Change Your Image
StevenKeys
Ratings
Most Recently Rated
Lists
An error has ocurred. Please try againAn ex-con with a pardon, Jim passed on his Dad’s big-rig dream to work out of his Malibu, beachside trailer as a licensed private investigator, "good throughout the State." Created by the talented TV team of Huggins (The-Fugitive) and Cannell (Rip-Tide) who wrote most of its episodes, Rockfish charged "$200 a day, plus expenses" and sported a checkered coat when he wasn't fishing or at a ball-game. He'd an instinct for self-preservation but put life & limb on the line nearly every episode to foil the crooks and, not infrequently, bail out the brass. He saw action in Korea yet had a disdain for hand-guns, keeping his “in a cookie-jar buried in coffee grounds (salt air).” He had a code, civic spirit (juror), didn't take active police cases but would do just about anything for money "except commit murder or marry for it.”
Unlike most gumshoes, macho & dull as dry toast (Mannix cool), Jim was a real guy: he ate food ("taco king"), slept, when the cops & crooks weren’t rousting him, liked the ladies and luck (gamble), had his “share of mouth (FBI Shore),” a barely solvent bank account, top lawyer (liked Beth‘s Porsche), best car skills on the Coast (copper-mist Firebird), hippest friends from L.A.’s finest (Becker Garvey Billings McEnroe {bro Jack} Coop), to escorts (Charlie & Rita), grifters (Angel & Mark), P.I.‘s (Selleck Little Whitmore Oakland Powers), some of Hollywood’s top stars (Bacall Shigeta Cooper Strasberg Woods Hartley Hayes Fix Towers Cotten Reiner Elizondo) and best of all, had biggest of hearts. He also had the best 70s gadgets in the biz, including the world’s most famous answering machine, a new voice-mail to precede each episode. Esther (To-Protect): “Ok, so you helped me move in, but you couldn’t call, see how I was doing, maybe see if there was some painting to do (oy)?”
What helped make the Files so engaging is also what made it a TV trailblazer: diversity. Its cast often featured black (fix-it man L.J.), Asian, hispanic and senior actors, its storylines presaging coming trends in militia {The-Battle-of-Canoga-Park}, hippie backlash {Quickie-Nirvana}, psychics {The-Oracle-Wore-a-Cashmire-Suit} and gay awareness {The-Empty-Frame}, while its top staff regularly included artists of color (CF-Johnson producer / Ivan Dixon direct) and women (Juanita Bartlett writer / Meta Rosenberg producer).
That Files (74-80), and later, the New Jersey familial mob opera, The-Sopranos (99-07), were about the only things my father and I could enjoy together, makes the show that more special to this critic (the 90s Rockford movies on CBS were a bad call). And they WERE special, two-thirds of producer David Chase's super trifecta, Northern-Exposure (90-95), the quirky-to-profound Alaskan dreamland, being his third, it’s oddball opening in moose motif and off-beat tune making it all but impossible for my father to ever take a gander, and I couldn’t blame him, even as he missed some of television's best storylines.
1) Backlash-of-the-Hunter (74) (S1 E1-2) Jim takes a case on-the-cuff for a bikini-store proprietor whose dad's suspicious death ties to a conniving couple. Lindsay Wagner, Nita Talbot, Bill Quinn, Wm Smith, Rob Donley, Stuart Margolin, Luis Delgado, Jack Garner, Bill Mumy & Mike Lerner guest star in this 2-part pilot.
2) Tall-Woman-In-Red-Wagon (74) (S1 E5) A newspaper brat hires Jim to find a friend who's absconded with some hot cash.
3) The-Big-Ripoff (74) (S1 E8) A crooked client sends Jim on a wild goose chase that eventually exposes a faked death and insurance scam. Fred Beir, Nedra Deen, Jill Clayburgh, Suzanne Sommers, Bruce Kirby, Kelly Thordson, Jenny Maybrook, Warren Vanders & Norman Burton guest star.
4) In-Pursuit-of-Carol-Thorne (74) (S1 E12) Jimbo gets played for a mark, then matches wits with a pretty ex-con and her crew of crooks to recover some stolen cash. Robert Symonds, Bill Fletcher, James Antonio, Irene Tedrow, Sandy Ward and Lynnette "Nice-Legs" Mettey guest star.
5) The-Dexter-Crisis (74) (S1 E13) When the goomar of a stuffy executive absconds with his $100k payoff, Jim is hired to track her down. Linda Kelsey, Tim O'Connor, Lee Purcell, Ron Soble & Joyce Jameson guest star.
6) Caledonia-Its-Worth-A-Fortune (74) (S1 E14) Jim helps a gun-moll (Shelley Fabares) and hanger-on (Dick Schaal) hunt for buried cash.
7) Counter-Gambit (74) (S1 E19) Rockford runs a game on a pair of nasty pearl thieves. Mary Frann, Ford Rainey, Eddie Fontaine, E. Emmitt Walsh, Garry Walberg & Burr DeBenning all guest star.
8) The-Aaron-Ironwood-School-of-Success (75) (S2 E1) A boyhood friend makes Jim "king for a day" with contingent liabilities. Jim Hampton stars.
9) The-Real-Easy-Red-Dog (75) (S2 E7) A local P.I. teams with Rockford to flip a suicide ruling and expose a baby ring. Stephanie Powers, Tom Atkins, Nick Ferris, Sherry "Trouble" Jackson and Bruno Kirby Sr guest star.
10) Chicken-Little-Is-a-Little-Chicken (75) (S2 E9) "Small-time grifter" Angel (Stuart Margolin) is framed for a newspaper swindle.
11) Charlie-Harris-At-Large (75) (S1 E22) A former cellmate turned playboy needs an alibi for a murder. Tony Musante, Diana Muldaur, David Spielberg and John Anderson guest star.
12) Four-Pound-Brick (75) (S1 E23) Rocky hires Jim to investigate a policeman's death to Lt. Diehl's great displeasure. Edith Atwater, Noah Beery Jr. & Tom Atkins guest star.
13) Just-By-Accident (75) (S1 E24) The suspicious automobile death of a friend's son leads our hero to insurance fraud and murder. Neva Patterson (Desk Set), Steve Keats (Death Wish), Fred Sadoff, David Spielberg, E.J. Peaker, Gordon Jump (WKRP) & Joey Aresco guest star.
14) Roundabout (75) (S1 E25) Jim is hired to track down an insurance beneficiary who's singing for the mob. Jesse Welles, Ron Rifkin, Mills Watson, Virginia Gregg & Fran Liu guest star.
15) Gearjammers (75) (S2 E3-4) Rocky leads a double life, unbeknownst to Jim until Dad's union activities put him in contact with mobsters who mean business. Scott Brady, Joe Santos, Bob Hoy, Al Stevenson, Terry Leonard, Pete Brocco, Ted Gehring, John Dullaghan & Rosemary 'Champagne' DeCamp star.
16) Pastoria-Prime-Pick (75) (S2 E11) Working a skip-trace, Jim falls victim to a County extortion scheme. Gretchen Corbett, Rich Herd, Kathie Browne, Warren Kemmerling, Bill Zuckert, Don Billett & Bill Quinn guest star.
17) The-Hammer-of-C-Block (76) (S2 E14) A former cellmate arrives at Jim's trailer to collect on a debt, payable in P.I. services. Isaac Hayes, James Watson, Annazette Chase, Lynn Hamilton, Bill Walker & Allan Rich guest star.
18) The-No-Cut-Contract (76) (S2 E15) A Southern Illinois semi-pro quarterback with tangled ties throws Jim a bad pass. Post-NFL Dick Butkus and pre-political-rabble-rouser Rob Reiner guest star.
19) Foul-On-the-First-Play (76) (S2 E21) An ex-parole officer hustles Jim. Lou Gossett Jr. guest stars.
20) A-Portrait-of-Elizabeth (76) (S2 E16) Beth's slick new boyfriend proves a fraud. Gretchen Corbett and John Saxon guest star.
21) The-Fourth-Man (76) (S3 E1) An airline ticket clerk is stalked by a passenger with a hidden agenda. Sharon Gless, John McMartin, Jack Garner, Michael Bell & Dianne Harper guest star.
22) The-Oracle-Wore-a-Cashmere-Suit (76) (S3 E2) A psychic makes Jim his "stalking horse" to help solve a murder. Robert Webber, James Hong, Pepe Serna, Robert Walden & Bonnie Bartlett guest star.
23) The-Family-Hour (76) (S3 E3) Jim and Rocky take custody of a displaced little girl whose troubled father is on the run from some dirty feds. Burt Young and Kim Richards guest star.
24) Feeding-Frenzy (76) (S3 E4) Jim's attempt to return some stolen money for a friend turns disasterous. Guest stars Susan Howard, Eddie Firestone, Luke Askew and George Wyner.
25) Coulter-City-Wildcat (76) (S3 E6) Rocky buys government oil leases that gush with trouble. Guest stars Noble Willingham, John Anderson, Patricia Stich, Jerry Hardin and Dennis 'Big Boy' Burkley.
26) Rattlers-Class-of-63 (76) (S3 E8) The Red Barn scam is backdrop to a quickie marriage and deadly cover-up. Guest stars Stuart Margolin, Elayne Heilveil, Avery Schreiber, James Wainwright & John Durren.
27) Return-To-The-38th-Parallel (76) (S3 E9) A old Army buddy cons Jim into helping find some pricey stolen art. Veronica Hamel, Paul Stevens, Norman Burton & Ned Beatty guest star.
28) Piece-Work (76) (S3 E10) A paranoid federal informant suspects Jim of muscling in. Michael Lerner guest stars.
29) There's-One-In-Every-Port (77) (S3 E12) After being played for a mark, Rockford evens the score by running his own game. Guest stars Joan Van Ark, Howard Duff, John Dehner, Steve Landesberg, Jack Riley, Byron Morrow, Kenneth Tobey, Michael DeLano, John Mahon & Ric Mancini.
30) Sticks-&-Stones-May-Break-Your-Bones-But-Waterbury-Will-Bury-You (77) (S3 E13) A detective agency is eliminating the competition. Paul Fix, Simon Oakland, Cleavon Little, Val Bisoglio, Jim Karen, Anthony Costello & Fritzi Burr guest star.
31) The-Becker-Connection (77) (S3 E16) Working Narcotics for O/T, Dennis is framed for some missing heroine evidence. Joe Santos, James Luisi, Jack Carter, Jack Kelly, Stuart Margolin, William Jordan & Pat Finley guest star.
32) Just-Another-Polish-Wedding (77) (S3 17) Gabby (Gossett), Gandy (Hayes) and Jim race to San Diego in search of an elusive heir.
33) To-Protect-And-Serve (77) (S3 E19-20) A police groupie puts personal vice ahead of the law, moving a mob hit into scoring position. Joyce Van Patten, Leslie Charleson, Jon Cypher, Luke Andreas, George Loros, Rob Peterson, George Fisher, Luis Delgado, Lou Frizzell, Bucklind Beery & Angus Duncan guest star.
34) Dirty-Money-Black-Light (77) (S3 E22) Winning a trip to Hawaii makes Rocky a pawn in a poorly planned money laundering scheme. John Ryan, Wes Addy, John Chappell, Roger Mosley, Joshua Bryant & Martin Kove guest star.
