Friday, December 30, 2011

The Searchers (1956)

The Searchers ★★★★★ 5/5

This is my absolute all time favorite Western. Hands down. I am not a fan of John Wayne. While I know he epitomizes the essence of Westerns, he comes off flat to me. I don't feel he is an actor. I feel that his performances are all extremely similar and there is no variation from one film he stars in to the other. However in The Searchers the character he plays has great depth. His character, Ethan Edwards, is conflicted. While he claims to care only about himself and his motives, his actions say otherwise.

The film opens upon the majestic scenery of the glorious west. John Ford uses the camera and the cast magnificently. From the front porch of a ranch, the camera looks out red rocks. In the foreground, a woman in a blue dress looks out to the plains. Out from the horizon comes a Civil War vet on a horse. That man is Ethan Edwards. The woman is his sister in law,Martha (Dorothy Jordan). He is soon greeted by his Brother Aaron (Walter Coy) and their children: Ben (Robert Lyden), Lucy (Pippa Scott) and Debbie (Lana Wood as a child and Natalie Wood as teenager). The family settles in getting reacquainted with Ethan. As dinner starts, Martin Pawley (Jeffrey Hunter) joins the family. He is an adopted son of Martha and Aaron. He is also 1/8 Indian heritage. Ethan shows no hesitation in making that known and even less hesitation declaring his dislike for Indians.

Within the first few scenes, the audience knows two things. First, Ethan despises Indians and is fueled with racist thoughts towards them. Second, he longs to be with Martha. It is never spoken of or acknowledged, but it is made clear from the way he looks at her. It has been suggested by some critics and observers that Debbie may actually be Ethan's daughter. This observation comes from Ethan giving Debbie a medal from the Civil War and her age calculated with when Ethan was last there. But this is all speculation.

The family is interrupted by Captain Samuel Clayton (Ward Bond) and a group of his men who ask for Aaron and Martin to join them in tracking some stolen cattle. Ethan offers to take the place of Aaron and the group head out to find the cattle. They come across prize cattle slaughtered in the desert. Ethan advises that the killing of the cattle was a diversion and that it meant only one thing - that the Indians were looking to ambush nearby homes. The men split up and go to their respective families. Ethan and Martin ride to the home of Martha and Aaron. The scene they approach is very, very similar to the scene from Star Wars where Luke returns to his Aunt & Uncle's burnt down home and dead bodies. In The Searchers, Martin finds Martha and Aaron's home - and it is worth mentioning he refers to them as his Aunt & Uncle - completely charred and their bodies to be burned. One could easily find the influence of The Searchers in the similar scene of Star Wars.

Ethan and Martin decide to hunt down the Indians to see if they may have possibly kept Lucy and Debbie alive and kidnapped them. Brad Jorgensen (Harry Carey, Jr.), Lucy's boyfriend rides along with them. While on the trail of the Indians, Ethan finds Lucy's body. She had been raped and murdered by the Indians. Upon learning this, Brad raids the Indians and is murdered by them.

The story continues for the course of 5 years. Through this time, there are some additional plot lines. Martin has a girl whom he plans on marrying someday. She does not want to wait and proceeds to marry another. The wedding is abruptly cancelled when martin rides into town. At the same time the US Calvary enters to inform the group that they need help capturing the Indian chief Scar (Henry Brandon). Scar is the Indian that Martin and Ethan have been looking for. After a raid on the Indian camp, Martin finds and rescues Debbie. Ethan however has an extreme resentment towards her and no longer considers her an equal human, feeling that now she was an Indian.

By the end of the film, he does two things that show his character development. While he doesn't feel that Debbie is kin because she has lived with the Indians for so long, he overcomes this in the rescue and does eventually save her rather then shoot her. He also at one point makes a will and leaves everything to Martin. Which completely goes against everything that we were initially introduced to early in the film.

The film is compelling and solidly written. The plot is clear and not clouded by unimportant details. Throughout the film you hear John Wayne say "That'll Be The Day." Yes, this line was the influence to the Buddy Holly song of the same name.

A great film and more then worthy of being on the list of movies to see. Pay close attention to the beautiful cinematography. Appreciate the brilliance of the score. Connect with the characters and follow their growth. Pay attention to what is not being said. enjoy it!

Gunfight At The OK Corral (1957)

Gunfight At The OK Corral (1957) ★★★★★ 4/5

This is the film adaptation of the conflict between Wyatt Earp (Burt Lancaster) and the outlaws he met up with in Tobstone. This film is truly Western in it's nature and does not contain the elements of humor like Rio Bravo or the shock value of the The Wild Bunch. There were some hints of underlying subtle humor but you really had to be paying attention. One of the lines that caught me off gaurd was when Doc Holiday (Kirk Douglas) found out his girl Kate (Jo Van Fleet) left him for another man (John Ireland) - a cattle man - he replied "There seems to be a lot of beef coming around" or something of that effect. It was clearly a statement not referring to the stolen cattle being rounded towards Mexico, but a reference to Kate finding another man. It was quite brazen for 1957, as when the scene when Holiday calls her a slut. But that is as much shock value as you will get in the film.

