Ok lot's of people worship John Wayne, others can't stand him. I think this is a movie that can appeal to both. First of all it is very much a Jimmy Stewart movie as much as it is a John Wayne movie. Secondly, Wayne plays a role that is perfect for his on screen persona, but gives him some serious heart as well. It's kind of fascinating too, in light of today's politics. I can't go into detail without a spoiler alert, but how one becomes a successful politician may not have changed that much since the last century. It's a western, but it's not a "shoot 'em up" it's very thoughtful. Overall it's a must see movie because it is referred to often by movie buffs.
Synopsis:
Senator Stoddard (James Stewart) attends the
funeral of a man from his state named Tom Doniphon (John Wayne) in a small
Western town. He is immediately contacted by a local reporter seeking to find out, in part, what the connection is between Doniphon and Stoddard. Stoddard first found the fame that led him to politics as the man who shot Liberty Valance (Lee Marvin), a villainous thief and determined defender of the lawless west that those seeking state-ship are trying to suppress. It quickly becomes clear that Doniphon assisted by his employee "Pompey" played brilliantly by one of the most famous African-American actors of his generation (Woody Strode), was connected to the conflict between Stoddard and Valance in multiple ways. Director John Ford uses the story of this group of small town people to give us a fascinating look at life on the frontier as it was being "tamed". All of this unfolds as Stoddard is interviewed by the reporter, who's last line is a cinema classic.
Primary Cast:
John Wayne ...........................Tom Doniphon
James Stewart ........................Ransom Stoddard
Vera Miles ..............................Hallie Stoddard
Lee Marvin ............................Liberty Valance
Edmond O'Brien ....................Dutton Peabody
Woody Strode ........................Pompey
Andy Devine .........................Link Appleyard
Ken Murray ...........................Doc Willoughby
John Carradine ......................Maj. Cassius Starbuckle
Jeanette Nolan .......................Nora Ericson
John Qualen ..........................Peter Ericson
Willis Bouchey .....................Jason Tully - Conductor
Carleton Young .....................Maxwell Scott
Denver Pyle ..........................Amos Carruthers
Strother Martin ......................Floyd
Lee an Cleef ..........................Reese
Joseph Hoover .......................Charlie Hasbrouck - Reporter for 'The Star'
Friday, September 15, 2017
Sunday, July 27, 2014
WWII Propaganda and "The Seventh Cross (1944)
The war department went to Hollywood early in WWII for help. They raised war bonds, they raised money and they raised spirits with blatantly propagandist movies. Some of the propaganda, like say Mrs. Miniver, would have been hits anyway and some never should have seen the light of day, but others are in a never land - not really fantastic movies, but worth seeing for what they say about the war, and what we knew about the war AT THAT TIME. This particular film is an excellent example of what can be learned from this genre, both of world history and of cinema history.
Synopsis:
Seven men escape from a concentration camp (hello, reality check number one - but I digress). Seven crosses are constructed to hold their hanging corpses after they are caught. The escaping prisoners are played by basically six unknown actors and Spencer Tracy. Of these, only one, Felix Bressart really "looks jewish" as that would be viewed in 1944 - remember great care was taken not to make World War II about the Jews until we found out what really happened to them. Guess which one narrates the escape and is the last one left alive. If you guessed Spencer Tracy - you pass obvious questions 101. Most of their deaths happen quickly so that the real supporting actors are those who continue to help Spencer Tracy despite the danger. One of the first people to help him is a woman who runs a costume shop, played by Agnes Moorehead. He knows about her because she is friends with one of his fellow escapees - a trapeze artist - who helps him with new clothes. Does she know who he is? It isn't clear, maybe she does but she thinks he's an artist like the other escapee - she is human, and humane so she helps. Soon we meet are Hume Cronyn and Jessica Tandy - old acquaintances of Tracy who take him in not realizing he is a wanted man. they have heretofore been a-political, but after helping Tracy and being called in by the Gestapo because of it, they see the world differently. Meanwhile Tracy's old anti-Nazi friends are working tirelessly trying to guess where he will go so that they can help him get out of Germany. This group is made up of some well known character actors and as a group they dedicate themselves to finding Tracy and helping him escape Germany. The final angel on Spencer's shoulder is a chambermaid in the hotel where he stays one night. He's moved there so that he will not get Hume Cronyn in trouble. Because he is friendly and kind to her early in the day when she comes to change the sheets, she warns him when there are Nazi's in the hotel and helps him evade them as he makes his escape.
As you can see the "message" of this movie is hardly subtle and it clearly is designed to put a happy face on the war in 1944 when it was released. This movie says - don't worry, all humanity is not dead in Germany - look they are helping Spencer Tracy aren't they. The moral is even put into words for those who prefer the direct route. Tracy explains to the chambermaid that he will be in Holland or somewhere "paying back" everyone who helped him get there because thanks to those kind people, "I know that no matter how cruelly the world strikes at the souls of men there is a God given decency that will come out if it is given half a chance. That's the hope for the human race, that's the faith we must cling to, the only thing that will make our lives worth living. In other words, don't worry, when we beat Germany (which we are about to do) we will still find kind people. Of course, this is before the reality of concentration camps was disclosed and knowing that now changes EVERYTHING about this movie and to me that's what makes if so fascinating. That and the fact that it is a brilliantly acted, well directed solid piece of film in addition to all of the extraneous elements.