35) Beamers-Last-Case (77) (S4 E1) While away from his trailer courting lady luck, Jim's identity is stolen by a bumbling P.I. wanna-be. Jack Kelly, Bibi Besch, Robert Loggia, Cal Bellini & James Whitmore Jr guest star.
36) Trouble-In-Chapter-17 (77) (S4 E2) Marital bliss is a cover for a book promotion. Guest stars Claudette Nevins & Ed Nelson.
37) Battle-of-Canoga-Park (77) (S4 E3) When his gun is used in a murder, Jim's investigation uncovers a militia group.
38) The-Dog-and-Pony-Show (77) (S4 E5) In Court-ordered group therapy, Rockfish helps a woman whose paranoia has a basis in reality. Joanne Nail, Stuart Margolin, Gary Crosby, Walter Brooke, George Loros, Ed Lauter, Michael Bell, Al Ruscio, Howard Honig, Bill Quinn, Robert Lussier & Louisa Mortiz guest star.
39) Quickie-Nirvana (77) (S4 E7) Musicians, lawyers, gurus and flakes: Valerie Curtin, Quinn Redeker, Dick Anthony Williams, Kip Gilman & James Luisi (Lt. Chapman) guest star.
40) The-Queen-of-Peru (77) (S4 E12) Jim's hired to negotiate the return of a stolen gem when some RV Hoosiers gum up the works. George Wyner and Ken Swofford guest star.
41) The-Attractive-Nuisance (78) (S4 E14) Unawares, Rocky goes into the restaurant business with the FBI's Most Wanted. Victor Jory, Ken Lynch, Dick Balduzzi and Rudy Bond guest star.
42) The-Gang-At-Dons-Drive-In (78) (S4 E15) Jim tries to get an old buddy off the booze and back into writing. Tony Zerbe guest stars.
43) The-Paper-Palace (78) (S4 E16) When an attempt is made on the life of a civic-minded prosty and Becker friend, Jim is hired to investigate. Rita Moreno stars in the first of 3 Files (Rosendahl / No-Fault-Affair).
44) Rosendahl-and-Gilda-Stern-Are-Dead (78) (S5 E2) Having spent her inheritance (Paper-Palace), Rita's back on the street and in trouble, charged with murder. Rita Moreno, Abe Vigoda, Robin Gammell & Robert Loggia guest star.
45) Kill-the-Messenger (78) (S5 E5) Stressed over an untimely family visit and Lieutenant's exam, Dennis must investigate the murder of a police Chief's wife. Joe Santos, Byron Morrow, Pat Finley & Ed Harris guest star.
46) A-Good-Clean-Bust-With-Sequel-Rights (78) (S5 E6) A cop turned author needs a babysitter and Jim is hired to rock his cradle. Hector Elizondo, James Sikking, Louisa Mortiz, Nic Coster & James Murtaugh guest star.
47) Three-Day-Affair-With-a-Thirty-Day-Escrow (78) (S5 E7) A gigalo who joins forces with a sleazy realtor to facilitate marriage discord, finds he's fallen for one of his subjects, a Saudi princess. Richard Romanus, Robert Alda, Maria Grimm, Gilbert Green, Andrew Masset, Richard Moll & Janis Paige guest star.
48) The-Empty-Frame (78) (S5 E8) Political slogans provide cover for a painting heist and Jim is hired to investigate. Rich Seff, Paul Carr, Dale Robinette, Marianne Bunch, Milt Kogan, Troas Hayes & Jon Goldsmith star.
49) The-Fast-Count (78) (S5 E11) A murder plot is sub-plot to the wrangling over a highly-rated but mis-managed boxing prospect. Mary Frann, Ken McMillan, Steven Bauer, Larry Casey & Bert Kramer guest star.
50) The-Battle-Ax-and-the-Exploding-Cigar (79) (S5 E14) Jim and a no-nonsense steno-pool supervisor are innocents in a government agency SNAFU. Marge Redmond, Sully Boyar, Glenn Corbett, Larry Casey & Lane Smith all guest star.
51) The-Deuce (79) (S5 E15) A drunk driver framed for murder finds a friend on his jury in Jim. Mills Watson, Pat Hindy, Sharon Spelman, Rob Sampson, Jim Karen, Rich Kelton, Margaret Blye & Joe Maross star.
52) The-Man-Who-Saw-the-Alligators (79) (S5 E16) Contract foiled, time served and now out of prison, Anthony-Boy seeks revenge. George Loros, Luke Andreas, Stuart Margolin, Sharon Acker, Joey Aresco, Joe Sirola, Joseph Perry, Dehl Berti, Bill Bronder, Howard Honig & Penny Stanton guest star.
53) The-Return-of-the-Black-Shadow (79) (S5 E17) When the sister of Jim's new lawyer is attacked by a biker gang, Coop digs up his old colors and goes undercover. Paul Koslo, Dennis Burkley, Laurie Jefferson & Bo Hopkins guest star.
54) A-Different-Drummer (79) (S5 E22) After witnessing what appears a premature organ harvest, Jim discovers the surgeon has weak credentials and a checkered past. Guest stars John Considine & Jesse Welles.
55) Paradise-Cove (79) (S6 E1) Fortune hunters converge on 29 Cove Road in search of buried treasure. Leif Erickson, Noah Berry, Stuart Margolin, Peter Brocco and Mariette "Wham-O!" Hartley guest star.
56) Nice-Guys-Finish-Dead (79) (S6 E6) Jim and Lance team-up to clear wannabe P.I. Freddie Beamer of an un-Convention-al murder rap (ahem). Tom Selleck, Erica Hagen, Joe Santos, Jame Luisi, Fritzi Burr, Joseph Bernard, Larry Manetti, Simon Oakland and James Whtmore Jr guest star.
57) No-Fault-Affair (79) (S6 E8) Rita finds old habits die hard. Guest stars Rita Moreno, Jerry Douglas & Corinne Camacho.
58) The-Big-Cheese (79) (S6 E9) A poorly addressed package from a friend (R.I.P.) proves big trouble for Jim and shy Treasury agent. Francis McCarthy, Alan Manson and comely Constance Towers guest star.
59) Just-a-Coupla-Guys (79) (S6 E11) Two hustlers team with Rockford in the Garden State. Greg Antonacci, Gene Davis, Arch Johnson, Gilbert Green, Tony Ponzini, Lisa Donaldson, Vince Howard & Jenny Rhodes star.
60) Deadlock-In-Parma (80) (S6 E12) A fishing trip puts Jim in the middle of a corrupt Council vote. Sandra Kerns, Hank Beckman, Jerry Hardin, Gary Grubbs, John Davey, Mike Cavanaugh, Joe Sirola & Ben Piazza guest star.
“That slap was real.” Words of Ann Blyth recalling her big movie moment on Turner Classic Movies (98) (pre-ATT), the petite, pretty 16-year old co-starring in her major film debut in play of the vicious Veda who fells film giant and Mildred-Pierce star Joan Crawford with a surprise slap that must’ve sent tremors throughout the set. And Joan wouldn’t have had it any other way, a face-clap as real a deal as one could feel, she and director Mike Curtiz the consumate film professionals who believed going all-in produced the best result and with track records to prove it. Most movie slaps were simulated, made to appear real, an artistic achievement that fooled fine and spared receivers the callomine. But when flesh-met-flesh with force, the result could be shocking. Courage wasn’t written into the players contracts but better implied if you wanted work, whether a big star like Joan, or new kid on the block from the land of Lafayette & Le-Mans. Mademoiselle Isabelle Corey (Annē) shows that same wherewithal when she comes clean to Bob-Le-Flambeur (56) (Duchesne) after spilling the beans on an upcoming heist and receives the inverted “spanking” the Pope of Montmartre had promised her, yet, “hardly blinked an eye (The-Haves).” Magnifique!
The Veda-Mildred slap may be the most famous in movie annals, fixed atop, now that the face-clap has been replaced by the fist-punch as later Classic and contemporary producers, portending advocacy, opt for overkill in mistaken belief that brazen behavior, extreme pain and humiliation will win the argument. In other words, stick it to the man and nuance be damned. But early movie makers knew better, that in verbal confrontations, a finessed physical expression (slap), one properly torqued & timed, is a better persuader, working a balance between anger & sound judgment that in real life is less likely to trigger the same or greater response, i.e., fistacuffs. A perception put to the test at the 2022 Oscars.
Slaps, of course, have landed when the cameras weren’t rolling (Mitchum on Preminger in Angel-Face) or at Hollywood haunts and homes, most taken in stride, but when it happens on a televised award gala it makes waves. That it did at the now infamous 94th Academy Awards when a petulant aggressor (Smith), lacking the most basic judgment capabiity, heard his name mentioned and handled it badly, acting with impunity in strut on stage and slapping the presenter (Rock) who’d made light of a perceived familial rivalry for that nite’s Oscar but who, rather than retaliate, took one for the team (AMPAS) so that aforementioned hell didn’t break loose. And what did the team do? They sat on their hands, of course (oy).
On social impact, it’s the Endicott-Tibbs exchange In-the-Heat-of-the-Night (67) which still stings. Character actor Larry Gates plays the paternalistic plantation owner taking great offense at being questioned by a black Philadelphia homicide detective (Poitier), and skilled medical-examiner, who’s been asked to assist in a local murder case, back-handing Tibbs in gesture, the cop quickly returning serve but, like Frazier in Fight-of-the-Century (71), Mister goes “back to the country," a slap so enraged it seems to bear the pain of 300 years in slavery & servitude. All the while, the Chief (Steiger) looks on amazed and confused.
In the funny department (yes, hand-hellos could be funny in the Classics), it is in director Sergio Leone’s My-Name-Is-Nobody (73) where his dry sense of humor is put on display when leading man Terence Hill, terrific with a gun, keeps it holstered and instead uses the fastest hands in the West to slap some manners into seriously befuddled bad guy Marc Mazza. But then you can’t go wrong with any of The-Three-Stooges film shorts, each replete with nose-twisting (Ouch), eye-poking (Ouch) and head-clonk (Ouch!).
The saddest slap, and the contenders are many, is a series of blows suffered by Faye Dunaway in Polanski’s masterpiece, Chinatown (74). Evelyn Cross Mulwray has the twisted family tree, her attacker, the well-meaning but snake-bit ex-cop-turned-PI, Jake Gittes (Nicholson) who goes out-on-a-limb yet can’t figure from where the trouble grows or will lead: “She’s my daughter (slap), she’s my sister (slap) (again).”
There are slaps that never land at all, but impactful, nonetheless. Lara Antipova (Christie) is a little bit in love and alot defensive of the just discharged Dr Yuri Zhivago (Shariff), his memory getting stabbed in the back by a big-mouth bolshevik (Kay), the nurse throwing him an angry glare with the unexpected ferocity of the fiercest face-clap.
