If you can get past the annoying whistling (of the soldiers whistling a certain march, which is the movie’s theme music), this David Lean epic is one of film’s true masterpieces. William Holden stars as the tough, bitter Shears, who has been imprisoned in a POW camp for months when British colonel Alec Guinness and his troops are captured and sent to the camp. For me, this movie is one of the few large-scale epics I ever liked, mostly because it’s not too corny and sentimental. Don’t get me wrong…I like sentiment as much as the next gal but I prefer it in a romantic comedy or a melodrama. Corny romance and dialogue always seemed out of place, to me, in an epic. The one question I have, though, with the film is the ending. Not the finale—which ends with the train scene of all train scenes—but, rather just the second half of the film. After Holden’s character escapes from the camp, he finds himself enjoying his freedom. When he is propositioned by superiors to take them back to the camp so they can bomb a bridge the Japanese are building (with the help of Guinness’ soldiers), he reluctantly agrees. Reluctantly or not, I would never have agreed. We are told (through previous dialogue and through a montage of shots during the escape) that escaping the camp was an arduous ordeal and we already know that life inside the camp was hell. Nothing or no one would make me go back to hell once I got out, so I never really do get why Holden agrees. But, alas, if he didn’t there would not be a movie. And what a great movie it is! And that’s not just my opinion—ask the Academy. Winner of seven Oscars, including ones for Guinness and Lean.
Posts Tagged: classic
A fledging office clerk finds out the hard way that getting to the top of the corporate ladder is not easy after he falls for a lady he is unknowingly sharing with his boss. Sounds simple, right? Well, it is. It’s not the plot that makes The Apartment a masterpiece…it’s Jack Lemmon, Shirley MacLaine, Fred MacMurray and director Billy Wilder all working together to make one of the best comedies ever. Or is it one of the best dramas ever? Some of the funniest movie moments ever are captured in this film…just as some of the darkest are as well. Before this, Wilder had proven he could excel at any genre of filmmaking…out-and-out comedies, dramas, thrillers, romances, and even other dark comedies (Stalag 17). With The Apartment, Wilder really sealed his mastery of cinema by combining most of those genres to make one fabulous film. Sadly, this is his last great public or critical success. Talk about going out with a bang!
For film noir-buffs, this is as close to the Father of the genre as you can get. For a genre that came into its own AFTER WWII, this 1941 film still fits the “noir” bill even though it was made before we even entered into the War. Like other noir titles made before the end of the War, specifically Otto Preminger’s 1944 classic Laura and Billy Wilder’s Double Indemnity (also from 1944), The Maltese Falcon did a good job of molding what the noir genre was to become in its heyday…the 1950s. The first appearance of Bogart as legendary Hammett private dick Sam Spade, this also is the first pairing of Bogart with director John Huston, with whom Bogie made five subsequent films. Mary Astor plays possibly the first ever true femme fatale on screen…she’s cold, seductive and very conniving. Plot wise…Spade gets entangled with Astor after his partner dies investigating something for her. Astor turns out to be much more than an innocent victim. What Astor needed Spade’s partner to investigate was bogus and the true crime involves a golden falcon…which those who want are willing to do ANYTHING to get. A true noir classic!
A dark, yet I’m sure realistic look at Hollywood in the 1950s through the eyes of a director, writer and actress. Kirk Douglas stars as the son of a vicious and unloved Hollywood studio head who even has to have his son bribe people to come to his funeral. His son, idealistic at first, soon has the movie business corrupt and harden him, just as it had done to his father. Told in a series of three flashbacks from each of the main players in Douglas’ life (the writer, the director and the actress), it is a well-done film that didn’t hold back any punches when it came to the truth about the movie business and its players.
Fun and pure entertainment, this film won not only audiences around the world with its grifts and cons, but it won the Academy over as well, taking home the Best Picture Oscar. Newman and Robert Redford are back together (after Butch Cassidy and the Sundance Kid, along with director George Roy Hill (also a Butch Cassidy alum), for some high stakes shenanigans. The duo play two small-time conmen looking for that one magic job that will move them into the “con” hall of fame and set them up for life. A clever script and great performances by all…including Robert Shaw as one of the con-ees…makes this movie one of the best in its class.