Director ........................................................Fred Zinnemann
Writers ..........................................................Helen Deutsch
..........................................................Anna Seghers
George Heisler ..............................................Spencer Tracy
Toni ...............................................................Signe Hasso
Paul Roeder ...................................................Hume Cronyn
Leisel Roeder .................................................Jessica Tandy
Mme. Marelli .................................................Agnes Moorehead
Franz Marnet .................................................Herbert Rudley
Poldi Schlamm ...............................................Felix Bressart
Wallau ...........................................................Ray Collins
Zillich .............................................................Alexander Granach
Synopsis:
Seven men escape from a concentration camp (hello, reality check number one - but I digress). Seven crosses are constructed to hold their hanging corpses after they are caught. The escaping prisoners are played by basically six unknown actors and Spencer Tracy. Of these, only one, Felix Bressart really "looks jewish" as that would be viewed in 1944 - remember great care was taken not to make World War II about the Jews until we found out what really happened to them. Guess which one narrates the escape and is the last one left alive. If you guessed Spencer Tracy - you pass obvious questions 101. Most of their deaths happen quickly so that the real supporting actors are those who continue to help Spencer Tracy despite the danger. One of the first people to help him is a woman who runs a costume shop, played by Agnes Moorehead. He knows about her because she is friends with one of his fellow escapees - a trapeze artist - who helps him with new clothes. Does she know who he is? It isn't clear, maybe she does but she thinks he's an artist like the other escapee - she is human, and humane so she helps. Soon we meet are Hume Cronyn and Jessica Tandy - old acquaintances of Tracy who take him in not realizing he is a wanted man. they have heretofore been a-political, but after helping Tracy and being called in by the Gestapo because of it, they see the world differently. Meanwhile Tracy's old anti-Nazi friends are working tirelessly trying to guess where he will go so that they can help him get out of Germany. This group is made up of some well known character actors and as a group they dedicate themselves to finding Tracy and helping him escape Germany. The final angel on Spencer's shoulder is a chambermaid in the hotel where he stays one night. He's moved there so that he will not get Hume Cronyn in trouble. Because he is friendly and kind to her early in the day when she comes to change the sheets, she warns him when there are Nazi's in the hotel and helps him evade them as he makes his escape.
As you can see the "message" of this movie is hardly subtle and it clearly is designed to put a happy face on the war in 1944 when it was released. This movie says - don't worry, all humanity is not dead in Germany - look they are helping Spencer Tracy aren't they. The moral is even put into words for those who prefer the direct route. Tracy explains to the chambermaid that he will be in Holland or somewhere "paying back" everyone who helped him get there because thanks to those kind people, "I know that no matter how cruelly the world strikes at the souls of men there is a God given decency that will come out if it is given half a chance. That's the hope for the human race, that's the faith we must cling to, the only thing that will make our lives worth living. In other words, don't worry, when we beat Germany (which we are about to do) we will still find kind people. Of course, this is before the reality of concentration camps was disclosed and knowing that now changes EVERYTHING about this movie and to me that's what makes if so fascinating. That and the fact that it is a brilliantly acted, well directed solid piece of film in addition to all of the extraneous elements.
Director ........................................................Fred Zinnemann
Writers ..........................................................Helen Deutsch
..........................................................Anna Seghers
George Heisler ..............................................Spencer Tracy
Toni ...............................................................Signe Hasso
Paul Roeder ...................................................Hume Cronyn
Leisel Roeder .................................................Jessica Tandy
Mme. Marelli .................................................Agnes Moorehead
Franz Marnet .................................................Herbert Rudley
Poldi Schlamm ...............................................Felix Bressart
Wallau ...........................................................Ray Collins
Zillich .............................................................Alexander Granach
Sunday, July 20, 2014
His Girl Friday (1940)
Based on the classic play The Front Page by Ben Hecht and Charles MacArthur I think this actually does the play one better by changing one of the characters from a man to a woman. Rumor has it that it was Howard Hawks, the director, who noticed that the relationship between the two lead characters in The Front Page was like a love story and had the idea of adding that element to the play. The result is this brilliant fast paced comedy with a little romance thrown in for good measure.
Synopsis:
The movie begins with former reporter and ex-wife Hildy Johnson Rosalind Russell, calling on her ex-husband Walter Burns, Cary Grant, to tell him she's going to get married again. Her intended is an insurance salesman from Albany named Bruce Baldwin, Ralph Bellamy. Burns clearly has no intention of letting her go, though whether he will miss her more as a wife or as a reporter is not clear. He lures her back in by agreeing to buy a large insurance policy if she will do one final interview with a prisoner scheduled to be hung the next day for having shot a policeman. Hildy gets the interview but then tears it up when Walter has Bruce robbed and unfairly thrown in jail. Just when Hildy is leaving her colleagues in the press-room for good, Earl Williams escapes and she is pulled back in by her love of the story. She is alone in the room when Earl Williams shows up at the window. She hides him in a desk, calls Burns and that's when the action really begins.