And then there’s the slap “heard (and seen) round the world,” a planet that, at the time, hadn’t suffered this much trouble (WW2) since that meteor slammed into the Yucatan (RIP dinosaurs), thrown by another little pretty, a redhead this time (Garson), Mrs-Miniver. The British wife, mother and all-around good egg has just had her brain scrambled by a downed Nazi fly-boy (Dantine) who‘s invaded her home (Mr Pidgeon is on rescue boat for Dunkirk duty), her face-clap landing with the meta-physical force of “6 military divisions,” recalling what Winston Churchill said of the War contribution made by the MGM gem. It would take Japan's attack on Pearl Harbor (12.7.41) to bring America into the fight, FDR’s Lend-Lease and Mrs’ passionate response playing pivtol parts to put the Yanks on the launching-pad, emotionally prepared for lift-off when the call to arms could no longer be staved-off by isolationists. One high-profile slap inspires the free world in their fight against fascism, another only spurs celebrity chatter to expose a security lapse. Different days, indeed.
You probably won’t watch a movie solely for a slap, but if you happen upon these features, keep your eyes peeled as each face-clap will leave its mark, on your mind. And except for Mrs-Miniver in the top spot, the remaining order is random, not a ranking.
Reviews
Moonstruck (1987)
Moonstruck
Some of my favorite films are love stories (Waterloo Bridge, The Clock, Mans Castle), including the rom-coms (Tootsie, Bringing Up Baby), but this Shanley-Jewison tale of cockeyed crushes never struck me as very romantic, nor particularly funny. And what about all those awards (3 Oscars)? Accolades are bestowed for many reasons, some of which have not all to do with quality. In fact, some films seem destined for a big trophy haul, even before they open in theaters. That would be Moonstruck (1.5/4).
Long before Pat Benatar sang about the trials of dating ("battlefield"), Hollywood had produced many movies where wedded bliss comes only after great emotional trauma & spirited wrangle (Quiet Man, Purchase Price). But there's a big difference between lover quarrels and unprovoked hostility. When in the throes of buyers remorse for a nite of frolick, Loretta (Cher) wacks her man so hard his head should've popped off, cute giving way to cruel and a chain reaction of feckless female fist hellos begins in modern film that continues today. Slaps can be timely but hostile hits are artless and heartless.
For the best of Cher, see her in Mask (85) and Yates superb legal murder mystery, Suspect (87). And for the near as popular Olympia Dukakis, steer your glims to the masterpiece in self determination and love lost, then found, Working Girl (88), where she plays a smaller part (job broker) with more heart, sans the wise cracks (There's only one Thelma Ritter) to add her special touch. Looking for a female role model in film? The classics are a cornucopia of smart, strong, sensual, sometimes sassy, sometimes sentimental sisters. Here are a few to get you started: Margie Gunderson (Fargo), Mildred (Pierce), Jackie (Brown), Kay Miniver (Mrs) and Maggie (Hobsons Choice).
All the President's Men (1976)
All the President's Men
Warner Bros filmation of Washington Post reporters Bob Woodward & Carl Bernstein's best seller, recounting their dogged and dangerous investigation into the June 1972 burglary of the DNC's Watergate office, its findings to expose Nixon's orchestration of the invasion, coverup and long list of covert activities known colloquially as black-ops, leading to the criminal convictions of many high level White House staffers and the President's resignation on August 8, 1974. Call girls, Deep Throat, a "******* child" and "rat *******," Tricky Rich was big trouble but did make great copy.
Sometimes called the 4th branch (press), it is that quasi-governmental state which makes most media movies more mundane than moving. There is one exception: ATPM. It's not easy spinning reality straw into cinema gold (Best Picture: NBR NSFC NYFCC). Oscar winner Rocky is a sweet flick but Presidents is a masterpiece. If you dig these intrepid journalists and the pace pleases but don't see it filling the noir bill, Mr Willis (lens) & Shire (score) aught make it quite plain that the trendy tag fits this beauty like a kitten heel on Marie Windsor. Not just a tale of political power brokers, the rank & file make their contributions as well. Of particular interest are two District of Columbia quintessentials in femme fatale Marilyn Berger (Fuller) whose clandestine contact with White House staffer Ken "I have a wife and a family and a dog and a cat" Clawson exposed the Canuck Letter (Muskie), and femme swell Judy Hoback (Alexander), the "CREEP" bookkeeper who laid out the dirty money trail for "WoodStein!" and Congressional leaders to follow. Yet, the film's most lasting impressions may come, not from the very credible Robert Redford & Dustin Hoffman leads, but Hal Holbrook (Deep Throat) & Jason Robards (Bradlee), both as important to the film as their real life characters were to the boys' byline, the latter whose closing speech on the US Constitution is one of film's best ("Watergate? Nobody gives a ****!").
Receiving eight (8) Oscar nominations and winning four (Robards {bsa} Goldman {s/p} Jenkins-Gaines {art} sound {4}), be aware that the undertaking of this investigation with its profound political & artistic results was not entirely the brainchild of Woodward & Bernstein. The reporters were essential, but the Watergate probe wouldnt've come to full fruition without encouragement, support & leadership of publisher Katharine Graham and Post editor Ben Bradlee, a personal friend of President Kennedy (4/4).
The Verdict (1982)
The Verdict (82)
So heavy with heart you might forget it's a lawyer movie, so fantastic in the end you'll think Disney was at the controls (17), so appealing is 20th Century-Fox' The Verdict it supplants Inherit the Wind (60), To Kill a Mockingbird (62), Anatomy of a Murder (59), Suspect (87) & My Cousin Vinny (92) as this critic's favorite courtroom cinema.
Directed by Sid Lumet on Barry Reed's book (80) & David Mamet's script, Paul Newman (Mr Independent) had to salivate at playing the pathetic to profound ambulance chaser, Frank Galvin. He would've agreed that the crackerjack cast in mentor Warden (Mickey), pickup Rampling (Laura), opposing counsel Mason ("Prince of ******* Darkness"), ex-RN Crouse ("Who WERE these men!!"), Hardy & Hart the caretakers, co-defendant MD Addy, OShea the "bag" judge and Seneca as expert witness, all help to make his an exalted performance, showing Jim Rockford-like detective skills (USPS box) and setting the bar with what may be the most eloquent trial summation on film.
Verdicts rendered by juries that put personal bias, prejudice, fear or foible ahead of sworn duty will work a stain upon our system of jurisprudence, but when their charge is taken seriously and, in some special cases, with courage, those decisions can be a beautiful thing to behold, making TV, just gorgeous (4/4).
Female (1933)
Female (Bachelor Flickan)
He had a vision (Drake Motor Car), then, by genetics and example, imparted to his daughter (Chatterton) all the knowledge she'd need to one day run DMC (ahem). When that somber, serious day arrived and inheritance bequeathed, including the top chair on its board, Alison Drake would hit the ground running. On tireless "14 hour days" filled with aggressive pursuit in production, innovation & talent, she will turn father's dream into the industry leader. And all work, no play make Ally a dull girl. When the switch-board closes, super woman turns sexpot, pressing men of her liking to call at her castle (Ennis House) for dinner and more, a pillow toss on the sofa her signal that dessert is being served (gulp). Gotta love the 30s. In the morning, it's back to business, those too enamored with her charms swiftly sent to the "Montreal office." But the Grass Roots said it, "sooner or later love is gonna get you!" When a prized engineer finagled from rival Consolidated (Brent) spurns Al's advances, a change takes place, SHE now smitten. Without the release that sex & conquest afforded, stress builds and gaskets blow in a good cry, only a check under her hood by a "real man" to work the repair.
Though it portends to shine light on women in power, Female can flicker. After Alison's awkward advance on new man, Thorne, a next day apology never comes, the makers missing an opportunity to show the fairer sex can take responsibility where most men haven't, a glaring miss, given Drake's initial desire to employ Jim, not for his brawn but brain ("automatic gear shift"), so determined she'd threatened to fire her lawyer over the topic. Later, writers pack a pipe on blend of paternalism & practice (Petty: "You're just a woman"), scripting the guy to bring home the bacon ("Oink!"), the gal moaning for motherhood. Based on Don Clarke's novel (Vanguard Press), ruled obscene by the Supreme Court of New York (Bklyn App) (34) the screen writing team of Gene Markey (m Loy Bennett Lamarr) & Kathy Scola (Glass Key) were a proven pair in 30s Hollywood, having a flair for framing femmes who dare (Midnight-Mary Baby-Face) and may've had good reason for pulling back on their pens: 1) throw censors a bone after the barking they were sure to do in view of all the casual sex & influence peddling (SEC 34) and 2) ultimate Alison is ahead of the curve, for what better time to leave her high stress job and re-discover the "romantic" self she'd forsaken when dad died.
Sir Francis had nothing on this swashbuckling Drake ("Ouch!"), for even on 3 captains (Dieterle Wellman Curtiz), Female is laden in pre-Code booty (early efforts at realism). Ruth Chatterton is superb, dare I say, adorable, completely convincing as a business bigwig who seems born for the job, playing by the rules men laid down yet wise enough to break free before a drinking problem develops & heart attack happens, while George Brent is a capable co-star as the work-minded hunk. Not every romance on set proves a benefit, nor its absence a burden, but in the case of George & Ruthie who found real love in marriage (1932-34) (Lilly), their meeting of the minds created a cinema symmetry. Additional charm provided by Silent star & Miss Alabama (1915), Lois Wilson as Al's sorority sister, Ferd Gottschalk (b 1858) is Drake's randy personal aide, Pettigrew ("every kiss and every hug, almost feels just like a drug!"), Ruth Donnelly is secretary, Miss Frothingham, Robert Greig in his standard butler role and the early prey, CC boys John Mack Brown (Coop) & Phillip Reed (Merrily We Live) whose Claybourne fails his test with the horny heiress but gets an A for his existential muse (3.5/4).
I Know Where I'm Going! (1945)
I Know Where I'm Going!
Betrothed to a rich, much older man and headed to his Scottish island retreat for the wedding in what was believed would be an uneventful, 2-day itinerary, Joan's journey hits a snag in stormy weather, her resolve to reach her destination turning desperation when doubts surface, forcing an ill-advised launch during a terrific gale where she and her guides are caught in the Hebrides fabled and deadly Corryvreckan whirlpool. The best laid plans of mice and matrimony must first answer to the gods.
Wendy Hiller, the Darwin of war drama, stars as another evolving lass (Pygmalion) still full of spirit & sass ("Really!") though this lady already gilded in grace, the fiancée who, once leaving Manchester has no idea where she's going or what she's gotten into (title taken from an Irish-Scot folk song at urging of Powell's wife Frances). Roger Livesey co-stars as middleman, Torquil, he a lustier Bob Donat & navy officer on leave who, once Miss Webster arrives on Mull, is tasked with delivering her safely to Kiloran, a stone's throw away but in a big blow requires a cannon arm. And Pam Brown is Catriona, the dark eyed beauty and light of the laird (estate owner), her unattended mystery (Mrs Potts > Mrs MacNeil) left for viewers to ponder as the film's wee flaw.
A Powell Pressburger make (write direct produce), The Archers with a knack for telling unique love stories (49th Parallel, Black Narcissus), this one projected in b&w on spectacular scenery (Carsaig Bay), curious customs (céilidh /kay-lee/ Moy Castle), well placed charm (title designs, eagle Torquil) & sense of danger about. And while I've no evidentiary basis, I'd not be surprised to learn P&P had, in development, come familiar with the story of model Kathleen Newton (née Kelly 1854-82) (Tissot). Though her's involved a third-party planner & illegitimate issue, the similarities are many: a young, beautiful English woman who is arranged to marry a much older, established figure but has her intention diverted, Kathy by a sea captain during the voyage to Dr Newton's place of practice in India. It's a curious comparison, anyway.
