It's a Wonderful Life (1946)

The title says it all.
 
Intro.
It's finally here - my 100th film review.  I've thought a lot about which film I'd write about and finally chose something that is in keeping with the season and happens to be one of my all time favorite movies.  It took me awhile before I first saw It's a Wonderful Life.  During my high school English class, I found out that I was the only student not to have seen this seemingly essential holiday classic.  As a fan of old movies, I felt quite ashamed.  Looking back on it now, however, I think seeing it for the first time just prior to that transition from high school to college really had an influence on what I thought of it.  It also made the movie one of my all time favorites.        

Overview
It's a Wonderful Life opens with the voices of unseen people in a little town called Bedford Falls all praying for help for a man named George Bailey (Jimmy Stewart).  It's Christmas Eve and George is in trouble.  Up in the starry sky, St. Peter assigns angel second class Clarence (Henry Travers) to the case.  First Clarence gets to see George grow up, from the time he saves his little brother from drowning up through his other good deeds and his courtship with Mary Hatch (Donna Reed).  Time and again George gives up his dreams in order to help others.  First he puts off going to college in order to save his family's building and loan business after his father's death.  Then when his brother Harry returns from college to take over the business, George says he doesn't have to since Harry has a great job offer from his father-in-law.  Miserable at being stuck in his family business in the small town, the only thing George can really take comfort in is Mary.  They marry but before they can get away on their honeymoon, there's a run on the banks and on the Bailey Brothers Building and Loan.  George and Mary give away their honeymoon cash in order to keep the place from closing.  As time passes, the couple has four children and fixes up a beautiful house on Sycamore Street.  All the while George struggles to keep the business going and out from under the thumb of local tyrant Mr. Potter (Lionel Barrymore), a bitter old man bent on owning the whole town.  Well, that Christmas Eve, George's Uncle Billy (Thomas Mitchell) goes to the bank to deposit some $8,000 for the Building & Loan.  He accidentally drops the envelope into Mr. Potter's newspaper and all heck breaks loose when he realizes that he's lost it and can't remember where it went.  Mr. Potter, being the perfect movie villain that he is, won't say a word about it.  George tries to find the money too, but after all his efforts, he faces financial ruin, scandal and a possible jail term.  It seems like his whole life has been a failure and the only good he can do is die and leave Mary his life insurance money.  So George finds his way to the bridge over the river and tries to kill himself, only to find Clarence.  He tells Clarence that everything would be better off if he'd never been born.  Clarence in turn accompanies George back to town, where George slowly realizes his wish has been granted - George Bailey never existed.  In his absence, Bedford Falls has turned into the corrupt town of Pottersville, filled with bitter, lonely and angry people.  George goes through the town realizing that his life has in fact made a difference, a much bigger difference than he had thought.  Each person's life touches so many others, Clarence explains, that his absence creates quite a void.  Overcome by what he sees, George discovers that all he needs are the people that he loves and prays to return to his life.  George gets his wish and returns home ecstatic to be alive, even cheerfully greeting the attorney at his house who comes bearing a warrant.  Then a real Christmas miracle happens - Mary comes home with a giant collection basket.  Following her are dozens upon dozens of George's friends, family, and neighbors, each giving what they can to save George.  The overwhelming support saves them all in the end, and Clarence at last earns his wings.               

Highlights

 It's a Wonderful Life has some truly unforgettable characters.  Even if you've never seen the film, you probably know something of the story and the people in it, as it's become such a staple in American culture.  I knew about George Bailey and Clarence long before I had seen the film.  In addition to them there's also the incredible Donna Reed (who makes motherhood look way too easy!), the great Thomas Mitchell, and of course the legendary Lionel Barrymore.  In addition to these great characters, there's also Bert the cop (played by one of my favorite supporting actors, Ward Bond) and Ernie the cab driver (played by Frank Faylen), who would inspire the naming of another unforgettable pair - Bert and Ernie from Sesame Street.  The acting and the relationships between characters is very good and contributes to the feeling that the film is timeless.  There are some outstanding lines from this film as well, ones I'm sure we all know by heart.  For example, the line "every time a bell rings, an angel gets its wings" is from Clarence.  This time as I watched, I was struck by Ma Bailey's line about Mary: "she's the kind of girl who will help you find the answers, George."  Truer words were never spoken, for it is Mary that George sees last in his dream with Clarence and it is Mary who goes around asking for and receiving help that snowy Christmas Eve.  Mary (and through her, their children) is George's lasting dream: the one that means the most to him and the one that has come true.

I also got to thinking that few actors probably could have pulled off the role of George Bailey.  Jimmy Stewart is often called the "everyman" hero of Hollywood, and nothing emphasizes that title better than this film.  I think one of the reasons it remains such a classic is that we can all relate to George Bailey.  His sacrifices are more than admirable, but we can still see his frustration and disappointment throughout his life.  I'm sure we can all relate to some turning points in our own lives.  Over on his blog, Better Living through Beowulf, my former film professor Robin wrote about It's a Wonderful Life and some of the turning points in his grandfather's life.  He also talks about how dark this movie is, both in filming techniques and in tone.  After you've seen it, it's hard to remember how bleak the film is because the ending far outweighs the sadness.  When I first saw the film, I felt this crushing blow when I saw George Bailey seriously contemplating suicide.  Here is America's everyman hero, a far greater man than anyone we know, hopelessly pushed to the brink of despair.  George's decision to live again is one of the most moving scenes in all the films I've ever seen.  It was so moving that when Capra was filming the first shot of that scene, Jimmy Stewart began sobbing for real.  Instead of forcing Stewart to do a second take to get the close-ups, Capra used enlargements of the original shot.  It gives the film genuine emotion and makes the story hit closer to home. 

I've read a lot about the morality of this film too.  George Bailey is a hero in every sense, always giving of himself and making sacrifices for the sake of his family and the town.  Then this horrible event happens to him and there's no way out (or so he thinks).  I always thought it a bit upsetting that Mr. Potter gets away without punishment.  One review I read suggested that, as the film was made after WWII and both Capra and Stewart had seen much of the war, they both knew that life wasn't always so clearly black and white (pardon the pun!). Looking at it now though, I think Potter does receive punishment.  He's played out his final hand by keeping the misplaced money only to see George Bailey again rise up victorious.  You can't keep a good man, down, Mr. Potter, especially a man like George Bailey.  Potter's envious of the kind of riches that George has, the treasure of family and friends.  In the end, Potter is left alone while George is surrounded by people.  It's appropriate that the film takes place at Christmas too, for it is a time when families and loved ones are supposed to come together and bring light to the darkest and coldest nights of the year.     

Returning to memorable lines from the film, I'm going to end with my favorite, a line that is in a note from Clarence to George: "Remember, no man is a failure who has friends."  I can't tell you how many times that line has comforted me over the years.  I've had those dark moments where everything looked hopeless, but I've been lucky enough to have some very steadfast friends to bring some light back into my life.  I think we all have those times where we look at all the choices we've made and wondered if the path we've chosen was the right one.  I know I'm not alone in having foregone some dreams for one reason or another, and like George we may all feel frustrated and disappointed at times, maybe even hopeless.  But George finally realizes that life isn't about material things or dreams left unfulfilled; it's about the dreams that do become reality and the enduring strength of love and friendship.  His epiphany gives all of us hope. 

Review and Recommendation
I could write a lot more about the details of this film and why it all works together so well to make something so timeless, but I'm getting more emotional and a bit corny as I write, so I think it's best I wrap it up.  If you have yet to watch It's a Wonderful Life, I can't recommend it enough.  There are some films for which a short review just can't do justice, and this is one of them.  To all of my friends and readers out there, thank you for your comments and your support this year as I worked to chronicle my classic movie obsession.  Here's to 2011 and another year of movie memories!

The Lion in Winter (1968)

It's just a dysfunctional family Christmas - no reason to lose your head!

Intro.

This year, 98 films in, I've come to have a much greater appreciation for certain actors, actresses and directors.  One of those is the great Katharine Hepburn.  I've loved watching her, but realized that I've never seen her in one of her Oscar-winning roles.  Since I've often heard of The Lion in Winter, and since it was conveniently on TCM the other night, I decided to take a chance without knowing a thing about story, setting or character.

Overview

The Lion in Winter is set during Christmas in the year 1183.  King Henry II of England (Peter O'Toole) has recalled his wife Elinor (Katharine Hepburn) from her confinement in a tower and has also called his three sons, Richard (Anthony Hopkins), Geoffrey (John Castle), and John (Nigel Terry) to come to the castle for a Christmas court.  All of the family arrive and quickly the plotting and intrigue begin, as each son wants to be crowned as the next king.  Richard is Elinor's favorite and as such receives the aid of her very sharp mind.  John is Henry's favorite and receives a lot of help from his father.  However, added to the mix is King Phillip II of France (Timothy Dalton), who is there to keep in tact the pact made between France and England, wherein his sister Alais (Jane Merrow) is to marry the next king and have some sort of land deal in the trade (I think it's a return of the Acquitane region of France, currently held by Eleanor).  Anyway, there are too many deals and crosses and double-crosses to keep track of, but basically Richard and Eleanor plot against Henry, then Henry and Eleanor plot against Richard, then John and Richard both try to strike deals with Phillip for his help and oh yeah, Geoffrey, the son not favored by either parent, is trying to plot with just about everyone.  Henry, infuriated that all three of his sons have gone to Phillip to plot against Henry, banishes them to the basement and tells Eleanor that he intends to have their marriage annulled.  He wants to marry Alais (who is in love with him) and have more sons, ones that he can actually trust and with a woman he doesn't despise.  But first Eleanor has to try and save her sons.  Then Henry, realizing that he can't just keep his sons locked up forever (if any of them got out, they'd kill any new sons he and Alais might have), goes down to have one last confrontation (and possible beheading).  