The pace of this movie is what everyone talks about. The conversation comes so fast and furious that you really have to listen closely to keep up and get all the joke. In fact, one viewing is really inadequate, you will notice lines you never noticed before each time you see it. Most of this comes directly from the play by the famous team of Hecht and MacArhur. In addition to The Front Page the team wrote several other plays including Billy Rose's Jumbo and 20th Century, separately and together they wrote dozens of screenplays, including Wuthering Heights, Scarface, Nothing Sacred and Angels with Dirty Faces. As fast paced as the play is, Hawks managed to speed it up a little. Howard Hawks is one of the best directors of romantic comedies ever to work in Hollywood, having directed Twentieth Century, the quintessential screwball comedy, Bringing Up Baby, Ball of Fire, To Have and Have Not and dozens of others. Add to this the brilliant performers. Bellamy does such a good job playing the milquetoast insurance salesman that the straw man third party in romantic comedies became referred to as the Ralph Bellamy role. Gene Lockhart plays the crooked Sheriff, and the men in the newsroom is a collection of character actors that any director would kill for. The combination is positively combustible and makes for a truly unique movie experience.
Director ...............................................................Howard Hawks
Writers ................................................................Charles MacAruthur (Play)
.............................................................Ben Hecht (Play)
..............................................................Charles Lederer (Screenplay)
Walter Burns .......................................................Cary Grant
Hildy Johnson ......................................................Rosalind Russell
Bruce Baldwin .....................................................Ralph Bellamy
Gene Lockhart .....................................................Sheriff Hartwell
Porter Hall ...........................................................Murphy
Ernest Truex ........................................................Bensinger
Cliff Edwards ......................................................Endicott
Clarence Colb .....................................................Mayor
Roscoe Carns .....................................................McCue
Frank Jenks ........................................................Wilson
Regis Toomey .....................................................Sanders
Abner Biberman .................................................Louie
Frank Orth .........................................................Duffy
John Qualen .......................................................Earl Williams
Helen Mack .......................................................Molly Malloy
Alma Kruger ......................................................Mrs. Baldwin
Billy Gilbert ........................................................Joe Pettibone
Synopsis:
The movie begins with former reporter and ex-wife Hildy Johnson Rosalind Russell, calling on her ex-husband Walter Burns, Cary Grant, to tell him she's going to get married again. Her intended is an insurance salesman from Albany named Bruce Baldwin, Ralph Bellamy. Burns clearly has no intention of letting her go, though whether he will miss her more as a wife or as a reporter is not clear. He lures her back in by agreeing to buy a large insurance policy if she will do one final interview with a prisoner scheduled to be hung the next day for having shot a policeman. Hildy gets the interview but then tears it up when Walter has Bruce robbed and unfairly thrown in jail. Just when Hildy is leaving her colleagues in the press-room for good, Earl Williams escapes and she is pulled back in by her love of the story. She is alone in the room when Earl Williams shows up at the window. She hides him in a desk, calls Burns and that's when the action really begins.
The pace of this movie is what everyone talks about. The conversation comes so fast and furious that you really have to listen closely to keep up and get all the joke. In fact, one viewing is really inadequate, you will notice lines you never noticed before each time you see it. Most of this comes directly from the play by the famous team of Hecht and MacArhur. In addition to The Front Page the team wrote several other plays including Billy Rose's Jumbo and 20th Century, separately and together they wrote dozens of screenplays, including Wuthering Heights, Scarface, Nothing Sacred and Angels with Dirty Faces. As fast paced as the play is, Hawks managed to speed it up a little. Howard Hawks is one of the best directors of romantic comedies ever to work in Hollywood, having directed Twentieth Century, the quintessential screwball comedy, Bringing Up Baby, Ball of Fire, To Have and Have Not and dozens of others. Add to this the brilliant performers. Bellamy does such a good job playing the milquetoast insurance salesman that the straw man third party in romantic comedies became referred to as the Ralph Bellamy role. Gene Lockhart plays the crooked Sheriff, and the men in the newsroom is a collection of character actors that any director would kill for. The combination is positively combustible and makes for a truly unique movie experience.
Director ...............................................................Howard Hawks
Writers ................................................................Charles MacAruthur (Play)
.............................................................Ben Hecht (Play)
..............................................................Charles Lederer (Screenplay)
Walter Burns .......................................................Cary Grant
Hildy Johnson ......................................................Rosalind Russell
Bruce Baldwin .....................................................Ralph Bellamy
Gene Lockhart .....................................................Sheriff Hartwell
Porter Hall ...........................................................Murphy
Ernest Truex ........................................................Bensinger
Cliff Edwards ......................................................Endicott
Clarence Colb .....................................................Mayor
Roscoe Carns .....................................................McCue
Frank Jenks ........................................................Wilson
Regis Toomey .....................................................Sanders
Abner Biberman .................................................Louie
Frank Orth .........................................................Duffy
John Qualen .......................................................Earl Williams
Helen Mack .......................................................Molly Malloy
Alma Kruger ......................................................Mrs. Baldwin
Billy Gilbert ........................................................Joe Pettibone
Thursday, July 10, 2014
Top Hat (1935)
OK so there are certain film categories that everyone needs to sample at least one of. Fred and Ginger movies is one of those categories. No question that Top Hat is the creme de la creme of this category so I strongly recommend this one. It's plot is light as are the plots of all of the Fred and Ginger movies but it is funny, the supporting acting is good and the numbers are FANTASTIC, set to Irving Berlin music and choreographed by Fred and his longtime partner Hermes Pan.
