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.

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 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.
     

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."

Ride Lonesome (1959)

Wait, are you sure I haven't seen this film before?

Intro.

November was going to be my month dedicated to Westerns, though with my time constraints lately, it's quickly into a grab-bag sort of month.  However, I've loved Westerns for many years, and there's something that still attracts me to the myth of the American frontier.  I should clarify though, that I watch mostly older Westerns from the pre-spaghetti Western era.  That may change as I try to find Westerns I have not previously seen to review on this site, so keep checking as I explore more wide open spaces, cowboys, cattle barons, train robberies and all that the West will allow you to dream.

Overview

Ride Lonesome opens with our hero, bounty hunter Ben Brigade (Randolph Scott) riding alone in the rocky desert of the West.  He tracks down criminal Billy John (James Best) and manages to outbluff Billy's help and then arrests him.  They get to a way station for the stage only to find that the guy who runs it is off trying to catch his runaway horses.  His wife is left at the station, and she's pretty handy with a shotgun.  So are the two guys waiting at the station with her - Sam Boone (Pernell Roberts) and Whit (James Coburn).  They've also been tracking Billy John because the state has offered amnesty to anyone who brings him in, and the two guys want a clean start in life.  They decide to throw in with Brigade without saying why, but motives don't really matter when the stage station is attacked by Indians.  The group have no choice but to push on to Santa Cruz, including Mrs. Carrie Lane (Karen Steele).  But Brigade takes them the long way, knowing that taking longer will give Billy John's brother a chance to catch up with them.  As we learn, that showdown with brother Frank is what Brigade's really after, and his plan for revenge (and the reason behind it) is shocking.

Highlights
I tried to describe this movie the other day and realized that both what I liked and what I didn't like was one in the same - Ride Lonesome feels like every Western you've seen left out in the sun too long.  It's boiled down to the essential core.  I mean, you can't find a story that is used so often in Westerns - that of a man wronged and seeking revenge.  What also struck me was the plight of Sam and Whit, who want a chance to start their lives over.  That's the legend of the West as a place to start over, to build something on new land.  So although the film feels predictable and very similar to so many other stories, what it does best is cut right to the core.  No frills, and you won't find a single unnecessary word of dialogue.

The introduction to the film on TCM mentioned how well the camera captured the small characters against the massive wilderness from distance shots.  I agree it's beautiful camerawork, but that idea of man vs. nature on a size scale can be traced way back in Western history.  John Ford is famous for doing just that in most of his Westerns.  So I'm not sure if they meant it was original or if it was following in the tradition, but either way it is very well orchestrated.

Finally, the characters were pretty standard as far as Westerns go, but Randolph Scott was very good in his role.  I haven't seen him in many films, but I know he was famous for his Westerns and I'm glad this was the one I watched.  He really carries the film.  I have to say, I really loved that Carrie not only wielded a shotgun, but didn't shy away from using it.  And yes, Pernell Roberts is in this, just before his days as the eldest Cartwright son on Bonanza.  He's great too and actually delivers some of the best lines in the film, including one about how it took him and Whit a whole week till they found out what that word 'amnesty' meant.  He also echoes the Ringo Kid from Stagecoach (1939) when he says "there are some things a man just can't ride around."
 
I could probably sit here all day and draw parallels between Ride Lonesome and any number of other Westerns like Stagecoach.  What's interesting though is that this is one of the earliest in the string of anti-Westerns.  Although it embodies much of the classic Hollywood Western (think John Ford), it starts turning towards the anti-hero and takes an unflinching look at morality.  It isn't about justice; it's about vengeance.     

Review and Recommendation
Ride Lonesome is very much your typical, all-around Western.  It features great scenery and a good performance by Randolph Scott, but it's also very typical.  I'd say if you've never seen a Western or knew anything about the genre, this film would be great to add to your short list of films to see.

Executive Suite (1954)

A slice of 50's Americana, complete with little league baseball and the world of high finance business.

Intro.

I'm taking a break from my November writing challenge to update this blog.  I had watched Executive Suite awhile back, and want to write about while it's still fresh in my mind.  November was supposed to be dedicated to Westerns, and it will be, but for now I'm focusing just on what I have time to watch and review.  At a modest 104 minutes, the film promised to be tight and easy to follow.  Plus it featured June Allyson and William Holden, so of course I had to watch.

Overview

Executive Suite focuses on the lives and struggles of half a dozen Board members trying to find a replacement when their chair and CEO of Tredway Corporation, Avery Bullard, drops dead on the sidewalk outside.  We get a good sense of characters from the beginning, when each is called in for a six o'clock conference with the CEO, and then one by one as they find out what has happened.  George Caswell (Louis Calhern) witnesses the death first and immediately calls his stock broker.  He is then at risk to lose his shirt when the quarterly sales reports are released at the same time, which causes the stock to rise, not fall as he had predicted.  The woman in love with Avery, Julia Tredway (Barbara Stanwyck), is crushed by his death, even contemplating suicide, despite the fact that he never had time for her when he was alive.  Perhaps the most touching response is that of his friend and Vice President of Design and Engineering, McDonald "Don" Walling (William Holden).  Don still holds Avery's original ideas - that of expanding and growing, that the company should be dedicated to progress and making furniture in which they could all take pride, not just something fast and cheap to make a quick profit.  Unfortunately, the main candidate to take over as CEO, Loren Shaw (Fredric March), is an accountant who is only interested in dollars and cents, not about the workers' integrity.  A corporate battle erupts, filled with power plays and unofficial meetings.  Finally Don puts his name in for president and comes head to head with Shaw at the final Board meeting.