Also stars Scotsman, Finlay Currie (Great Expectations) ("So, you're back!"), famous falconer & father of actor Esmond (The Red Shoes), C. W. R. Knight, FZS, as Colonel Barnstaple, stage legend Nancy Price is Mrs Crozier, the deliciously descriptive dinner guest, Murdo Morrison as the brave but regretful Kenny (£20), a bespectacled 12 year old Petula Clark (Cheril), the victory voice of Norm Shelley (Bellinger), rumored to've substituted for Churchill in some of his most famous war speeches, the hearty score of Allan Gray (African Queen), camera (Hillier) & effects, special (Blackwell Harris) and visual (Day Staffell) that made the whirlpool frames suspenseful, and then voice of Torquil's "nanny" who, at movie's end, recalls the curse of Catriona Maclaine of Erraig that attaches to any MacNeil of Kiloran crossing the threshold of Castle Moy, or not a curse at all but blessing instead, "chains" a metaphor for long love? Clever girl, Catty.
I'd a funny first view, impatient like Joanie, I hit the exit too soon, not realizing there were 7 minutes left. It makes a difference. The scripted ending is grand (88m) but my mistaken edit had left me with a comfortable melancholy. At the time it seemed a good place to stop (That kiss!). When you tune in, try my version, take a few days off, then finish it and see what you think. Either way, it's a bonny watch (4/4).
Body and Soul (1947)
Body and Soul (Ask ve Para)
Roberts: "Very nice coat. Remember, after mink comes sable"
A Jewish, New York City youth (Garfield) looking thirty-five yet still possessed of quick hands, a quicker temper, rejects the nickel & dime candy store world of his parents (Revere Smith) in flavor of a boxing career, mom & pop voting a split decision but unanimous approval from his pushy pal (Pevney) and artful girlfriend (Palmer) ("Tiger tiger"). A natural fighter, Charley's rise is steady and swift, each victory bringing a bigger purse and thirst for larger "chunks of dough" in subsidy of his new, lavish lifestyle (Brooks) and concert with the criminal element who run the show (Goff). Not dishonest, money's his mojo, yet taking the title soon has Davis "all mobbed-up." As debts mount and punches take their toll, his marker gets called in, forcing the local hero to make a deal in dive for the brash up n' comer, Marlowe (Dorrell).
The commies nearly out-number the capitalists in this one. John Garfield stars in his most famous, if not best role (Breaking Point), he one of seven (7) artists KO'd by the blacklist, four more actors (Revere Smith Gough Lee), its writer (Polonsky) and director, Robert Rossen. Runs long for the genre (1.75h), mostly in flashback, around midway I was hanging on the ropes, Joe Implausability giving my brain a beating. There's Chuck's sidekick, Shorty, a fast shuffle (poker) who sells his boy to the local agent (Conrad) with zeal of a girl scout cookie hawk on closing day, yet, oddly turns Father Flanagan whenever reality pays a visit (Roberts). The slugger's best gal Peg, is supportive early ("anything you want"), then too acts like she just fell off the turnip truck when the seedy side starts to sprout. And mom, she can't really believe her boy is store clerk material or has a violin and Joan Crawford in his future. But like a ring judge, you've gotta' go the distance before filling out your card. Impressive are the first timers in credit: radio star Virginia Gregg as the sassy sculptor roommate. Peg knocking: "Are you decent? Irma: Not particularly, bring him in!" Brooklynite and Veronica Lake look-a-like Hazel Brooks will wow as the sultry hanger-on who fronts as a club singer, and Lloyd Gough (Goff) is Roberts, smooth talking promoter who treats fighters like chattel and delivers the film's best lines with an unsettling persuasiveness ("Everybody dies").
Most of the glove action happens late in prep and during the final bout, captured in camera by noted lensman James Wong Howe (Hud) and ranks with that seen in boxing greats The Set Up (49), Killers Kiss (55), Fat City (72) and Raging Bull (80), Scorsese's La Motta displaying the same volatility & rapid-fire punch as Davis. Adding authenticity are the pugilists in cast, those identifiable: Uly Williams (early Davis win); Texan Artie Dorrell is final foe Jack Marlowe in his only role; Larry Anzalone (early Davis win); Ceferino Garcia (Belt) (training camp); John Indrisano (referee) who defeated five ex-champs and coached numerous stars (Ryan Rooney Tracy Taylor Montalbon MacMurray Grant), including John, and the only credited ex-fighter, black actor, Canada Lee whose champ-turned-trainer Ben Chaplin gives a stylish performance. His directness with Roberts on a final, risky fight is bold for the time ("People don't matter to you, do they, Mr Roberts?"), his closing sarcasm, ground-breaking (Roberts: "Nobody's gonna die {in title fight}; Ben: Thank you, Mr Roberts, thank you"). Nominated for three Oscars (actor play edit), cutters Lyons & Parrish taking home Body's one trophy. Might be the last Hollywood ending before realism took firm, everlasting hold (3/4).
Some Like It Hot (1959)
Some Like It Hot
By the sea called Michigan, Prohibition has bootleggers & feds battling for control of Chicago's leisure circuit. When the T-Men (OBrien) are tipped to a speak easy owned by Spatz Colombo (Raft), closing it for business, gangland reprisal follows in a Valentine's massacre witnessed by two cash poor musicians, one a "no goodnick" on sax (Curtis), the other a double bass pizzicato (Lemmon), both eluding the shooters, as happy to escape the snow, by donning dresses for an all-girls jazz troupe (Monroe & Co) traveling by rail to Florida where a gaggle of gunmen flown south for the winter will keep Joe and Jerry, aka, Josephine and Daphne, on bobby-pins and needles.
Having joined the directing elite on super makes Sunset Boulevard (51) and Stalag 17 (53), Billy Wilder (b 06 Poland) would reach a pinnacle on Some (59), an incomparable rom-com that breaks all the "conventions," yet, it's no shortage of drama featuring not just one but two jarring rat-a-tat-tatters, the first in Charlie's downtown garage, the second, a birthday bash hosted by a guy named Bonaparte. Even as its six stars, one close to seventy years in age (Brown) two more nearing sixty (OBrien Raft) all compiled colorful catalogs, when any of their names are mentioned this is the film most will think of first, the one that transcends time and always remains "fresh (Slap!)."
A great movie will raise the level of performance for everyone involved and no one benefited more from that flood of finesse than Marilyn. Not a natural actress, yet, in the right hands (Preminger Huston) she'd give as good as she got. In Billy's mitts she becomes a real entertainer, her Sugar more than sweet, Miss Kane is sassy ("I like it jazzy!"), soulsome ("I always get fuzzy end of the lollipop"), sensuous (her fullest figure made unforgettable by Oscar winner Orry-Kelly) and songful, singing a variety pack in razzmatazz (Runnin' Wild) charm (I Wanna Be Loved) & sentiment (I'm Thru With Love), a concert as memorable as given by the governess (Sound of Music) & Garnett (Swing Time). Tony Curtis pulls off the rare triple play (Joe to Josephine) that includes an impersonation (Mr Shell Oil) to became more famous than the real thing (Grant), while Jack, clearly support, was never better, which is saying a lot (Odd-Couple JFK), his Jerry a bellwether ("I'm a boy!") on a national state of sexuality that today is becoming more confused by the day. Additonal support from Joe E. Brown as the lecherous yachtsman who's always looking for the next Mrs Osgood Fielding ("Zow-ee!"); George Raft (Scarface) & Pat O'Brien (Knute) reprising their salad day personas, the former a fancy dressing hood (pun not intended), the latter back with the good guys; Nehemiah Persoff is the don who's trouble hearing but sees everything; Joan Shawlee is the barking band leader ("Bienstock!"); Mike Mazurki & Harry Wilson are Spatz "Harvard" lawyers ("That's my mashie!"); George Stone (b 1903 Poland) is the stoolie Toothpick; Al Breneman is the brash bellboy who plays his chin-strap like a fiddle ("Hey, Doll .. snap"); and the girls in the band make the sleeper-car scene a leg lover's dream (sigh).
Wilder and frequent pen pal Itzek Diamond (12) wrote the screenplay, a remake of the French film, Fanfare D'amour (35) (Logan Thoeren), returning to b&w for full effect, only after persuading Marilyn whose contract stipulated color. Ranking with cinema's great railway reels like Lady Vanishes & Narrow Margin, Some received six Oscar noms, winning on costume. It should've received additional votes for Picture, Actor (Curtis) Actress (Monroe) 3-time Oscar winner Adolphe Deutsch's score & Lemmon-Brown in Support. Ben Hur (Zimbalist) its director (Wyler) & lead (Heston) were locks at the RKO Theatre (60), but Some was more than a one win wonder, proving that by taking three (3) Globes in Picture (Comedy) Actress (Monroe) & Lemmon who was again augmented into the Actor category. Though the laughs can get a bit broad (ending is classic, a take-off on Murder My Sweet's blind date) (44), if chuckles truly are the best medicine, then Pfizer should've put Some in a pill long ago (Laafylex) (4/4).
Blow-Up (1966)
Blowup (Blow-Up)
Tom: "Nothing like a little disaster to sort things out." It's peak Beatles in 60s London where another talented young lad, this one a fashion photographer also sitting atop the world, will see it turned upside down when, during an impromtu landscape shoot, he captures a couple in the park who give appearance of lovers, the woman then giving chase, frantic to retrieve the film for, as he later learns, devil is in the details, i.e, the swag contains grainy images of a hasty gunman in the bush and corpse on the green.
Arriving in Britannia hoping to make an impact, not so big as his Imperial predecessors centuries prior, but one lasting just as long, noted Italian producer Carlo Ponti (Two-Women LaStrada Dr-Zhivago) & MGM add a new twist to the UK's 'Nowhere Man' series that burgeoned post-war (Cosh-Boy Saturday-Night Long-Distance Sporting-Life). Based on Julio Cortázar's short story "Blow-Up" and adapted by a trio that includes director Michelangelo Antonioni (Guerra Bond), former Surrey singer David Hemmings stars, taking his 3rd bill in stride playing Thomas to perfection, an artist who lives to create. He's not all business (R-rated orgy) but it's pretty close. A verbal brute, he demands the best from his models and himself, getting results that make him tops in his field (no pun). Trouble is, this mystery business is unfamiliar territory, a moving subject he shoots on slow shutter speed, allowing the malefactors to get the upper hand. Civic duty was a more (mor-a) in decline. No matter, in the age of realism, much is left unsettled, outside Brainerd (Fargo). Star-centric, David appears in nearly every scene and when not, he's just around the corner with his Nikon at the ready (sales soared).
