amhnorris Reviews

Land of the Pharaohs (1955)

Hawks' worst?

[4/10 · 28 June 2003]

After directing this turkey, it would be another four years until Hawks' next movie (the superior 'Rio Bravo'). There's very little to recommend this one and the other positive comments are surprising. That William Faulkner worked on this one has to be considered one of his most embarrassing moments. Even some of Hawks' lesser movies (i.e. 'Monkey Business') had something to recommend them. The dialogue is atrocious. At one point Joan Collins' character says 'It's like that OLD [and this is supposed to be ancient Egypt no less] saying, like someone walking over your grave'. Didn't they have tombs then (the tombs and the pyramid were actually the whole point of the movie!) Her performance was more like Batman - style villainy and holds up in that campy respect I suppose, but is hardly something to hold something supposed to be an epic. A low point for all involved.

Bhowani Junction (1956)

Ava in fine form

[7/10 · 27 June 2003]

'Bhowani Junction' was one of the few movies where Ava Gardner was allowed to be more than just a beautiful, but inanimate statue. As Victoria Jones, she emotes in ways that one rarely sees her do. Like her character Julie in 'Showboat' Victoria is bi-racial, which is the main theme of the movie. The Pakistani backdrop is gorgeously photographed and it's certainly a testament to location shooting as opposed to studio backdrops. Unsurprisingly, it was well directed by Cukor, especially the interior, dramatic scenes that he is so famous for. The final sequence is a break from that, however, with darkly lit chases and murder. An entertaining diversion; certainly one that fans of Gardner would want to catch.

The Thin Man (1934)

The best of the bunch

[8/10 · 8 June 2003]

Great fun all around here. The plot revolves around the death of a secretary whose boss goes missing shortly after. Oh, and of course she had gangster connections as well. As with other 'Thin Man' movies, many of the characters featured have motives and justifications for the crime, and the ending is genuinely unpredictable. I don't think that it's the funniest of the series, but the story is superior and compensates for that. And, of course, there's the inimitable chemistry between Powell and Loy. The perfect marriage, indeed.

On Golden Pond (1981)

Glossy take on ageing

[7/10 · 7 June 2003]

As you probably already know, 'On Golden Pond' has Norman (Fonda) dealing with his fatality in a rural setting, along with his feisty wife Ethel (Hepburn). Like the Walden Pond of which the title is a pun, it is a setting encouraging thought and reflection. What I didn't expect going into it was just how funny it is. Some genuine laugh out loud moments. Katharine Hepburn and Fonda have almost the type of witty repartee made legendary by the Hepburn/Tracy movies. Her acting style, while less mannered than, say Hepburn, is just not as entertaining and compares unfavourably. I think Hepburn is the highlight here, giving such an energetic and exuberant performance as Ethel, certainly one of her best. Its a shame that she doesn't seem to realise her own fatality until the later stages of the movie because it would have been interesting to see how the character would reconcile certainty of death with her happiness. I like Jane Fonda as an actress, but her presence here slows things down. Its a difficult position to be in because the father/daughter relationship is a crucial one in the movie. Sometimes it strays towards the melodrama with lush strings music in the background. Its not necessarily a bad thing but just be forewarned that rather than a serious meditation on life and death, its strictly Hollywood's take on it where everything is happily resolved by the conclusion. If you want something more meaty about this subject try Bergman's 'Wild Strawberries' or Woody Allen's 'Another Woman'.

Targets (1968)

Flawed but effective depiction of 60s decadent society

[8/10 · 7 June 2003]

A highly interesting film regarding the prevalence of violence in society. The structure reminded me of 'Crimes and Misdemeanors' in that there's two parallel plots not fully merged together until the conclusion. One half involves the life of a dull California family, the other dealing with Boris Karloff, essentially playing himself one presumes, who is trying to come to terms with existing in modern society. Karloff's problem lies in the fact that he regards himself as an anachronism: his brand of horror movies aren't terrifying anymore because the real horror exists in real life. Of course, serial killers were around during Karloff's prime as well, but the frequency, nature, and reporting of the crimes have been magnified significantly since then. The way in which the scenes involving the serial killers were almost silent, without dialogue or even music, was particularly effective and demonstrative of the influence of silent movies.

Although the film is thematically enjoyable, the performances were not so. The actress playing Karloff's secretary was wooden and flat. Bogdanovich himself seemed a little stunted in his supporting role. I suppose he was trying to convey realism (Karloff as the horror star, himself as the writer/director) which may be more important to the overall film. I think the title is referring to the arbitrary nature of violence and killing whereby we are all 'targets'. Recommended to watch in association with a movie like 'Lady in a Cage' (another criticism of 60s decadent attitude to violence) and even the more recent 'Bowling for Columbine'.

After the Thin Man (1936)

More Nick and Nora fun!