Synopsis:
It is difficult to summarize the plot as it's more of a series of setups for songs than it is a plot. Nonetheless, here goes: Fred plays, song and dance man from New York, Jerry Travers (such a stretch), who has arrived in London to star in a show produced by Mr. Horace Hardwick, played by perennial Fred & Ginger co-star Edward Everett Horton. The two meet at Mr. Hardwick's stuffy British club where the rule of silence is scrupulously followed until Fred can't stand it anymore and tap dances his way out of the club. They return to Hardwick's hotel where we meet his valet, Bates, played by Eric Blore. It is not at all clear whether Hardwick or Bates is in charge - most likely Bates. Hardwicke then tells Jerry that his wife is expecting them in Italy the week-end after their opening to meet up with a friend of hers. Jerry insists he isn't ready for a set up since his is "Fancy Free and free for anything fancy..." When he moves into the tap portion of this number he awakens a woman on the floor below - namely Dale Tremont, Ginger Rogers. When she comes upstairs to complain Fred is immediately smitten. He even switches to soft shoe sand dance to lull her back to sleep in an early use of white noise.
The next morning he orders every flower in the place to be sent to her room and billed to Horace Hardwick. Then he hijacks her horse driven cab that is to take her to the riding stables. They are caught in a downpour which provides an opportunity for Isn't this a Lovely Day (to Be Caught in the Rain). Though the song wins her over, there is an unfortunate identity mix up when the desk clerk attempts to point out Mr. Hardwick to her and she sees Fred instead. From then on she believes Fred to be married to her good friend Madge whom she is going to see in Italy that week-end. Meanwhile we learn that Ginger's relationship with a man named Beddini, which the florist thought was romantic, is actually pure business, he's a designer and she' his model. Unfortunately, Hardwick believes that she and Beddini are romantically involved too, so he convinces Fred to forget her.
Soon an enthusiastic Horace and reluctant Fred, Ginger and Bates are headed to the Venice Lido (after Fred's show opens and we see the title number - the best collection of men in white tie and tail coats ever). In Italy we meet Horace's wife Madge, Helen Broderick, and Dale tries to tell her that her husband was flirting with her only to find that Madge doesn't care. She trusts Horace - insists his flirting doesn't mean anything. Of course, she's talking about her actual husband and Dale is talking about Fred... well you get the idea. The rest is all ironic and or confused encounters based upon these misunderstandings until all is straightened out but not until after Fred and Ginger have danced Cheek to Cheek and Ginger almost gets married to Beddini. Finally we get a paean to Venice, The Piccolino, the movie's biggest production number.
As you can see the plot is so light it could fly away. The important information is what numbers are in this movie. The other important part is the way Fred and Ginger dance, and boy are they magnificent. Don't over-think this one - just watch it. You will be amazed at how much of it you have already seen in clips. And what you haven't seen is really enjoyable. I dare you to keep from smiling ear to ear by the end.
Director ..................................................Mark Sandrich
Writers ...................................................Dwight Taylor
..................................................Allan Scott
Principal Cast:
Jerry Travers ..........................................Fred Astaire
Dale Tremont .........................................Ginger Rogers
Edward Everett Horton ..........................Horace Hardwick
Erik Rhodes ...........................................Alberto Beddini
Eric Blore ...............................................Bates
Helen Broderick .....................................Madge Hardwick
Synopsis:
It is difficult to summarize the plot as it's more of a series of setups for songs than it is a plot. Nonetheless, here goes: Fred plays, song and dance man from New York, Jerry Travers (such a stretch), who has arrived in London to star in a show produced by Mr. Horace Hardwick, played by perennial Fred & Ginger co-star Edward Everett Horton. The two meet at Mr. Hardwick's stuffy British club where the rule of silence is scrupulously followed until Fred can't stand it anymore and tap dances his way out of the club. They return to Hardwick's hotel where we meet his valet, Bates, played by Eric Blore. It is not at all clear whether Hardwick or Bates is in charge - most likely Bates. Hardwicke then tells Jerry that his wife is expecting them in Italy the week-end after their opening to meet up with a friend of hers. Jerry insists he isn't ready for a set up since his is "Fancy Free and free for anything fancy..." When he moves into the tap portion of this number he awakens a woman on the floor below - namely Dale Tremont, Ginger Rogers. When she comes upstairs to complain Fred is immediately smitten. He even switches to soft shoe sand dance to lull her back to sleep in an early use of white noise.
