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Without Love (1945)
Sweet, dry romantic comedy to be seen for fine acting and a radiant Lucille Ball
I am a big fan of Spencer Tracy and especially of Katharine Hepburn. Without Love is a nice little showcase for their prodigous talents, but the film only flirts occasionally with the heights of the top romantic comedies of that era and with their other, better works together. The premise and storyline are great, and the film starts well, with hints of screwball comedy to whet our appetite. But it hits several awkward moments, notably when Hepburn's character too-quickly transitions to imagining a life together with Tracy's, and then with too many zig-zags between romantoic partners. One is between Hepburn and her two men, Tracy and Carl Esmond's playboy; another is between Tracy and his two women, Hepburn and the apparently powerful phantom presence of he ex girlfriend; and between Keenan Wynn and his two women, Lucille Ball and Patricia Morrison. These six actors are great, and Lucille Ball's charisma shines esecially brightly through the materia, but with Spencer Tracy the weak link here, as in certain scenes he seems to be just going through the motions.
Le rouge est mis (1957)
Realistic, colorful gangster film, well worth a watch
Le Rouge est Mis, aka Speaking of Murder, is a realistic and colorful gangster film from Gilles Grangier that's well worth a watch. It features Jean Gabin and Lino Ventura, both fine actors, Gabin especially. They were often typecast as underworld figures, with Gabin also enjoying many roles as a cop. And here they are together reprising their typical roles as gangsters, with Gabin the boss, a suave everyman, always in control, and Ventura the trigger-happy tough guy. This is a solid story, very well paced, economical (95 minutes), with colorful dialogue. It's spiced up by a family drama and a romance, thanks to Marcel Bozzuffi and Annie Girardot, both excellent.
Under Capricorn (1949)
The screenplay fatally weakens what is otherwise a gem
Hitchcock's Under Capricorn is a melodrama with excellent actors, a great premise and story, colorful costumes, some good cinematography, and a genuinely interesting and tense final 30 minutes. But the film is fatally weakened by a screenplay that fails to make us care about the characters. It transmits only characterizations and melodrama, little nuance or story development, and makes the middle of the film boring. It's missing a spark, a hook, to get us involved. Ingrid Bergman, Joseph Cotton, Michael Wilding and Margaret Leighton do their best, but the material lets them down. The script has overdrawn Bergman's character into one-dimension - pitiful - and this gives the middle of the film a heaviness that it cannot shake. My least-favorite of all Hitchcock films. Based on this and the better, but not great, Jamaica Inn, I think that Hitchcok should have stayed away from costume dramas.
The 39 Steps (1935)
Deep Human Themes in an Escapist Masterpiece
Hitchcock's The 39 Steps is a film I never tire of re-watching. It seems as though I find something new to appreciate with each viewing. It's got a great mystery plot, with lots of information revealed early on to us and to the protagonist, Robert Donat's Hannay. That makes us care deeply about him and about solving the mystery. It's very economical, 86 minutes that fly by yet are filled with action, beauty, humor, sadness and doubt. It's also a pleasure to watch with many wonderful and stimulating shots. Donat is outstanding; he's a perfect Hitchcock leading man - handsome, witty, brave, confident - and perfect for this film. Madeleine Carroll is also great; she conveys something positive and hopeful even early on when doubting and battling Hannay, and then becomes a charming, clever partner once she turns. The film also has that exotic, intoxicating mixture of the serious and the frivolous that makes the best escapist entertainment. It uses serious feelings - chance, trust, fear, ostracism, hints of sexuality - alongside action sequences and humor, with the good guy prevailing over the forces of evil. When can I watch it again ?
Some Came Running (1958)
If you like melodrama, or just want to see an outstanding Shirly MacLaine, go for it
At two hours and 17 minutes, Vincente Minelli's "Some Came Running" is either too long, or too short, depending on your point of view. It's a sweeping melodrama, typical of a genre that was very popular in the 1950s, adapted from the James Jones novel of the same name. It's too long mostly because there are some unnecessary scenes that tell us again what we already know about the characters, But mostly it is too short, because this 1,260 page story could have been told much better over several hours of a mini-series format that allowed for more subtle and fulsome character development and especially for more realistic and believable transitions between scenes. Unfortunately, the mini-series didn't exist in 1958 when this was made, and so we end up with a very ambitious but ultimately tedious film about several overwrought characters. The film is stylish, but has much more of the vibes of 1958 when it was made than of 1948, when it was set. And either the screenplay or Minelli's direction makes clumsy transitions in which characters change their minds suddently and unconvincingly. It's fun to see Frank Sinatra and Dean Martin palling around, and Martha Hyer, Nancy Gates and Betty Lou Keim are effective strong playing beautiful but terse, stiff characters. But the only real shining light here, and she is brilliant, is Shirley MacLaine.