Support is capable or captivating, depending on gender, the men merely conduit to the story: Peter Bowles is Tom's agent, when he's not wasted on weed, Reg Wilkins is one half of a crackerjack camera crew (Tsai Chin), John Castle the house guest who thinks everything is canvas for his paint, Ronan O'Casey is the victim and store clerk Harry Hutchinson, likely cousin to Wilfrid's grumpy old man (Hard Days). The ladies figure in deeper: top-billed Vanessa Redgrave is the leggy criminal accomplice ("Not many girls can stand as well as that") so desperate to deal she'll use sex to get it, then send in the hooligans if she doesn't, an act so convincing its nomination should've been her invite to the 67 Oscar gala (Morgan) joining sister Lynn (Georgy). Sarah Miles plays the painter's partner, pretty as a picture and the voice of reason ("Shouldn't you phone the police?"), supermodel Veruschka opens the film, sprites Jane Birkin (blonde) & Gillian Hills (brun) charm as conjoined modeling hopefuls and Susan Broderick is the youthful shop owner who beams with anticipation for what the world has in store. A dead body, tennis ball, beguiling beauty ("I thought you were in Paris? Verushka: I am"), poor Thomas, all his subjects disappear. Maybe it's all a dream, one that closes with a mime show (Chagrins), not my cup o' tea but like the Redgraves, popular for the period.
Part of the sub-genre, art noir (The Red Shoes), Blowup was popular at release ($2M / $20M), due less to the stir it caused with censors (small skin show & drug scene) and more likely its stylized tension. Dig the fashion fun (Rickards), whimsy when it was in vogue and Warhol-like avant garde, then find your hairs standing on end when, at night, you return to the park for the body viewing (gulp). Downright chilling. Antonioni & Co open a professional world rarely seen, in a town with a noticeable absence of authority figures, excepting the Maryon Park matron (even the waiter is helpful) as the mobs flash freely, adding a sense of solitude and impending danger. Woody Allen favorite Carlo Di Palma (x10) rolls the real film, Don McCullin taking prints of the park, while Herbie Hancock scores it soft, until the Yardbirds appear (Relf Page McCarty Dreja) and then guitarist Jeff Beck has his own blow-up over a recalcitrant amplifier.
Voters were as skittish as a new model, Blowup receiving but two Oscar noms (play director), yet, did manage to win Cannes Grand Prix (Palme d'Or) & Best Film / Director with the NFSC (67). Still popular today with mystery lovers & students of film, if you're sentimental for the swinging 60s, Blowup is the ticket, very hip, never hop, I watch whenever it projects. And if you like David's performance (I'd've Oscar'd his & Alfie), keep an eye out for his "Do the Right Thing," a Northern Exposure (92) where he plays a displaced KGB spy beset with hypertension since glasnost, Bobrov reduced to selling secreted dossiers & telling tall tales for eats. The man could act (3.5/4).
The Best Years of Our Lives (1946)
The Best Years of Our Lives
Just discharged from their duties in World War II, three veterans share a transport home, then stop for beers before rejoining families, all facing challenges in re-adjusting to civilian life: Al Stephenson is a banker who passed on officer training but won't pass up a happy hour, Fred Derry is a decorated flyer experiencing night sweats, his major league wife looking for a different pitch, and Homer Parrish is physically disabled, losing both arms in naval action and now fears that he will lose his fiancée next.
Filmed at direction of 12-time Academy nominee William Wyler (3) (Miniver Ben-Hur), he's joined by all star talent in FDR wordsmith, the literal (6'8) and literary giant (Pulitzers), Robert Sherwood (Waterloo Bridge) and noted lensman Gregg Toland (Kane Grapes). An early crest in the realism wave, portraying post-war problems divorce, drink & disability, then winner of seven competitive Oscars including picture, director, screen-play, music, edit & actor (March), plus two honorary, Russell taking his 2nd (BSA) and Goldwyn the Thalberg, Best Years has been called the best movie ever made. That would be generous for it is long in the drama (172m) and over-sells the sympathy.
What makes it memorable, if not deserving of all its hardware (I'd've tabbed Its-a-Wonderful-Life for most the haul) are the actors: Fredric March (Dr Jekyll) is Al who might've had a commission but chose to take a greater share of the risk as a combat non-com (sergeant), the same way he approves loans. One of America's greatest performers on screen & stage (UW's Board of Regents are a timid, simple lot), March is superb and really makes the movie, inspiring as the protective parent whose Cornbelt speech probably won him the Oscar ("collateral"), sarge typically tight and nearly trip-wires but does an about-face, finding a balance between people & profit to the relief of his employer (Collins) and worried wife (Loy); Dana Andrews plays Fred the war hero who leaves his medals at home, where they belong (no vanity), wisely conceding to Al's demand (No Peggy) but thinks time stood still stateside ("Stinky") and forgets what he was fighting for (free speech), throwing a political punch at a holdover isolationist (Teal); and first-timer Harold Russell as disabled sailor Homer, lacking the skill we'd come to expect from 40s Hollywood, yet, beams with authenticity and "courage."
Missing in action are the homefront stories, suggestions of the ladies lives. Myrna Loy plays Mrs Milly Stephenson, mom surely having faced her own battles augmenting a sergeant's pay, raising two teens, rationing as required and, being a looker, likely engaging relationships, plutonic or otherwise. Virginia Mayo is Marie, Fred's frustrated wife, scripted ungrateful & unfaithful, certainly not the norm but not an uncommon reality, either. With no kids and years living apart, her lack of domesticity is defensible, her needs obvious, some satisfied by Cliff (Cochran), their coupling having had the potential for sequal (The Wild Years). And then there's Cathy O'Donnell as Wilma, never wavering in her devotion to Homer. When most men came home, their duty ended, in time tapping into well deserved benefits as the GI Bill. Committing to a disabled vet is a life long duty, a decision of which no 3rd party can rightly pass judgment. Scripting serious struggle in the mind of the navy hero's girlfriend would've spoken to those troubled souls who strained for the right answer (Enchanted Cottage 45).
Co-stars piano man Hoagy Carmichael (The Haves), Ray Collins runs the bank, Gladys George (Roaring 20s) & Roman Bohnen (For You I Die) are the parents who discover modest Fred's citations for valor (DSC) (FD: "Those things came in K-rations") in what proves for this critic the film's most moving scene, the omni-present Ray Teal (Bonanza) deserving a medal for bravery playing mouthy Mollett, the actor also a "no-goodnick," aka, sax player @ UCLA, and Teresa Wright is pretty Peggy, much admired ("They might put you into mass production") and disputed (Sgt Dad v. Cpt Married) who, along with Derry, give us the V-L Day (Victory in Love) we'd hoped for to close it all out.
Best Years opens a small window into the big issues faced by veterans coming home, a portal draped in heavy melodrama, best viewed by those who've an affinity with the highlighted characters (3/4). For a film better depicting the havoc war can wreak on marriage, one delving deeper on detailed, revealing dialogue (Robert: "the best years of your life"), see MGM-London-Korda's wonderful war romance, Perfect Strangers (45) (Vacation from Marriage) starring Robert Donat & Deborah Kerr (3.5/4).
Rebel Without a Cause (1955)
Rebel Without a Cause (Vildt Blod)
Jim Stark is the new kid in school. When during a field trip he provokes the "wheels" with his barnyard act ("Moooo!"), first day jitters quickly give way to a string of dangerous events leaving parents and police as frazzled as if The Blob had dropped.
In post-war, even winners face challenges in securing the peace. Jobs & shortages are the common conundrums, but in America a new problem emerged: troubled youth. "To the victor belong the spoils" AND the spoiled who'd too much leisure and loose cash. Idle hands touched off more than devilish deeds, they created confusion on mores and frustration for parents, teachers and cops who were caught unprepared when teen trouble surfaced. Warner Bros responded with Rebel, tabbing editor David Weisbart to produce, then up & comer Nicholas Ray to direct (Lusty Men) and writers Stew Stern & Irv Schulman who'd use Bob Lindner's book of the same title as their basis. It would prove the most famous of the kid noir, its star, James Dean, made poster boy, even after his fatal car crash pre-release, for greatness is not married to longevity.
The soul child of Frank & Carol Stark, Jim is a likeable enough lad, in contrast to aloof Johnny (Wild One) and Roy the Cosh Boy (53), yet, he doesn't fit in, anywhere, which keeps them on the move, his doting parents hoping their son can one day conform and all find peace. In truth, Jim's a walking disaster (See also; Eden), funny for a Keaton farce but here, his sensitive state ('Don't call me chicken!') makes him mark for the bullies, i.e., knife fights, crazy car action, anything ill-advised. Provided with possessions and permissibility, what Stark really needs is confidence, fostered on the structure and parental consistency he craves. Absent those, he turns to drink, drama ("You're tearing me apart!") and acts on impulse, but when Jim takes Plato (Mineo) & Judy (Wood) under his wings, he turns king of the misfits and cool as the North Pole. Troubled youth had been cast as cruel & beyond help, filmmaker's purpose to expose the problem and depict the punishment. Rebel would change all of that. On beveled themes, the tone turned sympathetic, parents now bearing some blame ("This is Judy, she's my friend"). The teen is still a pain in the neck, but now might listen, show pluck and, in Stark's case, have a sense of sarcasm ("I love you, too"), atypical traits for any age.
Co-stars Natalie Wood as the mystery harlot who misses dad's kisses; Sal Mineo is Plato, he lonely, too, "Jamie" & dad's gun standing in; Ann Doran & Jim Backus are the Starks, Edward Platt the detective as good with words as his fists and Corey Allen is Buzz, the boy boss who's smarter than he lets on but learns too late there are no returns when cloths kill (See; Red Shoes). Other players of note: San Fran début du siècle stage star Virginia Brissac is Granny Stark, Dennis Hopper, Nick Adams & Jack Grinnage fill out the leather jackets, in the shadows as Judy's Mom (+ Hopper), actress turned Allied spy (Mex 43), the beautiful Rochelle Hudson, Marietta Canty, an early Dietrich co-star is Plato's mothering maid ("poor baby got nobody") and Frank Mazzola is Crunch, the darkest hood ("shut your mouth before your guts run out"), yet, in reality, a bright mind, advising Ray on the race scene and knife fight, having run with the Athenians (LA), earlier a child extra (Hunchback) and finally a film editor (The Party).
Not a coming of age film as it's often tabbed, unless you think a day of misadventure is a step up to maturity (oy), Judy & Jim's new romance is sweet but hardly meets the wisdom threshold 'coming' requires. Rather, Rebel is one more in the shift to realism that begins in war (noir), delves deeper in post period (Twelve OClock) and by the 50s found its way into juvies where this one proved watershed. Not just a teen flick, Rebel was touchstone for parents, too, who were also struggling to find a balance and keep pace in a culture where change became the constant. The expressions of rebellion have changed (car clash & blades >> guns, drugs & tattoos), but its themes on peer pressure and parental angst still resonate. Filmed in striking CinemaScope® with pretty players, a darkly dramatic script and warm interlude at Desmond's deserted mansion, Warner's well budgeted feature ($1.5M) would introduce the concept of enablement in gild of the golden age for America's youth (outside Vietnam), the consumers that've captured every corporate board since the 2000s. And catch the charmburst at one-third in, just before Judy's jump start, when Jim pulls it out, her compact (scarfed at the station), to recall a merry moment from her movie Miracle (47): "Wanna see a monkey?"
