fisherelle Reviews

The Roaring Twenties (1939)

Cagney on top form in this anything but routine gangster film

[8/10 · 25 February 2008]

I think that Cagney gives one of his best performances here, as the fairly hapless Eddie, being defined by, while mirroring the times he lived through, from First World War to New Deal. The thing that sets his performance apart is the way we see him constantly struggling with the morality of his actions - especially in contrast to the psychopathic Bogart who has no such problems with inner struggles. We see this at the very beginning in the war scenes, we see it again in his rise up the bootlegger ranks, and his acceptance of the loss of the love of his life to his best friend. Finally, of course, we see it in his actions to protect the lives and life of those who have hurt him most. Cagney gives this fairly typical gangster character depth and pathos that make a very good film into a great one.

Red River (1948)

Classic western marred by the token love interest

[9/10 · 21 February 2008]

Undoubtedly a Great film - even those with only a passing interest in westerns must surely accept that. Mutiny on the Bounty transposed to Texas, and although John Wayne is obviously no Charles Laughton, he does a decent job as the obsessive, driven, teetering on the brink, losing his soul Boss. But what I want to concentrate on is the way the three scenes with Joanne Dru stick out like the sorest of sore thumbs, and clash horribly with the rest of the film. Her first scene, when Montgomery Clift is shooting Indians next to her is bad enough, with her talking to him like they'd known each other for years, and slapping him for no apparent reason. But the scene with Clift outside the camp is just plain ridiculous, and grates against the gritty realism of the previous hour. Similarly her next scene with John Wayne - again, incomprehensibly ridiculous. I know all about the apparent need for a love interest - but this is such a good film, and this particular case of the tradition is so obviously tacked on as an afterthought, and so awful that it just seems such a shame. I really think that Dru's scenes could be cut out and nothing would be lost, and we'd be left with a much better film.

No Country for Old Men (2007)

Man finds bodies, drugs and money. Takes money and probably wishes he hadn't

[8/10 · 10 February 2008]

The Coen Brothers most definitely back to form. Like 'Fargo' (the Coen Bros film it is closest to), it is the landscape that dominates the film. Here, we are in the harsh world of West Texas, and from the magnificent opening sequence we are left in no doubt of man's insignificance and smallness, and of how life is always going to be a struggle against this landscape. Once again, the Coen's brilliantly conjure up a graphic, vivid sense of place - there are surely no-one among present day film-makers who are better at bringing a particular landscape to life. After all the justified praise for other aspects of the film, and for the performances of the leading actors, I thought that the filming of West Texas deserved a mention

A Man Alone (1955)

Stranger rides into town and confronts corruption while finding love

[8/10 · 10 February 2008]

Well above average film. The opening 30 minutes (in which Milland, our hero, doesn't say a word, despite being on screen most of the time)are particularly atmospheric. The film's strength comes from it's depiction of the harshness of the landscape and how this fact compromises the moral principles of several of the characters. We are shown a bleak, sandstorm-blown, yellow fever ridden, arid, uncompromising world where a fairly traditional western is played out. Ray Milland gives a good performance as the eponymous 'Man Alone', while his directing skills are less assured. Definitely worth watching, and a cut above most of the films in its genre.

The Sun Shines Bright (1953)

Liberal, Dixie judge takes a principled stand against small town hypocrisy in turn of the century Kentucky

[6/10 · 29 January 2008]

One of the odd aspects of this film is the post Civil War background that looms large to a greater or lesser degree throughout. This takes the form of a blatantly obvious pro Confederate stance, and an almost religious idolatry of 'Dixie'. Halliwell tells us that Judge Priest, the moral heart of the film, "has trouble quelling the Confederate spirit" - but the opposite is the case - the judge is absolutely central to maintaining and celebrating that spirit. The oddness comes because, it seems to me at least, we are not used to seeing such a character defending black rights, preventing a lynching, etc. Even more peculiar is to see such a 'happy' black population - particularly the quite disturbing courthouse scene where 2 black characters suddenly burst into a grotesque song and dance routine. "Mississippi Burning" this certainly isn't! But certainly a film worth watching, and the prostitute's daughter's funeral scene is excellently done. It somehow feels older than 1953.