Highlights

I loved how this film opened.  The camera shot from Avery's point of view, moving with him, seeing the reaction of people to "his" presence.  In this sense, the audience becomes Avery, making him not only a great man of power, but in a sense, the everyman (and woman).  It ends, of course, when he dies in the first five minutes, but it's a powerful enough opening and an interesting one.  I can't think of any other film which featured that as the opening sequence.  It ties in nicely to the narration just before which says that those people way up in the executive suites of all those skyscrapers aren't high and above temptation. 

The acting was very good in this film.  I particularly loved June Allyson, who didn't just fall into the dutiful wife role - she's the one telling her husband Don what to do, even suggesting that he take the position.  She's also a great mother, stepping in to play catch with their son when Don has to go off on meetings.  I really liked watching their dynamic - Holden and Allyson - as they portrayed a typical American couple of the fifties.  But what really impressed me was Barbara Stanwyck, who is her usual dynamic self.  I loved seeing her and William Holden reunite in this film, and although their scene alone together is too short, it is still one of the best in the whole picture.

I'm not sure what exactly to write about Executive Suite.  It was a well constructed film, pretty easy to follow and an interesting look at the culture's view of business in the 1950s.  Holden's characteristic cynicism is rampant throughout the process, that is right up until his final speech about saving the company and saving themselves (against a lovely stained-glass window too - should we call him St. Don?).  It's a cry against big business and manufacturing - against disrespecting the factory workers and saving their jobs, their livelihoods, their self-respect.  It reminded me in part of some of the 1930s films with respect to the rage against factory labor and bosses not caring about the "little people" who worked behind the scenes.  It's important that Don then gets the vote, because he is introduced not in on office suite, but down in the factory, working alongside the others to test a new molding process.  Don comes to represent the best intentions of the building and progress boom of the forties and fifties - build it bigger, faster, better.  Improve the world through business.  But Don is rare amongst his peers, giving us an awful feeling of encroaching corruption.  Had this movie been made in in the 1960s or later, I'm sure Don would have become president only to lose his own self-respect, to neglect his family and even worse, to become himself just as awful as the people he once hated.  It says a lot about the culture that none of this addressed, that it ends instead on a positive note.  I left the movie feeling empty, wondering how long would Don be able to hold onto his ideals of progress.  It almost broke my heart that he won; but at the end he is still the family man at heart and I hope he remained that way. 

Review and Recommendation
I liked this movie.  It's not one of my favorites and I'm not sure I'll watch it again for awhile, but it still poses some interesting questions and I think is a great piece of Hollywood history.  I recommend it for history buffs studying the 1950s and those interested in the presentation of business in American film. 

P.S. I should mention that the film lost me about halfway through with a lot of complications around Calhoun's character's work with the stock market.  He arranged for a short sell, but didn't have the stock so he was going to go broke when the stock price rose.  Anyway, I used to work for a financial publisher, and I had some trouble following at first.  Then I realized we weren't really supposed to understand - these were the tycoons talking, those who didn't care about the common people on the ground floor or in the audience.  They literally don't "speak our language".  It's a brilliant contrast to straight-shooting Holden. 

Gaslight (1944)

Don't you hate it when you can't remember where you placed that long, scary butcher knife?

Intro.

I don't know how widespread it is, but lately I feel like myself and everyone I know is suffering from some sort of stress-overload at work.  There's just too much to do and not enough time or resources.  Don't get me wrong, I love my job and wouldn't trade it for anything, but lately I feel like I just can't keep track of things.  It all culminated yesterday when I noticed a stain on my jacket and couldn't remember when I had spilled something on it.  My co-worker looked at it and said she didn't see anything.  I know I wasn't imagining it, but I started doubting myself.  Suddenly I felt just like Ingrid Bergman's character in Gaslight, which I had just watched.  It's funny how films can suddenly influence your thoughts and perceptions in day-to-day life.

Overview
October 14, 1875 - London is being terrorized by the Thornton Square Strangler and his latest victim is wealthy singer, Alice Alquist.  Her niece Paula (Ingrid Bergman) finds her aunt's body.  Still trying to recover and mourn on her own, Paula travels to Italy and begins to study music with Alice's former instructor.  She instead is more interested in his piano accompanist, a charming man named Gregory Anton (Charles Boyer).  They run away together and marry, and as he has always dreamed of living in London, Paula bravely offers her aunt's (now her) house.  Despite her obviously frail emotional health, Gregory tries to make the best of the home.  But it's clear that Paula isn't well and only proceeds to get worse.  She grows forgetful, loses things and starts to hear things in the boarded up attic.  Gregory continues to tell people she is sick, even when she feels well, forcing her into isolation.  He hires a pretty new maid and feeds into Paula's suspicions.  Just when Paula starts to believe that she really has gone mad, a man she had seen in the park re-enters her life.  He had mistaken her for her aunt, of whom he had been a great admirer.  His name is Brian Cameron (Joseph Cotton) and he comes to visit while Gregory is out.  He soon helps Paula uncover the truth - not only about her sanity, but about Gregory's true identity and the secrets hidden within her aunt's attic.