'What if' always accompanies the Dean topic. Had he not died on US 466 that late September day in 1955, would he have followed trends or kept setting them into the 60s? He'd leads in three majors, acts highly praised: East of Eden (55) is a painful watch, Giant (56) well worth the time (200m), Jim showing a Texas-sized range, and Rebel, it his and director Nic's gem as one of the 50s best (3.5/4). Take me to your leader! The times have made classics un-cool to the favored market, but if a space Alien ever asks me for a list of toppers to view, this'll be one of 'em (3.5/4).
Wicked Woman (1953)
Wicked Woman (Free & Easy)
Dora Bannister: "Do you have references? Billie Nash: Mr Cutler said he'd phone you; Dora: Yeah, he phoned, he says he knows you a long time and recommends you highly. That means he knows you a week and he's on the make"
Beverly Michaels stars in the type of role for which she'd 'B' famous (Pickup). Billie's a knockabout gal with the look of a runway model who'll runaway with your wallet if she gets a chance. Arriving by bus, she lodges where rates are low, lands a job hustling drinks, proves popular (takes no guff), then sets her sights on the bartender (Egan) who's married to the owner (Scott), both scheming to sell the tavern out from under Lady Calvert in getaway to "A-ca-pul-co." It's a risky roll but this doll is hard to resist with a platinum coiffure, legs up to her eye balls, a kissable mouth (not today's fit for a fish hook), "tan but not too tan" and a walk that's been around the block. Like vamps June Vincent (Shed No Tears), Liz Scott (Too Late) & Angie Lansbury (Key Man), Bev's a bombshell that'll blow your mind, so set to score she suffers a fate worse than falling out a window, sleeping with eavesdropper Borg who'd tumbled onto their game.
A pocket noir (77m) from Edward Small productions (Raw-Deal 99-River), Wicked has four settings: the bus, subject bar, bank and Billie's abode, a flea circus where the tenements are tattered & testy. Russell Rouse directs, he Bev's husband who co-wrote with creative partner Clarence Greene (P), both later sharing an Oscar for Pillow Talk (+ Richlin Shapiro), the Rouse's son Chris winning one in edit nearly 50 years later (Bourne Ultimatum). The story is simple yet frothy, the cast filling their characters to the brim on detail and dimension. Michaels is muy memorable, her Billie not so wicked as weary, a grifter empty on empathy, bottled in the backwash of humanity for so long she's willing to take any chance to land on Easy Street where, in a different life, her looks entitled her to residence. Two-time Globe winner Richard Egan co-stars in his first leading role as the husband who's weary himself of wife's woozy ways, easy prey for the temptress who, by movie's end will have you hoping she can finally catch a break. Evelyn Scott (Peyton Place) plays the "lush," Dora (raising a whiskey: "To women! Billie: Amen!")," real war hero Percy Helton calls an audible to finally put it in the end-zone (eek) and the banker-buyer team of Frank Ferguson & Robert Osterloh add some late game levity: Porter: "So that's Mrs Bannister; Lowry: Too bad she doesn't go with the deal (badum tish!)." Spawned a plethora of terrific titles in Europe: Hände Weg, Jonny! (Austria) De Slet (Belgium) Farlig Blondine (Denmark) Syntinen Rakkaus (Finland) La Scandaleuse (France) La ragazza da 20 dollari (Italy) Femeia Rea (Romania) (See; Google Translate). Hugo Haas favorite Eddie Fitzgerald (Bait) frames the light, Sabine Manela drapes our dirty blonde in irresitable ivory white and Herb Jeffries sets the stage in song (Baker Mullendore). A nice slice of low life that pops up deliciously dark (3/4).
Hell Drivers (1957)
Hell Drivers
Just out of prison and no plan to return, a man of action makes beeline for a trucking firm where a friend had nearly been killed driving ballast, hoping to hire on and expose the shady operation, taking anything that comes his way in bullies (McGoohan) and beauties (Cummins Ireland). Directed and written (+ Kruse) by blacklisted Cy Enfield who'd relocated across the Pond (51), this his first film back in the credits. No learning curve at Hawletts Lucy & Lorry, only the deadly kind on Buckinghamshire's racy roads, captured by the crafty camera of Geoff Unsworth who'd later win an armload of Oscars (2) and BAFTA (5) (Cabaret / 2001). Stars manly Stanley Baker in one of six films the British idol would make with the American expatriate (Zulu), his Tom filed under the Nowhere Man category, for nowhere on the filmscape were the spoils of victory as sparsely spread as post-War England, it's young gents in cinema (Finney Kenney Harris Burton Caine Courtney Shaw) having a brash expectancy to a swig of largesse that should serve with winning, yet barely trickled down to the working class.
Support is superb in Peggy Cummins as Lucy (Gun-Crazy), the helpful, hot-to-trot office gal, Patrick McGoohan (Red) is the psychotic lead driver who keeps the ballast moving at breakneck pace, Herbert Lom the former Italian POW Gino who stayed for the weather and ladies, veteran film favorites in William Hartnell as the cranky fleet manager, Sid James, Alfie Bass, Wilfrid Lawson ("Savvy?"), Marjorie Rhodes (Mom) and new buds ready to blossom in Sean Connery, David McCallum who'd meet his first wife, Jill Ireland on set, Gordon Jackson, Marianne Stone & George Murcell. On the production side is Paul Hitchcock (a.p.c) (Alcott) who would be responsible in that executive capacity for such films as Downhill-Racer, Barry-Lyndon, Empire-of-the-Sun, Mission-Impossible 1 & 2. Runs 90 minutes, breaks down only once (hospital) and won't leave you hanging (gulp). I buckle-in for this white knuckle noir at least once a year (3.5/4).
Mad Max (1979)
Mad Max
Fearful their #1 cop will quit the force, the brass entice Max with "candy," the kind that sucks nitro. Rockatansky: "How the hell did you get all this together? Barry the Mechanic: A piece from here, a piece from there (smiles sheepishly)."
The Goodfellas of its day leaving viewers thunderstruck, unlike anything they'd ever seen. The gist: marauding motorcycle deviants with homo-erotic habits are terrorizing wherever they tread, provoking a supercharged police pursuit that leaves a member dead, spurring targeted reprisals against those "bronze" most active in seeking their arrests. The movie that catapulted Mel Gibson to international stardom, from the Australian trio of George Miller (d) (Babe), Byron Kennedy (p) & Jim McCausland (s/p), Mad-Max may be the most mislabeled movie in history. Erroneously called futuristic, apocalyptic or dystopian, unless one is referring to the awful sequels it spawned, it is, simply, a throwback to the biker movies proliferating post-war, except that racers replace the Triumphs, leather pants over cotton-polyester blend. The-Wild-One (53) set the standard (Milly: "What're YOU rebelling against, Johnny? Strabler: Whadaya got?"), but now the hero is a cop, family man (Samuel), friend (Bisley), fashion plate (leather), drives "last of the Vs" and has a conscience ("scared .. I'm one of them"), then tragedy kicks him in the groin as reminder he is, in fact, one of the "good guys."
Award elite were scared themselves (zero), not sure what to make of this strange but likeable new style of drama that could be joyful or thrilling one minute, weird or traumatic the next. Down Under they cheered enthusiastically, knowing their native artisans had turned the film world on its head, nominating Max for eight AFI, overlooking David Eggby's photography (Pitch-Black) and Clare Griffin's costumes, the one future aspect of the film, wins coming in sound (Wilkins Kennedy Savage Dawson), edit (Paterson Hayes), stunts (Page) and Brian May's score that easily shifts gears as the mood terrain changes from high intensity to haunting sentiment (credits).
Co-stars Roger Ward as the chief who wants to "give (us) back (our) heroes," familiar face Reg Evans is the chatty ticket agent, Sheila Florence the couple's senior advisor, Tim Burns is Johnny the Boy, Geoff Parry is blonde biker Bubba and best support nominated Hugh Keays Byrne is unforgettable as psychotic gang leader, the Toecutter. Don't let politics push you off this one, choose art and watch with confidence (3.5/4).
Adieu l'ami (1968)
Farewell, Friend
Cherchez la femme, all of them. Having recently mustered out of the French Foreign Legion with Algeria lost, two operators (Delon Bronson) now free to ply their trades will tangle over terms in Marseille, then team-up in Paris for a job that begins as a favor to a friend (Georges-Picot) but turns into the most unusual corporate heist in history.
A Franco-Italian make with a late 60s élan, written by Jean Herman (d) and Sébastien Japrisot, there are within the story, scents of Topkopi and My-Name-is-Nobody (foes to friends), even whiffs of Bonnie & (Bonnie). A slow grower but when the buds blossom you'll start breathing in deep, then press the petals to keep. Made big money at the box office in Europe, boosting Bronson to superstar status sur le continent. Compelling co-stars in Brigitte Fossey (Forbidden-Games) as sister Dominique and Bernard Fresson, L'inspecteur (FC2 The-Cop). Has an Andy Warhol-like avant garde and a real electricity. Also known as Honor-Among-Thieves and, at home, Adieu-l'ami (3.5/4).
Bridesmaids (2011)
Bridesmaids
Marriage doesn't have to end a friendship, but there will be adjustments. And who'd've thunk, a band of bridesmaids could be so engaging? Only in Milwaukee.
While prepping for a friend's wedding (Rudolph), a bridesmaid (Wiig), one unexpectedly passed over for the top spot (Byrne), finds her own life in disarray: a bakery dream gone bust, a habit in casual sex turned tiresome (Hamm), mean, moronic roommates (Lucas-Wilson) and her car takes a hit she can't afford. Then Annie catches a break, meeting two people she probably doesn't deserve, a kindly cop (O'Dowd) and co-maid (McCarthy) with "security clearance" who slaps some sense into Miss Walker, literally.
Though not officially a remake of The-Women (56 08), the similarities with MGM's 39 classic should confer upon it honorary inclusion as its central theme is marriage, a motif of mostly dames, subject husband (to be) nearly unseen, in-fighting amongst the girls is raucous and the ending, well, let's just say, it's "the, uh, stuff that dreams are made of (Wilson Phillips)." Lots of memorable lines ("There's a colonial woman on the wing .. churning butter!") and packed tighter on funny bits than a Focker carry-on, including a "pity party" when we discover Megan's a missle expert (ahem), gown fitting that makes all others 'pale' in comparison, a flight that teaches never mix barbs & booze, bridal shower where we witness the murder of a cookie and learn bleach is the ultimate in hygene and a visit to Helen's home, she with a face that could launch a thousand Harley Davidsons but now parent to the ugliest step-brats you'll ever see, i.e., cruel creatures.
Running just over 2 hrs but not feeling nearly that long (a good sign), Bridesmaids was directed by Paul Feig with co-writing credits to Kristen and Annie Mumolo who plays the fearful flyer ("Just toss it back"). Also stars Wendi McClendon-Covey (Reno 911), Ellie Kemper ("You're more beautiful than Cinderella, smell like pine needles and have a face like sunshine!"), Mitch Silpa as flight steward "Stove" and Jill Clayburgh is Annie's mom, the 1978 Cannes winner (An-Unmarried-Woman) & 2-time Oscar nominee having died from a long battle with cancer 6 mths before movie's release (3.5/4).