The next morning he orders every flower in the place to be sent to her room and billed to Horace Hardwick. Then he hijacks her horse driven cab that is to take her to the riding stables. They are caught in a downpour which provides an opportunity for Isn't this a Lovely Day (to Be Caught in the Rain). Though the song wins her over, there is an unfortunate identity mix up when the desk clerk attempts to point out Mr. Hardwick to her and she sees Fred instead. From then on she believes Fred to be married to her good friend Madge whom she is going to see in Italy that week-end. Meanwhile we learn that Ginger's relationship with a man named Beddini, which the florist thought was romantic, is actually pure business, he's a designer and she' his model. Unfortunately, Hardwick believes that she and Beddini are romantically involved too, so he convinces Fred to forget her.
Soon an enthusiastic Horace and reluctant Fred, Ginger and Bates are headed to the Venice Lido (after Fred's show opens and we see the title number - the best collection of men in white tie and tail coats ever). In Italy we meet Horace's wife Madge, Helen Broderick, and Dale tries to tell her that her husband was flirting with her only to find that Madge doesn't care. She trusts Horace - insists his flirting doesn't mean anything. Of course, she's talking about her actual husband and Dale is talking about Fred... well you get the idea. The rest is all ironic and or confused encounters based upon these misunderstandings until all is straightened out but not until after Fred and Ginger have danced Cheek to Cheek and Ginger almost gets married to Beddini. Finally we get a paean to Venice, The Piccolino, the movie's biggest production number.
As you can see the plot is so light it could fly away. The important information is what numbers are in this movie. The other important part is the way Fred and Ginger dance, and boy are they magnificent. Don't over-think this one - just watch it. You will be amazed at how much of it you have already seen in clips. And what you haven't seen is really enjoyable. I dare you to keep from smiling ear to ear by the end.
Director ..................................................Mark Sandrich
Writers ...................................................Dwight Taylor
..................................................Allan Scott
Principal Cast:
Jerry Travers ..........................................Fred Astaire
Dale Tremont .........................................Ginger Rogers
Edward Everett Horton ..........................Horace Hardwick
Erik Rhodes ...........................................Alberto Beddini
Eric Blore ...............................................Bates
Helen Broderick .....................................Madge Hardwick
Tuesday, June 24, 2014
My Favorite Year (1982)
If you like The Dick Van Dyke Show, or clips you may have seen from Sid Ceasar's shows, or if you are a fan of Peter O'Toole or if you are a fan of old swashbuckling movies, you will love this movie. This movie was made by alumni of the great Ceasar's shows and like the Dick Van Dyke show is a look at that era. In this case a week when an Errol Flynn -ish character came to co-star.
Synopsis:
We begin by following Benjy Stone (Mark Linn-Baker)describing 1954, his favorite year that he spent as part of the writing staff of the King Kaiser comedy cavalcade and specifically the week his idol Alan Swann (Peter O'Toole) was going to guest-star on the show. A major turning point for him, he says. We meet the other writers and see clips from Swann's alleged movies then we cut to Swann waking up next to a beautiful, very young girl and promptly going into a horrible hacking cough. We also meet the object of Benjy's affections, not thus far reciprocated, King Kaiser's secretary K.C. Downing (Jessica Harper). We meet producers, including the great songwriter and sometime actor, Adolphe Green. Then we meet the great King himself (Joseph Bologna) as he berates the head writer's monologue in front of the whole crew. Finally, the great Alan Swann shows up to set only to pass out. The decision is made to replace him but Benjy argues against it. King relents but assigns Benjy to watch him for the week, Swann has to be at every rehearsal, sober, or Benjy pays. That's when the fun really begins.
The key to this movie is the casting. With any actor less larger-than-life than Peter O'Toole it would be hard to believe that all that follows really could happen, but O'Toole makes you believe it. You believe his escapades and you believe his humanity. He not only takes Benjy on drunken hijinks throughout the city he dedicates himself to helping him win over K.C. and even agrees to dinner with Benjy's relatives in Brooklyn. We also learn some of the self-loathing that just may be part and parcel of the alcoholism - Swann, it seems has a daughter he has been unable to face for years. The final face-off comes the night of the show when Swann find out for the first time that the show is done live. He panics and leaves threatening everything that he and Benjy have built over the week. Mostly the movie is very, very, funny with each character cast perfectly. The director is the actor Richard Benjamin of Goodbye Columbus fame.
We really get the feel of early television and all that it entailed.There are little things that harken back to the Sid Caesar show specifically, for example, there is a writer that only whispers comments to his colleague who then voices them. This allegedly hearkens back to the behavior of Neil Simon on the Ceasar show who would speak so softly someone else would have to repeat them to the room. This type of inside baseball makes the movie all the more authentic and funny.
