Just because Citizen Kane is often cited as the greatest film ever made or the most important film of all time and just because you might have had to watch it in an "intro to film" class does not mean it’s homework. Unlike other landmark filmmaking oldies such as Birth Of A Nation or Battleship Potemkin, Citizen Kane is not a snoozer - it’s really amazingly entertaining. (Actually the "Odessa Steps" scene in Battleship Potemkin is a rather gripping piece of editing, but the rest of it is rather boring.) With his first film, Citizen Kane, the twenty-something wunderkind, Orson Welles, took on the Hollywood establishment (as well as William Randolph Heart’s publishing empire) and changed film, but most importantly made a fun, fun movie that still holds up quite well today.
The complicated plot of Citizen Kane famously mirrors the life of publishing tycoon William Randolph Hearst. As a boy Charles Foster Kane is taken from his mother when he inherits a small newspaper. Eventually he grows up to be Orson Welles. The film follows him from a cynical kid fresh out of college who thinks it would be fun to run a newspaper, to old age when he dies a miser and an extreme treasure hoarder. But what really made Citizen Kane revolutionary in 1941 was the way the story was told (besides Gregg Toland’s groundbreaking camera work). It opens with a long Newsreel documentary after Kane has died which tells his life story (though a press eye view). On his deathbed his last word was "Rosebud" and” a group of reporters sets out to find what or who was Rosebud. They interview the key people in his life, each telling different versions of Kane’s story, in flashbacks, from their perspective.Continue Reading
The Day The Earth Stood Still (1951)
Director Robert Wise’s 1951 Science-Fiction opus The Day The Earth Stood Still has always been the granddaddy of the friendly alien invasion genre. While the more popular “mean alien” genre dominated Sci-Fi in the decade (The War of the Worlds, The Thing From Another World, Invasion of the Body Snatchers), the peaceful alien is usually less exciting and harder to pull off. It wasn’t really for another 20-something years that it was done as well again (Close Encounters of the Third Kind, Starman, E.T: The Extra-Terrestrial and even the ’78 version of Superman). Like the best of Sci-Fi, The Day The Earth Stood Still reflects the paranoia of the period (the Cold War, the atomic bomb). What makes it so much more than the usual hokum of the '50s is the high caliber talent behind it. It has a groundbreaking and influential score by the brilliant Bernard Herrmann. Director Wise (after editing Citizen Kane) helped invent the Noir Horror genre with The Curse of the Cat People (1944) and The Body Snatcher (1945). Afterward he did straight Noirs with films like The Set-Up (1949) and The House on Telegraph Hill (1951). Though The Day The Earth Stood Still has a black and white gloss to it, it also has shadows, lies, and typical Noir pessimism, making it maybe the first Noir Sci-Fi flick.
When a big flying saucer lands in Washington, DC, the handsome alien pilot Klaatu (Michael Rennie) emerges from it in peace but is shot by a jumpy soldier. In response, his big robot buddy Gort emerges and destroys all the weapons present with his head laser. After a debriefing by the military, Klaatu tells a White House official he has an important message for the leaders of the world. Instead he is pooh-poohed and locked up. He escapes and goes undercover as “Mr. Carpenter,” a dim-witted Earth nerd, taking a room in a boarding house to learn more about these strange Earth people. He hangs out with a science loving kid there named Bobby (Billy Gray) who gives him a walking tour of DC and a quickie lesson in Americanism. Bobby’s mom, Helen (the great Patricia Neal), works for Professor Jacob Barnhardt (played by Sam Jaffe), a math wiz, whom Klaatu eventually befriends and to whom he explains his intentions: Earth’s love of war and newly acquired atomic weapons have endangered the universe, and unless the powers that be dump their nukes, he will be forced to destroy the planet.Continue Reading
The Sound Of Music
Once upon a time in Hollywood, in the 1960s, big lavish adaptations of Broadway musicals were the hot ticket in movies, not just at the box-office but on Oscar night as well. Luckily Easy Rider, young driven counterculture, and the fall of the big studios eventually put an end to the era. Though I’m not generally a fan of musicals, I do have a lot of affection for The Sound Of Music. The film is carried by the charmingly virginal Julie Andrews as Maria, whose beautiful singing voice and pleasant manner take her from a charming nunnery to being nanny to a bunch of Austrian would-be Shirley Temples, and through song she cools the heels of their stern father Captain Von Trapp (Christopher Plummer), eventually wedding him. By Act Two, hours later, the happy Partridge-esq family now must flee Nazis taking over their beloved Alps homeland, but not before singing a few more songs to an adoring public. As hard as it may be to believe, shot by director Robert Wise in big, brash 70mm style, this is incredibly entertaining fluff.
Mother Abbess (Peggy Wood) is in a huff because the rebellious Maria is bringing chaos to the Abby with her constant singing, so she wisely sends her off to bring her pep to the gloomy widowed Von Trapp and his passel of blond haired marching children. When around he treats his kids like young cadets, even the teensy ones, although he is usually hanging with the Baroness (Eleanor Parker, who later played three different characters on three episodes of TV’s Fantasy Island), a middle aged divorcee on the make with her scheming partner, the music promoter Max (Richard Haydn of Young Frankenstein). Maria quickly figures out all these young scamps need is love…. and music. Before you can say "Do-Re-Mi" she has them in Tabernacle Choir shape. At first Von Trapp is put off by Maria’s groovy ways but when he hears his kid’s powerful acapella version of “The Sound Of Music” this breaks the ice and he becomes a father of the year candidate. All is going well, Max even offers to manage the new musical family act. But the baroness feels threatened by the obviously younger and less leathery Maria, and convinces her to pack her bags, leave the family, and go back to Nunville. Dramatic! End of Act One.Continue Reading