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
Inspired by the critical and commercial success of Henri-Georges Clouzot’s arthouse shocker, Les Diabolique, Alfred Hitchcock took a break from his big budget Technicolor thrillers to make a little horror film called Psycho. Like the French film, he would shoot on a shoestring budget and in black & white. After the massive success of his previous film, North By Northwest, most of the suits at the studio thought their cash cow was off his rocker. Forgoing most of his big money crew he had worked with for years, he used the team from his anthology TV series, Alfred Hitchcock Presents, knowing they could work fast and cheap and would be more open to some of the new radical tricks Hitchcock was hoping to try out. With no one understanding what the master had up his sleeve, in the end, Psycho has proved to be one his biggest hits and one of the most influential films of all time.
Perfectly taut and compact, every line of Pyscho's dialog, every camera movement, and even the casting is all carefully constructed for the scare and suspense payoffs to come. Based on a then little read novel with the same title by Robert Bloch (Strait-Jacket), Hitchcock burned through a couple of screenwriters before Joseph Stefano got the vibe he was looking for. Bloch was inspired by the horrific true-life serial killer Ed Gein (whose ghastly crimes would inspire a number of films from The Texas Chainsaw Massacre to Motel Hell).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 Trouble With Harry
If it’s not Alfred Hitchcock’s most underrated film, than The Trouble With Harry is certainly his most unusual opus. In 1955, Hitch was in the midst of his unprecedented commercial and artistic hot streak; from '51 to '63 - Strangers on a Train through The Birds - he directed twelve films, a run that also included unquestionable masterpieces Rear Window, Vertigo, North By Northwest, and Psycho (as well as a couple misfires, most disappointingly I confess). Somewhere in the middle is this odd little black comedy about murder, shot in lush autumn Technicolor by the great Robert Burks. It feels like both an Ealing comedy (the little English studio that made stars of Alec Guinness and Peter Sellers) and a precursor to the lighter fare of the French New Wave. It’s both romantic and filled with a sort of light suspense. Though very much American, the film is based on a British novel by Jack Trevor Story and that quirky '50s English humor is evident (think of The Lady Killers). It’s not a style you see very much on this side of the Atlantic in that decade.
Besides the lush photography, The Trouble With Harry has two very special tricks up its sleeve:Continue Reading