[7/10 · 7 June 2003]

I was spurred to watch this one after having seen David Niven and Maggie Smith's spot-on parody of Nick and Nora in 'Murder By Death'. Nick spends most of this one either drinking or drunk, but doesn't let that prevent him from solving the crime of course. Myrna Loy is wonderfully aloof in a fine comic performance. Although it involves murder, the tone is almost exclusively light hearted. The plot was almost a little too complicated, the type of thing that 'Murder By Death' so effectively mocked. It seemed as though the script wanted to make it so that anyone could have been a suspect (one of which is James Stewart in a fun role)which normally would be a good idea, but can make it a little confusing (and I'll admit that I wasn't paying 100% attention, but the light-heartedness seems to almost encourage you not to take it all seriously...which is why 'The Thin Man' movies are so much fun in the first place!)

The Shrink Is In (2001)

Perfectly mediocre

[5/10 · 6 June 2003]

This is a pleasant enough diversion of a movie. Courteney Cox basically plays Monica, which isn't necessarily a bad thing. Her performance in the movie's introduction is forced, but after that is fine. The movie holds up especially well in those scenes without David Arquette. I've never been a fan of that 'Look how wacky I am' brand of humour, and it falls flat on its face here. The writing is unoriginal, but sometimes that's a nice thing in a movie; we know that everything will be fine in the end. There's the odd funny line, but a little too much farce (i.e. Cox repeatedly falling off a chair) or juvenile humor that adds little. Average, but adequately entertaining.

I Saw What You Did (1965)

Castle...with meaning?

[6/10 · 6 June 2003]

The concept of this movie is one of its strongest points. Two teenage girls making a series of prank calls that they 'saw what you did' until by chance they call someone who actually has killed someone. Unlike the other Castle movies I've seen, this one actually has subtext. The girls' blossoming sexuality becomes the main reason for their problems as they (one in particular) are keen to rid themselves of teenage sexual frustration. Joan Crawford has a small role (but star billing, thank you very much) and, as has already been noted, does seem to be quite drunk in her scenes. Unfortunately, she also has about two feet of piled up grey hair that certainly wasn't her best look. She's convincing enough as an aging woman desperate to keep her man. Enjoyable enough for what it is, and recommended to anyone who liked 'Strait-Jacket' and the like.

The Damned Don't Cry (1950)

Joan the gangster's moll?

[7/10 · 6 June 2003]

'The Damned Don't Cry' is an obvious attempt to capitalize on Joan Crawford's success with 'Mildred Pierce' (also made with Warner Bros.) Both films are melodrama tinged with noir, although I would certainly hesitate to classify 'Damned...' as a noir. It has a few of the noir trademarks, but is not executed particularly well enough to be considered as a true film noir.

Like 'Mildred Pierce' it begins with a murder, and is then told via Joan's (her character's name - don't laugh - is Ethel)flashback. We're then treated to some vintage down home Joan, again like her character in 'Mildred Pierce' she is a struggling mother trying to please her child. Instead of tryng to buy a dress for Veda, in 'The Damned Don't Cry' she is trying to purchase a bike for her pathetic son.

The morality of the 50s is in full effect here, again like 'Mildred Pierce'. In the latter film, when the woman leaves the family home and has desires for a professional life, chaos and misery begins. The same is true for 'The Damned...'. Ethel wants a life better than her near-poverty existence, having to leave her husband and child. Therefore, she must be punished in the eyes of the narrative. Ethel then gets mixed up in some gangster situations. There's one amusing scene where in a restaurant her date (a poor accountant) orders 'a chicken salad and a coffee' and Joan nearly has a seizure. The mise en scene changes when Ethel is involved with the criminal activities: a gothic mansion is used and the lighting begins to contrast between light and dark. But, again, not really enough to make a convincing case for this being a noir.

Joan gives a good performance as Ethel/Lorna. Certainly not one of her best, but she is particularly good in the final scenes. If you enjoyed 'Mildred Pierce' or 'Flamingo Road', this is one to watch.

The Search (1948)

One of Clift's finest

[8/10 · 6 June 2003]

The first two thirds of this movie are excellent and rank among Zinneman's finest. Montgomery Clift (who would go on to work with Zinneman again in the superior 'From Here to Eternity') gives a great performance and reminds one of what a fine actor he could be when not consumed by his oh-so troubled existence. He doesn't appear until about forty minutes or so in, but it's worth sticking with. The photography is bleak and austere, as it should be for a movie dealing with post-WW2 Germany. The film's title is actually in reference to the mother searching for her son who was imprisoned in Auschwitz, then looked after by Clift's character. The boy's trauma is dealt with sensitively and intelligently, he is not just rescued and everyone lives happily ever after. He desperately wants a mother and family, realising the things that he lacks.