Les félins (1964)
Suspenseful, erotic and very cool thriller with a great 60's vibe
René Clément's Les Félins, aka Joy House, is clever and fun. The film starts fast, and the director's skill is immediately evident, with a lot of character development coming through quick action scenes and evocative shots. It's economical amd deliberately a little disjointed, because the writers and director are playing with us, and with Alain Delon. He is great, and so are Jane Fonda and Lola Albright. This is a fascinating threesome, and no sooner do we think that we've deciphered the plot than one of them upends the situation. Great location scenes, shot beautifully by Henri Decaë, and great music from Lalo Schifrin help to deliver a wonderful vibe. But aside from the clever and suspenseful story, the real "Joy" here comes from Delon, Fonda and Albright, all three convincing and all three at the top of their game, with special mentioon to Fonda for pulling off an enigmatic, ever-changing character.
Arabesque (1966)
Neither fish nor fowl, but worth it for a splendid Sophia Loren
Fifteen years before Raiders of the Lost Ark, Stanley Donen's Arabesque told the story of a mild-mannered acheologist, played by Gregory Peck, who gets caught up in a complex tale of international intrigue and finds reservoirs of derring-do that make him the hero of the day and win him the girl of his dreams, played brilliantly by Sophia Loren. With Donen, Peck, Loren, a twisty plot and high production values, this film had a lot of good things on offer. Unfortunately, it was ruined because it tried to do too much: to be a thriller, a romance, and a comedy. It ended up being a confused mess. I believe that it could have been a good film if only Donen had chosen one of those paths. They also made some off-putting choices common in the late 60s and 70s, with cartoonish villains and a penchant for trying to murder people in extremely complex and expensive ways, such as with helicopters, harvesters, giant lawnmowers and construction cranes. I have to believe that Gregory Peck's mediocre performance here is entirely du to the confused script. The only one who really shines here is Sophia Loren, who is convincing and interesting playing several different versions of a woman. Which one is the real Yasmine Azir ?
Five Graves to Cairo (1943)
A fine film, with several flaws that keep it from greatness.
Billy Wilder's Five Graves to Cairo is a fine little propaganda melodrama, with hints of Wilder's sardonic wit. I'm sure that it helped the war effort, as it is entertaining, anti-German and pro-English. The Germans in the Afrika Korps are portrayed more as normal soldiers rather than sub-human Nazis. Anne Baxter's French maid turns from desperate collaborator to hero, winning points for our French allies, too. Franchot Tone is very good. The long opening sequence is outstanding, truly memorable and creative. I have three disappointments with the film. First, no effort was made, not even a quick backstory, to explain how an English corporal could have the language skills to pass himself off as a German spy. Also, von Stroheim plays Rommel as a slightly more relaxed version of the aristocratic Kommandant that he brilliantly, memorably portrayed in Renoir's La Grande Illusion in 1937, and he should have found a different way to bring Rommel to life. And finally, a more "artistic" ending could have made this a great film, and even more effective for the war effort, but instead we have what appears to be a studio-mandated rah-rah moment so common to simpler combat films of the era.
There's Always Tomorrow (1956)
A fine drama about real-life topics, and still relevant today
Douglas SIrk's There's Always Tomorrow is a finely crafted film. Ursula Parrott's story and Bernard Schoenfeld's screenplay take center stage, because this is a film about real-life issues and believeable people. The film tackles, among other things, reconnecting with a youthful love; having a midlife crisis; being a successful, single career woman who longs to be married and have a family; and how marriage and family life can become routine and taken for granted. Sirk takes these elements and films them beautifully, and the cast delivers fine performances. Fred MacMurray, Barbara Stanwick, Joan Bennett, William Reynolds and Pat Crowley each play their parts convincingly, with MacMurray deserving particular praise. The film's cinematography is excellent given the constraints of shooting everyday suburban life.