Director ............................................................Richard Benjamin
Writers .............................................................Norman Steinberg
...........................................................Dennis Palumbo
Alan Swann ......................................................Peter O'Toole
Benjy Stone ......................................................Mark Linn-Baker
K.C. Downing ..................................................Jessica Harper
King Kaiser ......................................................Joseph Bologna
Sy Benson ........................................................Bill Macy
Belle Carroca ...................................................Lainie Kazan
Alice Miller ......................................................Anne De Salvo
Herb Lee .........................................................Basil Hoffman
Uncle Morty ....................................................Lou Jacobi
Leo Silver .......................................................Adolph Green
Alfie Bumbacelli ..............................................Tony DiBenedetto
Synopsis:
We begin by following Benjy Stone (Mark Linn-Baker)describing 1954, his favorite year that he spent as part of the writing staff of the King Kaiser comedy cavalcade and specifically the week his idol Alan Swann (Peter O'Toole) was going to guest-star on the show. A major turning point for him, he says. We meet the other writers and see clips from Swann's alleged movies then we cut to Swann waking up next to a beautiful, very young girl and promptly going into a horrible hacking cough. We also meet the object of Benjy's affections, not thus far reciprocated, King Kaiser's secretary K.C. Downing (Jessica Harper). We meet producers, including the great songwriter and sometime actor, Adolphe Green. Then we meet the great King himself (Joseph Bologna) as he berates the head writer's monologue in front of the whole crew. Finally, the great Alan Swann shows up to set only to pass out. The decision is made to replace him but Benjy argues against it. King relents but assigns Benjy to watch him for the week, Swann has to be at every rehearsal, sober, or Benjy pays. That's when the fun really begins.
The key to this movie is the casting. With any actor less larger-than-life than Peter O'Toole it would be hard to believe that all that follows really could happen, but O'Toole makes you believe it. You believe his escapades and you believe his humanity. He not only takes Benjy on drunken hijinks throughout the city he dedicates himself to helping him win over K.C. and even agrees to dinner with Benjy's relatives in Brooklyn. We also learn some of the self-loathing that just may be part and parcel of the alcoholism - Swann, it seems has a daughter he has been unable to face for years. The final face-off comes the night of the show when Swann find out for the first time that the show is done live. He panics and leaves threatening everything that he and Benjy have built over the week. Mostly the movie is very, very, funny with each character cast perfectly. The director is the actor Richard Benjamin of Goodbye Columbus fame.
We really get the feel of early television and all that it entailed.There are little things that harken back to the Sid Caesar show specifically, for example, there is a writer that only whispers comments to his colleague who then voices them. This allegedly hearkens back to the behavior of Neil Simon on the Ceasar show who would speak so softly someone else would have to repeat them to the room. This type of inside baseball makes the movie all the more authentic and funny.
Director ............................................................Richard Benjamin
Writers .............................................................Norman Steinberg
...........................................................Dennis Palumbo
Alan Swann ......................................................Peter O'Toole
Benjy Stone ......................................................Mark Linn-Baker
K.C. Downing ..................................................Jessica Harper
King Kaiser ......................................................Joseph Bologna
Sy Benson ........................................................Bill Macy
Belle Carroca ...................................................Lainie Kazan
Alice Miller ......................................................Anne De Salvo
Herb Lee .........................................................Basil Hoffman
Uncle Morty ....................................................Lou Jacobi
Leo Silver .......................................................Adolph Green
Alfie Bumbacelli ..............................................Tony DiBenedetto
Thursday, June 19, 2014
Modern Times (1936)
I know most people hear silent movie and their eyes glaze over. There aren't many that I would argue you must see, but at least one Chaplin movie is essential just to see this genius in action. Charlie Chaplin is an icon for a reason. His voice was unique and brilliant. He was a true auteur before the term became vogue. He not only wrote, directed and acted in his pictures, he wrote the music and even did most of the editing. Which is his best movie? Many would say the one before this, City Lights, I can't really argue with that, it's also a wonderful movie, but this is my personal favorite, maybe because his co-star is his then wife Paulette Goddard. For whatever reason I prefer it, so I am writing about this first. I might also add that this is not an entirely silent movie. The leads do not speak, (though the tramp does sing -- in french) but some of the minor characters do - only, interestingly enough, those with power.
Synopsis:
The movie begins by looking a bit of an homage to Metropolis. It shoes sheep being herded then shows factory workers from a similar angle looking the same as the move from subway to factory floor. Meanwhile the president of the company is doing a jigsaw puzzle and reading the comics in the newspaper. He gives orders to speed up the line forcing the workers, including charlie to work faster than it would seem to be humanly possible. The Tramp's (Charlie's) job is to tighten two nuts on each piece of machinery that passes by. He does this act so often that when his brake comes he can't stop moving his hands in that motion. The dehumanizing conditions in the factory only go downhill from there. After being caught in this machinery of capitalism (literally) for too long Charlie finally has a break down and loses it on the factory floor.
Next we see Charlie being released from the hospital cured, but unemployed. Almost immediately after his release he lands, unfairly, in jail. Meanwhile, we meet the delightful "gamin" (Paulette Goddard) (too old to be playing a gamin but we can overlook this) as she steals food for herself and other hungry waterfront kids. Despite hers and her unemployed father's best efforts, her two youngest sisters are taken away to an orphanage.
Charlie is let out of jail when his innocence is determined but he regrets the loss of the steady meals and a bed. In his efforts to get sent back to jail, he tries to take the fall for Paulette when she is caught staling a loaf of bread. They are two of the poorest of the poor, unemployed and without prospects who find themselves joining forces first as friends then, maybe, as something more. Charlie convinces her that one must smile and carry on even during the hardest of times, a popular message during the depression and the idea that led to the lyrics of the song "Smile" the music of which is first heard here.
