scenes in the movie, which are repeated in different settings. He adds that the dialogue and situations are embarrassingly anachronistic, and that if characters weren t in fancy period dress viewers would have laughed it off screen. Peary does concede, however, that the period detail and lavish recreations of excerpts from four Mozart operas give the film immense flavor , and notes that the movie should be applauded for trying to convey what it is to be an artistic genius, and to show a genius actually in the act of creating. I think Peary largely misses the mark in his overly harsh review. If the characters here don t vary , it s because they re coherent protagonists in a compelling narrative (consisting of much more than simply four basic scenes ) which shows the doomed trajectory of a brilliant but insolvent genius (Mozart) and the lifelong regrets of the man (Salieri) who most fully recognizes Mozart s gifts while simultaneously cursing God for giving them to such a shockingly vulgar young man. The actors American accents aren t distracting, given they re uniform across the production, and the occasional anachronisms can easily be forgiven if viewing this as a passionate tale of jealousy and revenge rather than a faithful historical biopic (which it s not; it s largely fictional). The flashback structure in which aging Salieri, who has just attempted suicide, explains his sins to a priest works well as a framing device for depicting an aging man coming to terms with his own inadequacies and failings: but most importantly, we deeply understand the reverence both Salieri and Mozart held for music and how challenging it was for each of them (in different ways) to rely on the charity of patrons to survive. Berridge is nicely cast as Mozart s wife one can see both why she s chosen him as her partner, and how he causes her so much consternation. Meanwhile, the music throughout is naturally top-notch; conductor Neville Marriner only agreed to participate in the film if not a single note of Mozart s music was changed. Redeeming Qualities and Moments: F. Murray Abraham as Antonio SalieriTom Hulce as Wolfgang Amadeus MozartElizabeth Berridge as Constanze MozartBeautiful period detail and setsFine stagings of several of Mozart s operasLuminous cinematography (with all-natural lighting)Must See? Yes, as a noteworthy Oscar-winning film and for the lead performances. CategoriesNoteworthy Performance(s)Oscar Winner or Nominee (Listed in 1001 Movies You Must See Before You Die) Links: IMDb entryRoger Ebert s ReviewSF Gate ReviewFilmSite ReviewSynopsis:On a bicycling trip across the French countryside, two student nurses (Pamela Martin and Michele Dotrice) part ways temporarily after a quibble but soon Martin learns Dotrice has gone missing, and she is unsure whether or not to trust a young man (Sandor Eles) who claims to be an amateur sleuth.Response to Peary’s Review: Peary writes that if Dennis Hopper and Peter Fonda convinced hippies not to cycle through America s South in Easy Rider, then Martin and Dotrice should convince young women not to bicycle through the French countryside particularly if a sex maniac is on the loose. He argues that while certainly this thriller is no gem, it has some suspense and titillation, and, as always, Franklin is a sympathetic heroine-in-jeopardy. Indeed, not too much happens in this slow-moving film about a couple of naive young travelers who really should have learned a bit more survival-French and decided on a safer route through unknown territory. With that said, director Robert Fuest generates a fair amount of tension through creative framing and pacing, and we re left wondering until the end how plucky Franklin will get herself out of the mess she s landed in. Redeeming Qualities and Moments: Pamela Martin as JaneFine direction and cinematographyMust See? No, but it s worth a one-time viewing. Links: IMDb entryMoria ReviewNY Times Original ReviewSynopsis:When smooth-talking salesman Elmer Gantry (Burt Lancaster) falls for a beautiful evangelist (Jean Simmons), he quickly finagles his way into a job with her revivalist group, which is being covered by a skeptical journalist (Arthur Kennedy) but will Gantry s past relationship with a prostitute (Shirley Jones) impede his chances at success with Sister Sharon (Simmons)?Review: Peary doesn t review this adaptation of Sinclair Lewis s 1927 satirical novel in his GFTFF, but he discusses the lead performances in Alternate Oscars, where he names Simmons Best Actress of the Year. In describing Lancaster s Oscar-winning title role, Peary notes that with his booming voice, toothy grin, boundless energy, dauntless spirit, exaggerated gestures, two-fisted masculinity, the slickness of a snake-oil salesman, the showmanship of the Mighty Barnum , and strong doses of tenderness and intelligence , Lancaster gave a bravura performance worthy of acclaim (though Peary hands the actual Alternate Oscars award to Anthony Perkins in Psycho). Regarding Simmons, Peary laments her (relative) career-long lack of recognition by Hollywood in terms of awards, and notes that she d been impressive since the mid-forties but peaked in Elmer Gantry, giving her most self-assured performance in her most difficult role as a character based on Aimee Semple McPherson. Peary writes that it is the hard, naughty edge Simmons gives her character that makes her exciting : while Sharon s a good person (she s a true believer, not a con-artist), she s no goody-goody, and no prude indeed, she has as much fight in her as Gantry. Simmons is indeed luminous and refreshingly tough and is well-matched by finely cast Lancaster, who apparently stated, Some parts you fall into like a glove. Elmer really wasn t acting. It was me. I m less a fan of Shirley Jones s Oscar-winning supporting performance as a blackmailing prostitute (Jones is trying a tad too hard to throw off her peaches-and-cream starring roles in Oklahoma! and Carousel): but I appreciate Arthur Kennedy s convincing portrayal as a journalist who finds himself more deeply involved in his story than he anticipated. Meanwhile, John Alton s cinematography is beautiful, vividly bringing this specific era of American history to life. Redeeming Qualities and Moments: Burt