Highlights

Ingrid Bergman won an Oscar for her performance as Paula.  It was richly deserved.  Her slow transformation from sane and happy to tragically depressed and possibly mad is fascinating to watch.  How on earth could she think her husband would trick her or purposefully hide her things?  I thought it was rather interesting that they were married so soon after the murder, and I wonder if part of that was his idea so that her mind would still be preoccupied with mourning.  I think Paula also wanted to be married in an effort to get past her sadness - she was using Gregory as a crutch and he took full advantage.  Her final showdown with Gregory though is priceless - she finally has him all figured out and only pretends to be mad to spite him.  Just when he needs her to be sane and help him escape, she suddenly can't remember how to untie the ropes that bind him or where she's placed that long butcher knife.  It's wonderful!

I also recommend watching the first major role of Angela Lansbury.  She is delightful as the flirtatious maid and a perfect fit for this role.  Also worth watching is the busybody neighbor, Bessie Thwaites (Dame May Whitty).  She's the comic relief for the picture and does a fine job of helping the audience understand the murder from an outsider's viewpoint.  I should also mention that Joseph Cotton is great.  Think about it, how would Paula have figured it all out on her own if she had convinced herself she was mad and could never get a moment to herself?  She almost had it when she noticed the gaslights dimming without explanation.  I guess we'll never know if Paula would have recovered all the missing articles herself.

What I took away from this film was how simple it is to start doubting yourself.  Being in a fragile emotional state, Paula was in no position to get married, let alone to move back into the house, so from the outset we know she's going to have problems.  Add in Gregory's strange behavior and his pains to make her "extra" forgetful and it's a whole new level of abuse.  In her defense, who can she trust but this man she adores?  I wonder if at some level she feels like she's being punished because she wasn't able to save her aunt (she had been upstairs during the murder, and came down too late).  It leaves us each with the question of what it would take to drive us mad.  It isn't always some big, traumatic event, but sometimes a series of carefully planned incidents.  I don't know what I would have done in Paula's shoes.  And I'm not sure I want to know. 

Review and Recommendation
Overall, Gaslight is a story of an intense breakdown, marvelously portrayed by Ingrid Bergman.  A psychological mind-bender and good old murder mystery make this an excellent addition to the thriller films I've reviewed this month.  Definitely a film worth watching!  

Key Largo (1948)

That Florida hurricane isn't the only ill wind that's descended on the Largo Hotel.    

Intro.

Bogart and Bacall are probably the most iconic couple in Hollywood.  There's even a song about them called "Key Largo" by Bertie Higgins, which has the line "we had it all, just Bogie and Bacall."  You can find references to them just about anywhere, but the best place to see and learn about their chemistry is in the four films they made together.  Key Largo was the last of those four. 

Overview

Frank McCloud (Humphrey Bogart) comes down to the Largo Hotel on the Florida Keys to visit the father and wife of his friend and fellow soldier George, who died in the war.  While he gets a warm reception from George's father James Temple (Lionel Barrymore) and George's widow Nora (Lauren Bacall), he doesn't take to well to the gangsters who have holed up in the hotel.  At first the men say they've rented the whole place out to go fishing, but when they beat up a police officer who recognizes the leader, Rocco (Edward G. Robinson), the truth comes out.  With the gangsters is Rocco's alcoholic girlfriend Gaye Dawn (Claire Trevor), whom Frank pities and tries to help.  Tensions start to brew when a hurricane forces the group to stay together within the hotel.  Rocco dares Frank to kill him, to get rid of all their trouble.  He's just a gangster who was deported and trying to sneak back into the US - who would miss him?  But Frank doesn't fight anyone else's battles.  At least, not until Rocco threatens Nora - we don't hear what Rocco says to Nora, but she spits on him.  Frank reminds him that there would be too many witnesses if Rocco tried to take revenge.  Things go from bad to worse as the hurricane gets closer.  Rocco's getaway boat disappears, Gaye has a breakdown, and the police officer they've been holding gets killed.  Not only that, but a police detective shows up and discovers the body.  With the arrival of some of Rocco's friends (and some freshly laundered money), it's clear that they have to figure out what to do with the hostages and how to escape.  They take Frank with them and overtake a nearby boat in the harbor, forcing him not only to drive the boat, but to try and put an end once and for all to their evil plans.

Highlights

Key Largo is a must for any Bogart and Bacall fans.  It's clear right from the start that their chemistry isn't manufactured.  I loved some of their unspoken interactions as we see Frank and Nora start to care for each other.  One of the most tender actions is when Nora's asleep and Frank, sitting beside her, brushes her hair back gently to wake her.  This is the stuff that makes legends.  The best part is that Bacall had matured since her first film and holds her own as a great leading lady, something that would only get better with time.  As wonderful as Bacall is in the film, it's Claire Trevor who is the real standout.  She's a sweet but tormented woman who has taken the brunt of both Rocco's anger and the alcohol she craves.  She won a well-deserved Oscar for her role too.
  
And finally there's Bogart.  Not only was he at the top of his career here, he just falls naturally into this role.  In fact, his line about fighting his own battles sounds just like it's coming from Rick in Casablanca instead.  He's the perfect embodiment of a worn out, reluctant hero.  And his victory in the end (sorry for the spoiler) is not only a testament to how Frank was and still is a war hero, but how far Bogart had risen in his career.  In his earlier days, he was always the gangster being shot and killed by Robinson; this is the first and only time the roles were reversed.  It's a great scene too - there's no fight, no real struggle.  Just a clean, dead shot (okay, three shots).  Also, Frank's line, "my first sweetheart was a boat" isn't far from Bogart's truth - as a young boy he fell in love with the sea when he would go sailing on his father's boat.  He later joined the Navy and eventually bought his own boat, the Santana.  That's the boat that's used in the end of this film, just with the place, Key Largo, added onto the stern.  