The movie is very typical of the Western. The premise is based on actual events, and had they not taken so many liberties with the accuracy of the events I would have given the movie 5 stars. Of the Westerns seen so far this was the best. The acting was stellar. Kirk Douglas was likable as Holiday and Burt Lancaster played Wyatt Earp with dignity. My only issue with their on screen relationship in this movie is that they almost portrayed the two men as having a love affair. The two men were drawn together and formed an unlikely relationship. The Sheriff and the murderer. There was a point where Kate even confessed to Holiday that she was jealous of Wyatt Earp. The closeness and dedication of the two men make the modern day viewer think there was a lot more going on there then friendship.

This was a movie where the lines were clear. There were good and bad characters. There was no in between. While Holiday was known to be a murderer of sorts, for the purpose of this film his intentions were clear. He was there to help Earp. Earp's brothers, Jimmy (Martin Milner), Morgan (DeForest Kelley) and Virgil (John Hudson) are clearly on his side. The outlaws, led by Ike Clanton (Lyle Bettger) were the clear antagonists. Plot wise, the film was layed out clearly. The Clantons had stolen cattle and were working to push the cattle to Mexico. In the process there were conflicts in smaller towns and the cowboys were going to cause problems in towns they were passing through. The Earps were going to put an end to that - and did.

The film is solid with great performances - particularily notable is that of Jo Van Fleet's. As the love interest of Doc Holiday she serves as a minor antagonist to him. Basically she is a crazy mess of insecurity and dependency. Her dependency being Holiday. She loves and hates him at the same time. But she is so emotionally unstable you don't know what she will do. One minute she is setting Holiday up to be killed and the next minute she is trying to save his life. There are brief moments where it gets to be too much, but overall it is a charged performance worthy of seeing.

The movie is long, but face paced. This is movie represents the classic Western at it's finest. As stated before, I would have easily given this movie 5 stars if the historical accuracy was there. When I watch a film based on real events, I become enthralled with the facts and the premise on which the film was based. When I started researching the events of 1881 I became disappointed. I am very much a realist when it comes to films based on actual events. Other then the liberties they took with the facts, this is a well done, enjoyable movie.

Tuesday, December 27, 2011

Meet Me In St. Louis (1944)


Meet Me In St. Louis
★★★★ 3/5

While I had
previously known this film was a musical, I had no idea that is was the debut of the classic Christmas song "Have Yourself A Merry Little Christmas." Esther Smith (Judy Garland) sings the ballad to her little sister "Tootie" Smith (Margaret O'Brien) soon after learning that the entire family will have to pack up and move to New York City for their Father's (Leon Ames) job.

Although a musical in nature, the film carries on more or less like a drama about the American family in 1904. The musical numbers are subtle and more or less as music might have been used in 1904. In one scene, the family hosts a party where Esther and Tootie perform for the guests. Another scene involves the entire family coming together as their parents sing at the piano. The only true musical styled act that does not come across this way is the famous "Trolley Song" scene.

The essential plot is simple. The family is living their life. They are celebrating holidays like Halloween and Christmas. The older daughters are trying to find suitable boys to be courted by, the younger daughters are causing mischief through the neighborhood, and their Father is trying to find the best way to support his family.

Throughout the storyline, the topic of the World Fair arises. The town prepares for the fair in St. Louis and everyone is excited to attend. The fact that the Fair is coming becomes one of the reasons the family does not want to leave St. Louis for New York City. Tootie's breakdown after Judy Garland also is a major factor in the Father deciding finally that they will not be moving.

The character of Tootie is extremely bizarre in this film. Here is this upper class family in 1904 with a small girl who has the most morbid of fascinations. Although we do not see the ceremonies, we are made aware that Tootie regularly holds funerals and buries her dolls. There is an incident where Tootie and her older sister Agnes (Joan Carroll) almost derail a trolley. In the excitement, neighbor John Truett (Tom Drake), who is also Esther's love interest saves the girls from being caught as the ones who caused the incident. In explaining her injuries to her family, Tootie declares John tried to kill her. In the final scene of the film at the World's Fair, she is talking about dead bodies floating in the river. It's all a little awkward.

One interesting musical number seems to contain a mash up. "Skip To My Lou" and "Yankee Doodle Dandy" are blended as guests dance at the Smith home. It is actually quite hearing how these two songs were taken and blended to form one song. It's a wonder that the TV show "Glee" hasn't actually taken this song and improvised it. But then one must wonder if they were inspired to mash up songs in general from the performance in this film.

