The third film in director David Lean’s "How To Make An Epic" Trilogy, Doctor Zhivago followed The Bridge On The River Kwai and Lawrence Of Arabia. It may not carry the same critical cache today - some find it too soapy and less "important" - but it’s just as entertaining and just as impressive as his previous two epics. This period for Lean from ’57 to ’65 followed his rather dated Criterion Collection endorsed British period of the '40s and early '50s. And then his follow up to Zhivago five years later, Ryan’s Daughter, does not quite hold up today. But his follow up to that, his final film, the underrated A Passage To India in ’84, is rather interesting and showed the seventy-something director still working with all his powers, if not quite the scope.
Doctor Zhivago could be used for any class on film symbolism. It‘s constant: the leaves falling from the sunflower, the melted snow, the electricity of the cable cars, the deliberate use of the color red standing out among the drab colors. Robert Bolt’s concise script helps to spell out the character's feelings without the actors ever having to proclaim them. It all works to boil down Boris Pasternak’s epic novel of adultery before, during, and after the Russian Revolution. In terms of history class, along with Eisenstein’s Battleship Potemkin, Franklin Schaffner’s Nicholas And Alexandra, Warren Beatty’s Reds, and Woody Allen’s Love And Death, you have everything you could ever want to know about that period in Russia, or at least everything I know about it.Continue Reading
Dr. Strangelove Or: How I Learned To Stop Worrying & Learned To Love The Bomb
In the heart of the Cold War, after the Cuban missal crisis, fresh from the assassination of President Kennedy, the world seemed to be on the brink of nuclear destruction. It was a tense era, as reflected by a number of the paranoid films that were produced - Fail-Safe, Seven Days In May, On The Beach, to name a few. Knowing the world it was released into makes the attitudes of the "black comedy" Dr. Strangelove Or: How I Learned To Stop Worrying and Learned To Love The Bomb, particularly black. While many Americans had fall-out shelters in their backyards, Stanley Kubrick's film was laughing at the ridiculousness of world annihilation, while wondering who are the hopeless leaders we have entrusted with our nukes and our planet’s future?
Kubrick co-wrote the script with satirist Terry Southern (The Loved One, Easy Rider), kinda sorta based on a novel Red Alert, an actual thriller by Peter George. Dr. Strangelove was the final film of Kubrick’s outstanding black and white period, following his other classics, The Killing, Paths Of Glory, and Lolita, a foursome as relevant and as diverse as any young American director has had. And like Lolita, Dr. Strangelove would be a showcase for the acting range of Peter Sellers. Here he would take on three utterly different roles, to much acclaim.Continue Reading
East Of Eden
Just scratching the surface of John Steinbeck's massive novel, the film version of East Of Eden is most important as a introduction to James Dean and as another notch in director Elia Kazan's impressive film belt. Though the story can be a little melodramatic, concentrating on two brothers - one good, Aron (Richard Davalos), and one bad, Cal (Dean) - and and their relationship to their father, Adam (Raymond Massey) during the WWI years in Salinas, California. Adam is an overly moral man while the boy's mother Kate (Jo Van Fleet) is a brothel owner. If the biblical good and evil imagery sounds heavy-handed, it is, but for James Dean's fascinating performance the film's soapy elements are well worth slogging through. With only three films before his death at the age of 24, Dean's impact on film and film acting cannot be understated. Early in the decade Dean worked as a film extra in Hollywood, before moving to New York, where he began studying with famed acting guru Lee Strasberg at the Actors Studio, like his idols Montgomery Clift and Marlon Brando before him. He made some minor noise working on the stage and on live television, before he was plucked up by Kazan for the role that would make him an instant star and begin an iconic legend that still continues almost 60 years after his death. As the moody Cal, Dean uses every kind of slump and mumble known to man. In the first half of the film, as he seeks to reconnect with his long lost mother, he always looks like he is going to tumble over, as if he's walking on his tip-toes. His face always seems on the brink of tears. Later, his character gains some confidence and seems to have a stronger control of his body until, after one last grasp at connecting with his father, rejected, he flips out and goes into histrionics (as do the camera angles). Dean wears...Continue Reading
Based on Sinclair Lewis’s controversial, apparently dangerous 1927 novel of the same name, Elmer Gantry opens with a note from the producers warning that children should not see this film. Why all the hubbub? It’s a film about religion. More specifically it’s about a drunken, womanizing, two-bit salesman (Burt Lancaster) who hooks up with a true believer, a lady minister (Jean Simmons), and they become a big-time preaching duo. But things get ugly when his lusty old ways come back to haunt him, the con gets ugly. Yes, keep the children away.
Lewis’s massive book was apparently banned in some parts of the country (can you guess which?) for questioning the true faith of those who are worshipped for their religious zealism. Based somewhat on the famous Pentecostal evangelist Aimee Semple McPherson, apparently the film version is only a small fraction of the book. I would guess that, though controversial in its own right, the film's “controversial” aspects may have been watered down - 1960’s Hollywood was still in the last days of control by the Hayes Office which had the power to censor material it found offensive, luckily for art’s sake that power was ebbing.Continue Reading
Alfred Hitchcock’s second to last film, the underrated Frenzy, may not rank in his top tier. I would reserve that for The Birds, Vertigo, Notorious, and the first two-thirds of Psycho. But it definitely deserves consideration for that next tier, a still high quality group of classics that may include Rebecca, Strangers On A Train, Rear Window and North By Northwest.