Review and Recommendation
I know this is a bit short, but I'm afraid I'm a bit sleepy.  I might add some more points to the comments - check them out this weekend!  Key Largo is one of those films you really should see not just for its place in film history, but because it's a great example of acting, cinematography and really telling a story by what is said and what is left unsaid.  Pay attention to the silences just as much as the dialogue.  Overall, a good film noir/drama, though watching tonight on such a rainy night really made it even better.  So next time you've got a rainy day, I'd recommend this classic!

Golden Boy (1939)

Violins and boxing rings don't go together, even if you are William Holden with fabulous hair.

Intro.

Just when I thought that William Holden month was over, I came home Friday night and discovered that I had long ago set up some recordings and two of his films were waiting for me.  It was a very pleasant surprise, and after a lot of errands, cooking and general chores, I finally let myself unwind with some popcorn and Golden Boy. 

Overview

Golden Boy opens with struggling sports agent Tom Moody (Adolphe Menjou) telling his girlfriend Lorna (Barbara Stanwyck) that he can't afford to divorce his wife and marry her.  He only has one client, a boxer, but as luck would have it, a lanky young man with floppy curls barges into his office to tell him his client just broke his hand.  The young man follows Tom and Lorna down to the gym, asking to be given a chance to sign with them as a fighter.  Tom only listens though when he learns that the young man, Joe Bonaparte (William Holden) is the one responsible for breaking his prize fighter's fist.  So Joe gets signed and starts boxing.  He's never had any formal training, but he learns quickly and has a beginner's enthusiasm and reckless courage.  He also has a very loving family who know nothing about his first fight.  His father, an Italian storekeeper, has saved up enough money to buy Joe a beautiful $1500 violin for his upcoming 21st birthday.  Joe's played the violin since he was very young and has earned a music scholarship, but with the tempting new world of boxing and fast money, Joe comes to a difficult decision.  Which life should he pursue?  He loves music, but he wants to provide for his father and earn enough money for them to live comfortably - boxing allows for big money like that.  Joe's talented in both fields.  But nothing is that simple.  Lorna, trying to help Tom stay in business, charms Joe and convinces him to keep boxing.  Joe rises to become a great sensation, but at the price of his music - 8 months on the road without playing have made his hands tough and shaky on the violin.  To make things even worse, Mobster Fuseli (Joseph Calleia) wants a piece of Joe's contract.  And he keeps raising his price in exchange for Joe's signature.  Joe accepts, much to the dismay of Lorna, who has met Joe's family and has found herself falling in love with Joe.  What it all comes down to is a big fight against the middle-weight champ in Madison Square Gardens and devastating consequences.

Highlights
I am now a Barbara Stanwyck fan.  What an actress!  She's one of those actresses that steals every scene with her talent, charm and beauty.  Not to mention her strength.  She is outstanding as Lorna, both the "girl Friday" to Tom and yet the compassionate friend and then lover of Joe.  We can see her character transform from a middle-aged cynical spinster into a warm, devoted part of a family.  She has a real presence and gives the film its heart.  I am looking forward to finding more of her films to watch and enjoy!

Barbara Stanwyck lobbied to get unknown William Holden into this film as the title character.  I read somewhere that something like 5000 actors had been considered for the role, but it was Barbara Stanwyck that really pushed for Holden and in the end, got him cast.  It did more than that too - it launched his whole career and even earned him the nickname of "The Golden Boy" of Hollywood.  Check it out - if you search IMDb's site for "Golden Boy" you'll get William Holden listed before the movie itself.  Holden was so grateful to Barbara Stanwyck for her support that he reportedly sent her flowers every year on the anniversary of their first day of shooting.  He also trained pretty hard for this role, taking both boxing and violin lessons so as to make his performance look more natural.  It's the stuff that movie legends are made of.

Although the story line was a plot that I'd seen in variations before (youth trying to choose between two different worlds/careers), it was very well done here.  Most of that is due to the fine acting of Stanwyck and Holden, but a good part of it is also due to the way the events unfold.  There is a great deal of love and tenderness in the film and Joe's family (although sadly stereotyped) is one of the happiest families on screen.  We come to care for them the same way Lorna does.  This is just as much her story of finding happiness and a family just as much as it is about Joe finding out who he really is and accepting his destiny.  It isn't nearly as straightforward as my overview might make it seem, and the ending will definitely come out of left field.    

Review and Recommendation

What did you accomplish when you were 21?  If you were William Holden, you were making a film that would jump-start your career.  It's astonishing to think about where I was at 21 (probably struggling through my class in organic chemistry) and to see how cool and confident he appears on screen.  His performance and the great performance by Barbara Stanwyck make this film worth seeing.  If you're interested in a Hollywood legend or like films about boxing or even if you just want a good, solid hour and a half of entertainment, give Golden Boy a try.  


