A Place In The Sun
The "American dream." Many of the WWII GIs and their wives thought they were living it. It was the goal. A place of respect in society. Materialism. Love. It was all promised…Or so they thought. The flaws in the dream were gradually exposed throughout the '50s and especially into the '60s. One of the first to do so was the great filmmaker, George Stevens, a WWII vet himself (he shot some of the most important war footage ever recorded, the liberation of Paris and the Nazi camp in Dachau). Using Theodore Dreiser's 1925 novel, An American Tragedy, as a springboard, Stevens showed the horror of the ambitious dreamer (it was also made into a rarely mentioned film by Josef von Sternberg in 1931).
What is now considered Stevens' so-called American Trilogy begins with A Place In The Sun and then goes on to include his greatest masterpiece, Shane, and then James Dean’s final film, the overlong Giant. He would follow up the cycle with the touching, but stagy, The Diary Of Anne Frank, in ’59. Unfortunately his disastrous biblical epic, The Greatest Story Ever Told, in ’65 would more or less send him into early retirement as a director (he would pop out once more, five years later, for the Warren Beatty snoozer, The Only Game In Town). A Place In The Sun, in retrospect, is the perfect peek into the dark side of America in 1951. George Eastman (Montgomery Clift), a modest, steady young man, accepts a job from his rich uncle at a factory. He gets involved with a mousy co-worker, Alice (Shelley Winters), eventually knocking her up, a major inconvenience when he meets and falls for the boss’s wealthy, fast lane daughter Angela (Elizabeth Taylor at her most stunning). The two have an intense chemistry for each other. George gets a taste of the lifestyles of the rich and famous, but he is stuck with his whiny pregnant girlfriend who is basically blackmailing him into marriage. George will do whatever it takes to get rid of Alice so he can get his share of what he thinks the world owes him.Continue Reading
The Night of the Hunter
Whoa, Daddy if you haven’t seen The Night of the Hunter you really need to. It is probably, along with Vertigo and Citizen Kane, one of the pinnacles of 20th Century American cinema. It manages the rare trick of being funny and scary, stylized and naturalistic. Visually it harkens back to D.W. Griffith’s silent films and to German expressionism, with its constant, shadowy sense of menace, giving this film’s depiction of an American past a sinister daydream quality. It’s the first and only film British actor Charles Laughton ever directed. James Agee, one of the most important writers of Depression era America, adapted the screenplay, and Stanley Cortez, a poet with a lens (he did the incredible cinematography for Orson Welles’s The Magnificent Ambersons) was cinematographer.
For all the top tier tinsel town talent, though, this is Robert Mitchum’s show and he dominates the film with a kinky intensity, a murderous, almost supernatural creepiness. There’s a reason Siouxsie Sioux cited Mitchum’s psychotic preacher character as a key reference point for what she wanted to explore with the Banshees’ music. He’s pure evil but he’s such a wild card, a character as much dark myth as flesh and blood, that he is utterly spellbinding on screen.Continue Reading
The Poseidon Adventure
After the phenomenal success in 1970 of Airport (“Grand Hotel on a Airplane”), disaster films became all the rage of '70s pop cinema. The formula consisted of a melodramatic, soapy script with a handful of Oscar winners slumming, stuck in some kind of disastrous situation ranging from earthquakes to meteors. The best of the genre was The Poseidon Adventure, about a luxury liner that gets toppled by a tidal wave and the group of passengers trying to escape (by reaching the bottom of the boat). Besides excellent special effects and a great cast, what makes The Poseidon Adventure especially unusual is the underlying religious subtext; in some ways it’s also an allegory about the story of Jesus Christ and his followers.
On its final voyage across the Atlantic, passengers celebrate New Year's Eve on the SS Poseidon. We are introduced to a cross section of archetypes that will become the group we will stick with as they are all invited to sit at the captain’s dinner table (played with a straight face by Leslie Nielsen). A teenage girl (Pamela Sue Martin) and her obnoxious little brother (Eric Shea) travel without their parents; a brash New York cop (Ernest Borgnine) and his ex-hooker wife (Stella Stevens), on their way to meet their grandson in Israel (via Greece?); a sweet, old retired Jewish couple (Shelley Winters and Jack Albertson) play to the appropriate clichÃ©s; a lonely, soft-spoken bachelor (Red Buttons); and, most importantly, an outspoken renegade priest, Reverend Scott (Gene Hackman). Eventually, after being forced to fall in love with the cast, a massive tidal wave strikes the ship, flipping the boat upside down; a great scene of destructive mayhem follows, with some amazing stunt work.Continue Reading