I was not taken by this film. It was entertaining. It also shows us that even in 1904 teenage issues were not that much different then today. The fear of going to a dance alone, the excitement of Halloween, the struggles a family faces when pressured to make a move because of a parent's job. The theme of the American family is carried out nicely. Personally I found the most intriguing part of the film to be that of the set and the imagery created. Among the film's 4 Oscar nominations was one for photography. George J. Fosley was the cinematographer and did a fine job. The interior shots of the home are beautiful. Even the outside shots are well done. Whether it be a scene with a buggy passing by, or a scene with children sledding down the hill, they are picturesque. For me it was this photography that made the most interesting aspect of the film.

The Wild Bunch (1969)

The Wild Bunch ★★★★ 4/5

This movie completely threw me for a loop. When I started watching it, I was thinking I had seen it before. As the film progressed, I realized the movie I was confusing it with was The Magnificent Seven (1960). Well, it turns out that The Wild Bunch is a far cry from The Magnificent Seven. Westerns certainly came a long way from 1960 to 1969. If you watch this movie and expect a decent, well mannered Western, you are in for a surprise.

The opening sequence is atypical of the Western right off the bat. William Holden, Ernest Borgnine, Ben Johnson and Warren Oates make up the members of the Wild Bunch. They ride into town disguised as American soldiers to rob a train station of a silver shipment. As they ride in, the musical score is startling and bold. Children alongside the road are torturing scorpions by placing them atop mounds of what appear to be fire ants. As the children laugh and giggle, the screen freezes on each of the main actors one by one and the music screeches and vibrates. The opening title scene is far ahead of it's time and is worth watching just for that.

Once in town, the Wild Bunch, led by Pike (William Holden) conducts their business of robbery only to be run out of town by a group of men hired to capture them. The leader of this group is (Robert Ryan) Deke. As Pike's men flee to escape and Deke's men try to capture the Wild Bunch, the town where the robbery occurs becomes a bloodbath. Innocent townspeople, women and children are all caught in the crossfire. To see this happen so vividly in a 60's Western was actually quite shocking.

After Pike's men escape and are able to divide the earnings of their robbery, they realize they were tricked and the silver they had stolen was actually bags of worthless washers. Broke, and needing money, the robbers flee to Mexico where they can plot their next move. As they travel to Mexico, they come across a rising Mexican dictator who entrusts them to steal artillery from the US Army. The group agrees and devises a plan to rob a train carrying the equipment.

The plot is pretty cut and dry from here out. Rob the train, get the supplies to the Mexican army without getting killed, collect their pay and be on their way. There are some twists here and there. One twist is that one of the Wild Bunch, Angel (Jaime Sánchez) lost his Father when the Mexican General's army had raided his village. Angel intends to shoot and kill the General himself. Upon finding this out, the General and his men claim Angel and torture him. This sets the Wild Bunch off and they then care more about getting Angel back then they do fulfilling their agreement with the General. This conflict is what brings the film to an ending that rivals the works of Quentin Tarantino. It is for this reason you do have to see this film.

Rarely do you come across a film lover who does not love and respect the work of Quentin Tarantino. It is virtually impossible to watch The Wild Bunch and not think about Tarantino. This film has so many components that are similar. The initial opening scene where The Wild Bunch comes into town posing as something they aren't, the way he used legendary stars in a way you would never expect to see them, the blurry lines as to who is the "bad" guy, and that who might be considered bad is actually good. There are complexities to the film that evolve from character struggles.

There are three scenes that make the film entirely worthwhile.

1) The train robbery. This scene is so smoothly choreographed and reflective of historic train robberies. The filming in itself is smooth and well down for the amount of action that takes place. A grand scene and highly entertaining.

2) When Dutch Engstrom (Ernest Borgnine) essentially sacrifices Angel (Jaime Sánchez) to the Mexican leader. The facial expressions of the actors say everything that they are thinking. The tragedy of what is coming is clear - well, somewhat clear. Borgnine displays so many emotions in just a matter of seconds. He looks at the general and glances at Angel with disgust, which immediately turns to sorrow an apology. Before he even turns his head you can see the guilt and betrayal he feels. It is a brilliant scene and emotionally charged.

3) The finale. This is the most Tarantino-esque scene in the film. A machine gun becomes a character. A bloodbath ensues like that of Inglorious Basterds (2009). The dictator and his men are brutally slain on their own base with their own weapons. Shock value kicks in and the movie is a far cry from predictable. With The Wild Bunch the mold of the Western was broken.

There are other interesting elements to this film as well. From a historical perspective, it analyzes illegal arms trade. In the 1980's weapons were reportedly illegally sold to other countries. Could this film have laid out the plans for that, or does it simply explain how that type of thing happens? The whole concept that with the right access, a down on their luck bunch of guys could make money stealing and selling weapons to dictators and guerrilla groups is very realistic after seeing this film. There are those who don't believe in country and have no alliance to anyone other then themselves.