P.S. Also, just to satisfy my fan-girl side, I have to say that when Holden appeared at first, tall, a bit lanky and sporting some gorgeous, floppy dark curls, I thought for a moment there was a mix-up because he looked an awful lot like Tom Hanks in the movie Big.  Just now I'm watching the opening of Sunset Boulevard and man, there's a scene where I swear he could be Hanks.  Or would that be, Hanks could be Holden?  I wonder if Tom Hanks could be considered the "Golden Boy" of modern films.  I know he's been called the Jimmy Stewart "everyman", but I think he definitely follows Holden's footsteps too.  That's a post I'll have to write another day.

The Sundowners (1960)

A film with everything - Deborah Kerr, Robert Mitchum, sheep herding, horse racing, gorgeous locations and a baby koala.  What's not to love?

Intro.

I realized the other day that I spend entirely too much time thinking about classic movies.  I came to this conclusion when I was flipping through my copy of the TCM guide to Leading Men: The 50 Most Unforgettable Actors of the Studio Era.  I got really excited that the latest film on my DVR, The Sundowners, was the last film on the entry for Robert Mitchum (each actor has 5 Essential films listed).  Then I started to plan on watching all 5 films for each actor in the book and soon realized that would be 250 films, or more like 180 if you count all the ones I've already seen.  Such is the life of a classic film fangirl!  Anyway, now that I've seen all 5 Robert Mitchum films (the others being Out of the Past, Cape Fear, Night of the Hunter and Heaven Knows, Mr. Allison), I can say that The Sundowners truly qualifies as an essential.

Overview

Sundowners, in Australian terminology, are people whose home is where the sun goes down; in short, people always on the move because they have no permanent home.  Such is the way of life for the Carmodys - Paddy, the father, is a sheep drover and hates the idea of settling anywhere.  His wife Ida (Deborah Kerr) wants to settle somewhere and have a real home for their teenage son, Sean (Michael Anderson, Jr.).  The film starts out with them driving a flock of sheep to be sold and sheared.  They hire another man to help them, an older gentleman named Rupert (Peter Ustinov).  Together this family deals with the rough terrain to drive the sheep, including a horrible "crown fire" that spreads like lightning between tree tops.  Finally they manage to get the sheep to a shearing town, and despite his strong feelings against settling anywhere, Paddy agrees to stay for the season and shear sheep.  The rest of the family also get jobs and the bankroll starts to grow.  Although Ida and Sean are set on getting a farm, it takes some convincing (and some conniving) to even get him to look at one.  A few gambles later and the family gains a beautiful racehorse which they name Sundowner.  They decide to enter him in a few races, but just how much are they willing to lose?

Highlights
Okay, first of all, I love Deborah Kerr in just about every film she's made.  She has a lot of gumption but can also be very graceful and demure.  She's perfect for the role of Ida and in later interviews, she said of the 5 times she was nominated for an Academy Award, this role was the one she wanted to win for the most.  She deserved it too - she has a kind of stoic pride that gets Ida through all of the family's hardships, but she still has no problem telling Paddy exactly what she thinks.  In fact, Ida and Paddy are well suited for each other, and I think a bit part of their chemistry comes from how well Robert Mitchum and Deborah Kerr work together.  According to TCM, William Holden was the first choice for the role of Paddy, but when he turned it down, Robert Mitchum jumped at the chance.  He didn't even need to read the script; when he heard Deborah Kerr was in it, that was all he needed.  It's great to see actors have such a good working relationship, and both are outstanding in their roles.

In the beginning I felt that the film had an epic tone - the cinematography and directing were wide and grand.  But as the film progressed, it focused in more on the family.  Part of it was the great score by Dimitri Tiomkin and the wonderful directing by Fred Zinnemann.  But what really makes this movie a standout is the filmography - it's all done on location in Australia.  Apart from the great scenery, we also have some adorable wildlife like kangaroos, wallabies and of course, a koala with its baby.  The work with the shearers is all really well done, especially the shearing contest between Paddy and some ringer.  Also, I know there are articles out there criticizing the accents, but I think both Deborah Kerr and Robert Mitchum have great Aussie accents.  I think my favorite part was when Paddy gets drunk and starts singing "Wild Colonial Boy" in the local pub.  Think about that - 1) Robert Mitchum has to pretend to be drunk 2) and manage to keep his accent 3) while singing.  Now that's talent. 

What the film really comes down to is a family trying to stay together.  Paddy and Ida clearly want the best for their son and for themselves, but can't agree on what that is.  All they have is each other.  In the end, they are still Sundowners and continue onward with their futures still unsettled.  That heart - that love they have for each other - makes this movie a success.

Review and Recommendation
I really enjoyed this film.  The ending doesn't really settle anything, but I think that's in keeping with the nature of the characters.  If it had been any different, it couldn't really be called The Sundowners. Australia serves as a perfect (and breathtaking) setting for this tale of family, love and survival.  It's a gamble every step of the way for the Carmody family, and a great movie every minute.  Definitely worthy watching!


P.S. For anyone who has seen Crocodile Dundee, the line "Flat out like a lizard drinkin'" is actually used in The Sundowners too!!  I had a little bit of a fan girl moment there.     

The Man with the Golden Arm (1955)

Pick your poison - alcohol, money, drugs, or an insane amount of guilt.

Intro.

I'm finding the 1950's to be a very fascinating era to study.  Right now I've been watching a lot of films that pushed the limits and broke the rules of the strict Hollywood codes put in place by the Breen office (see The Moon is Blue), thanks to TCM's recent film series.  Otto Preminger is quickly becoming one of my favorite directors, mainly because of his sheer determination to break as many of the constricting codes as possible.  In The Man with the Golden Arm he goes after the rule that drugs, drug paraphernalia, usage and all things associated with drugs are forbidden.  You couldn't show someone taking drugs and it could never be said out loud.  So this film, which centers on a man struggling to kick his heroin addiction, exploded out of the box.  And what an explosion!