Returning for the first time in decades to his old stomping grounds in England, the then seventy-three year old master was able to fully embrace the sex, violence, and nudity standards that had become looser by the early 1970s. The film is shockingly explicit even when compared with say, Marnie, his sexual thriller he made only eight years earlier.Continue Reading
“A mob doesn’t think. It doesn’t have time to think.” - Sylvia Sidney as Katherine Grant
Fritz Lang wasted no time in establishing his reputation in Hollywood as the master architect of the thriller. His first American film after having fled Hitler’s Germany is a searing indictment of the dark side of the American character that pulsates with an almost unbearable tension for its first half as a collision of combustible elements in a small town ignites into a shocking act of cold blooded mob violence. Lang wanted to do a film about the culture of public lynching in the U.S. and the curiously grotesque party atmosphere that has historically accompanied them. He felt that his protagonist would have to be guilty of the crime for which he was being lynched and that he should be African American in order for the story to truly resonate in this country and for the film to have the maximum impact. MGM would never agree to either of these stipulations, so he geared his story around a young Spencer Tracy as an American everyman in the wrong place at the wrong time, who faces the full unhinged brutality of a mob of townspeople calling for his blood.Continue Reading
Gone With The Wind
For 40 years, until of the era of the blockbuster (beginning with Jaws, Star Wars, E.T., and perhaps The Sound Of Music and The Godfather before them), Gone With The Wind was the ultimate blockbuster. Other films may have passed it in overall box office, but that’s because ticket prices have risen. No film had more people go see it in its day than Gone With The Wind. And yes, it’s a melodramatic soap opera with an eerie romantic schoolgirl crush on the Old South, but that doesn’t take away from the fact that it is impeccably crafted with one of the most stunning performances by an actress in film history.
Based on Margaret Mitchell’s massive Pulitzer Prize-winning novel about the fall of the antebellum American South, Gone With The Wind follows the young Southern belle, Sacrlett O’Hara (Vivien Leigh), through her many marriages, before, during, and after the Civil War. The dashing and worldly Rhett Butler (Clark Gable) is the man for her, but like any spoiled creature, she wants what she can’t have. The stiff, but proud Ashley Wilkes (Leslie Howard) is the object of her near obsession, but he is engaged to her kindly cousin Melanie Hamilton (Olivia de Havilland).Continue Reading
Antihero. The character you are suppose to be rooting for but find his actions unheroic. Today it’s commonplace in films and fiction. In 1963, the only antiheroes were usual gritty private eyes in dime store novels or gangsters. Then came Paul Newman as Hud. He represents the end of the old cattle ranchers era. It’s a battle of wills with his aging proud father for the soul of his innocent nephew and for the ethics that the family will use in its business dealings. You want to root for Hud. He’s so cool, its megastar, Paul Newman. He has moments of vulnerability when you can see why his heart is so hard. But by the end his selfishness and amoral nature make him so unlikeable. It also makes for an amazing story.
In Paul Newman’s monster-sized career, perhaps only Bogart, Nicholson and maybe James Stewart have ended up with so many iconic roles. As far as performances go, Newman was always good; the consensus would say that his performance as the broken down, drunken lawyer in The Verdict is his masterpiece. I would nominate Hud for second place on his Hall Of Fame chart. And that is saying a lot, with so many other important roles to chose from: The Hustler, Cool Hand Luke, The Color Of Money, Nobody’s Fool and the underrated Hombre to name a few, were all fantastic. Not to mention the crowd pleasers like The Sting and Butch Cassidy and The Sundance Kid which are beloved by many.Continue Reading
It’s A Wonderful Life
Somehow I never got hip to It’s A Wonderful Life until more recent years. Though it’s been a Christmas season staple ever since the 1970s when its copyright fell into the public domain, it managed to elude me my entire childhood. I think I may have blown it off as corny or lightweight, but I couldn’t have been more wrong. It’s A Wonderful Life, besides being incredibly moving, has themes that still pack a wallop.
On first viewing it may take some nudging to get past the set up concerning stars talking and angels and what not. The Our Town piece of Americana, its lovable small town, seems overly clichÃ©d at first glance until you realize this is the movie that invented it. There is a reason these ideas are now called "Capraesque." This and other films (Mr. Smith Goes To Washington, Meet John Doe, etc.) established director Frank Capra and his wholesome characters whose decent values can take on the world as a style all its own. And then the great Jimmy Stewart enters the picture and anchors it with an epic performance.Continue Reading
Leave Her To Heaven
What do you call a film noir without shadows? Is it still noir? Leave Her To Heaven is a total anomaly, a claustrophobic thriller that takes place in the wide open spaces of some of the most serene nature settings imaginable. It’s a murky psychodrama done in Technicolor. This isn’t the blazingly sharp Technicolor of Douglas Sirk, though, where every pink wall and cocktail shaker gleams with vivid detail. Leave Her To Heaven was made a good ten years before Technicolor advanced to what we think of as its signature bold and bright look. The Technicolor process was more primitive when Leave Her To Heaven was made, giving the film a weirdly unsettling brightness like the eerie orange glow before a heavy summer storm.
Cornel Wilde plays Richard Harland, an author who meets a beautiful and wealthy young woman named Ellen (played by Gene Tierney) on a train. Soon they are in love, get married, and Richard is smitten with his new bride. However, Ellen’s behavior becomes bizarre and her treatment of Richard more and more possessive and unreasonable. Much like her attachment to her dead father, her need to possess Richard totally has drastic and murderous consequences for the other people in their lives.Continue Reading