Also interesting in this film is the racial breakdowns. The racism in the film is atypical in the sense that it is not stemming from white characters. The bulk of the stereotype comes from the Mexican army who repeatedly refer to the Wild Bunch as the Gringos. They also run with one Hispanic, Angel. When Angel is taken into custody and being tortured by the Mexican General, they no longer care about any reward or money. All they care about is getting their friend back. They hold him as an equal throughout the film. In past Westerns, a character of a different race might have been expendable, or abandoned once the initial goal was completed.

It is worth seeing and if you are a movie fan, yes, you should see this movie. It is worth is for many reasons. First, the main reason is to see how it laid down the path for movies to come decades later. Second, it defies conventional movies of it's time. It is worth seeing for the political implications, the social contexts, and the character developments. There are parts where the movie does drag out bit. It is for that reason I could not go with 5 stars.


Rio Bravo (1959)

Rio Bravo ★★★★ 3/5

Howard Hawks directed this 1959 Western. Considered one of the last great Westerns, the film stars John Wayne as John T. Chance, a sheriff in a small Texas town in the American frontier. The film opens with the Sheriff's deputy, Dude (Dean Martin) fighting Joe Burdette (Claude Akins). During the fight Burdette shoots an innocent bystander and ends up arrested for murder. He is shortly taken to jail where Chance, Dude and a third deputy, Stupmy (Walter Brennan) await Burnette's brother Nathan (John Russell). However the Sheriff knows that the arrival of Nathan is not going to be a pleasant one as Nathan is a wealthy tycoon known for helping his Brother out in times of trouble, and also known to be wealthy enough to hire scores of hitmen who will kill anyone who tries to interfere.

There are several townspeople who want to help Dude as they know he is in no state to fight Burnette on his own. Dude is infamous for his alcoholism and Stumpy is cripple. Pat Wheeler (Ward Bond), a friend of Chance's becomes an example of what happens to anyone who wants to help Chance when he is murdered by one of Burnette's men. Dude and Chance look to apprehend Pat's murderer and do so in the local saloon where Dude, who is in the process of overcoming his alcoholism, proves that he can again be the deputy he once was by avenging Pat's death.

Before long, Dude's dependency on alcohol wins over and when Nathan and his men return to town, they capture and tie him up, leaving Chance vulnerable and almost murdered. He is saved by Colorado Ryan (Rick Nelson) and Feathers (Angie Dickinson) who divert attention and allow Chance to defend himself. Colorado is a former employee of the murdered Pat Wheeler and has nothing to do with his employer dead and decides to help Chance. Feathers is a woman passing through town who takes up employment at the Hotel. Her motivation to help Chance is love. Her attraction to him is clear the moment she appears on screen.

The progression of the film leads to a final shootout at an abandoned house. Chance and his crew take on Nathan Burnette and his men. As expected in classic American Westerns, the good guys take out the bad guys and the Sheriff gets the girl.

While watching the film, Howard Hawks influence is clearly visible. The communication between Chance and Feathers is very similar to that of Bringing Up Baby (1939). The dialogue between the two is fast paced and more comical then serious. Feathers plants ideas into Chance's heads and tells him what she wants by telling him what he wants. The screwball element in this film is not as strong as that in Bringing Up Baby, but it is there. Rarely was comedy used in the Western, but Hawks managed to use it throughout all of Rio Bravo. It is most obvious in scenes featuring Carlos Robante (Pedro Gonzalez-Gonzalez). Robante owns and operates the Hotel where the majority of the film takes place. He fills the film brilliantly. Robante makes the comical bits fit in the movie and does so without taking away the credibility of the film being a Western.

I did have a problem with Rick Nelson in the film. I found him to be droll, inexpressive and an odd addition to the casting. In reading more about the film, I actually discovered he was nominated for a Golden Globe for this performance. That struck me as odd because I found him to be completely out of place. At the time the movie was filmed, Rick Nelson was the biggest teen heart throb on the market. he was a TV star, a chart topping musician, and graced the cover of every teen magazine on the chart. He even had a segment in the film where he crooned with Dean Martin, then performed a solo. To me, it was like Howard Hawks used Rick Nelson as a marketing ploy to get people to come see his movie. It would be like sticking Justin Bieber into a current film to play off his popularity. The fact he received a Golden Globe nomination completely overwhelmed me. But, then I remembered when The Tourist (2010) was nominated for a Golden Globe nomination. The accusations were that the film was not worthy and the Golden Globes only did this so that Angelina Jolie and Johnny Depp would appear at the ceremony. Is it possible that in 1959 the Globes did the same thing to get the biggest teen star to their awards show?

I have to warn you. This is a long movie. The film clocks in at over 2 hours long. It seems to drag quite a bit. It is the comical moments starring Pedro Gonzalez-Gonzalez that keep the film rolling. The movie is by no means one of Howard Hawks finest. Nor is it John Wayne's finest.