Overview
Right from the get-go we know that Frankie Machine (Frank Sinatra) is coming back home from some time in drug rehab.  He first stops at the local bar, where he is greeted by all of his colorful neighbors, including his good friend, petty thief Sparrow (Arnold Stang).  His old boss is there too, Zero Schwiefka (Robert Strauss), who runs high-stakes, back room poker games.  Frankie's heroin dealer Louie (Darren McGavin), is also there, and offers him a free "fix".  Frankie refuses and keeps refusing as he tries to get away from that kind of life.  He returns home to his wife Zosch (Eleanor Parker), who is in a wheelchair and tells her he has learned to play the drums in rehab and wants to go into the music business.  She begs him to go back to being a dealer for Schwiefka because she doesn't want anything to change (she doesn't want him to ever leave again).  It seems like Frankie can't get a break though, as he waits to hear back about auditions and has to constantly turn down offers from Louie and demands from his wife to go back to the shady poker games.  He gives in to both though, and from there he begins a downward spiral.  The only people on his side are Sparrow and Frankie's neighbor Molly (Kim Novak).  Molly and Frankie are in love, but Frankie won't leave Zosch until the doctors can cure her.  What he doesn't know is that Zosch has already been cured and is only pretending to be disabled to keep Frankie from leaving her.  Frankie hits bottom when he first flubs his one real chance at getting a job as a drummer in a big band (his one dream) and then gets caught cheating as he deals at poker (losing his valuable "golden arm" reputation).  He had cheated in an exchange with Louie so he could get another fix.  Pushed to the edge, he decides to do his own withdrawal.  He has Molly lock him up in a room of her apartment and begins the long, painful process of recovery.  But an angry Louie shows up and catches Zosch up and walking.  From there the tensions keep rising until, much like the Breen codes, the film's ending shatters the lives of all the characters.
 
Highlights
Frank Sinatra may have won his Oscar for From Here to Eternity but man, he should have gotten an Oscar for this film.  TCM host Robert Osborne said that Sinatra had researched and prepared for this role for weeks and never worked harder to get such a realistic performance.  Sinatra always has a bit of that manic side showing through, and he puts it to good use here.  The withdrawal sequence especially showcased just how hard he worked - it's painful and heartbreaking to watch, even when you tell yourself he's only acting.  He's also joined by some equally talented co-stars like Kim Novak and Eleanor Parker (who I finally found out looked familiar because years later she played the Baroness in The Sound of Music). 

The relationship between Frankie and Zosch needs to be discussed.  It's such a tragic situation - we learn that Zosch was injured in a car crash where an intoxicated Frankie was driving.  Once in the hospital, doctors said she'd never walk again and not long thereafter she and Frankie married (out of guilt, you think?).  They've been together three years and her passive-aggressive nature just turns on the guilt whenever Frankie wants to do something different that may take him away from her.  The worst part is that she really can walk!  You go from feeling kind of sorry for her to despising her.  She's just as dependent on Frankie as he is on heroin.  She needles him constantly (no pun intended) to give up his hopes of joining a band and instead do exactly what she wants him to do.  Their whole relationship runs on guilt.  That's probably why Frankie and Molly get along so well - she's the exact opposite of Zosch and willing to do whatever it takes to help Frankie kick his habit for good, even at the risk of jail time.  Her own crutch is an alcoholic boyfriend, whom she finally banishes from her apartment. 
 

Finally, the storytelling in the film is really well done.  I liked the intertwining stories of Frankie being a dealer (at poker) and his need for a dealer (in drugs).  It took me awhile in the beginning to realize the difference, as everyone kept calling Frankie a dealer - I thought he had been a heroin dealer who had gotten addicted.  Then there's the name of the film.  Frankie's called "the man with the golden arm" because of his prowess as a card dealer, but he's also got a golden arm for playing the drums and of course those are the same arms that he's destroying with his shots of heroin.  It all creates a tight, compelling tale of addiction that anyone can relate to - like Frankie says, "everybody's a habitual something".  

Review and Recommendations

One of the reasons directors like Preminger wanted to break the codes in the fifties was to create films with more adult themes and lure consumers away from the new fad called television and back into the movie theaters.  And you can't break out of the code any more than The Man with the Golden Arm does.  Not only is it an engrossing story, but one of Sinatra's best performances.  Definitely worth watching! 

The Lusty Men (1952)

Bulls, broncos, cowboys, cowgirls, horses, heartbreak, fortunes; the only thing missing is Ben Johnson.

Intro.

I've loved Westerns for a long, long time.  There's something about the wildness found in the West and the wildness found in man's heart.  I'm more of a fan of the simpler times, films where you knew good from evil, and violence was acknowledged but not glorified.  So it's hard for me to pass up an old black and white Western from the fifties, which is why last week found me curled up eating popcorn and enjoying The Lusty Men. 