Mission: Impossible (1996)
DePalma and Cruise deliver the goods
The plot is suitably twisting and turning, if occasionally outlandish; the location shots are great, the action is heart-pounding, and the roster of acting talent is outstanding. Working from that base, Brian dePalma provides layers of artistry that takes this up a cut above most action-spy films. It's a treat from start to finish. Of course, some of the action sequences, as is always the case in this "type" of film, are unbelievable, as are some scene resolutions. But there is a real story, good acting, dialogue and cinematography to keep the action scenes under control. Cruise is at the top of his game.
The Key (1958)
8 for ambition and an excellent, understated Sophia Loren, 6 for execution
The great Carol Reed bit off more than he could chew here. The novel has three fine, intertwined stories that each deserved lots of time: the very dangerous offshore wartime tugboat service, and its unique terms of battle; the men of the service, who suffer atrocious casualties and constant stress; and an onshore romance through a woman who plays a unique role in the lives of several captains. All three could have been handled adequately in a "mini-series", but here the battles got a bit too much treatment and the psychological and romanic stories a bit too little. Sophia Loren at age 23 shows that she was already a fine actress, much more than simply a spectacular beauty. In an understated performance she conveys the stress of her unusual life and transmits the constant dread that everyone feels. William Holden, Trevor Howard, Oscar Homolka and Bernard Lee are, like the supporting cast, very good.
Time Limit (1957)
A hidden gem, and a great, humane drama of PTSD and the law
I never knew that Karl Malden had directed any films. This was his only one, but based on it he should have directed many more. It's a great story, adapted from a play, of an Army lawyer tasked with bringing charges, or not, against the senior officer of a group of US POWs in a North Korean / Chinese prisoner camp. He is accused of having become a traitor. Richard Widmark and Richard Basehart are excellent, and so are Karl Benton Reid, Rip Torn and Martin Balsam. Basehart was particularly moving in a complex and difficult role. Malden lets the energy and tension build and release in waves, and the crescendo of the final scenes brings the explanation of what happened during those terrible events in Korea. The film wisely does not answer the key questions for us; each viewer needs to make up their own mind about what they would have done in those circumstances and what the military court should do next. Brilliant.
Barbie (2023)
A political and self-indulgent screed, and a big turn-off
The best I can say about Barbie is that it's one of the most colorful movies I've ever seen, with a clever mix of movie techniques, CGI and animation. Otherwise, it was a big downer. It left me wondering where were "the adults in the room"? Because it seemed like the producers, writers and director were engaging in some sort of envelope-pushing, exaggerated ecstasy of self indulgence, with big political messages. And oddly enough for all the hype and all the money spent making it - and regrettably for all the money it made from people like me responding to the marketing - it was boring. In addition, it was clumsy and preachy, no nuance at all, just a jumbled mess.
Saboteur (1942)
Alfred Hitchcock channels Frank Capra, and makes an outstanding propaganda film to help the war effort
Each time I watch Saboteur I like it more; I find new things that I hadn't noticed, and others that I appreciate better. One of these is "the message". Few Hitchock films have a message, but this one does, and it's full-on Frank Capra, an ode to the ordinary American who has inner goodness, fairness, and trust. With hard work and sticking to our values, we ordinary Americans can beat these vile, immoral enemies and their American fellow-travelers. Of course, that's the script the writers, particularly Dorothy Parker, gave him, but it's Hitchock's film ! These values are transmitted through many encounters that Robert Cumming's friendly earnestness, and Priscilla Lane's sunny naivete, have with ordinary Americans. Some truly outstanding Hitchcock scenes are here, notably the factory opening, the Radio City search, and the Statue of Liberty finale. The chief villain is exquisitely played by Otto Kruger, and Alan Baxter and Normn Lloyd are convincingly menacing, but it's the series of colorful and helpful ordinary people who are drawn most sharply. The film has a twisting plot, many great supporting actors, great visuals, and yes, a great message.
The Long Voyage Home (1940)
A lyrical, tragic ode to sailors, with vivid characters and great cinematography
The Long Voyage Home apparently started life as a series of theatrical pieces by Eugene O'Neill that he, Dudley Nichols and John Ford eventually turned into this evocative and moving film. Like in all Ford films, this one features camaraderie, heavy drinking, and a longing for their home, which for most of the crew is Ireland The close quarters of the ship allowed theater-like scenes to be shot, as did the few land-based scenes (mostly in bars !). This also allowed for many fabulous close-ups, odd camera angles, and even a few longshots full of action. The camera, and great acting, helped develop characters that we get to know and root for. That said, the tone of the film from the first frame is one of tragedy, of impending doom, so we actually know better than to root too hard for them; we know that trouble is coming and we don't want to be too disappointed. This is a story about the difficult lives of sailors, with an overlay of dread and danger from the new world war. But the message is nuanced, because by the end of the film we've seen one character morally redeemed just before he's killed in battle; another guided safely and haphazardly back home despite many malevolent people and ill-discipline from his mates; another tricked and doomed into a brutal future; and for most of the crew a return to their ship and another voyage - more of the same.