Saturday, December 24, 2011

The Thin Man (1934)

The Thin Man ★★★★ 4/5

Dorothy Wynant (Maureen O'Sullivan) and her fiance Tommy (Henry Wadsworth) explode into Dorothy's Father Clyde's (Edward Ellis) laboratory to announce to her father that they are going to be married. After the announcement they leave excited for the wedding and Dorothy looking forward to her father walking her down the aisle when the time comes. Before leaving her Father indicates he is going to be going on a trip but gives no indication to anyone as to why, where or when. On Christmas Eve, shorty before the wedding, there is no sign of Dorothy's Father and she expresses her concern to retired Detective Nick Charles (William Powell). Nick tells them not to worry and is soon greeted by his wife Nora (Myrna Loy) and their dog Asta. The tone is set with likable characters and feel good scripting.

Quickly the scene shifts to the Wynant home where Dorothy is telephoned by Charles and informs her that her Father is no longer missing. Dorothy begins to talk to her Mother Mimi Wynant Jorgenson (Minna Gombell) and their family dynamic is laid out. Dorothy's parents are divorced and her Mother relies on money from her ex-husband Clyde. However she is finding the money is going towards his new love interest Julia (Natalie Moorhead). Mimi decides to go and confront Julia only to find her dead. Dorothy finds her ex-husband's bracelet and immediately implies he is the murderer. However rather then turn him in, she tries to hide the bracelet in a safe only to be caught by Dorothy.

Nick and Nora host a fabulous party. The party is crashed by police and reporters who have heard that Nick was working the case. According to Nora, the only case he is working on is a "case of scotch." The comical lines are smooth and delivered with no force or awkwardness. Dorothy arrives to confession she committed the murder and to ask for Nick's help. Mimi then shows up to try to get help finding her ex-husband to let him know what she knows. Or think she knows. Naturally the reporters see this and think that Nick is working the case.

Plot twist and turns, and a few more murders bring Nick to conclude he knows who the murderer is. For him to prove it, and solve the mystery, he devises a plan. A dinner party where all the suspects are involved. At the party Nick begins to unravel the mystery and share his findings. He reveals to Dorothy that one of the bodies they found was that of her Father. He proceeds to explain how Clyde's bracelet ended up at Julia's murder scene. Throughout the scene he seems to make up what might have happened and only Nora knows that his theory may not be all together true. As he explains, the guests pipe in with their objections. Finally a gun is pulled by one of the guests. The mystery is solved and the murderer is identified.

Nick and Nora delightfully entertain the guests and keep the party rolling. The relationship between the couple is delightful. They have full trust and respect for each other. Powell and Loy are indeed a magical couple on screen and they pair together nicely. So nicely in fact that I would watch other movies starring them. Somehow they have been overlooked in studies of the silver screen. How these two have not become as well known as the pairings of Gable & Leigh, Tracey & Hepburn or Astaire & Rogers is beyond me. On screen they come off as real. The way they talk, act and interact. They love each other and it is not an over dramatic, corny love. It is genuine.

The highlight of the film is the relationship between Nick and Nora. They are so idea as a couple. so playful. There is a scene where the two are relaxing i their home enjoying their Christmas gifts. It is a scene unlike any other I have seen. The couple is lounging in their pajamas. Nick playing with a gun like a little boy and Nora watching on while she lavishes her new fur coat. The two lazily occupy the screen as one would expect to see on a reality TV show. The two become pulled further into the investigation of the murder and while it is the plot of the film it hardly becomes relevant as Powell and Loy could carry the film regardless of what the subject matter was. One might actually wonder if the title character's of Nick And Nora's Infinite Playlist (2008) took inspiration from The Thin Man.

I would guess this movie is on the list specifically to see the performances of Powell and Loy. Their interaction holds up today much better then that of other onscreen couples from the 1930's. There is a realism to their chemistry that you don't often see on screen. for this alone the movie is worth seeing. As far as being a murder mystery, it is not long or drawn out. The plot doesn't get complex or drag on with unbelievable storylines that are twisted and hard to follow. In fact the movie has very little time spent on trying to solve the mysteries. Everything kind of happens and then the time spent on explaining it takes place during the dinner scene. The comedy in the movie is not exaggerated either. The one liners are not off the wall zingers or randomly positioned to evoke a laugh. They are most often comments that follow the story line and can be perceived in two ways: either figuratively or literally. Such a classic line is "Would you serve the nuts? I mean would you serve the guests the nuts?" Sly and clever lines line this can be found through the whole movie.

If you do like it, it is the first in a series of 5 more films that followed.




Friday, December 23, 2011

West Side Story (1961)

West Side Story ★★★★★ 5/5

There are a few movies that define and separate true movie lovers from people who just like movies. Among them are Citizen Kane, Gone With The Wind and West Side Story. Your regular movie lovers might not get these films and be able to appreciate what they have done for film. But, a true film lover can understand and embrace these films and see them for more then what they are.