Overview

The film introduces itself with a rodeo announcer, commenting on and explaining events like bull-dogging and bronc riding.  Next up in the chute is a cowboy well known in the rodeo circuit - Jeff McCloud (Robert Mitchum), but his luck is about to run out as he gets thrown and stomped.  He limps away, not just from the arena, but away from the entire life.  Jeff hitches his way back to his boyhood home, a place he hasn't seen in some 18+ years.  The small homestead is owned by a bachelor who keeps getting offers to buy the place from a young married couple.  They can't afford the down payment, but he lets them come by and daydream.  They stop by and meet Jeff, and the husband, Wes Merritt (Arthur Kennedy) recognizes him from his glory days in the rodeo.  Wes and his wife, Louise (Susan Hayward) take Jeff back to the ranch where Wes works and help Jeff get a job.  It doesn't last long though, as all of Jeff's stories about winning quick fortunes in the rodeo give Wes the idea to enter in the local rodeo, despite Louise's worries for his safety.  With Jeff training him, Wes does astonishingly well his first time out, and wins a handsome amount of money.  He and Louise decide to start rodeo-ing so that they can earn enough money for their homestead, with Jeff's help.  Each rodeo becomes a strain on their marriage as Louise wonders just how long Wes's luck will last.  On their way they meet fellow rodeo competitors and their wives and soon learn about the other side of the life - that the thrill often keeps them coming back again and again, but the fear is ever present in the wives.  Sure enough, Louise is ready to call it quits once they have enough money, but Wes can't walk away from the rodeo life.  What it comes down to is a kind of showdown between Jeff (who has some unrequited feelings for Louise) and Wes, which ends in both tragedy and triumph.

Highlights
Susan Hayward and Robert Mitchum give some standout performances, perhaps not their career best, but well worth watching.  I only wished I could have seen them develop their relationship more.  The story itself is very good and a has a good showcase of rodeo life (even with all of the stunt doubles and obvious faked close-ups of the actors bull riding).  Robert Mitchum feels at home in a Western (like in The Red Pony), and adds a certain strong-but-silent ruggedness to the film.  What I meant in the tagline is that the film was great, but to be a real rodeo film, I could have used a bit more authenticity.  Don't get me wrong, the rodeo scenes were great, but part of me wished that Ben Johnson, who won both an Oscar and a World Rodeo Championship in Roping, could have been there.  I could write a whole post about why I love Ben Johnson, but that's for another day.  In the meantime, check out this article. 

Despite the camerawork to make it look like the actors were riding broncs, there are some beautifully crafted scenes.  The one that struck me the most was after Jeff limps away from the arena in the beginning.  His saddle slung over his shoulder, he makes his way across the open, deserted arena, trash blowing past him like modern tumbleweeds.  It's solemn, isolating and sad.  It also makes me wonder if this was what inspired one of the scenes from the later Steve McQueen rodeo film, Junior Bonner (which does have Ben Johnson, though he's older and not doing any trick riding).  In any case, that same sense of loss is conveyed.  It's almost every kid's dream to be a cowboy or a cowgirl, and to lose that dream in the blink of an 8-second ride is crushing.  Meanwhile, to add to that same sense of loss, we hear in the background of the film a familiar Western song - a variation of "Oh Bury Me Not on the Lone Prairie."  I've not only watched a number of Westerns (many of which feature this song), but I also listen to Western music (which is much different from Country music) - groups like Sons of the Pioneers and Riders in the Sky and artists like Tex Ritter, Gene Autry and Rex Allen.  But in this film, the song is a commentary almost on Jeff's life and his ultimate decision of what to do in the end.  I promise not to spoil it.  But I knew the ending was coming, yet I still hoped that it wouldn't happen.  In Jeff's words, "there never was a horse that couldn't be rode; there never was a cowboy that couldn't be throw'd.  Guys like me last forever."  How very true.

Before I sign off, I want to just think about what was going on in this period of Hollywood history.  In 1952, America was in the middle of the Cold War and fighting in the Korean war.  Extreme conservatism ran the country, from McCarthy right through to the Breen office.  Western movies and television shows thrived.  Like I said before, these were films where good and evil were easy to distinguish.  Jeff becomes the ultimate classic Western hero - the lone individual sacrificing his own happiness for the sake of traditional society (in this case, the marriage of Louise and Wes).  He's among the last of his kind, because the mid- to late fifties would introduce the anti-hero in the Western and bring an end to such romantic idealism.  It's always interesting to me to think about how a film was defined by its time period, and The Lusty Men is no exception.  

Review and Recommendation   
While not my all time favorite Western, The Lusty Men is nevertheless one of the most memorable and enjoyable.  A good story, solid performances and the novelty of rodeo events will keep you entertained.  I recommend it to any Western fan or any Robert Mitchum fan - you won't be disappointed!
 
P.S. Wagon Master (1950) is my favorite Western, followed by a very close second of She Wore a Yellow Ribbon.  You may also want to check out the film where Ben Johnson his Oscar for Best Supporting Actor: The Last Picture Show (1971).    

The Bridge on the River Kwai (1957)

Was it the sun, the war or the addictive theme song that drove them all mad?
Intro.
I'm breaking one of my blog rules today, but for good reason.  I've seen The Bridge on the River Kwai many times already; there was a time when, as a teenager, I would watch it every day.  I'm not sure what it was about the movie that had such drawing power for me.  Maybe it was something about the utter futility of war that resonated with some of the usual teenage angst.  But that's a story for a whole other blog.  This weekend, after I realized that September had been turning into William Holden month, I decided to watch it again.  As I curled up to watch, I thought about how funny it seems that some actors become identified with one specific role.  Yul Brenner is a good example - for years he played The King in The King and I, and had a lot of trouble being cast outside of that role.  William Shatner is the same way; I just watched his new sitcom and yup, the thought was first "Captain Kirk" not William Shatner.  In much the same respect, watching from my generation's viewpoint, Alec Guiness was not known to myself or any of my friends as anyone but Obi-Won Kenobi.  That must have been awful for him, especially since he was first in such amazing films as The Bridge on the River Kwai, and gave what could be argued as the performance of a lifetime.