Highlights

I think what worked best in this movie was the feel of it.  The whole thing felt like watching a play instead of a movie.  I thought at first that was due to the setting and different speech patterns, but then I realized it was in fact due to the filming as well.  The blocking, the delivery, it all felt like I was watching top Shakespearean actors performing on stage - all perfect, all fluid.  I'm not sure if that made me like the movie more or not; in truth, I felt a bit under-dressed and out of place watching on the couch in my pajamas.  What I really enjoyed was watching Katharine Hepburn and Peter O'Toole together.  Their scenes made the whole movie; although I had trouble following all of the plotting, I could easily follow their hatred of one another.  Both are extremely talented in their profession and it's a true pleasure to watch them.  They have a great repertoire and present the picture of not only an estranged husband and wife, but also a couple who once loved one another (and may still) in spite of all their arguments, hatred and the occasional civil war between them.

Also interesting to follow were the sons.  I almost didn't recognize Anthony Hopkins as Richard, this film being one of the earliest in his career.  He's great as Richard and plays both the strong, powerful older brother as well as the wounded homosexual lover (turns out Phillip never really loved him).  I also really liked John Castle, who played Geoffrey.  It's easy to overdo the "unloved" middle child role, but Geoffrey takes it in a wholly different direction by playing both ends from the middle.  Man, I never want to play Geoffrey at chess!  I confess I've never seen John Castle before, but I want to see more of his work.  Also making his film debut is Timothy Dalton as Phillip II; who would think he'd go from being a rather unscrupulous King of France to being James Bond?

The writing is definitely Oscar worthy (the film won three Oscars - writing, music and best leading actress).  Who would have thought that a royal drama about princes overthrowing each other for the crown would have a lot of funny one-liners?  Some of the best are here:

Henry: I could have conquered Europe - all of it - but I had women in my life.

Eleanor: I adored you. I still do.
Henry: Of all the lies you've told, that is the most terrible.
Eleanor: I know. That's why I've saved it up until now.  

And quite possibly my favorite:
Geoffrey:  I know. You know I know. I know you know I know. We know Henry knows, and Henry knows we know it.  We're a knowledgeable family.

Review and Recommendation

As for the recommendation, I know a lot of critics love this film and I imagine it would be pretty popular with fans of historical films or British history.  I'm not quite sure I liked this movie all that much.  Like I said, watching Hepburn and O'Toole together was the best part, but other than that I found it a little hard to follow.  Perhaps I need some more British History under my belt or even a better understanding of Shakespeare.  I'd like to at least read up on Henry and Eleanor and possibly some of King Lear before watching again.

3 Godfathers (1948)

Three bank robbers, a baby and a lot of sand.  Think they'll manage?

Intro.

I went back to holiday films the day of Christmas Eve in order to watch one that I usually forget about but still enjoy - 3 Godfathers.  It's a take on the story of Christ, with enough religious allusions to keep any analyst happy.


Overview
Robert Hightower (John Wayne); Pedro, "Pete" (Pedro Armendáriz); and William, the Abilene Kid (Harry Carey Jr.), are three cowboys who come into the town of Welcome, AZ and rob the bank just a few weeks before Christmas.  They make a good break for the border too, with the Kid getting shot in the shoulder.  But Marshall Buck Sweet (Ward Bond) is on their trail with a posse in no time and a game of chess plays out as both groups try to get to the few water towers in the middle of the Arizona desert.  Bob, Pete and the Kid make it to the first tank, but find that the Marshall's boys have beat them to it via the railroad.  The posse follows the railroad to the next stop, Apache Wells, but the three outlaws decide to double back and head to Terrapin Tanks.  They barely make it, having run out of nearly all their water and baking in the sun.  The Kid isn't doing well without water and when they hit a massive windstorm, they have to take shelter and lose their horses in the night.  They walk the rest of the way, but find that someone has dynamited the tank and destroyed the well.  A wagon is there without horses and in it they find a woman about to give birth (her husband died chasing after their stock).  Pete helps deliver the baby as Bob and the Kid squeeze some barrel-head cactus to get some water.  The three men talk to the woman once the baby's born and it's clear that she isn't going to live through the night.  With the last of her strength, she names her child Robert William Pedro Hightower after his three new godfathers, who have agreed to save him.  After she dies, the three men try their best to care for the child, which means heading to the nearest town - Welcome.  Still without water, Pedro and the Kid both die on the way, and Bob barely makes it into the town before collapsing at the Marshall's feet.  But what will become of little Robert William Pedro and his sole godfather?

Highlights

There are a lot of reasons I like this movie.  The first is that it's a tribute film; the movie was originally made back in 1916 and starred Harry Carey, who was friends with director John Ford.  After Carey's death in 1947, Ford dedicated his remake of the movie to Carey.  The beginning shot has a rider coming up a ridge and pausing in moonlight, with the words "In memory of Harry Carey, Bright Star of the Western Sky".  Even better, Carey's son, Harry Carey Jr., is in the film as well, and it marks his introduction to film (probably in a main role, as he had already appeared in a few films, including the only one to feature both of the Careys - Red River).  This time the film's in technicolor and has a bit of a different storyline (though I can't comment more as I haven't seen the 1916 original). 

Not only did Ford make such a fine film, but he called on a lot of his regular actors and actresses: John Wayne, Ward Bond, Harry Carey Jr., Mildred Natwick, Jane Darwell, Hank Worden and of course, Ben Johnson (see my Ben Johnson fangirl blurb here), all of whom give good performances.  Harry Carey Jr. does a great job in this role - this is, in truth, how I always picture him too, as a young kid with a good heart even when he gets mixed up in some trouble.  It's sort of an iconic trio that the three make that appears in many Westerns.  Bob's the leader, the planner, the one who's been around before and has to make the decisions.  William is both in name and character "the Kid", young, more or less innocent (he was just the lookout), shy and in need of protecting.  And Pete is sort of the in-between guy with some knowledge and a past no one really knows (what? He was married and has kids somewhere??), but he's the one to keep looking on the bright side or cracking jokes.  The premise is pretty simple too, as each group (the lawmen and the outlaws) try to outfox each other.  But what makes this Western different is the baby.  Well, it starts before the baby, as Ford sets up these "outlaws" to be the heroes.  We get the feeling they're not too terrible from their general kindness towards the folks in town and how Bob and Pete take care of the Kid.  And we start rooting for them as we see them struggle across the desert.  So it's natural that we keep cheering for them once they decide to throw away their money and their freedom (and quite possibly their own lives) to save this orphan.  It's their redeeming act and the extenuating circumstances that come up in Bob's trial.  That decision to honor the woman's request that they save her child is the real turning point of the film.  It's a very human decision to have to make and it's what separates the good guys from the bad.

Having the story take place in the West is a perfect setting, as the West is often associated with rebirth and opportunities to start over in life.  To further that image of rebirth are all the allusions and parallels to the story of the birth of Christ.*  First we have these three men who find a child.  The same child ultimately saves them too.  When the men are trying to figure out where to go with the child, the closest towns all coincidentally have Biblical names - Damascus, New Jerusalem and Cairo.  This might be minor, but the men are also denied water from three tanks before finding the child (sound like being denied at three inns?).  The men also find a family Bible in the baby's wagon, and consult it for answers.  When Bob is about to give out, he opens the Bible and reads a passage about Christ asking for a donkey to be untied and brought to him so that he may ride into town on it (I think that's the passage about Palm Sunday).  Sure enough, a donkey appears and helps Bob and the baby get into town.  But the biggest part of the parallel is that the story takes place just before Christmas; Bob arrives in town late on Christmas Eve.       

Finally, a word on John Ford, my favorite director.  Ford strove for authenticity in his pictures, often shooting on location.  There are stories about how he'd get actors roaring drunk at night then wake them up at the crack of dawn to do a scene when their character would have to have a hangover.  In 3 Godfathers he waited until a real sandstorm came and forced everyone to bear the weather in order to film the scene.  Also important to Ford was to have some sort of civilization even in the harsh wilderness, and often used rituals to illustrate it.  Most of his Westerns contain a wedding, a social dance, or a funeral.  3 Godfathers is no different, as the men hold a funeral for the woman, with the Kid singing "Shall We Gather at the River" (which, I swear, must have been Ford's favorite hymn of all time).**  It brings a certain feeling of order and familiarity to the otherwise brutally harsh West.  It's a reminder of compassion in the face of cruelty as well, just as sure as there's a heart of gold beneath the rags of a bank robber. 

Review and Recommendation

Although not as famous as many of his Westerns, I'd argue that 3 Godfathers is a great example of Ford's work.  A simple yet elegantly told story has all the right aspects to make it a great film.  Fine acting, good story lines and brilliant directing make it one of my must see - not just around the holidays, but at any time of the year.

*I was going to make a comment about the three wise men and how they were following that "Westward leading" star.  Although that's a good thought for the fact that the film takes place in the West, the men go in just about every direction but West until Bob has to return to Welcome with the baby.

**Harry Carey Jr. has an amazing singing voice.  I really wanted to say that.  Also, he sings a "lullaby" to the infant, which sounds great till you realize he's singing "Streets of Laredo," an old folk song about a dying cowboy.  Surely you'll know some of the chorus: "so beat the drum slowly and play the fife lowly, sing the death march as you carry me along.  Take me to the green valley, there lay the sod o'er me, for I'm a poor cowboy and know I've done wrong."  He doesn't sing all of that to the baby, but he knows the song and his singing it is kind of like him singing about his own death.  One of the many details that makes this film worth seeing.