With a film like West Side Story there is no need to really expand on the plot. Everyone who loves movies enough to be interested in the top 1001 movies to see before you die has surely already seen West Side Story and understands why it is on the list. But to be consistent with the theme of the blog let's give a little breakdown.

The Jets and the Sharks are opposing gangs in the West Side of New York City. In classic Romeo and Juliet style, a boy and girl representing opposing sides fall in love. The love is forbidden, misunderstood and rejected by those around them. The forbidden love affair continues despite the opposition. The result is fatal. But out of the death comes reconciliation and an end to the hatred between the two groups.

Simple enough? Oh no. There's far more to it then that. This musical broke the mode of musicals years after the genre had essentially died out. Previous musicals were giddy and whimsical. Romantic follies with extravagant numbers. Plots and themes were simple. West Side Story however was dark and political. Social issues run rampant through the film. Racist remarks and dialogue propel the hatred between white American raised kids and immigrant Puerto Ricans. Teen delinquency is addressed as a direct cause for the kids gang involvement. A struggle exists not just between the two gangs, but the kids as a whole against authority. Societal issues are a major component to this film, making it just as much of a case study of social complexities as a musical.

As a musical, there is no denying how incredible the movie is. The choreography is astonishing. every movement clearly relays emotion like no other musical has. Smoothly and elegantly the musical numbers transition in and out of the film. The lyrics by Stephen Sondheim replace traditional dialog in a manner that makes the musical acts fit snugly in the movie without feeling out of place. Songs like "I Feel Pretty," "Something's Coming," "Maria," and "America" capture the mood and essence of the film better then any dialog could. Hand in hand with the songs comes the dancing. The choreography is acrobatic and entertaining. The dance numbers are not pointless, nor do they lack meaning. every snap of the finger, kick of the leg and turn of the head conveys emotion. "The Jet Song," "Cool," and most effectively "Dance At The Gym" bring emotion to the screen and clearly demonstrate what the characters are feeling. Perhaps "Dance At The Gym" is one of the film's many finest moments. The tension and excitement are clearly visible when the kids are asked to form a circle and dance with whomever they are lined up with when the music stops. The dancing is frenzied and chaotic. Disdain for the selected partners is clear as is the resistance to authority. Then as Tony Wycek (Richard Beymer) meets Maria Nunez (Natalie Wood) everything literally becomes a blur. Perhaps this is one of the greatest transitions in the history of film. "Cool" is another example of how the film relays emotion. The song lyrics, the facial expressions, the body movement. So many emotions are expressed in tis song and each character deals with the events of the film in a different way. All those differences are melded together in this one sequence with such a brilliance. These scenes are hard to turn away from. So much is happening on screen so fast and characters are actually developing and changing during these numbers.

Another worth while scene is "Tonight." A song that basically takes every character and group in the story and magically combines every viewpoint of the night's expectations into one amazing number. The filming of this scene alone is a true masterpiece. Director Robert Wise did everything right. Not just in this scene, but in the whole movie. From the placement of the actors in every scene to the clothes they were wearing.

You don't have to wait long when you start watching this movie to be caught up in the fine production. The opening scene is a cinematic treasure. A camera hovers over the city of New York moving East to West. Eventually zooming down into the city and centering on the Jets immediately setting the scene as the gang that owns the street.

Of course it would be ridiculous to talk about West Side Story and not mention Rita Moreno who played the feisty Anita Nunez, a role that earned her an Academy Award. Her performance is exceptional, as is Natalie Wood's. One often overlooked performance in the film is that of John Astin. While he is better known as Gomez Addam's from The Addam's Family TV series, his role in West Side Story is exceptional. He appears briefly in the film at the dance sequence and in his efforts to bring the feud between the Jets and the Sharks to an end, he displays the fear adults have of delinquent youth. While watching this and noting that Officer Krupke (William Bramley) is in the background at the dance, one realizes that 1961 may not have been so different as it is today. Often people remark about how sad it is that there needs to be police and security in schools. This movie is a reminder that even in 1961 there was a need for law enforcement to maintain order at social functions for kids.

There is no question this film belongs on the list. A winner of 10 Academy Awards, and a soundtrack that holds the distinction of holding the #1 spot on the Billboard 200 for 54 weeks - longer then ANY other album - West Side Story is cinema perfection. Like I said in the beginning though, you have to really appreciate and understand film to fully get why this film is ranked so high and held with such esteem. It's not just the acting and the music. It's the cinematography, the costumes, the colors, the symbolism, the editing. It's everything about the film. If you can take that all in and appreciate every bit of that then you understand why this film is so powerful.

Yes - you have to see this movie - and on Blu Ray it is even more captivating then ever before.