The Window (1949)
The Window
Aesop's Fables makes its way to RKO Pictures where magazine writer Cornell Woolrich ("The Boy Cried Murder") and Mel Dinelli (screenplay) create a boy who too spins tall tales, then is witness to the real thing, a killing, while peering through the window of a neighbor's tenement as he slept on the fire escape during a hot spell. With a dodgy rep, no one hears his cries even as the criminal couple set out to silence peeping Tommy who must find proof to restore trust and escape their clutches. Produced by Dore Schary (Boys Town), camera in the hands of Rob de Grasse (Born to Kill), filmed at direction of Ted Tetzlaff (Notorious), Carole Lombard's favorite lensman and winner of the Edgar (Allan Poe) Award (50), The Window stars Arthur Kennedy & Barbara Hale as the weary parents, Paul Stewart & Ruth Roman the married maulers and Bob Driscoll the kid who, if he survives, is gonna need some quiet time in the country (Hee Haw!).
One of the more unique crime dramas, Disney player Driscoll (Treasure Is) would win a junior Oscar for his tense portrayal, a career highpoint in one shortened by drugs (d 68). With a big, expressive face, dramatic demeaner and, as Tommy, dressed in a striped, out-grown shirt that should've made it into the Smithsonian, Bob was an ideal cast, the young Woodry speaking for all those children who live in bleak conditions and find escape in make believe worlds that the real one sees only as devient or dishonest. And revel in Ruth Roman as the impulsive, scissor-wielding Mrs Kellerson. No darling little Oscar for ravishing Ruthie, even as she gives her best as the wife who entices men into her house of pain. No compass needed for a Roman dame who always knows exactly where she is (Windsor Trevor), even if it's topping on a big heap o' trouble.
The memory's imperfect but I recall watching TW as a child, back when TV had antenna and was essentially free. I've no recollection of high anxiety but was probably glued to the set and went the distance, pretty neat for a kid who couldn't get enough Flip Wilson & Gilligan's Island. The moral: great artists create their works for anyone with curiosity, whatever the age. Watch The Window and you'll remember plenty (3.5/4).
Guilty Bystander (1950)
Guilty Bystander
Angel: "You weren't kidding me about that Florida deal? You aughta see me in one a those Riviera bathing suits with the middle missing, oh wow!"
When the estranged wife of an ex-cop turned juicer, shows up at his seedy flat with alarming news that their young son has been abducted in a criminal operation, dad must fight the delirium tremens, dig deep and resurrect well buried detective skills in hope he can catch some quick clues and the culprits. It's a well crafted mystery with a surprising twist late, adapted to the screen by Don Ettlinger from a Wade-Miller work, the prolific post-war pulp writing team (Touch-of-Evil). Zachary Scott made some memorable movies (Mildred-Pierce The-Southerner) but his Guilty guy should've garnered him some hardware, an early, convincing portrayal of police burnout. The ladies are complimentary, first in Faye Emerson as Georgia Thursday, wife who's lost nearly all belief in her troubled man, save one small memory on which her love still rests, knowing there's more to Max than hiccups and highballs; Kay Medford, best remembered as Lonesome Rhodes first wife is the gun moll who presses her luck and screen veteran Mary Boland (The-Women) in her final performance as Smitty, Thursday's benefactor and hint-dropper.
Watch when the drama dives into Dalio's Café. It's not the Stork Club, even as the "ice" glitters like the Hope diamond, but a joint where practically everyone is a celebrity (See; John 'horsehead' Marley & Jessie 'Maytag' White) and Mad Max takes a shot for the team. Also stars Sam Levene (The-Killers) as the top cop while Jed Prouty makes his own finale as the quack who gets a taste of his own medicine. To the ending, some will complain, but they've not yet learned this movie maxim: It is the light which makes the dark worth walking into. Besides, nobody wanted another Lindbergh tragedy (3/4).
Bury Me Dead (1947)
Bury Me Dead (El Cadaver Errante)
A case of mistaken identity over charred, human remains (necklace i.d.) precipitates a declaration of death for a wealthy young woman (Lockhart) who then secretly attends her own funeral, revealing herself to selected people in attendance that include her husband (Daniels), step-sister (O'Donnell) and lawyer (Beaumont), all coming under suspicion for trying to hasten Barbara's end. Bernie Vorhaus (B) directs on a screenplay by Karen DeWolf (B) & Dwight Babcock, based on Irene Watson's radio mystery of the same title. Bury offers a rare leading role to June who plays it cool as a cucumber in this nifty little noir, co-star Mark, aka, Stan Barton, reminding of popular-at-the-time Dennis O'Keefe, coincidentally to utter in dialogue the title of DO's soon-to-be-released Tony Mann vehicle ("raw deal") but sans the smoke, Mr Carlin instead tossing back a brandy whenever the noose tightens (gulp). Watch for top billed Cathy O'Donnell as Rusty, Hugh Beaumont of later Leave It to Beaver fame, John Dehner in an early reporter role, the ubiquitous Charles Lane whose characters put the rank in crank and Sonia "Do so!" Darrin as hard luck schemer, Helen. One of the brevity beauties of post-War, Sonia's stunning looks, sharp features & thin frame had her typecast the femme fatale, best recalled as Geiger's Agnes Lowzier, aka, the "grapefruit" gal who does battle with bookworm Bogie in Hawks' The-Big-Sleep (46). All of it is captured by the creative camera of John Alton (Raw-Deal American-in-Paris). Movie ratings, like lab values, will look to trends and rest within a range. I call Bury-Me-Dead a variant of good (2.5/4).
For You I Die (1947)
For You I Die (Fuga Trágica)
A deadly prison break sends two convicts in different directions, the instigator (Harvey), vicious and bucking for the electric chair, heads to San Fran, the other (Langton), a trustee forced at gunpoint to drive the getaway, treks to a roadhouse in San Maria where Grubers's ex-girlfriend works and rendezvous is planned. But before the reunion, Coulter "finds a new slant" on life, befriending the locals and winning the heart of Hope (Downs) who's no interest in rekindling past passion with Matt the mugshot.
This is a dark one, in part due to the fact that nearly the entire film (76m) is pitched at night, good for building tension and trust both. It's also the homiest noir you'll ever see, the characters in and around Dillon's roadway rest stop so likeable you almost wish you were in Johnny's spot, even as the poor guy is a nervous wreck waiting on his nut-job nemesis. There is Maggie (Kerby), proprieter and mother figure, a bit crusty but always a song in her big heart; Georgie (Weeks), the naughty niece and gun moll aspirant ("I like a he-man!") who keeps missing her bus to the big city; the Shaws, cute couple who return each year to relax & entertain, Louisa (Callejo) a doctor and dancer, Alec (Auer) a cabbie and Renaissance man, a charmed act that tops Mischa's Oscar nom'd Carlo (Godfrey); Smitty (Bohnen of Best-Years) is the decorated seaman turned café cook whose binging hides a sad secret; and then there's Hope, pretty femme swell true to her name. A rough start in life (dad split, mom died) left her to drift, working seedy joints and hitching her wagon to a snake with "a little bit of money (Fargo)." But now the angels have lighted, Maggie is her guide, Johnny Galahad and all is possible.
John Reinhardt (b. Vienna), husband of Elizabeth (Laura), directs on a screenplay by Robert Presnell whose catalog includes Meet-John-Doe My-Man-Godfrey Employees-Entrance. This film marked their third team in 1947 alone, Die preceded by The-Guilty and High-Tide, all around 70 minutes and well received. Watch for familiar face Rory Mallinson as Mac the cop and Tom Noonan in a bad boy role (hold-up crook). You "can't put ketchup on it" but I check-in at this cozy noir at least once a year (3.5/4).
Madeinusa (2006)
Madeinusa
When a young traveler from Lima by way of Siemens Perú finds himself stranded in the mountain village of Manayaycuna during its religious festivities, a faith like many in New World Hispania melding indigenous rites with Catholic law, he becomes entangled in a web of odd traditions and carnal temptation not seen on the Discovery Channel. That temptation is a shy, songful, very pretty girl on the cusp of womanhood named Madeinusa Machuca, chosen by elders to play the Immaculate Virgin in a series of processions, an honor resented by her bossy younger sister but delighting her dad, also the mayor, who, during "Holy Time" when God is dead and sins not seen, hopes to deflower his first born, a plan that hinges on detaining the handsome intruder who's no designs on the daughter but has not the foresight to see the trouble ahead.
Directed by its writer, Claudia Llosa (b. Lima), Madeinusa is a beautiful movie in many respects, starting with the title character. The face of a model and voice of a child, we're introduced when she opens her box of charms, precious "things" to keep the cold out, dreams in (earrings of a mom long gone are most prized), reminiscent of Scout's version in Mockingbird (62). Cinematographer Raúl Pérez Ureta who, along with Llosa (s/p), would win the Cine Ceará trophy for their respective efforts, includes the Andean Mt grandeur and colorful holiday preparations to enhance this rare view into a world austere & absent modern conveniences yet largely free of commericalism, virgin territory in more ways than one (no AT&T Pepsi). In other respects, Manayaycuna is quite ugly, a too simple, rat infested, male dominated enclave, its foul features treating newcomers as plague and attached addendum to Rome's code that permits excess revelry & deviants their day: dead disrespected (corpse), daughters defiled, prized property stolen with impunity (men pigs), prostitutes paraded for chieftans, not "gringos (racism)." The actors, mostly unknowns, project authenticity, captivating all the while: Magaly Solier stars (b. Huanta) (Made: "I saw my name on your shirt; Sal: It's not a name; Made: It's my name"); Carlos de la Torre is Salvador the interloper ("What a **** town!"); Juan Ubaldo Huamán bravely plays the father, a capable mayor, and Yiliana Chong is the sister Chale who spews venom like she's forty.
To the ending, I deny it because I don't believe it, an abrupt character reversal (Contact) of a girl who long understood hardship and loss yet had always maintained her hope. Why did the maker do it? Shock value (Vertigo), today's never ending push to empowerment, no matter the cost, or sought to placate with a human sacrifice those she expected to be offended by the first coupling. But I'm taking Father Obosi's advice to Carmela Soprano (Amour Fou): "try to live on the good." Yet, I'm compelled to order contrition: ten Hail Marys, three Our Fathers and dock it one star (3/4).
This Sporting Life (1963)
This Sporting Life
With a post-war wave in realism sweeping over cinema, a series emerged on young, restless men (Wild One, Long Distance, Cosh Boy, Saturday Night, Rebel, Breathless, Knife in the Water, Cool Hand, Alfie, Stray Dog, I Became a Criminal). Kitchen sink is the misnomer, and not so angry as eager, the leads all have a brash expectancy to a swig of the largesse that serves in victory yet barely trickles down to the working class. This brew: a spirited miner with big ideas (Harris) moves to the big city, fighting his way onto the municipal rugby team while he "digs" with a widowed mother of two (Roberts) and lingering memory of her enigmatic deceased. Based on David Storey's novel (screenplay) and directed by Lindsay Anderson, the film plays in two worlds: all things connected to the football club and the widow's home where the rent is too cheap. We begin in flashback after Machin, now a stalwart ("there are no stars in rugby, that's soccer") has his teeth smashed during a match, requiring emergency dental work when Frank reflects on recent events and growing affection for his closed-off landlady.