A Hole in the Head (1959)

Frank might have "High Hopes" but he's got a very low bank account. Make that non-existent.

Intro.

I took a break from holiday movies the night before last.  As I near my 100 film goal, I decided I wanted to review one last Sinatra film, and this one was fresh on my DVR and also one I hadn't seen.  The premise sounded good, but after watching, I still have some mixed feelings. 

Overview

An owner of a run-down Miami hotel, Tony Manetta (Frank Sinatra) tells his story straight: "If anyone thinks I'm a well-heeled bigshot out on a spree, they've got a hole in the head.  Truth is, I'm broke."  Not only is he broke, but he is trying to support his twelve year old son Ally (Eddie Hodges) and raise enough dough to dodge their eviction.  Tony's respectable, business-owner Mario (Edward G. Robinson) and Mario's wife Sophie (Thelma Ritter) come down from Brooklyn, worried about Ally's well-being, as Tony is notorious for living recklessly and often going broke.  At first they want to take Ally back to live with them, but then they hatch a plan to get Tony married to some nice, respectable girl (Sophie's friend Mrs. Rogers (Eleanore Parker) happens to fit the part) so Mario can get him set up with a shop and a nice, respectable home.  But Tony can't quite shake his get-rich-quick schemes or his penchant for "wild" women and good times.  What comes across though is how strong his bond is with Ally, who loves him unconditionally.  It's that bond which takes center stage in the film and ultimately saves Tony.

Highlights

Okay, Eddie Hodges has to be one of the cutest kids ever.  He is so much fun to watch and a complete scene stealer.  I loved his reaction when he sees Mrs. Rogers for the first time and is shocked at how lovely she is.  And his interaction with Frank Sinatra is really something to admire; they work very well together, which is great because their relationship is really the heart of the film.  Tony might not be in the running for best father of the year, but it isn't for his lack of trying.  I think Sophie says it best when she tells Ally that "He's a child of 41 and you're a grown man of 11."  He decides to have Ally go and live with Mario and Sophie in the end and hates himself for it and hates that he can't be the kind of father Ally deserves.  The ending, not to give too much away, is really bittersweet.

I also loved Edward G. Robinson in this non-gangster role!  What a treat to see him as the respectable older brother.  And Thelma Ritter makes a great match for him.  But especially good is Eleanore Parker, who is undeniably sweet and charming and helps Tony sort things out in the end.  And then there's Frank, who does a great job.  I think the reason I felt so conflicted about this movie is because I both loved and hated Tony a little, but in the end just kind of felt sorry for him.  I wanted to be on his side the whole time, but when he went to the dog track, I just knew something bad would happen.  He just didn't know when to quit.  I think it gets summed up best in the song that Frank sings during the opening credits.  The song is "All My Tomorrows" and the line I loved was "And all the dreams I can beg, steal or borrow on some bright tomorrow belong to you."  Basically this movie will not follow a traditional pattern of a romantic comedy or family drama - it falls somewhere in-between and seems at times a bit superficial.  I wish I could have had more time with these characters and gotten to know them better.

Review and Recommendation

While I found this movie entertaining, I wouldn't say it was extraordinary.  It was a pretty standard film; like I said, about middle of the road.  The cast is all very good and the little boy is adorable, but there is still that vein of despair mixed in with the humor.  I haven't really made up my mind about recommending it, but if anyone out there has seen it and would like to comment, please do!      

The Shop Around the Corner (1940)

If you think this is simply the precursor to You've Got Mail, you've got another thing coming!

Intro.

In keeping with my theme of holiday films, I decided to watch The Shop Around the Corner the other day.  My original plan was to watch part of it while I had dinner, then do some chores and then finish it later.  Well, needless to say, those chores never got done because I fell so much in love with the film.  I had vaguely remembered seeing it some time back, but found myself surprised and also deeply moved upon watching it this time around.

Overview 

The opening screen of the movie reads: "This is the story of Matuschek and Company - of Mr. Matuschek and the people who work for him.  It is just around the corner from Andrassy Street - on Balta Street in Budapest, Hungary."  Indeed it is about Mr. Matuschek (Frank Morgan) and his employees in his leather goods shop in the few weeks leading up to Christmas.  His lead salesman is Alfred Kralik (Jimmy Stewart), whom he treats like a son.  There's also the arrogant Mr. Vadas (Joseph Schildkraut), the kindly father and fellow clerk Mr. Pirovitch (Felix Bressart) and delivery boy Pepi (William Tracy).  A woman named Klara Novak (Margaret Sullavan) comes into the shop and despite not being able to support another clerk, Matuschek hires her because she is able to sell a musical cigarette box that Kralik is convinced won't sell.  Klara and Kralik do not hit it off and their rocky relationship continues until Kralik is fired.  During that time, they both reveal (not to each other) that each has been corresponding with an anonymous pen-pal.  In truth, Kralik has fallen in love with this woman who writes to him as "Dear Friend" and Klara thinks her "Dear Friend" is a gentleman far better than Mr. Kralik.  You probably guessed it - they are each other's dear friends.  Kralik realizes it before Klara and tries to patch up their rough work relationship.  That isn't easy because, as I said, he was fired.  Mr. Matuschek believes one of his employees is having an affair with this wife, and only Kralik had ever been to Mr. Matuschek's home.  When the PI confirms that he has proof, a devastated Mr. Matuschek fires Kralik.  When the evidence proves it is in fact a different employee, Mr. Matuschek breaks down and tries to commit suicide, interrupted only by Pepi's late return to the otherwise empty shop.  Kralik gets his job back, even a promotion to store manager, and the only thing left to do is reveal to Klara who her pen pal truly is.

Highlights
So much has already been said about the wonderful chemistry between Jimmy Stewart and Margaret Sullavan, but I have to add a brief comment.  They are absolutely brilliant screen partners and make a great couple whether they are arguing about suitcases or talking about love.  Not only are their characters well rounded, but also well acted.  I love the scene in the cafe when the pen-pals are supposed to meet for the first time, but Kralik realizes that Klara is his date and he can't bring himself to face her.  Instead he takes off his carnation and meets her as if he too is waiting to meet someone and tries to get her opinion on her mysterious pen pal.  It's great! 

I think what really struck me about this film was Matuschek.  That intro. card was right - it really is about him and the people in his shop.  Frank Morgan gives a great performance and his depression then recovery really hits at the heart of this film.  It isn't just about pen pals lovers who unknowingly work (and bicker) together.  It's also about love lost and the toll infidelity takes.  Matuschek's realization that his employees were more family to him and his shop was his home is both sad and  beautiful.  That theme is often repeated in holiday films too; that Christmas in particular is really about the gift of those we love, including "families" of people who aren't actually related.           


I was so excited to see this film appear in the New York Times Critics' Picks section.  There's a wonderful film clip there with reviewer A. O. Scott talking about The Shop Around the Corner.  He mentions that the film takes place in Budapest although none of the actors look Hungarian (and speak English with distinct American accents *I'm looking at you, Jimmy Stewart*).  Scott says that it could be that director Ernst Lubitsch, who was originally from Germany, could have been trying to recapture some of the nostalgia and comfort of the "old country."  I thought about when this film came out and how with all the immigration to America at the turn of the century and into the 1920s, the audience in 1940 probably were from Eastern Europe or were children of immigrants from that area.  It could have been a piece of their family history or they could imagine their parents shopping at a similar store once upon a time.  I'm more than a few generations away, but I also loved that nostalgic, old-world charm, particularly as some of my family came from Czechoslovakia and had similar sounding surnames (at least similar sounding to me anyway).  I'm not sure if WWII played a role in it either, though it's an interesting idea - why didn't they simply change the store to New York or even Bedford Falls? 

The Shop Around the Corner does wax nostalgic and has its share of charm.  I know I've said this before, but I am not a fan of remakes.  Usually the classic films are the ones that really get things right; films today are usually more concerned with what can make the most money in a weekend as opposed to having a great story.  Although I do enjoy some remakes, I think it's always good to go back and see the original, and The Shop Around the Corner is no exception.  It's been remade as In the Good Ole Summertime, Shop, and You've Got Mail.  It has other followers too.  All those Christmas-themed love stories, all those romantic comedies about people hating each other then finding out it's really love after all - they all owe their story lines to The Shop Around the Corner.  It's true that the formula of bickering, misunderstandings and eventual true love isn't new. You could go back at least as far as Pride and Prejudice (and probably even further) and find the same story.  But The Shop Around the Corner was one of the first films to really get it right and make an almost perfect film.

Review and Recommendation
If you haven't yet watched The Shop Around the Corner, add it to your list.  Curl up with some of the people you love and enjoy this great film.  Perfect for the holidays, but just as enjoyable any day of the year, I have a feeling you'll fall in love with Klara and Kralik and all the folks at Matuschek and Company!

Holiday Affair (1949)

All I want for Christmas is you, Robert Mitchum!

Intro.
I have a long list of favorite holiday movies, as I'm sure most people do.  But near the top of my list is one that I've never confessed to liking - Holiday Affair.  I was talking in my last post about the corny nature of some Christmas films, and this one is no exception.  I've never told anyone it's one of my absolute favorites mainly because I like to think of it as a sort of Christmas secret, maybe even a guilty pleasure.  Sure it's corny and a bit silly, but still delightful.  And really, how could I say no to a Mitchum romantic Christmas comedy?

