OK – I know. The setting for this film is a little bizarre. It’s a Jimmy Stewart film set in Budapest. Jimmy Stewart—the all-American boy living and working in Hungary? Strangely, neither Stewart nor Maureen Sullivan have Hungarian accents. Or dress Hungarian. Or act European in any way. Basically, this movie could have (and should have) been set in America, but since it’s based on a play by Hungarian playwright Miklos Laszlo, film director Ernst Lubitsch must have decided to leave the setting alone. Getting past that, this is a charming, endearing film that will surely become a favorite if you like romantic comedies. This is one of the best of the genre. Lubitsch is known for his stylized and sophisticated romantic comedies and even though this one lacks a little of the polish of some of his earlier works, it still satisfies. Stewart plays a head shop clerk and Sullivan plays his co-worker/nemesis/pen-pal. Even by today’s standards the dialogue is crisp and alive, with nothing to date it after all this time. And Stewart and Sullivan are a great pairing, seeming just as perfect together when they are bickering as when they are kissing. You’ve Got Mail was a re-make of this classic, but the 1998 film lacks the style and wit of the original.
Posts Tagged: remade
A sophisticated romantic comedy directed by George Cukor about a rich, spoiled socialite (Katharine Hepburn) who learns some things about who she is and what she really wants on the eve of her second marriage. Cary Grant co-stars as her former husband who cleaned up his act and hopes to make amends with his ex-bride. Jimmy Stewart (who won his only Best Actor for this role) also stars as a reporter who gets caught up in the whole mess. Definitely the perfect film cast, the three stars do some of their best comic work in his film, especially Hepburn, who rose back to the top of Hollywood after this starring role. Reconceived as the musical High Society in 1956 with Bing Crosby, Frank Sinatra, and Grace Kelly, but this original film didn’t need music to be a fun, entertaining ride!
Robert Mitchum does not get more broody than in this film noir classic. He’s hired by wealthy Kirk Douglas to track down Douglas’ wife. Once Mitchum finds her, he is enamored and falls in love. She, of course, turns out to be a true Femme Fatale and it all spirals downhill from there. Remade in 1984 as Against All Odds, this classic features Mitchum in one of his most complex performances. He has to be everything in this movie…loving, scared, scorned, troubled, etc. And he plays all of the emotions with his classic “shrug-of-the-shoulders” demeanor. A must see for any film noir fan.
Irene Dunne, supposedly dead, returns after being gone for years to find husband Cary Grant remarried and on his honeymoon. When she goes to the hotel and Grant sees her, his new wife is forgotten about. But, the couple does have other problems, such as Grant finding out that while Dunne was stranded on an island in the middle of nowhere, she was not alone. Remade in 1963 as Move Over, Darling with Doris Day and James Garner, who can’t surpass the superb performances of the Grant/Dunne team. This is the second of three pairings with Dunne and Grant (the first being 1937’s social comedy The Awful Truth and the last was 1941’s tear-jerker Penny Serenade). Of all three films, this one, I feel, gives off the most laughs and chemistry between the two stars.
The quintessential Cary Grant comedy pegs him with Myrna Loy and what a team they make. Grant plays a frustrated NYC husband who according to the opening narration by Melvin Douglas (who plays Grant’s best friend and lawyer), “makes $15,000 a year” as an advertising executive. For 1948, that puts this family in the upper-middle class range, which, I guess, is why Grant yearns for more space than he, his wife and their two daughters have in their cramped Manhattan apartment. So, he gets the idea to move. And that is where the fun begins. Not the film to see if you are moving soon or especially having a new home built, but one to watch when you need something for a few easy laughs.
I know the point of this blog is to highlight films on DVD — and the 2009 version of State of Play is still in theaters, as of today (May 6, 2009). But, the 2003 BBC production of this story is on DVD — and Niles owns it. So, in the meantime, while you’re waiting for the 2009 version to hit Niles’ shelves on DVD, do yourself a favor and check out the 2003 version. I’m not saying it’s better than the new version — it’s just different. More intense and more gripping — mostly because it’s 6 hours — compared the the new version’s 2 hour running time.
A well-done, intense political thriller that delves deep into the heart of British politics and journalism. Two friends…one a writer at a major London newspaper and the other a member of Parliament…get entwined in a series of twists and turns that do not let up until the very end. Extremely well-acted, this series will keep you guessing until the final scene…literally. In addition to the great performances, the writing is top-notch…fast and intense — the fast-paced script crackles with wit and is chocked filled with details about politics and insights on the “rag” trade. For anyone who likes thrillers, this one is a must see!
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.
Everytime I see this one, for some reason I always forget the twists and turns it takes, which is good since that of course increases the suspense for me. This is a prime example of wonderful melodramatic noir films of the post-WWII era…maybe even the best example. Not as serious as Laura, (or as good) and not as over-the-top as some (such as the Joan Crawford campy classic Mildred Pierce), The Postman Always Rings Twice is a perfect mix of murder and sex. Based on the short novel written by the same author as Pierce and another murder/sex film noir classic Double Indemnity, James M. Cain, Postman finds drifter John Garfield drifting to a roadside gas station/café owned by a older guy and his sultry, younger wife, Cora, who puts the D in DAME and the X in SEX. Lana Turner has never had to play up her sensual self as much as in this film…she seems to just sizzle each time the camera is on her. And Garfield does a good job of catering to her…not being able to resist, but putting up just enough resistance to lead to trouble. Basically, a great potboiler for those cold, lonely nights.
Splendid comedy remake of Ben Hecht play The Front Page with Cary Grant as a conniving editor, Rosalind Russell as a star reporter (and Grant’s ex-wife), and Ralph Bellamy as the mama’s boy Russell is trying to marry amid a hot murder story. Terrific character actors and sharp, witty dialogue add sparkle to this must-see comedy. The frantic comic banter between Grant and Russell changed the face of comedy filmmaking. After this film, comedies became more biting and cynical, with characters not afraid to “pretend” they hate each other, even though they really are madly in love. This initial hatred allows for some great nasty dialogue, which has never been better than in this film, directed by Howard Hawks.
This film, kind of a horror-thriller, still makes me jump and wriggle in my seat, no matter how many times I’ve seen it. Even though I know the outcome, it still works as an effective thriller that holds suspense throughout and features something many non-Hitchcock thrillers lack…a good plot filled with solid characters. The story is pretty simple…a released convict hunts down the witness whose testimony helped put him in jail. But, instead of killing or attacking the witness right away…once he finds him, this criminal chooses a slow torture process. He starts with stalking and then moves slowly on to more vicious and heinous things, making sure he never implicates himself at any time. Robert Mitchum plays the criminal, Max Cady, and this is a role he was born to play. I always have felt that Mitchum is a highly underrated actor and his subtly evil performance here seals, in my mind, that Mitchum never got his deserved due. Gregory Peck as the witness with the family he so desperately is trying to protect is not necessarily less impressive but this is a role Peck has played on a number of occasions…the trouble family man. He still is at the top of his game here, especially towards the end when Mitchum increases the stakes. But, this is all Mitchum’s movie…as the quintessential and un-stereotypical bad guy.