Overview (with a possible spoiler - sorry!)
The Bridge on the River Kwai begins with a company of British soldiers surrendering to the Japanese during WWII, somewhere in the thick Burmese jungle.  The men are marched into a prisoner-of-war camp, where the last two surviving members of the original camp are digging graves.  One of these men is Commander Shears, US Navy (William Holden), cynical and certain that everyone in the camp will eventually die.  Commanding the British troops is Lt. Col. Nicholson (Alec Guiness), and with him is medical officer Maj. Clipton (James Donald), who knows more about compassion than about the rules of war.  The Japanese commander is Col. Saito (Sessue Hayakawa), who advises the men to "be happy in their work." He is much like Nicholson in that both men will stick to their principles and refuse to lose face.  This stubborness leads to a difficult battle of wills when Saito orders that officers will do manual labor in his camp.  Nicholson refuses on the grounds that it is against the Geneva convention.  For that, he and all of his officers are shut up in small metal huts (called "the ovens") on the compound, right in the blazing heat.  Meanwhile, Shears, his fellow gravedigger, and one of the young men from the British soldiers decide to escape.  Only Shears makes it away from the guards alive, but he is hurt, lost and in the middle of nowhere.  He barely makes it into a village alive, where he recovers and then makes his way to a hospital on the coast.  Back at the camp, though, things do not bode well.  Clipton acts as a go-between for Saito and Nicholson, only to find that the men are close to identical and neither one believes in compromise.  In the end Nicholson prevails, and sets out not only to build a bridge in the allotted time-frame, but to build a better bridge that will stand the test of time.  As they push towards the short deadline, Nicholson begins to employ some of the measures threatened by Saito, but under Nicholson's direction, they pass as reasonable means.  So back to Shears in the hospital.  It turns out that an Allied team is being assembled to go and blow up the bridge.  Shears winds up volunteering (more like blackmailed into going).  It's rather difficult traveling, with the leader, Major Warden (Jack Hawkins), getting shot in the foot and then Japanese patrols showing up and such.  If you hadn't guessed it from the film's beginning, yes the bridge blows up.  But who does it and what is destroyed in the process is what ends the film with an even bigger emotional blow.

Highlights

You really can't get any finer acting.  Alec Guiness won an Oscar for Best Actor, and it was richly deserved.  Likewise Holden and Hayakawa give strong performances too.  However my favorite character, and one that really holds the heart of the film, is James Donald's Maj. Clipton.  We see a great deal as he does, as he is the only one to have conferences with both Saito and Nicholson during the standoff.  After seeing them both, stubborn and unwavering, he says "are they both mad?  Or am I going mad?  Or is it the sun?"  He reminds me a bit of Horatio in Hamlet in that he is very close to all of the proceedings, but most importantly he is alone, on a hillside, watching the horror of the bridge's explosion.  He is the only one left who can put words to it all - "Madness."

The film's construction was remarkable too, especially the bridge itself.  Filmed on location in Ceylon, some of the scenes with Shears and the Allied party are beautiful.  It's so well written too; I loved how they paid attention to both what was said and what was left unsaid.  In particular, Nicholson's speech at the end of the film about what a man leaves behind him when his life is through is both touching and yet still reserved, in keeping with his character.  That speech alone and how Guiness delivered it earned those Oscars.  On a side note about the Oscars, the film won for best Screenplay.  The writers were Pierre Boulle, who wrote the original book, Carl Foreman and Michael Wilson.  Foreman and Wilson had been blacklisted, so at the time of the film's release, only Boulle was listed as the writer, despite the fact that he didn't know much English.

Speaking of the book, I'd like to bring up what is often a debate between film scholars and literature scholars - book versus movie.  Usually I'm on the side of the book, with some exceptions (I liked The Godfather film better than the book).  In this case, I think it would be a tie.  What really struck me about the novel was just how similar Nicholson and Saito were.  They echo each other.  In the scenes where Clipton first talks to Saito and then immediately afterward talks to Nicholson, I thought I was reading the same pages over again - that's how close these two men were.  That parallelism comes across better on the page than on screen, though they do a very good job in the film.  I also started to think about what war films were truly about - the lower layer, if you will.  Specifically POW escape movies - is it something to do with bucking the system?  An escape from not only a physical prison, but an emotional one too?  The idea of an individual making it out to safety, the lone man against the world? (Think of Steve McQueen on that motorcycle in The Great Escape.)  I don't know enough about war genre studies, but I still think it's an interesting idea to keep in mind while watching.

Review and Recommendation
The Bridge on the River Kwai may be my favorite war film.  It's a classic by every standard.  I know a common downside people seem to cite is that it feels a bit long, but all of the details in writing and acting make it worthwhile.  All this time after I first saw the film and then picked up the book, I still recommend both the film and book very highly.

P.S. I forgot to mention that the theme song, "Colonel Bogey March" really is addictive.  I'm whistling it now just writing about it.