The Eagle Has Landed (1976)
Worthwhile, enjoyable counterfactual film ... with flaws
The Eagle Has Landed is an enjoyable war film, with a clever albeit preposterous story that gets us thinking "what if they had pulled this off?" Counterfactuals are a fun way to think about history, and this is no exception. As for the film, it has some real strong points, notably the acting of Donald Sutherland and Robert Duvall; some great photography and interesting on-location settings; the systematic build-up and even pace, which created interest in the details of the plan and also tension about whether they could pull it off. Michael Caine was solid in a role perfectly suited for him, and the supporting cast was excellent. The big, big flaw in the film was the cartoonish character played by Larry Hagman. Why bother with inserting humor like that? What purpose did it serve ? It felt forced, as if it had been imposed by a studio.
Crimson Tide (1995)
A great action film about a serious topic, with two outstanding actors. So, what would YOU do in that situation ?
One of the problems with modern action movies is that they are often cartoonish and superficial, targeted at boys and young men who want lots of action and not much else, regardless of how unrealistic. Tony Scott knows how to make that kind of flick, but he doesn't do that here. Instead, he takes the true story of events that took place on a Soviet submarine, and that kept the world out of nuclear war, and transposes them to a US submarine. He gives us a deeply atmospheric film (kudos also to the great Hans Zimmer music) that has plenty of realism, plenty of action, and a truly oustanding pair of leading men, Denzel Washington and Gene Hackman. They end up dueling over a very serious dilemma that makes every one of us think: what would we do in that situation? My only disappointment with the film is that Scott was a bit heavy handed in drawing early hints of conflict between the two protagonists. That wasn't necessary. Each man could have eventually gone their own separate ways even if they had agreed on everything else in the film right up to the big conflict. That's exactly what George Dzundza's character communicated, and it was great. So, back to basics: watch the film and ask yourself what you would do in that situation.
The Hunt for Red October (1990)
Timeless, outstanding thriller mixing intellect and action
The Hunt for Red October is a full time thriller and part-time action movie, submarine movie, diplomatic, military and spy movie. Whatever the genre, it is one of the best of its kind. The big cast is outstanding, and not just Connery and Baldwin, although both were at the top of their games. It has a very intricate plot, but just clear enough so that we follow perfectly and find ourselves deep into each new twist and turn. The film is refreshingly free of stereotypes and has lots of intelligent dialogue. We are rooting for Baldwin's Jack Ryan and rooting for Sean Connery's Remius, and wiahing that such events were real.
How to Steal a Million (1966)
A sweet romantic comedy from some prodigious talents
This is a sweet romantic comedy with not a hint of cynicism or winkimg at the camera. As such it is a refreshing film to watch, a relaxing voyage to the 1960s with two marvellous tour guides, a coy Audrey Hepburn and a suave, under-playing Peter O'Toole. They are delightful together, and the plot provides enough suspense to keep us interested in the story even if we are really only interested in their relationship. I think it would be impossible to make a bad movie when you combine William Wyler, Harry Kunitz, John Williams, Audrey Hepburn, Peter O'Toole, Eli Wallach, Hugh Griffith, Charles Boyer, Jacques Marin, Moustache, Givenchy, fabulous art and ... Paris.
Payback (1999)
Violent, stylized, well done, but ...
I saw the Director's Cut, and did not see the theatrical release, so I can't compare them. Based on what I've read, there are many differences between the two. Anyway, there is a lot to like about the film, but in the end I think it is too sadistic, too much a fantasy and seemingly only with wanton violence as the point. Gibson is chewing up the screen, surrounded by and playing off of great character actors. Chicago is both gritty and glamorous and is a great backdrop. The pace is great, the action riveting even when unbelievable, and the story is complex and creative. The taxi ambush scene is particularly unbelievable. The writer and director didn't get Lucy Liu's character right; is she meant to be funny ?