Overview
Connie Ennis (Janet Leigh) is a war widow and mother who works as a comparison shopper.  She purchases a train for her job from amiable sales clerk Steve Mason (Robert Mitchum) and takes it home overnight instead of straight to her office.  Her six year old son Timmy (Gordon Gebert) peeks at it and is overjoyed, but his hope is shattered the next day when the package is returned.  Unfortunately, Steve has figured out Connie's job, but lets her go without contacting the store detective.  He then loses his job, but manages to take Connie to lunch.  Steve is the most unusual person Connie's met; he's a generous, kind, free spirit who wants to build sailboats in California.  He helps her finish her shopping and carries some of her packages home, but they get separated.  Back home, Connie trims the Christmas tree with Timmy and her boyfriend Carl (Wendell Corey) but is interrupted when Steve finally finds her apartment and turns up with her packages.  She has a lot of explaining to do, especially when Timmy takes a real shining to Steve that he hasn't taken to Carl in the two years Carl's been around.  It doesn't help any that come Christmas morning, Steve sends an electric train to Timmy.  What it comes down to is that the two men both propose to Connie and she must choose if she wants to take a chance on real love or take shelter in a life with a man she just likes a lot.  But can Timmy adjust to the changes in his life and can Connie let go of the memory of her late husband and let herself be loved again? 

Highlights
Another TCM back story: So Robert Mitchum hit a bit of a low point in 1948 when he was arrested and served a prison term for marijuana charges.  When he got out, studios didn't really know what to do with him, leading to several unconventional roles for him.  Howard Hughes saw to put him in this romantic comedy as it would help clean up Mitchum's image and establish him as a good guy.  That's why Robert Osborne's line was so funny - he said the film stars the "last person you'd expect in a warm fuzzy Christmas movie."  So true, but also so wonderful.  Mitchum is cool and self-assured and definitely comes off as a "warm and fuzzy" sort of leading man.

What I really enjoyed about the film after viewing it again this year was the complexity of the relationships.  I think I missed some of it in previous years, but Mitchum sums it up in one line.  "It's not just two guys fighting over you.  It's two guys, a woman and her husband."  The film does focus on all the details of Connie's relationship with her son and how she sees her husband in Timmy.  But even more interesting is how Connie's mother-in-law also takes that same line, remarking just how much Timmy still looks like his father.  I think that aspect is what makes the film different from most feel-good romcoms: it isn't so much about two men fighting for a woman, but a woman having to decide whether or not she wants to make herself vulnerable again by giving in to love.  I understand how she feels; she doesn't want to risk that massive heartache of losing someone again.  It's touching and very human.  I admire Janet Leigh a lot more each time I see this movie for just that reason.

Speaking of touching moments, you have to love Timmy in this movie.  He is a scene-stealer for sure.  His talk with Steve about how miracles don't happen (Steve convinces him that they do) is memorable, though not as good as what Timmy does later.  On Christmas Day, Steve is arrested (it's a long and pretty funny story, but basically he gave his necktie to a homeless man who then used the tie to attack, gag and rob some other guy).  Everyone comes to the courthouse to bail him out, and Timmy hears Steve admit that he's broke (he spent his last few dollars on Timmy's train).  It doesn't seem to bother Steve, but it does bother Timmy.  Timmy sets out the next day to take his train back to the department store for a refund.  He walks all the way there and has a heck of a time trying to get the money back.  He manages to get up to the President's office and as he is undeniably adorable (I mean, he's 6 years old and carrying a train set almost as big as he is), he is allowed to speak to Mr. Crowley.  He gets his refund and a ride home to his worried-sick mother.  It's a very selfless and grown-up thing to do, but more than that, it's the true spirit of Christmas.  (I'm going to stop here before I get too mushy!)

Review and Recommendation
Holiday Affair may seem a bit silly and old-fashioned, but it has enough warmth and heart to make anyone's season bright.  I recommend it as a good holiday romance film.  So break out the popcorn and hot cocoa and enjoy!

The Bishop's Wife (1947)

"Sometimes angels must rush in where fools fear to tread." - Dudley

Intro.

It's getting to be that time of year when we wax nostalgic and bring out all those old holiday movies we've watched and loved for years.  What I love about holiday or Christmas movies is how they make you feel like everything really is okay or if it isn't okay, that you'll make it through by the love and support of your friends and family.  One of my favorite films, a modern one called, The Holiday, features Kate Winslet as Iris, who befriends elderly screen writer Arthur Abbott (Eli Wallach).  When he gives her a corsage, he apologizes that it might seem a bit corny.  To which Iris replies, "I like corny.  I'm looking for corny in my life."  That's kind of how I feel at this time of the year.  This review of The Bishop's Wife and the ones following later this month may be about corny films, but they are also ones that help bring in that old holiday spirit.

Overview
Young bishop Henry Brougham (David Niven) is so busy trying to raise the funds to build a cathedral that he doesn't have time for his wife Julia (Loretta Young) or his daughter Debby (Karolyn Grimes).  Stressed and worried, he prays for help and gets it in an unexpected form - an angel named Dudley (Cary Grant).  Dudley helps everyone he meets, including the maid and cook and strangers on the street.  Only Henry seems not to like Dudley, but only because he alone knows that Dudley is not human.  Although Dudley helps with the office, he does nothing to get Henry's main contributor, Mrs. Hamilton (Gladys Cooper) to stop being so difficult and withholding her funds.  Henry, completely frustrated, orders Dudley to leave, but Dudley cannot because his work is not finished.  Since Henry refuses to let Dudley take his place with Mrs. Hamilton, Dudley takes it upon himself to take Henry's place with Julia, at least for a day filled with ice skating and fine dining and a visit to family friend, Professor Wutheridge (Monty Woolley).  It's clear that Dudley is understanding, charming and makes everyone he meets feel better instantly (because, you know, he is an angel).  After failing to get Dudley out of his life, Henry talks to the Professor and finds that finally he can confess the truth about Dudley.  The Professor helps him realize that Dudley is just trying to get the couple back together and to help them enjoy life again.  Meanwhile, Dudley has a heart-to-heart with Mrs. Hamilton, who confesses that she no longer wants a cathedral, but wants to give her money to those in need, including Henry's old church, which is in dire straits.  The whole movie comes together as Henry delivers his Christmas Eve service, happy that his true calling in life has been fulfilled. 

Highlights
I was just thinking about how Cary Grant could play any character he wanted.  I mean, I was thinking about how different some of his roles were, like how creepy he was in Suspicion, or hilarious in Bringing Up Baby.  Then to see him as an angel, well, that just tops it all.  I love him in this role, even more upon this viewing than the last.  I think what he manages to convey best of all is how he is conflicted.  I loved his line "when an angel becomes jealous of the humans in his charge, it's a warning signal."  He is referring to Julia, with whom he has almost fallen in love.  It's also fun to watch him with fellow Englishman David Niven and the lovely Loretta Young.  All three turn in fine performances.

It seems that all these holiday films want to get at the heart of the real meaning of Christmas.  Each one usually arrives at the same conclusion - that in addition to Christ, the gifts of Christmas are love, peace, and the people you care about.  The Bishop's Wife does a wonderful job of getting Henry to realize just that.  While his transformation is at the heart of the film, so is the transformation of Julia, who must learn to enjoy life and to live in the moment.  Dudley is the perfect catalyst for both changes too.

Some scenes in this film are my absolute favorites from holiday movies.  For instance, Dudley and Julia ice skating is delightful to watch, and Dudley's story about a shepherd named David fascinates both young Debby and the rest of the household (not to mention the audience!). 

Review and Recommendation
The Bishop's Wife is just a simple, old-fashioned feel good movie with some religious subtleties.  A wonderful family-friendly film, I recommend it as it's near the top of my list of all time favorite Christmas movies.  It's definitely one I'd recommend to Cary Grant fans.  Also, if you've ever seen The Preacher's Wife, which was made in 1996, it is a complete remake of this film, complete with a couple named Henry and Julia and an angel named Dudley.  I haven't seen it, but am curious to watch it now.  

Marty (1955)

I had no idea Ernest Borgnine could be so lovable!

Intro.

I never really liked Ernest Borgnine before, probably because I had always seen him cast as bad guys, most notably as "Fatso" in From Here to Eternity.  But the write-up of Marty in the television listings sounded simple but charming, so I gave it a shot.  The write up said: Love comes to a shy, heavyset Bronx butcher.  Oscars for Screenplay, Director, Lead Actor and Best Picture.

Overview
Marty Piletti is a heavyset 34-year old butcher living at home with his mother.  He's constantly reminded by his customers (mainly Italian-American wives and mothers) and family that all five of his siblings, both older and younger, are married.  "You should be ashamed of yourself," most of the women say.  But it's not like Marty can help it; "I've been looking for a girl every Saturday night of my life."  And this Saturday is no different; he and his friend Angie (Joe Mantell) heed his mother's recommendation and go to a dance club called the Stardust Room.  Marty gets the brush off from girls, as usual, and he gets a bit disheartened.  Then something incredible happens - this fellow approaches him, explains that he's on a blind date with a girl who's a dog and he's met up with some girl and wants to ditch his date.  He offers Marty $5 to take his place on the date, but Marty being a very kind hearted gentleman calls the guy out for being a huge jerk.  The guy goes off and Marty sees the girl alone.  She looks so fragile and sad and when she goes out onto the fire escape to cry, Marty follows her.  She's not a dog at all, though she's not as attractive as some of the other women at the club.  Her name is Clara (Betsy Blair) and pretty soon she and Marty are inseparable.  They dance, they confide in each other, they go out for coffee and wind up talking for three hours.  What they have in common is that they've both nearly given up on ever finding love.  Yet here they are, a perfect match.  That is, until Clara meets Mrs. Piletti and disagrees with the family situation - Mrs. Piletti's sister Catherine is being kicked out of her son and daughter-in-law's house because the two women can't get along.  So Mrs. Piletti, who's been after Marty to get married, refuses to like the girl he's finally found.  Marty's friends aren't any help either, saying that Clara's a dog.  Angie even gets jealous because Marty won't be spending time with him anymore.  Will Marty take a chance on Clara or will he let what might be his only chance for true love pass him by?