This is a lovely, moving film that manages to combine romantic comedy and social commentary brilliantly. Keep in mind this came out in the depths of the depression, union fever was growing as workers became more discouraged by conditions. Rather than being a diatribe against the owners, the movie uses comedy and satire to make it's point. Meanwhile, Paulette Goddard is such an engaging presence that one cannot help getting caught up in the romance. It's interesting the limited way that Chaplin experiments with sound in this movie. By 1936 almost no one else in Hollywood was making silent pictures and one get's the sense of a compromise being struck in this movie between Charlie, worried that the tramp character could not survive the shift to sound and the forces arguing for modernization. It's the last gasp for Charlie, however, as his next film The Great Dictator is largely a talking movie (another great Chaplin movie if you just can't handle silent).The movie is short by today's standards, only 87 minutes so it won't take much investment to see what all the idolatry of Charlie is all about.
Director .........................................................Charles Chaplin
Writer ...........................................................Charles Chaplin
Charles Chaplin .............................................A Factory Worker
Paulette Goddard ..........................................A Gamin
Henry Bergman .............................................Cafe Proprietor
Tiny Sandford ...............................................Big Bill
Chester Conklin ............................................Mechanic
Hank Mann ..................................................Burglar
Stanley Blystone ...........................................Gamin's Father
Allan Garcia .................................................Factory President
Synopsis:
The movie begins by looking a bit of an homage to Metropolis. It shoes sheep being herded then shows factory workers from a similar angle looking the same as the move from subway to factory floor. Meanwhile the president of the company is doing a jigsaw puzzle and reading the comics in the newspaper. He gives orders to speed up the line forcing the workers, including charlie to work faster than it would seem to be humanly possible. The Tramp's (Charlie's) job is to tighten two nuts on each piece of machinery that passes by. He does this act so often that when his brake comes he can't stop moving his hands in that motion. The dehumanizing conditions in the factory only go downhill from there. After being caught in this machinery of capitalism (literally) for too long Charlie finally has a break down and loses it on the factory floor.
Next we see Charlie being released from the hospital cured, but unemployed. Almost immediately after his release he lands, unfairly, in jail. Meanwhile, we meet the delightful "gamin" (Paulette Goddard) (too old to be playing a gamin but we can overlook this) as she steals food for herself and other hungry waterfront kids. Despite hers and her unemployed father's best efforts, her two youngest sisters are taken away to an orphanage.
Charlie is let out of jail when his innocence is determined but he regrets the loss of the steady meals and a bed. In his efforts to get sent back to jail, he tries to take the fall for Paulette when she is caught staling a loaf of bread. They are two of the poorest of the poor, unemployed and without prospects who find themselves joining forces first as friends then, maybe, as something more. Charlie convinces her that one must smile and carry on even during the hardest of times, a popular message during the depression and the idea that led to the lyrics of the song "Smile" the music of which is first heard here.
This is a lovely, moving film that manages to combine romantic comedy and social commentary brilliantly. Keep in mind this came out in the depths of the depression, union fever was growing as workers became more discouraged by conditions. Rather than being a diatribe against the owners, the movie uses comedy and satire to make it's point. Meanwhile, Paulette Goddard is such an engaging presence that one cannot help getting caught up in the romance. It's interesting the limited way that Chaplin experiments with sound in this movie. By 1936 almost no one else in Hollywood was making silent pictures and one get's the sense of a compromise being struck in this movie between Charlie, worried that the tramp character could not survive the shift to sound and the forces arguing for modernization. It's the last gasp for Charlie, however, as his next film The Great Dictator is largely a talking movie (another great Chaplin movie if you just can't handle silent).The movie is short by today's standards, only 87 minutes so it won't take much investment to see what all the idolatry of Charlie is all about.
Director .........................................................Charles Chaplin
Writer ...........................................................Charles Chaplin
Charles Chaplin .............................................A Factory Worker
Paulette Goddard ..........................................A Gamin
Henry Bergman .............................................Cafe Proprietor
Tiny Sandford ...............................................Big Bill
Chester Conklin ............................................Mechanic
Hank Mann ..................................................Burglar
Stanley Blystone ...........................................Gamin's Father
Allan Garcia .................................................Factory President
Tuesday, June 17, 2014
Born Yesterday (1950)
OK, first thing I need to say about this movie is NOTE the date - do not accidentally rent the remake starring Melanie Griffith and Don Johnson. That movie is terrible, this movie is wonderful. Judy Holliday died when she was only 43 which is a shame because she was one of the greatest comedic actresses ever. Luckily she left us with a dozen or so sweet and funny movies, almost all romantic comedies like this one. I personally think this is one of the best.