Lonely Are the Brave (1962)
Ambitious, pleasing film that is best watched as a pair with Who Shot Liberty Valance
The premise and story are interesting and worthwhile, the cast is excellent, Kirk Douglas is at the height of his craft, and the atmospherics of 1962 New Mexico really seep in. Lonely are the Brave tells the story of a cowboy loner who does not have a place in the West anymore. It should be seen as the second of a twin bill with The Man Who Shot Liberty Valance, made the same year and an even better film. That one tells the story of how the West matured and evolved, with the John Wayne rancher-cowboy character, representing everything that is good and great about the settlers, inevitably making way for the new breed of citizens exemplified by Jimmy Stewart. This film fast forwards by 50 years and shows that this cowboy "type" is now truly extinct, without any place, physically or socially, in the modern world.
On Her Majesty's Secret Service (1969)
Yes, I think this is the one
There are many Bond films that are, in the end, forgettable and even not that enjoyable for a first watching. These fall mostly into the exaggerated and cartoonish category. Of the ones that rise to the top of the list, each have their own strengths and weaknesses, even if the best Bond film is merely a good film in the cinematic panorama. All that said, I think that OHMSS might be my favorite. George Lazenby is a very good, convincing Bond. Diana Rigg is THE best Bond girl ever, in a part that has lots of interesting aspects compared with most other Bond girls, at least the non-villains. And Telly Savalas, Ilse Steppat and Gabriele Ferzetti are fine actors. It's got great location shots, a fine story, and a very human Bond, surprisingly, in a genuine love story. And finally, I liked the pace. It wasn't until after I watched it again and read reviews that I became aware of the frequent criticisms of its pace. I liked it a lot. And, I almost forgot - great music, too.
Return from the Ashes (1965)
A Hidden Gem
Somehow this film eluded me for a lifetime, but I am very pleased by the surprise discovery. It's both a melodrama and a thriller with excellent performances by Ingrid Thulin, Maximilian Schell and Samantha Eggar. She plays a pouty, annoying young woman in a smaller but crucial role, and her combination of sensuality and dis-likeability was important for the plot. Speaking of that, the film has an intricate story that is well worth following closely, as we are drawn in to their exaggerated lives (the melodrama part), sometimes straining credulity but never going over the top, towards deceit and malevolence (the thriller part). The viewer does need to completely forget that this is supposed to be set in the immediate post-war period, because EVERYTHING about the film - music, costumes, hairdos, decor - reeks of the mid-69s when ut was made.
Foreign Correspondent (1940)
Fabulous Hitchcock film and top Allied propaganda piece
I have seen Foreign Correspondent many times, but I never grow tired of it; the film feels fresh each time. It has the perfect blend: a great story, an outstanding cast, witty dialogue, and the genius of Hitchcock's pacing and cinematography. Regarding the cast, Joel McCrea is a great Hitchcockian hero, George Sanders equally good, and the ensemble of supporting and character actors as good as it gets. I notice lots of criticism for Laraine Day as being bland. That may be true of her other films, but I think she was cast perfectly here. She is playing someone of her own age -19 when they filmed - and it would not have been appropriate or believable to have her act like an older woman, or a typical witty Hitchcockian lead actress, and even less so as a femme fatale. The film ends on a raucous note of patriotic emotion, which is completely believable and justifiable for the time. It would not surprise me that this film helped rally citizens to the Allied cause.
Odds Against Tomorrow (1959)
A Gem, and a Deeply Atmospheric Period Piece
Robert Wise and his writers packed a tremendous amount into 96 minutes. They drew complex and detailed characterizations of all three protagonists through extensive scenes and backstories. In the guise of a tense crime thriller, they told these three life stories and presented a morality play with racism as one character's tragic flaw. The movie is as bleak and gritty as its two backdrops, filmed in black & white in a wintry New York City and a small industrial city upstate on the Hudson. It has that Naked City / Asphalt Jungle vibe that was common in the 50s and 60s, and the edgy musical score reinforced the bleakness of the city and of the protagonists' lives. Belafonte. Ryan and Begley were great, and Shelley Winters and Gloria Grahame were also very effective in smaller roles. I'm sorry to see Robert Ryan cast again as a violent, troubled racist, but he plays that role so well that I'm sure he was always the first actor to be called when they needed that type. Wise and Belafonte - his company produced the film - made sure to show many scenes with images of Black Americans living positive and normal lives, and the nightclub scenes were among the best in the film. That said, the racial politics of the movie are predictable, although these aspects were probably ground-breaking in the late 50s when there weren't many films that showed the integrated lives so common in the big cities.