Highlights 
As I said in the tagline, I had no idea that Ernest Borgnine could be so lovable.  This is one of the few (and possibly the first) times he was cast against his bad-guy type.  And he's wonderful!  Right from the opening lines we can see how kind and patient he is, even against the constant barrage of "when are you gonna get married?"  We can see his close relationship with his family, which makes his decision much harder.  Borgnine does a great job and it's easy to see why he won Best Actor (though I would've been torn on the Committee because he was up against Frank Sinatra in The Man with the Golden Arm).

What works so well is the simplicity of this story.  A reviewer on IMDb wrote that this was the time when we didn't need special effects or action scenes to make a great and unforgettable story.  And we don't just have the story of Marty and Clara.  Just as impressive is the story of Aunt Catherine (Augusta Ciolli) and her fight with her daughter-in-law.  Two women trying to rule the same house is difficult and it's a real shame that they can't get along.  The fight that results between the daughter-in-law, Virginia, and her husband Tommy is realistic and an interesting perspective on married life.  The scene where that fight unfolds is after they move Aunt Catherine into her sister Mrs. Piletti's house.  They're on the porch and Marty's trying to ask Tommy about a business idea - he wants to buy the butcher's shop.  He asks a question, but Tommy replies instead to Virginia about the situation with his mother.  They finally leave, telling Marty that he's stupid to want to get married.  Meanwhile we also get this lovely exchange between sisters Catherine and Teresa (Mrs. Piletti).  They talk about growing old and feeling unloved and unwanted by their children.  For these women, their children were their whole lives and although they are happy to see them married, they are also facing  loneliness.  The heart of the film lies in this loneliness, both for the women and for Marty and Clara, and how it can be overcome.       

Clara is also really well played by Betsy Blair (who is anything but ugly, but made up to look less attractive).  She has a college education, a loving home with her parents and a job offer waiting for her, but the one thing she wants most is the one thing she can't have.  Her confession to Marty that she'd been to the Stardust Room before and sat alone for an hour and a half without a single dance request (guys even came to her table then changed their minds) is really important and truly heartbreaking.

I don't want to get too personal here, but watching this film made me feel better about myself.  If Marty and Clara can find love, then so can anyone.  That's what really made this film stand out to me - hope.  There really is someone for everyone.  It's what makes us human, this desire to love and be loved.  No wonder it won best picture.  Everyone can cheer for Marty and Clara.     

Two stories to end with: First, although television was a huge threat to the film industry in the fifties, this film crossed the line between the media.  Marty was originally a television drama featuring Rod Steiger.  But Burt Lancaster's production company bought the rights and made it into a feature film.  When it won Best Picture, the news left a big impact on the industry.  Television wasn't just the low-class enemy anymore.  And a funny story: I was on the phone with my friend Catherine trying to explain this story.  She asked, well, how ugly is the guy who plays Marty?  Is he really ugly?  I said, "well, it's Ernest Borgnine, so...."  I don't know that I'd call him the ugliest actor in Hollywood, but he's a very far cry from say, Cary Grant.  However, Betsy Blair I think was too pretty to play a "dog".  It also made me smile when she said no one would dance with her because her real life husband was Gene Kelly.

Review and Recommendation

I love this movie.  I know I've already said that, but I want to say it again.  I can always tell when I really liked a movie when I get really upset that it ends too soon.  In this case, I wanted to see the rest of it - Marty and Clara dating more, getting married, having a family.  But it was cut short!  Still, the way it ends is probably Borgnine's finest moment on film.  I definitely recommend Marty to everyone, especially to shy, single folks like me who have just reached the age when our group of single friends shrinks rapidly and we starting to get invitations to weddings.  If Marty and Clara can find love, so can we!  

End of Year Recap, Part 1

One thing I was hoping to do on this blog was to talk about meaningful films.  Recently my film professor and friend Robin posted an article on his blog, Better Living Through Beowulf, about five films that changed his life.  I got to thinking about my top five and realized that there are different interpretations.  The five films which impacted me the most (though not necessarily were ones I liked) are listed here:

1) The Godfather Part II (1974) - while Part I is one of my favorites, it’s Part II that always gets me. The story of Vito coming to America and having to start his life here reminds me of my own family coming over from Italy. We aren’t mixed up with the mafia, but that hardship and the strength of the family really hit home. There’s one scene of Vito, alone and unable to understand any English, where he’s kept in a small room in quarantine at Ellis Island and he sits on the bed singing to himself in Italian. It always makes me cry.
2) The Deer Hunter (1978) - I could have picked a lot of films about soldiers coming home from war (I’m writing up a review of The Best Years of Our Lives right now), but none have struck me as much as The Deer Hunter did.
3) While I really don’t like the movie Dr. Strangelove, I have to acknowledge that when I first saw it in high school it was just after 9/11, and I remember realizing for the first time how terrifying our world had become since those first nuclear bombs were deployed.
4) Life is Beautiful (1997) - Such a great testament to the human spirit.
5) The Rainmaker (1956) - Katharine Hepburn is my favorite actress because she is always tough, independent and smart, but she also manages - in this film especially - to mix in some vulnerability. I really identified with Lizzie in this movie and her courage in the face of loneliness. 

Then I started thinking about which films hold the most meaning for me personally.  They don't need to really have had a big impact on me, but what are the films I love and will watch over and over again?  I get asked sometimes what my favorite movie is, and like most people, it changes (currently it's Sunset Boulevard).  So here are some additional films that should be on my "most meaningful films" list:

Casablanca, It's a Wonderful Life, The Bridge on the River Kwai, Some Came Running, She Wore a Yellow Ribbon, The Shawshank Redemption, Gran Torino, Singin' in the Rain, Sunset Boulevard

I'm going to end it there, though goodness knows I could go on and on.  When I get closer to the end goal of 100 films, I'll make another Recap post with the top films I've reviewed in 2010.  So in the meantime, I'd love to hear from you!  What are the films that had the most impact on you?  What are your favorite "go-to" films that you can watch a million times and can probably recite?  

The Best Years of Our Lives (1946)

A heartbreaking yet hopeful look at life in post-WWII America.

Intro.
There are war movies and then there are post-war movies - the ones about the men and women of the military coming home after the battle.  I've seen several like The Men and It's Always Fair Weather and even The Deer Hunter (though that's more of a war/post-war film).  Each one focuses on one question - what happens to our members of the Armed Forces when they come home?  It isn't all roses and parades, and there are so many stories we've yet to hear.  I think that's what really drew me to The Best Years of Our Lives.  Not only does it follow three men coming home from WWII, but it also won the Oscar for Best Picture.

Overview
The Best Years of Our Lives opens with three men returning from WWII and sharing a small military plane back to their hometown of Boone City.  There's older sergeant Al Stephenson (Frederic March), bombardier Fred Derry (Dana Andrews) and sailor Homer Parrish (Harold Russell) who has lost both his hands in the war and had them replaced with hooks.  They share a cab together and we get to see how each is received at home.  Homer comes back to a family who, although overjoyed to see him, are unsettled by his missing hands.  Next is Al, who comes back to his high class home and a loving wife Milly (Myrna Loy) and his two now-grown children, Rob (Michael Hall) and Peggy (Teresa Wright).  Finally comes Fred, who goes home to his parents in a very poor neighborhood.  He had married a girl he met just before he left; they had only been married 20 days before he deployed.  However, she's moved out and as it's almost evening, she's at work at a nightclub.  Fred spends the evening trying to find her; finally giving up he goes to a bar run by Homer's uncle.  Meanwhile, Al, Milly and Peggy go out on the town to celebrate his homecoming and also wind up at the same bar.  Homer spends a painfully awkward time at home with his family and their next-door neighbors, which include his girlfriend Wilma (Cathy O'Donnell).  When he just can't stand their staring and sorrow, he leaves and also goes to the bar.  The guys all meet up again, but have to call it short.  Milly drives her family and Fred home.  They stop at Fred's wife's apartment, but he can't get in as she is still not home.  So he goes home with the Stephensons.  Fred has nightmares during the night and Peggy comes to comfort him; the next morning she also doesn't mention it.  Her kindness means a lot to Fred and stands in contrast to his wife, whom he finds that day.  His marriage starts out happy, but his wife Marie (Virginia Mayo) is selfish and upset that he can't find a job.  Quite in contrast to their unhappy marriage is the support that Milly gives to Al, who gets a promotion at his old bank and heads up the small loans department, granting loans particularly to service men.  Homer doesn't want anyone feeling sorry for him, as he is more than capable of taking care of himself.  What's worse is that he keeps pushing Wilma away because he doesn't want her to pity him or to be horrified by him.  The movie is quite long and a lot happens as each of the men try to adjust to civilian life again, including finding a job and reconnecting with friends and family.  To complicate matters, Peggy falls in love with Fred.  What results is a wonderful movie about what happens when our military men and women come home and start living the best years of their lives.