Lancaster as Elmer GantryJean Simmons as Sister SharonArthur Kennedy as Jim LeffertsJohn Alton s cinematographyMust See? Yes, once, for the lead performances. Nominated as one of the Best Pictures of the Year Alternate Oscars. CategoriesNoteworthy Performance(s)Oscar Winner or NomineeLinks: IMDb entryNY Times Original ReviewFilmSite ReviewTCM ArticleSynopsis:A young woman (Shirley Jones) living with her aunt (Charlotte Greenwood) debates whether to go to the local dance with her cowboy-boyfriend (Gordon MacRae) or the sinister hired hand (Rod Steiger) who s offered to drive her there; meanwhile, a local flirt (Gloria Grahame) is unsure whether her father (James Whitmore) will force her to settle down with a cowboy (Gene Nelson) or a travelling salesman (Eddie Albert).Review: This adaptation of Rodgers and Hammerstein s enormously popular 1943 Broadway musical (their first collaboration) is notable for featuring Shirley Jones in her screen debut, for being filmed simultaneously in Todd-AO and CinemaScope, and for bringing the stage experience as directly as possible to the screen (i.e., all original songs were kept and no new ones added, though there were slight modifications to the timing and location of the songs). Speaking of the songs, all the musical numbers including Oh, What a Beautiful Mornin' , The Surrey With the Fringe On Top , Kansas City , The Farmer and the Cowman , and Oklahoma are beautifully staged and sung, with one exception: Grahame as Ado Annie squeaking out I Cain t Say No . (Everything about Annie s love triangle dilemma including Eddie Albert s demeaning portrayal of a Persian travelling salesman more interested in bedding than wedding women, and Gene Nelson s impossibly stupid besotted cowboy is simply silly.) Meanwhile, Rod Steiger s performance as a dangerously sullen hired hand as well as a nightmare dance sequence indicating that Jones is right to be wary of him are completely out of place in this otherwise light-hearted musical; it s painful watching MacRae singing a song to Steiger early on about how he ll finally be remembered once he s dead, so he might want to consider suicide ( Pore Jud is Daid ). This film remains worth a one-time look for the musical numbers, but otherwise hasn t held up well. Redeeming Qualities and Moments: Highly memorable Rodgers and Hammerstein songsBeautiful cinematographyFine dance numbersCharlotte Greenwood as Aunt EllerMust See? No, but it s worth a look for historical purposes, and certainly a one-time must-see for musical fans. Links: IMDb entryTCM ArticleDVD Savant ReviewNY Times Original ReviewSynopsis:A man (Gordon MacRae) who has been dead for 15 years reflects back on his troubled marriage to a girl (Shirley Jones) he met while working as a carousel barker, then negotiates with a starkeeper (Gene Lockhart) to go back down for Earth for one day to make amends with his wife and teenage daughter (Susan Luckey).Review: This adaptation of Rodgers and Hammerstein s 1945 Broadway musical directed by Henry King tells the problematic tale of a handsome but unemployed loser named Billy (MacRae) who manages to marry one of the sweetest girls in town (Julie) and causes her little but heartbreak before leaving her pregnant and widowed. The culminating moral, believe it or not, is that Billy doesn t really mean to hurt Julie (Jones) when he hits her and gosh darn it, it s just too bad he had to go and get killed while participating in a robbery with his no-good accomplice (Cameron Mitchell). The narrative counterpart to Julie and Billy s marriage is Julie s friend Carrie (Barbara Ruick), who marries a pompous but stable fisherman (Robert Rounseville) and eventually produces a prodigious brood though it s not exactly clear whether we re supposed to wish Julie had made a similar choice (?). There is so little to this flimsily told tale framed by MacRae being given an opportunity to go down to Earth for just one day, at which point he attempts to convince his daughter that she shouldn t feel held back by what a louse her dad was that one watches simply to enjoy the colorful cinematography and musical numbers, including the infectiously choreographed June is Bustin Out All Over . Feel free to skip this one unless you re a diehard Rodgers and Hammerstein fan. Redeeming Qualities and Moments: Colorful cinematographySome enjoyable musical numbersMust See? No; this one isn t must see. Links: IMDb entryDVD Savant Review (scroll down)Synopsis:After beating up the john (Bruce Yarnell) of a popular Parisian prostitute (Shirley MacLaine), a strait-laced policeman (Jack Lemmon) falls in love with Irma (MacLaine) but soon finds himself increasingly jealous and intolerant of her work. With the assistance of a local bar owner (Lou Jacobi), Lemmon concocts an elaborate plan to pretend to be a wealthy British nobleman who will pay her simply to play solitaire but how long can the ruse last?Review: Three years after co-starring in Billy Wilder s The Apartment (1961), Lemmon and MacLaine reunited as a romantic couple in this decidedly lighter fare, based on a 1956 French musical play. Unfortunately, the shift from musical to romantic comedy doesn t do the awkward storyline any favors: we can tell from the get-go that challenges will arise if Lemmon allows himself to seriously fall for Irma (MacLaine), given her self-selected profession and her sincere lack of desire to stop working for her man . The characters are so broadly drawn and the scenes so farcically sketched that we know we should laugh, but the situation simply isn t funny. Irma is being duped on multiple levels not just by Lemmon s refusal to admit that he can t stomach her career, but by his duplicitous enactment as Lord X (which, of course, implies that Irma is too clueless to recognize her own boyfriend-in-disguise for hours on end).While the colorful cinematography and sets are pleasant to look at, you can feel free to skip this one; it s not essential viewing. Redeeming Qualities and Moments: Shirley MacLaine as IrmaJack Lemmon as NestorJoseph LaShelle s cinematographyMust See? No; you can skip this one. Links: IMDb entryDVD Savant ReviewTCM ArticleSpinning Image ReviewNY Times Original Review

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