All That Heaven Allows (1955)

All That Heaven Allows ★★★ 2/5

Cary Scott (Jane Wyman) is a suburban widow. The movie opens with a sweeping camera shot panning through a neighborhood down to Scott's backyard where she awaits Sara Warren (Agnes Moorehead) for lunch. While Warren has to cancel lunch, she does invite Scott to a dinner at the country club. In the back of the scene, Ron Kirby (Rock Hudson) prunes and landscapes. Through this scene we establish she has some affluence and respect. She takes Warren up and goes to the club for dinner and dancing. Her escort to the club is a man her age who later makes a proposal they marry - not for love, but companionship. While at the club a married acquaintance dances her to the balcony, passionately kisses her and pleads for her to run off with him. She declines, but politely excuses his sexual advances with the grace and dignity of any 1950's woman. Meanwhile, the country club is full of gossiping and viscous women who want nothing more then to be the first to attack another woman's virtues. Particularly Mona Plash (Jacqueline De Wit).

Well, the love story comes in when Kirby returns in fall to complete her autumn landscaping. Kirby is much younger then her, and to me the meeting and suiting was awkward. After meeting her twice, and paying no attention to her at all, he randomly asks her to visit his home in the forest where he plants trees and lives in a greenhouse. Scott visits Kirby's home and finds along side the greenhouse he lives in is an old stone mill. She tours the mill and falls in love with the charm of the building. She proclaims how it would make a beautiful home and Kirby chuckles.

Soon after the tour of his home, Kirby brings her to a party hosted by his friends, and in the following scene he brings her back to the mill, which is completely renovated. It is there he asks for her hand in marriage. After a brief hesitation, they are soon professing their love for each other and trying to decide how to make the marriage work. The first obstacle comes when they run into Plash and she begins spreading rumors about Scott's new affair.

Scott has 2 children and she confides about the marriage proposal to them. They are shocked and appalled when they heard that the man she loved and wanted to marry was their former gardener who is equal to them in age. Kirby arrives at the home. While Scott's daughter is pleasant, her son does not hold back his objections. She then takes Kirby to the country club to introduce him to her "friends." The club proves to be a disaster. Mona Plash takes every opportunity to make cut throat remarks. The man who had passionately kissed her before at the club does so again. Now Scott is targeted as being easy. Others make comments about her being with Kirby because he is young. Some say he is after her for money. It gets pretty ugly. The children thereafter throw tantrums about the relationship and beg her to break it off. Her daughter even gets kicked out of the library because her Mother's reputation is so bad. So eventually, the marriage is called off so Scott can suffice and appease the country club community and her children.

At Christmas time, Scott heads to pick out a Christmas tree and who does she run into but Kirby. Kirby and his new love interest. Upset and alone she asks the tree to be sent to her and heads home. Kirby unwillingly leaves with his girlfriend. Scott's loneliness doesn't last long as her daughter comes home and flashes her engagement ring. Her eyes fill with heartbreak. Her son then talks about how he will be moving to France and since his sister will be married they sell the house. Initially the son had been so against the marriage between his Mother and Kirby because he didn't want the house to be sold. Sadness overcomes her. She goes to the doctor who is also a friend. He speaks to her as a friend and tells her to go to Kirby despite what everyone says. She takes his advice and runs to him . . . well, drives to him. He is outside and hears her calling for him. He runs to her and falls off a cliff. She has no idea and drives home. Eventually she learns of the accident and goes to be with him.

Often great films are defined by the actors in them. It is often the actors themselves that make a film great. Likewise, it is safe to say an actor can distract a film. During Rock Hudson's initial appearances in the film, his 1950's sex symbol status seemed to over shadow the picture. The shots of him are upward shots - from below his face looking upward with blue skies behind him. They were long and drawn out and were blatantly opportunities to simply capture Hudson's handsome look. I felt there was no substance to the character of Kirby, and that essentially the film tried to simply use the character to simply show off Hudson and bring women into the theater to swoon over him. The film is slow and there is no storyline that builds on their affection for each other. It just kind of happens . . .and to everyone's dismay. The degree of dismay was actually somewhat ridiculous. One would think if all these people talking so negatively are not even friends, then why even care what they think about one's marriage. It seems the lack of support from the family is quite overwhelming. Her isolation is somewhat disturbing. That someone would allow their life course to be so driven by everyone else. Only her doctor can see this. He is the only person who comes out and states the obvious - that she shouldn't care about what others say and do what will make her happy.

The movie left me wanting more. With such a strong title, I expected a sweeping drama. I didn't get that. The movie was slow and open ended. There was so much conflict built up between what she wanted and what others wanted that I wanted a resolution for it. For Scott to prove them all wrong and make them feel bad for their tormenting her. I was almost expecting a death in the film that would make those who harassed her and stopped her happiness feel ashamed and guilty for what they did. That didn't happen. The ending to me was not much of an ending. Or was it. perhaps the fact that there was no recourse with her protagonists was the film's way of saying none of them mattered and Scott's final decision in the film was more important than anything.