Highlights
I think what makes war and post-war films so powerful is how they draw from real life.  The Best Years of Our Lives does an amazing job of that.  Not only do they feature three men from different backgrounds coming back to different situations, but they don't shy away from the harder parts of returning home.  Homer's disability plays an important part and reminds us of the physical sacrifices, while Fred's troubled dreams remind us of the psychological ones as well.  Al seems to adjust the best, but is nonetheless troubled by the reactions of his bank managers when he gives a service man a loan without sufficient collateral.  Al defends himself in a wonderful speech at a big banquet: "There are some who say that the old bank is suffering from hardening of the arteries and of the heart. I refuse to listen to such radical talk. I say that our bank is alive, it's generous, it's human, and we're going to have such a line of customers seeking and GETTING small loans that people will think we're gambling with the depositors' money. And we will be. We will be gambling on the future of this country."  He also has a lot of trouble accepting how his children have grown and become independent (Peggy in that she is supporting herself; Rob in his new free thinking ways).  Unlike Al, who has a job to come back to, Fred has a lot of trouble finding a job.  Most jobs have been filled by men who couldn't enlist and by women.  He finally lands one as a soda jerk and he and Marie go broke (she still spends as if he's earning his Army pay of $400 a month instead of $32.50 a week).  Their marriage starts to crumble and doesn't get any better when he discovers that she hasn't been faithful (and still isn't).  What really got me was the guy in the drugstore who sits next to Homer while Fred's behind the counter.  The guy looks at Homer and starts to go off about how they fought the wrong people and wrong war.  Fred loses his patience as the guy gets heated about the topic of Communism.  When the guy says that Homer lost his hands for nothing, Fred comes over the counter and decks him.  It's hard to imagine anyone talking like that to veterans of WWII, but it did happen.  What's worse is to think about what was said to veterans from Korea, Vietnam and the Gulf Wars.  I went with a group of people from the American Legion to the airport a few years ago around Christmas to welcome home a bunch of local soldiers returning from Afghanistan.  One of the men I went with was an older veteran himself and in a very quiet voice he told me about how when he came home from Vietnam, there was nothing like this - no fanfare, no support.  I can't even imagine.

A word about the acting and other film stuff: The acting is great in this movie.  Everyone is well cast and does a great job - I loved Myrna Loy as Milly and her relationship with Frederic March as Al.  I also really loved watching Dana Andrews, who just blew me away with his character.  I need to see more of his films!!  Finally, I loved Homer.  Casting real life veteran Harold Russell was a brave and wonderful choice that adds a lot to the film.  Again, the strain of truth throughout the film is what makes it so powerful and deeply touching.  It's even in the details.  There's one scene where Al mixes an alka-seltzer drink in two cups and then drinks from the empty one - they left it in because it's honest and real.  To top it off, you really can't get any more nostalgic than to see what the guys see in their cab - all the sights of main street America, from kids laughing on the corner to a sale at Woolworth's.  The movie captures the heart of America in the 1940s and a definite must see.  


Review and Recommendation
Watching this film next to a later film about veterans, say another Best Picture Winner like The Deer Hunter (1978), it's easy to say that The Best Years of Our Lives is too optimistic.  But I'd argue it isn't.  While it has a happy ending and hope for these people of our Greatest Generation, these men face a lot of difficulty and still have a lot of work ahead of them.  It was a different time and a different world.  A fascinating look at not only the lives of these veterans, but also a slice of life from post-WWII, I really enjoyed this movie and highly recommend it to everyone.

The Barefoot Contessa (1954)

Humphrey Bogart makes the best fairy godfather ever.

Intro.

1954 was the year of fairy tales, at least for Humphrey Bogart's filmography.  First he had a huge success with The Caine Mutiny, for which he was nominated for an Academy Award.  Then he made Sabrina, which is in itself a fairy tale about a little girl turning into a fine lady and falling in love.  And then came The Barefoot Contessa, an interesting Hollywood take on the Cinderella story.  The Barefoot Contessa is the third in the trio of classic films often referenced as the best ones made about the industry (the others being The Bad and the Beautiful and Sunset Boulevard).

Overview 

The Barefoot Contessa opens with a funeral for the title character, led by a voiceover from Harry Dawes (Humphrey Bogart), a writer-director who knew the whole story.   He tells us of the Contessa from the beginning, back when she was just a poor nightclub dancer in Spain named Maria Vargas (Ava Gardner).  Millionaire producer Kirk Edwards (Warren Stevens), his PR guy Oscar Muldoon (Edmond O'Brien) and Harry.  Maria is anything but impressed by them and when she leaves the club without warning, Harry is ordered to find her or lose his job.  He does and she comes to realize that he's not like the others - he's honest.  He sees her unstable family and her desire to leave Spain and she in turn tells him about being a poverty stricken child hiding shoeless in the dirt during the Civil War.  She has a world weariness attached to this pure hope of something beautiful, like a fairy tale coming true.  She taps into that duality and becomes a smash hit in Hollywood, where Harry directs her in three films.  Her career hits a curve ball though when her father is arrested back in Spain for the murder of her mother.  Instead of laying low and avoiding the press, Maria goes to Spain and defends her father in open court.  It's a huge trial and she takes an awful chance on her career, but really she is keeping her values and her honesty in a business where that isn't easy.  Back in Hollywood she tires of being under contract to (and under the thumb of, really) Kirk Edwards.  It comes to a head during a fancy society party and she agrees to go with Kirk's enemy, Alberto Bravano (Marius Goring) to Monte Carlo.  Oscar goes with her (as we learn since he has taken over the narration now), having quit Kirk and joined up with Bravano as well.  He describes Bravano's extravagance and quick temper, which he takes out on Maria, who doesn't at all fit in with the high society set.  Not only does she still keep company with lower class workers and gypsies, she has a string of lovers.  But when Bravano finally goes too far and verbally attacks Maria in the hotel, a handsome stranger steps in and defends her.  The stranger walks off with Maria as if in a dream and then we switch to the stranger's narration.  He is Count Vincenzo Torlato-Favrini (Rossano Brazzi) and he had seen Maria earlier dancing barefoot in a gypsy camp as he drove to Monte Carlo.  For him it was kismet that they meet again at the hotel and that he swoop in to defend her.  They have a quick, lovely romance back at his villa in Italy, where he decides to make her the last Contessa.  Harry picks up again, recounting when he had gone to Italy for a picture and run into Maria as she was about to marry Vincenzo.  In Harry's words, "the Prince had finally caught up with Cinderella and all that was left was the slipper business."  Maria marries her Prince alright, but the marriage is a far cry from the happy, Disney-style fairy tales when we learn exactly what Vincenzo meant by calling her the "last Contessa."  His meaning, however, takes a much darker twist, ending with the death of Maria.

Highlights
I really liked that Harry Dawes was a writer-director, as that writing side came out with his great narration.  Vincenzo and Oscar did a good job with their stories, but Harry's is the stuff that sticks.  He's got some wonderful lines in here, besides the slipper one.  On describing Edwards, Harry says "he had as much in common with anything creative as I have with nuclear physics."  My favorite line though is "Life every now and then behaves as if it's seen too many bad movies; everything fits too well."  Not only is the writing good, but the delivery is impeccable.  It reminded me a great deal of Joe Gillis in Sunset Boulevard, which makes sense as both characters are writers disenchanted by Hollywood after having hit its rocky bottom.

Another note on the narration - I really loved the set up for Bogart.  There in funeral, in the pouring rain, we get his gravelly, nasal, distinctively weary voice and the camera passes over all of the mourners in black, hiding under black umbrellas and then we see Harry Dawes, no umbrella, just an old raincoat with the collar turned up, standing apart.  It sets up his character well.  I think it's risky to reveal the death of a character (especially the title character) right at the beginning, but the overall story and the changing narration helps to keep The Barefoot Contessa moving and interesting.  I think it works so well because we want to know where the fairy tale went horribly wrong.  I did want to hear it from her point of view, but I guess telling it from the outside creates more of a legend, of a woman on a pedestal or out of a story book.  I was miffed that her story is told by three men (come on, people!  Couldn't we get Jerry a story line?  She was awesome as Harry's wisecracking girlfriend!) though truth be told, I'm glad that Kirk didn't get a narration, because he was a bit possessive and creepy.  I'm wondering now if Maria's really long monologue when Harry finds her is really her way of narrating (since they can't make a dead person talk, unlike Sunset Boulevard).  Now I realize that's probably why we have that scene; I was annoyed at first that Ava Gardner was talking so much and for so long to this guy she just met, but in the overall storytelling purposes I think I can understand.   

Now what about all this fairy tale business?  What is it about marrying the idea of a perfect life and romance with the dark side of Hollywood?  We've seen it in many films that focus on the film industry, but The Barefoot Contessa goes out of its way to make Maria into a Spanish Cinderella.  What's really interesting to me is the duality of her character as both this honest, loyal woman wanting a perfect romance but still a bit rough around the edges and unprepared for the curve ball Vincenzo throws (oh, you know you want to watch now so you can see it!).  But in reality, we didn't need to make her a film star or get her involved with Hollywood at all to make the story work - Sabrina didn't send Audrey Hepburn to Hollywood; it sent her to Paris.  So what is it about this industry of dream-making that is both so hopeful and attractive, but also so crushingly sad? (Ha, another duality!)  Why doesn't the dream work?  Is it that when something is too well put together, like one of Harry's "bad movies" it is bound to fall apart?  Is it that the dream creators see behind the gossamer and paper cutouts and the dream is lost on them?  What does that say about our own cynical culture?  There are so many questions, and films like The Barefoot Contessa, The Bad and The Beautiful and Sunset Boulevard do a wonderful job of trying to find answers.  The mystery of film-making isn't beautiful from the inside.  All that glitters is not gold, but can look like it in Technicolor.  Lastly, would this movie have been as good or as powerful if she had lived?  What if it had a Sabrina type ending where Prince Charming and his Cinderella lived happily ever after?  Does Maria set her own course for sadness and disappointment (and death)?  It's an interesting perspective on destiny and one I'd like to consider as I re-watch this great film.