One of the most romantic films ever put on celluloid; this film has been copied, remade, emulated, talked about and cried over since its release. The story originated as Love Affair, a 1939 film directed by Leo McCarey and starring Irene Dunne and Charles Boyer. Then came this 1957 film, re-directed by McCarey. Then came Sleepless in Seattle, which was a pseudo-remake, followed by 1994’s Love Affair, which was back to being a traditional remake…just updated for the latter part of the 20th Century. Why all of these retellings? Well, it’s a good story and as close to a perfect romance as you can get. There’s everything here…comedy, tragedy, high drama, passion, sex appeal, tears, etc. Out of all of the versions, this one reigns supreme. Why? Two words: Cary Grant. Not to slight Deborah Kerr. She’s excellent here, but come on. It’s Cary Grant.
Well, the wait is finally over for one of the last remaining hold-outs of DVD conversion. Douglas Sirk’s Magnificent Obsession is out of DVD…and a Criterion Collection edition, no less. A masterpiece of classic cinema, Magnificent Obsession is one of the best melodramas ever filmed. And Sirk’s use of color and light enhances every second of this one! RUN, do not walk, to your local store and buy or rent. It is a MUST see.
When a wealthy and ultra-conservative banker’s son (James Stewart) falls for his secretary (Jean Arthur)…a stable girl from a flighty yet fun family…comedy ensues. Lionel Barrymore steals the show as Arthur’s happy-go-lucky grandfather. Based on the Pulitzer-Prize-winning play, this film won Oscars for Best Picture and Best Director (Frank Capra). Not Capra’s best work but a fun film to watch for good, entertaining amusement.
As far as film adaptations of novels go, this is one of the best. Which is very odd since the film only covers a little more than half of Emily Bronte’s classic novel of the same title. The movie ends and avid Bronte readers must wonder…hey, what happened to the second part of the story??? And, then you’re probably wondering about me and why I called this one of the best film adaptations since it only is an adaptation of half a novel. To state my case, I will say that even though this movie is WAY too short and it does not cover much of Bronte’s original plot, the movie is a beautiful, vivid portrait of the love story between the star-crossed lovers Catherine and Heathcliff. So what if it ends in the midst of Bronte’s story (I can almost imaging her rolling over in her grave…) since the part of the novel that is filmed here is pretty close to a perfect rendition of the book. Director William Wyler follows the book closely and uses the sets to his full advantage, lavishing showing the vastness of the Yorkshire landscape. From there, actors Laurence Olivier and Merle Oberon take over and enter the souls of the characters, making us believe that they are really dying inside without each other. Olivier’s performance as he is driven to madness without Catherine is one of the best he ever gave. So, for all you Bronte fans out there, do not discard this one because of its fatal flaw of cutting off the story too soon. The part that IS filmed is pure magic and well worth seeing.
When you hear about gangs in New York, do you automatically think of the Sharks and the Jets? When is the last time you heard someone say that they feel or look pretty when you didn’t think of West Side Story and the infamous song I Feel Pretty… “I feel pretty…oh, so pretty, I feel pretty and witty and bright…” If you don’t know that song, you might want to watch or even re-watch this film and I promise that soon, you will humming at least one of its many catchy, timeless tunes. Trust me, this film is contagious. More than most musicals of its era, this one is filled with songs and characters that are actually memorable. True, there is some corny stuff here but it wouldn’t be a 1960s musical with some sentiment. Part of the “difference” of West Side Story comes from the music itself…a score and songs written by Leonard Bernstein with lyrics by Stephen Sondheim. Both men perfectly capture the rhythm and energy of New York, but without forgetting about the grime and grit that goes along with any urban setting. Speaking of New York, this one is actually FILMED there…on the streets themselves…not on a set, like most musicals (and even many non-musical movies) of the day. So, the Jets and the Sharks are fighting about territory we REALLY see and can REALLY feel. The story, for the few who do not know, is really a modern day re-telling of Romeo and Juliet, star-crossed who were doomed from the get-go. Whereas Shakespeare’s couple had feuding Italian families to hinder their romance, here it’s rival gangs and, more importantly, different cultures that get in the way of the young lovers’ happiness (Tony is in a White gang…The Jets…and Maria’s brother, Bernardo, is leader of the Puerto Rican gang, The Sharks). The real draw to this one, though, is the music…which is good since this is a musical, right? I promise after you hear a few bars of America, you will be singing along for weeks…“I like to be in America…OK by me in a America…”