What I did like about the film were the social references. The glimpses at middle class 1950's America are interesting. To see the interaction of the country club and the meddling wives. The snide comments, the exquisite gowns and the importance of social standing. The country club scenes of All That Heaven Allows almost rival Mean Girls (2004). The home interiors nicely reflect those of typical 1950's homes. The furnishings and colors make for well laid out sets. The clothing exemplifies the 1950's beautifully. Perhaps one of my favorite parts is when Warren suggests to Scott she get a TV. Then when she gets the TV it is somewhat exciting to see. The whole notion that we are seeing life before people entertained themselves without a TV. I think that is what I liked best about the film - seeing the lifestyle of the 1950's suburbs.

Would I consider this film a must see? No. I would not. Rock Hudson has had much more worth while performances. Pillow Talk (1959) serves as a fine example as a movie which showcases Hudson's acting ability as well as his good looks. If it were me choosing the titles of 1001 Movies To See Before You Die, I would easily replace All That Heaven Allows with Pillow Talk. Pillow Talk is fun, witty, a classic film which continued to influence cinema even in this century.

Overall recommendation - watch Pillow Talk (1959) instead!

Thursday, December 22, 2011

Strangers On A Train (1951)

Strangers On A Train ★★★★★ 5/5

This is a fantastic movie and rightfully belongs on the list of movies to see. The black and white imagery is flawless and translates on the screen smoothly. While the film boasts no major Hollywood star power, the acting is superb and believable. This is one of Hitchcock's classic movies and all the elements one would expect are there. The manipulation of an innocent character, intense emotion in the most mundane of places, and beloved national Monuments holding court to the unthinkable.

In this film two complete strangers meet on a train. Guy Haines (Farley Granger) is a professional tennis player who meets Bruno Anthony (Robert Walker) on a train. Haines is a well known professional tennis player whose life is publicly followed in the society pages. He is amidst a divorce with wife Miriam (Laura Elliott), and publicly seeing a Senator's daughter, Anne Morton (Ruth Roman). Anthony knows the divorce is not going smoothly and suggests to Haines that it might be easier to continue his life if Miriam is murdered. Anthony then goes on to explain the best way to murder someone is to have a stranger do it. He then explains how he himself has someone who he would like to have murdered . . . his Father. So before leaving the train, he outlines the perfect murder, explaining how he could kill Miriam in exchange for Haines killing his Father. Haines blows the conversation off as small talk, but Anthony seems to think that a deal has been made. The scene ends and the two men go their separate ways.

The movie takes off pretty quick with Anthony pursuing Miriam to an amusement park. In typical Hitchcock style, the unthinkable happens, and like any other Hitchcock film it is done with suspense and anticipation. With Miriam dead, Anthony seeks out Haines to tell him the news and direct him as to how it was now his turn to fulfill the murder of Anthony's Father. Naturally Haines is taken back by what has happened and intends to bring the attention of the murder to the police. But that would be too simple.

My first thought in knowing the plot line was how ridiculous. What could possibly prevent him from telling the authorities what happened. But Anthony has the logic and blackmail to stop Haines from talking. Haines carries on with his life. At all costs he avoids Anthony. Anthony persists to follow and harass Haines in an attempt for him to carry out the murder of his Father. Anthony infiltrates Haines' life. He works his way into social parties, shows up at Haines' tennis matches, and appears at outings in town.

It is at a social gathering when Anne and Barbara Morton (Patricia Hitchcock) realize something is not right with Anthony. Anne makes the connection that Anthony is in fact the murderer and Haines tells her what has happened. Together, along with sister Barbara, they devise a way to put an end to the situation.

In the end, Hitchcock places the key players together on a runaway merry go round.

The plot twists are suspenseful. Hitchcock works wonders when matching a score to a picture. He knows where to place the high notes and the low notes. The music drives the movie. This holds so true in the final scene with the runaway merry go round. This scene in itself is a masterpiece. A simple contraption built to entertain becomes a nightmare. Children become victims, innocent girls are set spinning in a frenzy, a fight ensues and the merry go round spins. Carousal horses become weapons, an old man trying to stop the merry go round crawls underneath it to stop the chaos. He moves at a snails pace in contrast to the dizzying speed of the action inches above him. There is no scene I can think of like it.

The actors are supberb. Everyone carries their role out with splendor. Farley Granger plays the innocent victim as well, if not better the Cary Grant or Jimmy Stewart in other Hitchcock movies. Robert Walker exemplifies a psychopath and makes the role believable. He is a strange mix of likeable and loath able. Ruth Roman is glamorous and beautiful. She plays the loving girlfriend without being over dramatic. She is very reminiscent of Doris Day or Grace Kelly. Hitchcock cast this film perfectly and the characters play their parts right on cue. However if there is one actor that really steals the film it would have to be Patricia Hitchcock. She brings humor to the film with witty one liners and breaks up the dramatic pieces. In one particular scene however her acting shines. This is the scene where she realizes that Anthony is the murderer. It is an under rated performance and a true highlight to the film.

This movie belongs on the list and is worth seeing.