As if to reinforce my point, I heard a great back story from TCM host Robert Osborne.  It was something I had actually suspected while watching and was really interested to hear afterward.  Bogart and Gardner have a great relationship on screen - their characters are great, they seem like a matched pair.  Harry even refers to himself as her "fairy godfather" at one point.  You'd think they would get along swell off screen - Ava Garnder was a self-possessed, confident, hard drinking, straight talking kind of woman - Bogart's kind of woman.  However, in 1954 Ava had just ended (though not officially by divorce; that would come in 1957) her rocky marriage to Frank Sinatra, Bogart's good friend and member of Bogie's Rat Pack.  So Bogart and Gardner weren't exactly friends by any means.  It always amazes me at how that kind of animosity can be so well camouflaged by darn good acting.     

Review and Recommendation
I highly recommend The Barefoot Contessa.  It's a fascinating look based on the real life rise of Rita Hayworth, who married Prince Aly Khan (but didn't have the whole devastating ending) and some aspects of Gardner's life as well.  It's a great story with depth and beauty that will leave you rethinking all those happy ending fairy tales.

*One additional side note: I had no idea Muldoon had been played by Edmond O'Brien, whom I had seen and loved in an earlier film, a film noir called The Killers.  Guess who co-starred with him in that picture?  Ava Gardner.  I love these connections!  He does a good job here in The Barefoot Contessa; well enough to earn an Academy Award. 
 
*Also, one major gripe.  Remember how I said women don't have a voice in this movie?  I just saw the film's tagline on IMDb: "The world's most beautiful animal!"  Is that for real?  I hope not.  Maria is a strong woman with a definite mind and will of her own, not an animal.  I'm angry about this, but really, I don't want to rant, because I'd ruin such a great movie if I went on about this poor marketing line.  So watch it and decide for yourself.
     

Shane (1952)

Heads up - this post is rather long and full of rambling about Westerns.  If you don't like the genre, feel free to skip it!

Intro.
Okay, so you know those films you've heard of for years that are supposed to be the standards of a genre?  Like, Gone with the Wind is supposed to be a standard for epics or love stories or The Sound of Music is supposed to be a standard for musicals?  When it comes to Westerns, I've seen a lot of the standards, mainly from the classic era (Stagecoach, High Noon) and some from the spaghetti Western era (The Good, the Bad and the Ugly).  Now one Western I've always heard about but have never seen was Shane.  It's been on my DVR for longer than I'd really like to admit, and I wanted to watch it as part of my now-abandoned theme for November (November was supposed to be cowboys, but that didn't really happen). Anyway, even the write-up in TV Guide said that Shane was a four-star masterpiece with rare characterizations of depth and poignancy.  Who could resist a film like that?

Overview

One of the best parts of Shane is that the story is pretty easy to follow.  It's iconic, really - a drifter rides up to a homestead, offers to help work the farm, then finds himself drawn into ongoing feud between the homesteaders and the ranchers who want their land.  The ranchers are led by the biggest bull in the area, Rufus Ryker (Emile Meyer) and the homesteaders find a leader in Joe Starrett (Van Heflin) [the homesteader who has drifting gunman Shane (Alan Ladd) working for him].  Joe's wife Marian is a strong influence on both men and we wonder at her wonderment, and her son Billy's adoration, of this tall, silent stranger, Shane.  The boiling dispute between the ruthless ranchers and stubborn farmers comes to a head when Shane comes to blows with one of Ryker's big men, Chris Calloway (Ben Johnson).  Homesteaders get their homes burned, livestock killed, all the awful stuff you can imagine so they saddle up and prepare to get out of Dodge, so to speak.  But Joe wants to make one last stand to protect what is rightfully and legally his.  It's about a lot more than land at this point, but what Joe doesn't know is that Ryker has hired a really fast gunman to take care of the homesteaders.  Even after learning this, he's determined to go off and fight, but Shane fights him instead, keeping Joe alive while Shane goes in his place to the final showdown.  Will he live?  If so, will he ever be able to settle down and live a "normal" homesteader's life?  Or will he be forced to wander between the winds (oops, wrong Western!)?

Highlights  

First of all, I loved the simplicity (and I mean that in a good way) of the story.  Like I said, it is classic and I believe part of the reason the film is such a staple or essential movie, is because it takes such a popular Western storyline and makes it work really well.  That being said, I wish I had seen Shane much earlier in my Western film experience, as I feel like it could be a good basis to which you can compare other films because there are a lot of fundamental ideas, plot points and characterizations that are honed and done well here.  I could write a book about all the films that it reminded me of, but that would be a book, not a blog post.  Two things really made the film good - fine acting and beautiful camerawork.  Now, John Ford is my favorite Western director and his cinematography is amazing.  He literally based some of his storyboards on Remington paintings (don't believe me? Watch She Wore a Yellow Ribbon).  The shots here are just as beautiful and well constructed and give a good feel for the isolation of the homesteaders and the rough life they have on their settlements.  The landscape is just as violent as the men who control it.  (More on violence later)  As for the acting, I couldn't believe that the top credits went to Alan Ladd and Jean Arthur when really I found myself paying more attention to Van Heflin.  He's incredible - in this sense, he becomes the everyman, the hard-working American trying to build a life for his family.  He's the stuff of legends.  His transformation from a quiet, peaceful man to one who wants to face certain death to preserve his principles is inspiring.  It all really comes to light at the cemetery when the homesteaders bury their dead before leaving their homes for good in fear of Ryker.  It does make you wonder about his intentions - is he really doing it for principle or so that his wife and son will look at him the way they admire Shane?  What makes a man a real man in country so rough?  What makes a man at all?  And if a man survives by countering violence with violence, isn't he just as wild as the country around him and unfit for things like a wife and a home?

I did enjoy Shane's showdown with Chris and then his later showdown with Ryker's hired gun and the aftermath of that shootout, but it still begs this same question about violence.  I think that violence, especially the really long fight between Ryker's men and Shane and Joe, is more pronounced in this film than in earlier or even other fifties-era Westerns.  It isn't on the same level as say, The Wild Bunch, but it is different and Shane is a different kind of hero.  He reminds me a lot of Ethan Edwards in The Searchers (1956) which really showed the older men who tamed the West with guns and violence had fallen from their place as heroes.  Tolerance, principle and the urge to settle and to build shaped the new heroes, who usually weren't as good with a gun.  This changing form of the Western cowboy hero is fascinating (to me, anyway) and really interesting in light of what was happening in the 1950s.  I don't know as much about Shane, but The Searchers was actually written and influenced by the decision of Brown vs. the Board of Education.  Prejudice was losing ground.  Gentler, less violent and more tolerant heroes were in.  Shane was just prior to this, but was also in the midst of events like the McCarthy hearings and the Korean War.  What role does a cowboy play in all of this?  Why is Shane our hero now?  He puts the good of the homesteaders before himself, using his skills against the wilderness to protect society as every classic cowboy hero does.  And what does it say about us that we cannot take this hero into our fold?           
     
Now a word about a character that really struck me in Shane.  I'm talking about Chris Calloway, Ryker's big talking lead man who gives homesteaders a lot of heat and a few punches.  This whole idea of subverting the usual hero type is also reflected in Chris.  At first I hated his character, but I think part of that was for a wholly unrelated reason (more on that below).  But one moment changed it all - after their awful, throw-down fight, it is Chris who comes to tell Shane about Ryker's hired gun, something I don't think he was supposed to do (I can't really remember clearly right now, but I remember feeling that Chris was crossing some sort of line with Ryker).  He's awful and mean and ornery, but yet he feels like he has to give Shane fair warning.  Maybe it's out of respect for a man he sees as just as capable of violence, or maybe it's because Chris isn't as evil as Ryker.

Before I go any farther with this very long and rambly sort of analysis, I have to make a small confession.   I know a lot of people are like this, so I'm going to admit it freely here.  I have a lot of trouble watching actors and actresses I like play characters that are cast against their type.  I have some back up here - Jimmy Stewart only played a bad guy once in his whole career (After the Thin Man, 1936) because he was so beloved by audiences for his guy-next-door, everyman heroism.  As for me, I love Ben Johnson.  He usually played the good guy too, as one of the sidekicks in an old John Wayne picture (love him as Tyree in Rio Grande) or the lead in my all-time favorite Western, Wagon Master.  He did a lot of stunts too, as he was born to the saddle - in Rio Grande, that's really him and Harry Carey Jr. riding and jumping as they each stand up on two horses.  He even won an Oscar for his role as the town patriarch in The Last Picture Show (a role he only accepted once his dialogue was rewritten to get rid of all the cursing, mind you!).  So imagine my surprise when I saw my favorite cowboy actor as a mean-talking, fight-starting bad guy in a black hat!**  Anyway, after I got past my initial shock, I tried to put those other thoughts and feelings aside and focus on his role in the picture.  And you know what?  He's fantastic. 