Richard Harris stars in the performance of a lifetime, one that fills the screen, earning him best actor at Cannes but proved too much a man for typically squeamish political venues that hand out Globes, BAFTAs and Oscars. Muy macho, "Tiger" is also complex, one moment oafish (late restaurant scene is contrived to tragedy), breaking home décor in sudden fits of rage, other times a saavy negotiator ("£1000!"), thriller to throngs, singing to pub patrons (no MacArthur Park) or a sensitive soul in orchestration of a family outing (Bolton Abbey) & near panic when kids Xmas gifts are misplaced. Rachel Roberts is that melancholy mom, the death of her husband, rumored suicide, a dark cloud Mrs Hammond seeds daily, holding back the sun for fear it light a disturbing truth. There's no building equity with Margaret, a proper & loving parent, her "homebird" state belies a burning resentment of her tenant's sporting success, revealed in bitter critiques that land like a scrum punch to the puss. As Frank's devotion grows (he rejects Mrs Weaver), one wonders if mom puts pride ahead of familial best interests, yet, it's a character that earned Rachel her 2nd BAFTA just two years after her prized role as the polar opposite, swinging Brenda in Saturday Night Sunday Morning (60) (Finney).
Twisted love is the film's core, sport surrounding it, makers giving a rare look into the world of professional English rugby, rough & tumble on field, wet, wild & woolly off. The most curious scene, a coupling at movie's halftime between tenant & landlady (55 / 132m). Manhaters might be quick to indict, but there is no crime. Machin is the aggressor, making his move while Mrs makes his bed, she resisting ("No, Frank!") (x4), he persiting but finally withdraws to rescind the offer. Within seconds, little Linda comes calling, giving mom an opening for exit but gets shooed ("Go away!"), Frank counter-offers & Margaret accepts, with proviso: "you're a bleedin' man!" It's a tense affair, Gilbert & Garbo it is not, but it is an affair. No movie points without top talent: Al Badel (Jackal) is the homosexual club owner, Weaver, who, to sustain a lavender marriage, holds players to a non-contractual duty of servicing his horny wife, played sharply by Vanda Godsell; Wm Hartnell (Doctor Who) is sad Dad, poorly paid scout; Colin Blakely the teammate who hears Frank's troubles; Jack Watson (Peeping Tom) is the unseated team star; Arthur Lowe (Dads Army) the minority owner who's Machin's back; Katherine Parr as the foster neighbor, and real rugby man Ken Traill adds insights as the trainer. And drink in Yorkshire, captured by noted lensman Denys Coop (Third Man): the rich (Weaver estate), poor (flop house) & rousing (pub). It's the motto of the gym set: no pain, no gain. You'll build muscles of memories in this weighty watch (4/4).
Larceny (1948)
Larceny (48)
Silky: "Tory's like a high tension wire, once you grab on, you can't let go"
A crew of con men contrive to swindle a wealthy war widow but hit some snags when they domino in "Mission City (LA)," one complication, blonde & bitter, the other, a love born of lies (Rick), need (Deb) and really good looks. A mix of The Big Sleep (chick magnet JP), Roadhouse (love rectangle) and Nobody Lives Forever (love > loot), post-war confidence schemes must've been all the rage, given their regularity in the reels (Fallen Angel) with one of the grifters sure to go soft after turning hard on the mark.
Stars John Payne as the fake friend who sets the hook, this Universal release coming on the heels of his holiday hit, Miracle on 34th Street (47) and signals a departure from musicals (20CF) to crime drama (KCC, 99 River St) & westerns (The Restless Gun). Cute Joan Caufield co-stars as the woebegone, then trusting widow, a swell act that won this critic over quickly and completely, Shelley "Behave Yourself!" Winters is the femme fatale when her looks were still major league and slaps stung like a Bob Feller fastball (the double play with Rick in early innings is a doozie), boss Dan Duryea gives the orders this time (Silky), "5th Avenue" girl Dorothy Hart delights, even squeezed into a role one size too small and dish Patricia Alphin tenders Maxon something off the menu but finds romance as elusive in waitress as stardom was in reality. Directed by George Sherman (Big Jake), Larceny frays a bit on the end, common for the genre, but if you've a big heart and like surprises, you'll pull it through just fine (3.5/4).
Amores perros (2000)
Amores Perros
In Mexico City, 3 worlds collide in a horrific car crash where a devotion to dogs is the common element: a young man (Bernal) who fights a rottweiler (Cofi) for big cash while loving his brother's wife (Bauche) and besting his nasty nemesis (Parra); a top fashion model (Toledo) whose best pal is a pocket pooch named "Ree-chie," set to co-habitate with a publisher (Guerrero) just separated from his family; an ex-Zapatista (Echevarria) who pines for his estranged daughter (Echevarria), he pushing a grocery cart as pied piper to a pack of perros while hiring out to a paunchy policeman for hit jobs.
Every so often a movie comes along that blows your mind. It might be big & bold (LoA Goodfellas Jaws GWTW French-Connection King-Kong JFK Contact Dances-With-Wolves Fugitive TGTBATU Aliens T1-T2JD) artful (Red-Shoes B&C Last-Picture Red-Balloon This-Sporting-Life American-Graffiti Third-Man) or kooky as all get out (Gun-Crazy Mad-Max Fargo Strangelove Boogie-Nights Some-Like-It Bride Millers-Crossing Madeinusa). Their common trait, captivating, of course, but as some titles suggest, uniqueness, films like you've never seen before. That's Amores Perros: grande, negrito, artístico and tad loco. Director Alejandro Iñárritu & writer Guillermo Arriaga create a visceral Mexi-noir to open the début de siècle, a movie that, at this writing, has not been topped. When a synopsis mentions mangled metal (cars), an assassin walking about and dog that destroys every canine in its path, you can expect violence to play a big part, and it does, yet, with stories so engrossing, the not-all-too-graphic brutality does something different than mere shock & loss. Most great films work humor into the script ("Prowler needs a jump!"), yet, AP makes no pretense, the closest it comes, the careening camera of Rodrigo Prieto (Barbie) with accompaniment of Gustavo Santaolalla (Babel) in follow of Ramiro (Pérez) and chum, El Jaibo (Obstab) during their surreal stick-up spree.
The Oscars & Globes played politics in 2001, tabbing wuxia class, Crouching-Tiger best foreign film, but BAFTA, Fantas, Belgian & Tokyo were dazzled and let the world know, each awarding Amores their highest prize. As poignant as it is powerful, just musing on a scene can make this critic cry. Watch this incredible movie and you'll learn why (4/4).
Breaking Away (1979)
Breaking Away
Before gadgets became gods, bicycles were holy rollers for kids. Hoping to cash in on the craze, 20 Century Fox financed a film that proved one of the surprise hits of the 70s.
It's the old, rich kids vs poor kids or eclectic kids (The Bad News Bears) or angry kids story, Mike, anyway, one that culminates in a cheesy relay race where you can guess the winners. Pure gorgonzola. Received surprisingly good reviews at release, big receipts ($20M) and awards, a Globe for best picture and Oscar on screenplay (Tesich) in a rather weak field, Alien (1) and Apocolyse Now (2) the only true standouts. B-A's biggest booster was critic Roger Ebert who gave it a review that simply gushed, as he was known to do. But like they say, one man's "treasure" can be another's trash. I recall seeing After School Special's that held my interest better. How one responsible for movies Bullitt (68) Murphys War (71) and the superb mystery-thriller, Suspect (87) (Cher & Quaid) could make this pedestrian picture is not an uncommon conumdrum with good directors. The easy answer: "Nobody's perfect (Brown)." The last straw was having to see "Kelly Leak," one of filmdom's coolest cats, turned into a guy named "Moocher (oy)." The lone bright spot is a memorable quote. Sent flying off track by some dirty European racers, a dejected Dave (Christopher) bemoans to his dad (Dooley), "everybody cheats." Not exactly a shocking revelation, even for a teenager, but one that's good to hear now & then so maybe we actually DO something about it for a change (1.5/4).
I Love Trouble (1948)
I Love Trouble (Väärillä jäljillä)
"Babes go for a P. I.," Reynaldo Pinetree (Northern)
A Los Angeles private eye (Tone) is hired by a local big-shot, "chairman of the civic council and estate planning commissioner (Powers)," to investigate his new, young wife (Merrick) who received an anonymous note threatening to expose her dubious past, a job that takes Mr Bailey to Mrs Johnson's old stomping grounds (Portland), then back in time for some murders that he must unravel if he's to stay out of jail and alive.
More knots than a sailor's nightmare, having a pad & pencil handy wouldn't be a bad idea to keep all the names straight. But watch enough classic movies and you'll discover, one need not connect all the dots to move the plots and enjoy it lots, as long as you like the characters, get the gist and plausibility plays a part. That's I-Love-Trouble.
Author of the basis book (The-Double-Take) & screenplay, Roy Huggins' story is, like some of the best dark dramas, detective heavy (The-Maltese-Falcon Murder-My-Sweet The-Blue-Dahlia Kiss-Me-Deadly The-Dark-Corner) but with enough dolls to fill Santa's sled (15). That detective is Franchot Tone who rose to fame as the unwitting rebel alongside Clark Gable in MGM's Mutiny-on-the-Bounty (35), and for being Joan Crawford's second husband, a friendship that lasted until his death (68). Tone, like so many 30s stars, would extend his career in the burgeoning post-War genre known as noir, a new kind of crime drama, making three notables: early entrant Phantom-Lady (44), Jigsaw (49) and his topper, Trouble (48). It's hero rates with the best in the biz, for Stuart Bailey checks 'em all off: natural charm, street savvy, bears a beating, has a code, a healthy suspicion, likes the ladies but not to distraction (sap) and may've been Huggins' template for later beau idéals Richard Kimble (63) and Jim Rockford (73).
Support is superb at Columbia, featuring Steve Geray (Gilda) John Ireland (Red-River) Sid Tomack (Joe-Palooka) Garry Owen ("It's a chip-crip, brother") (Mildred) Bob Barrat (Baby-Face) and Ray Burr, typically cast a psycho pre-Perry Mason but here the voice of reason to Ireland's roughshod Reno. And then there is that bevy of beauties in top billed Janet Blair (My-Sister-Eileen) Janis Carter, Lynn 'Zoom' Merrick ("Ellsworth") Martha Montgomery, Nan Holliday, Claire Carleton, Karen Gaylord, Roseanne Murray ("Jackie") Adele Jergens as gun moll "Boots," she with more titles than a dynastic duchess (Fairest of the Fair, The Eyeful, Million Dollar Legs, Number One Showgirl) and in 3 scenes nearly walks away with the movie, an impossibility for Glenda Farrell has a firm grip on it from start to end of the line. A revival of her popular 30s serial star Torchy Blane, but now with an adjustable flame, the high energy Hazel is the most opportune secretary in film history, proving a perfect complement to the smooth, at times sullen, Stu, she always ready with a pencil, pistol or pleasing "Joe Miller" quip (Bailey: "Ever have the feeling you're being watched or followed? Bix: Not nearly enough").
And take time to appreciate early post-War Los Angeles (Hollywood Blvd {"Pacific" Bldg}, oil derricks, Venice Beach when Buster's "clam chowder" was on the menu), before the masssive migration of millions would swell the city to a super sized metrópoli. Don't wait for TV programmers to stumble onto this one. Find a stream, cast your line & reel it in, for if you let Love swim by you'll pass up one of noir's best catches (4/4).