Synopsis:
The movie begins with arrival of Harry Brock (Broderick Crawford) and his girlfriend Emma 'Billie' Dawn (Judy Holliday) in Washington, DC. The amount of luggage they have and the multiple furs that Billie hands to a porter immediately identify them as rich. Then Brock complains that he's only being given a wing of the hotel instead of an entire floor. His accent and his attitude immediately make it clear that he is not old money. A reporter named Paul Verrall (William Holden) tries to ask him a question as he gets in the elevator and is brusquely rebuffed. Soon Brock's lawyer Jim Devery (Howard St. John) arrives to go over the 'business' that Brock has in Washington. We learn that Brock owns a number of salvage yards throughout the country and is town looking for a favor from Congress to improve business and is planning to bribe a congressman to get his way. Devery has set up an interview with the very reporter who was shut down at the elevator. He is clearly suspicious of Brock and interested in exposing him, but he also manages to charm Brock by showing he's not afraid of him.
After a disastrous dinner that night with the congressman and his wife, Devery and Brock decide that Billie needs to be smartened up and Brock decides that Verrall is just the man for the job. Devery warns against it but Brock likes him so he hires him for an astronomical sum and introduces him to Billie. She takes an immediate liking to him in a much less cerebral way, making a pass immediately. Holden demurs and pursues Brock's plan showing Billie all around Washington and giving her reading about the country and the government. A crash course in civics and macroeconomics apparently. Billie's education soon grows out of control however and begins to endanger Harry's plans much more than her prior crassness ever had. And Holden's interest in her becomes less and less cerebral them more time they spend together.
This is a marvelous romantic comedy. It's based upon the play by Garson Kanin which he helped to adapt for the screen though he wasn't given credit. The comedy part of romantic comedy is as strong as the romantic part which makes it so much fun to watch. Holliday had starred in the Broadway version and frankly it's difficult to imagine any other actress ever playing this role. She and Holden were both masters of romantic comedy and their chemistry here is lovely. Crawford is wonderful playing the kind of gruff character he was known for and is a great foil for both Holliday and Holden. George Cukor, another master of the genre is the director and he gets perfect performances out of all of his players, including the supporting ones. This is a perfect date night movie, I promise.
Director ......................................................George Cukor
Writers ........................................................Garson Kanin (Play)
....................................................Albert Mannheimer (screenplay)
Judy Holliday .............................................Emma 'Billie' Dawn
Broderick Crawford .................................. Harry Brock
William Holden ......................................... Paul Verrall
Howard St. John .........................................Jim Devery
Frank Otto ..................................................Eddie
Larry Oliver ............................................... Congressman Norval Hedges
Barbara Brown ...........................................Mrs. Hedges
Claire Carelton ...........................................Helen
Synopsis:
The movie begins with arrival of Harry Brock (Broderick Crawford) and his girlfriend Emma 'Billie' Dawn (Judy Holliday) in Washington, DC. The amount of luggage they have and the multiple furs that Billie hands to a porter immediately identify them as rich. Then Brock complains that he's only being given a wing of the hotel instead of an entire floor. His accent and his attitude immediately make it clear that he is not old money. A reporter named Paul Verrall (William Holden) tries to ask him a question as he gets in the elevator and is brusquely rebuffed. Soon Brock's lawyer Jim Devery (Howard St. John) arrives to go over the 'business' that Brock has in Washington. We learn that Brock owns a number of salvage yards throughout the country and is town looking for a favor from Congress to improve business and is planning to bribe a congressman to get his way. Devery has set up an interview with the very reporter who was shut down at the elevator. He is clearly suspicious of Brock and interested in exposing him, but he also manages to charm Brock by showing he's not afraid of him.
After a disastrous dinner that night with the congressman and his wife, Devery and Brock decide that Billie needs to be smartened up and Brock decides that Verrall is just the man for the job. Devery warns against it but Brock likes him so he hires him for an astronomical sum and introduces him to Billie. She takes an immediate liking to him in a much less cerebral way, making a pass immediately. Holden demurs and pursues Brock's plan showing Billie all around Washington and giving her reading about the country and the government. A crash course in civics and macroeconomics apparently. Billie's education soon grows out of control however and begins to endanger Harry's plans much more than her prior crassness ever had. And Holden's interest in her becomes less and less cerebral them more time they spend together.
This is a marvelous romantic comedy. It's based upon the play by Garson Kanin which he helped to adapt for the screen though he wasn't given credit. The comedy part of romantic comedy is as strong as the romantic part which makes it so much fun to watch. Holliday had starred in the Broadway version and frankly it's difficult to imagine any other actress ever playing this role. She and Holden were both masters of romantic comedy and their chemistry here is lovely. Crawford is wonderful playing the kind of gruff character he was known for and is a great foil for both Holliday and Holden. George Cukor, another master of the genre is the director and he gets perfect performances out of all of his players, including the supporting ones. This is a perfect date night movie, I promise.
Director ......................................................George Cukor
Writers ........................................................Garson Kanin (Play)
....................................................Albert Mannheimer (screenplay)
Judy Holliday .............................................Emma 'Billie' Dawn
Broderick Crawford .................................. Harry Brock
William Holden ......................................... Paul Verrall
Howard St. John .........................................Jim Devery
Frank Otto ..................................................Eddie
Larry Oliver ............................................... Congressman Norval Hedges
Barbara Brown ...........................................Mrs. Hedges
Claire Carelton ...........................................Helen
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