This is a warm, touching film that will warm the hearts of anyone. A VERY small Egyptian band heads to Israel for a concert and, on arrival, they discover no one is there to meet them. While looking for a bus to take, they meet a charming shopkeeper who offers to take them in for the night…since the bus won’t run until the next morning. Perfectly acted in just the right tone, this film shows how friendships and platonic love can be therapeutic for ailing loss. A sweet type of film not made often enough these days, sadly.
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All I had heard about this movie is that it’s about a man who gets younger, rather than older. And that is an important part of the film…but it is far from the crux of the film. The film, at its true heart, is a love story, which is well-done, not contrived and very well plotted. This surprised me for several reasons. David Fincher is not exactly the “go to” guy for your Hollywood love story. He’s a action/thriller/gritty/dark director who’s films always have an edge. Here, I feel Fincher’s edge is the fantasy of the aging backwards gimmick, since the love story he creates is simple and gentle…a touching masterpiece of on-screen romance. This is the type of love story you would see with Tracy and Hepburn…magical and real. It reminded me a little of William Wyler’s Roman Holiday, which, like this film is known more for another aspect of the film (in Wyler’s case, his movie is known more for being a comedy) than for the more touching, more vivid true sentiment of the film. Fincher’s fantasy aspect adds emphasis to the love story, just like Wyler’s comic aspects of Roman Holiday accentuate the doomed relationship between Gregory Peck and Audrey Hepburn. In addition to this multi-layered story, the performances by Brad Pitt and Cate Blanchett have never been better…especially Pitt, who convinces us every step of the way that he really is a man who was born old and will die young.
A great movie that actually makes its audience think. I know — THE HORROR, THE HORROR. We have to THINK! A tough, hard film, Doubt is superbly acted and scripted. Why is it hard? Well, it deal with one of our most taboo subjects — priests and young boys and doing more than sipping the alter wine together. Meryl Streep places a nun running a school in the early 1960s. Philip Seymour Hoffman plays the attached church’s priest. There is some suspicion about him with the alter boys, but Streep doesn’t have any proof. She just has her doubts. I walked out of the theater thinking I had just seen a good movie and that would be the end of it…but it stuck with me. I couldn’t stop thinking about it. Did he or didn’t he? Did Streep’s nun do the right thing? What would have been a better solution? Etc… Sadly, most movies today don’t even make your brain click on. So, when one comes around where it keeps your thought processes going for days…it’s a keeper!
A fabulous, sweet romantic comedy that deal with father-daughter issues, aging issues, and later-in-life love issues. Emma Thompson shines as a woman in the middle of her life…dealing with a possessive mother and friends who continually try and set her up with Mr. Right. She meets Dustin Hoffman, a man in the midst of life crisis, and they befriend each other. When the idea of the friendship becoming something more surfaces, both characters insecurities get in the way, at first. A sentimental and pure story of love and relationships and how even though something might not be perfect, it still might work.
Billy Wilder’s comic masterpiece stars Tony Curtis and Jack Lemmon as musicians who find themselves in the middle of the mob after they witness the St. Valentine’s Day Massacre and manage to escape. To hide themselves, they pose as females in a traveling band, where they meet Marilyn Monroe’s Sugar Cane, the all-girl band’s singer. Arguably the funniest movie in motion picture history, Lemmon and Curtis create comedy in this film just by wearing women’s clothes. But, Monroe, with her steamy, sultry performance, adds more than just cross-dressing humor to make this a well-rounded movie with more than a fair share of laughs.
Doris Day and Rock Hudson’s first teaming together…for this zany comedy which puts Day as a single interior designer who shares a party-line with a womanizing songwriter (Hudson). Through a mutual friend, Hudson finds out Day is attractive but she has already made her dislike for him known. When he meets her, he disguises his voice and makes up a name and identity to help lead her on. This film won an Oscar for Best Original Screenplay and it is truly deserved—a little dated by today’s romantic comedy standards but still a great funny movie with snappy, classy dialogue.
Director Otto Preminger really proved he was a filmmaker with clout by being able to make a film like this. Even in 1959, when Hollywood was actually THINKING first and making money second, this film was a risk. First, its dialogue gets pretty graphic (for the day). Secondly, much of the second half of the film is set ONLY in the courtroom, leaving the audience nothing to do than watch lawyers bickering and objecting. Preminger must have known what he was doing when he made this black and white, two-and-a-half-hour courtroom drama…because I dare you to take your eyes off this one for even a second. Yes, I said two-and-a-half-hours…much of it set in court with more dialogue than action. But, somehow, it works. It is a truly captivating film. James Stewart plays a quirky small-town lawyer who takes the case of an Army lieutenant who gets arrested for killing a man who allegedly raped his wife. We find this out right in the beginning and then the rest of the film is how Stewart goes about setting up his case and what steps he takes before and during trial. Sounds dull, right? Well, as I said, Preminger must have had magic up his sleeve for this one because this film is never is dull. It clips along through witness testimony and presented evidence, and all that legal fun stuff. And trust me, there is plenty of tension…I mean all along we’re wondering if Stewart is going to be able to achieve what he set out to achieve…getting Lt. Manion off for the murder…a murder Lt. Manion has NEVER denied he committed. But, it’s more than just a movie about suspense…it’s a movie about the process of the law…about how our justice system works and about how lawyers plug along and make their case. A fascinating film about a subject that could have been un-fascinating, if put in the wrong hands. Thankfully, Preminger’s hands were the right ones.
The skipper (Cary Grant) of a World War II submarine rescues five stranded Army nurses and puts into port for repairs, where he must scrounge and scavenge parts and supplies needed to put the sub back into action, but a Japanese air raid forces them prematurely out to sea, although their sub has been painted bright pink. Tony Curtis co-stars as a prima donna Naval officer who accidentally found himself assigned to Grant’s sub. Most of the funniest laughs come from the tension between Grant’s by-the-book methods and Curtis’ ability to disregard and alter those methods.
First off, I will be honest. Gary Cooper is sorely miscast in this film. Is that a reason to stay away from it? Definitely not. I just want you to be prepared, though, for Mr. Cooper’s unusual stiffness, in a role that calls for a man who is supposed to be suave and relaxed. Barring Cooper’s role, this is a great, sweet romantic comedy with an endearing father/daughter relationship thrown in to make it even more special. Directed by Billy Wilder, who again proves he can direct any type of movie, Love in the Afternoon features a charming performance by a young Audrey Hepburn and a welcomed comeback role for Maurice Chevalier, who plays her private investigator father. Cooper’s stiffness seems to add to the comedy of this film, though I’m sure that was completely unintentional. The real added comedy comes from one of Chevalier’s clients and from the “Gypsies,” a band that Cooper has serenade him and his lovers in his hotel suite. Because of those moments of comic relief and the appealing, unassuming relationship between Hepburn and Chevalier, this movie overlooks Cooper’s uncomfortability. Look for one of the most romantic, tearful good-bye scenes in all of cinema.
An American businessman (Cary Grant) visiting London falls in love with a London stage actress (Ingrid Bergman). The only problem is that he is married…or is he? This confusion leads to a hilarious ending of mistaken identity and comical twists. This is Grant and Bergman’s second pairing (the first being 1946’s Notorious). Years have not affected this duo’s chemistry at all, allowing them to portray characters just as passionate and in love as they did over a decade earlier.