A fun, big budget romp that was one of the better “disaster” movies of the 1970s…mostly because of Paul Newman and Steve McQueen, who anchor the all-star cast. Not much in the story department here…a fire starts in a high-rise which is poorly built because of cost-cutting. The nature of the “disaster film” beast is that they are not made to be GREAT films…they are made to entertain and thrill. This one does that in spades and even features some strong performances. If you want a good, mindless flick, you really cannot go wrong with this film.
Posts Tagged: William Holden
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.
Rivaling Gone with the Wind as one of the most picturesque, epic love stories ever, this one is set in Hong Kong, after WWII. Unlike GWTW, this one ends tragic, though of course, that is all I will say. Starring William Holden, who plays a war reporter, and Jennifer Jones, who plays a Eurasian doctor from China who encounters prejudice in Hong Kong, this is a sweeping tale of love and loss, happiness and sadness. With the Oscar-winning song playing in the background constantly, this film is sure to make any romantic satisfied.
At the beginning of this Billy Wilder film, Sabrina Fairchild is an unassuming chauffeur’s daughter who has plain looks (OK – as plain as Audrey Hepburn can get!) and an intense infatuation with the employer’s son, David, played perfectly by William Holden (with blond hair!). After a stint in Paris at cooking school, she returns as a sophisticated woman, but still retains her crush on David. Enter David’s older and less carefree brother Linus, played by Humphrey Bogart, to muck up the ideal love affair Sabrina has in mind for she and David. Basically, that’s the plot in a nutshell. The performances make this film more than just your typical romantic comedy. Holden is perfect as the lollygagger David, who is much more interested in the ladies than in the family business. Bogart combines the right mix of stiffness and lovability to be a Linus we can actually imagine Sabrina being attracted to. Apparently, Hepburn and Holden did not get along well with Bogart while making this film. That lack of chemistry does not show up on screen…all of the characters’ interactions with each other seem natural and unforced. It is a little odd seeing the much older Bogart with the young Hepburn, but that’s Hollywood. Even back in 1954!
A comedy about a prisoner of war camp in Germany? With Nazis we can laugh at? Is this possible? Well, since nothing was impossible for director Billy Wilder, he (and co-writer Edwin Blum) took this stage play (by Donald Bevin and Edmund Trzcinski) and adapted it with comic brilliance for the screen. William Holden plays Sefton, one of the screen’s best love-to-hate-‘um/hate-to-love-‘um characters. Why does the audience feel this way about him? Well, Sefton is a curmudgeon and crook. He makes friends with the Nazis in order to get special perks. He has a foot locker filled with contra-band items that the other men would kill for. He basically is a guy who uses his time in the Army and in the prison to hone his schmoozing skills to get what he wants or needs. But, he’s funny. He’s like the class clown that you find yourself laughing with even though you think he’s distasteful and inappropriate. I like Holden and have seen most of his films. This is, in my opinion, the role Holden was born to play. He becomes Sefton…you forget that you’re watching an actor and you get caught up with the shady deals and craftiness. When the other men of Sefton’s barracks believe he is the “stooge” (or snitch) who is telling the Nazis about the escape plots, we feel sorry for him even though we are not quite sure whether we believe he’s innocent. He has proven he deals with the Nazis so maybe he is the snitch…or maybe not? Wilder’s filmmaking (along with Holden’s performance) seals this film as one of the best war films of its kind—or of any kind. Look for film director Otto Preminger as Colonel von Scherbach, who steals the few scenes he is in.
Narrated by a dead man (something we learn right upfront), this film is one of the most biting, harsh commentaries ever filmed. Attacking Hollywood (which for a Hollywood movie is a risk) had been done before this film and has been done since but nothing packs the same kind of punch as the decline of the old, washed-up silent movie star Norma Desmond, played perfectly by another washed-up silent star Gloria Swanson. William Holden plays Joe Gillis, a down-on-his-luck screenwriter who becomes Ms. Desmond’s personal screenwriter and “companion.” Director Billy Wilder uses the screen here to make a film as dark and dismal as the plot…and this only enhances the story. An example would be the house Norma lives in…Wilder shoots it like a funeral home. It’s always dark and shadowy, just like Norma and her dreams of a “comeback.” There are some things in this film that seem to be just added for “dark” comic effect…like the burial of the monkey. Yes—monkey. These little oddities add to Norma’s dark and foreboding feel…she’s not only a has-been but Wilder wants us to also know she’s mentally unstable. Holden does a great job as the “sane” character in the film. His performance is crucial since it has to be the glue that holds all of the insanity together. But, it also has to be strong since we know he’s a doomed man. After all…it is his character floating in the pool, dead, at the beginning of the film…
No, NOT the 1993 remake…but rather the 1950 original with William Holden and the incomparable Judy Holliday. This version is a screen classic…winning Holliday a Best actress Oscar and helping build a long career for William Holden. But, Holliday is the true star of this film…with her trademark naïve and squeaky voice, she steals the film…and audiences’ hearts. This is the story of a powerful, wealthy, yet highly unsophisticated man (played with just the right tones of comedy and anger by Broderick Crawford) who comes to Washington D.C. for some business dealings, bringing his not-so-bright girlfriend (Holliday) with him. Thinking she’s embarrassing him, he tries to get her “trained” by a journalist (Holden) on the finer things in life. Everyone in this film, directed by the famed George Cukor, is top-notch, including Crawford, who’s perfect as a rough, tough businessman who needs a lot more “training” than Holliday. But, Holliday is just perfect here as the simple, uneducated girl who falls for her tutor. After Holden begins his training, her pseudo-intellectual talk is some of the funniest dialogue in films. She’s bubbly when she needs to be and serious when that’s called for…never missing a beat. A must for all film comedy fans!