Last Thoughts and No Recommendation (for now)
I am now a bit lost - where was I before I went on my Ben Johnson fan fest?  Oh, so all in all, Shane was sort of mediocre to me.  In critical evaluation, I can see its merits and its rightful place as an essential Western.  But I didn't really get what so many other reviewers are talking about - namely this "love" between Marian and Shane.  I'm pretty sure I missed something and as such, I need to rewatch the film.  It could also be that I have trouble watching Jean Arthur because something about her voice annoys me.  Usually I can tune it out (the annoyance, not her voice), but other times it is still grating.  That and I just didn't get enough of her character; I felt like I didn't get to understand her that well (another reason to rewatch!).  I am doubting my own taste now, since I feel like I should like Shane and write a lot more about how wonderful it is.  So before I recommend it or go on anymore and embarrass myself with a lot more random Western movie facts (and I have plenty), I'm going to close this post with a question to you guys - those of you who read this far!  Does anyone have any thoughts?  If you've seen it, do you recommend this film?  Why or why not?

Some afterthoughts:
** I feel like I should mention that the whole white hat/black hat thing isn't infallible.  Even John Wayne wore a black hat now and again; heck even Gene Autry wore a black hat once in a film (granted that was the weirdest I'd ever seen him look).

*** Okay, one last completely unrelated Western fact - did you know that Ben Johnson was an extra in the musical Oklahoma?  I know, it's hard to believe.  If you watch carefully, you'll see him...and then also see him clearly exit once the dancing starts. 

Room for One More (1952)

Is this a movie or an ad for the Boy Scouts?

Intro.

They say laughter is the best medicine, so last week while I was down with a stomach bug and could finally crash on the couch, I decided to watch a premier film showing on TCM called Room for One More.  I don't think it's a well known film, but it has a good story, a lot of heart and the adorable chemistry of real life husband and wife Cary Grant and Betsy Drake.  Did you know they starred in two films together?  I didn't!

Overview

Anna Rose (Betsy Drake) is a happily married mother of three and a heart the size of Texas - she is the woman in the neighborhood who can't pass a stray dog or cat without taking them home with her.  So when her women's group tours an orphanage, she considers adopting one of the older children, who have a much harder time getting adopted than babies.  She convinces her stressed but tolerant husband George (Cary Grant) to let a troubled girl, Jane (Iris Mann), stay for two weeks.  The family needs a lot of love and understanding (spearheaded by Anna) to help Jane feel secure in her new home and pretty soon she becomes a part of the family.  Alright stretched pretty thin, the Rose family accepts another orphan - a little boy with a very bad attitude named Jimmy (Clifford Tatum Jr.), which may stem from his always being teased for the large braces he wears on his legs.  George is the one to lead the crusade to have Jimmy welcomed in their home.  It takes a great deal of patience, second chances and even a vote by the kids as to who can stay.  The film follows the growing family (even the bunny is pregnant), and especially Jane and Jimmy, as they adjust to their new home.    

Highlights

Okay, I'll start with the obvious.  Cary Grant and Betsy Drake are adorable together.  They make a great couple and have a natural back and forth banter.  I like how you can tell when two people get along and it shows through in the acting - think Tracy and Hepburn or Bogart and Bacall.  I loved how Cary Grant turns from the protesting father frustrated by trying to make ends meet into an accepting, all-around good Dad.  He's the one who makes the decision to let Jane stay and he's also the one who goes out looking for Jimmy when he goes off on a ten mile hike in the middle of winter to get his Eagle Scout award.  He's also pretty entertaining as the put-upon husband who just wants an evening alone with his wife (which, of course, he spends the whole movie trying to get).  And Betsy plays the kind of mom every kid wants to have, full of warmth and wisdom.

Speaking of kids, the children really do steal the show.  Jane's transformation from angry adolescent to glowing and gracious young lady is remarkable, but it isn't overnight and she can't do it alone.  Jimmy's transformation is harder because he's had different kinds of troubles, notably his leg braces.  But his final achievement of becoming an Eagle Scout is really a great moment both for him and for his parents, George and Anna.  As he says at the end, he's had a leg up on the rest of the guys trying to make it to the Eagle Scout award, because he was able to choose his parents.  That's where the heart of the film lies - the choices we make about our lives and our happiness and how much love we have to give.


Review
Room for One More is what they mean by old-fashioned feel good movies.  You can't help but smile while watching the antics and even some of the drama faced by this family.  I also learned that it was based on a memoir.  While I didn't find it as funny as another popular growing-family type of film, Yours, Mine and Ours (the version with Lucille Ball and Henry Fonda), it more than makes up for it with heart.  I'd recommend it to anyone with a bit of a sappy side like me and to any Cary Grant fans who haven't seen it yet - it's maybe not his best or most memorable, but still worth seeing for his role with Betsy Drake!*

*The other film they made together was Every Girl Should Be Married (1948).  Not sure how I feel about the title....     

**Love seeing Cary Grant playing a father?  I have to absolutely recommend Father Goose - it's fabulous!  Definitely one of his funniest (and most un-Cary-Grant-ish of roles).

Now, Voyager (1942)

Intro.

Now, Voyager is one of those movies I've heard referenced but never had a chance to see.  It seems to come up any time Bette Davis is mentioned and also happens to pop up in questions on the game Scene It: Turner Classic Movies Edition.  It was on a few nights ago and I recorded it on a whim.  Last night I had some time to myself and took a break from my November writing to watch.  What a fascinating film!

Overview

Charlotte Vale (Bette Davis) is the spinster aunt in the very wealthy, very prominent Vale family of Boston.  She lives with her aging mother, Mrs. Vale (Gladys Cooper), who had two sons and then much later in life had Charlotte.  As the film opens, nervous and emotionally battered Charlotte is met at home by her sister in law, Lisa (Ilka Chase), and a famous psychiatrist, Dr. Jaquith (Claude Rains).  After meeting her controlling mother, they meet agitated Charlotte, and Dr. Jaquith talks to her up in her room for some privacy.  Charlotte is in the middle of a nervous breakdown and goes with Dr. Jaquith to his country sanitorium for some rest and therapy.  She makes remarkable progress, even losing some weight and realizing that she doesn't need glasses (she was just hiding behind them).  She gains enough confidence to go out and try something, so Dr. Jaquith books her on a cruise to South America.  On the first shore trip, Charlotte shares a cab with the only other single passenger, dashing Jerry Durrance (Paul Henreid).  As they spend the afternoon together, Charlotte discovers that Jerry is married and has two little girls.  Although initially disappointed, Charlotte and Jerry wind up forming a close friendship which, with the help of a car accident that forces them to spend the night in a cabin together, blossoms into romance.  But Jerry can't get a divorce from his controlling (and also ailing) wife and Charlotte must go back home to face her mother again.  Charlotte asserts her independence from her mother at last, but their final fight ends with her mother dying from a heart attack.  Racked with guilt, Charlotte goes back to the sanitarium, where she befriends a twelve-year old girl (Tina) who is exactly how Charlotte was at that age (right down to the mother problems).  Charlotte becomes her caregiver and invites her to live with Charlotte in Boston, in a home where she will be wanted and respected.  The fact that the girl is Jerry's youngest daughter is what makes this seemingly happy ending very dark and very complicated.

Highlights

There is good reason why this film is considered Bette Davis' tour de force.  She is incredible as Charlotte, both strong and vulnerable, coming into her own while still holding onto that troubled self-consciousness.  Her transformation and wonderful presence really make this film.  What's so remarkable is her subtlety as she plays this role.  She makes Charlotte more than the conventional "basket-case" heiress who makes a breakthrough.  We can see that she is still vulnerable under that sarcasm while on the tour of South America and while taking care of Tina, she is also taking care of herself.

Also stand-outs in their performances are Paul Henreid and Claude Rains.  Rains was reportedly not going to do the picture initially, but after his part was built up, he took it and did a marevellous job.  I wasn't sure at first how believable he'd be as a psychiatrist (maybe I have him stuck in my head as Capt. Renault), but he does a great job and is really fun to watch.  Paul Henreid is equally good as Jerry, making his character both lovable and easy to hate.  He makes Jerry a round, dynamic character instead of playing him off as the trapped husband.  I especially enjoyed Tina, played by Janis Wilson, who can be a real scene stealer.

I have a few random points I'd like to bring up here, so forgive the disjointedness here.  First is that the ending caught me by surprise.  Not to give anything away, it was much more realistic and sad than I had expected.  You won't find all that Hollywood feel-good stuff here and don't expect wedding bells.  But it is still a triumph - an assertion of Charlotte coming into her own and being happy with her life.  Also pleasantly surprising was seeing Mary Wickes make an appearance as Mrs. Vale's nurse.  Can't place her?  She's been in everything from Higher and Higher to White Christmas to the more recent Sister Act.  She adds a great touch of comedy to the picture and I always love seeing her.  Finally, one bit of Hollywood trivia - Now, Voyager ran late in filming, and Paul Henreid literally finished his shooting on the film one night and bright and early the next day was on the set for that other 1942 gem, Casablanca.   

Now, Voyager is a film about finding yourself and accepting happiness, even if it does not come in the dream you were expecting.  It is deep, poignant and timeless in its portrayals of family duties and personal responsibilities.  The title refers to a line from Whitman, which Dr. Jaquith gives to Charlotte as she embarks for South America.  It goes: "The untold want by life and land ne'er granted, /
Now, voyager sail thou forth to seek and find."  What a fitting line for Charlotte's journey towards her own self-discovery.

Review

I really enjoyed this movie, even though I wasn't so sure I would at first.  The rich characters and fine acting create a story worth seeing that transcends 1942.  I could go on about Now, Voyager, but the last line of the film really captures the essence of the whole film.  Charlotte looks out the window and says, "Oh Jerry, don't let's ask for the moon; we have the stars."