The only things I could have done without was the idea that once he got to America, James would be fine. Without giving anything away, the ending was representative of Hollywood's Code whereby everything had to conclude neatly. I think it detracts from the film's verisimilitude that had previously been its strongest point.

East Side, West Side (1949)

Ava is the only highlight here

[5/10 · 5 June 2003]

An adaptation of a novel, 'East Side, West Side' is another example of genres merging together, with mixed success. On the one hand, we have the section of plot involving Ava Gardner. As everyone already knows, Ava was exquisitely beautiful, but in this movie she is very effective in her role as a typical noirish femme fatalle (the dangerous woman from the protagonist's past who threatens his future). She was a very competent actress in movies like this where she played the alluring vixen (see 'The Killers') or was part of a larger ensemble cast ('The Hucksters' and 'The Night of the Iguana'). Her freshness is a joy to watch, and matches anything that Stanwyck (overall considered as a better actress) gives here. One scene (and I think its the only scene) between Gardner and Stanwyck is a standout, as Gardner fervently describes the class contrasts between the two. Very convincing and restrained. There are some gorgeous shots of a (soundstage) city at night, replete with resplendent classic cars and neon signs. All very atmospheric, and the type of shots that one would associate more with a noir than a melodrama. The film can be divided really between Gardner's half which is film noir, and the portion involving Stanwyck which is sheer, trite melodrama. Without giving the plot away, note the treatment of Gardner's character for contemporary views of women like her.

The action firmly grinds to a halt with Stanwyck and Mason's boring (for us and them) marriage. Stanwyck had little chemistry with Mason (who sleepwalks through his part) and even less with Van Heflin. Casting wise, it just doesn't seem very convincing. Mason was characterised as vain and selfish - so why would he be so quick to put an end to his relationship with Gardner for Stanwyck who he seemed bored with anyway? He doesn't seem to genuinely love her. There's just too much going on towards the end, none of it particularly interesting. We're not given any reason to care for these people and during some scenes the dialogue felt so recited and flat that they may as well have been holding the scripts.

James Mason and Ava Gardner went on to appear in the dreadful 'Pandora and the Flying Dutchman' several years after this. 'East Side, West Side' (at least the parts with Mason and Gardner)is probably better than 'Pandora...' and certainly less pretentious. Recommended for fans of Ava and film students will possibly be interested in the movie's fluidity of genre.

Manhattan Murder Mystery (1993)

Fun but not without meaning

[8/10 · 1 June 2003]

Produced at the time of his all too public break up with Mia Farrow (she was originally in Keaton's role - and still wanted the part in spite of all that was going on with Allen, make of that what you will) this was intended as a light hearted diversion. And on that level alone it certainly succeeds. I would probably place it in the same vein as 'Small Time Crooks' in the respect that its one of his pure comedies, but (like all of Allen's films) still has room for subtext, in this case commenting on the banality that faces married couples. I think that Allen is saying that boredom in marriage is something natural and inevitable, but doesn't seem to be condoning looking outside of the marriage to change things (look at what happens to the characters here when they do). The problems have to be looked at by the couple themselves. And what a couple it is: Diane Keaton and Woody Allen have rare comedic chemistry that is consistently a joy to watch. The script may not be comparable to Allen's best but the casting, in my opinion at least, compensates for this. Anjelica Huston and Alan Alda are also effective in their supporting roles, Huston in particular as the enigmatic author. Even Joy Behar (the Noo Yawker on TV's 'The View') is acceptable and not grating in a minor role.

N.B. The film contains references and allusions to some of the film noirs: 'Double Indemnity' and 'Lady from Shanghai' in particular. I think that the latter film may be important to see so one can fully appreciate the ending. One of the great things about Allen is that unlike many other contemporary film makers, he works on the assumption that the audience does know something: has seen important movies and has read important books, so will be able to understand such references.

Recommended, regardless of whether you happen to be an Allen aficionado.

Strait-Jacket (1964)

Classic Crawford

[8/10 · 1 June 2003]

Wow, where to begin with 'Strait-Jacket'? First of all, people who aren't keen on either Crawford or 60's horror movies shouldn't, and probably wouldn't, bother with this in the first place. That being said, its great fun. Joan Crawford is the film's main - perhaps only - asset. Crawford is considered by many now as a camp icon. This does her a great disservice because it undervalues her talents as an actress. Quite simply, she was the greatest (female) movie star. One of the best - and paradoxically saddest - things about Crawford was that whatever she was in, she always gave maximum efforts to her performance. This is sad because a movie like this isn't really worthy of the depth that she adds to the character. Adding Mildred Pierce-level emotion to 'Strait-Jacket' is almost tragic to watch if you think about how her career had gone. One of the trademarks of a truly great actor is the ability to rise above the material, and Crawford certainly does this here, cranking up the acting-ometer up to 150.

'Strait-Jacket' certainly compares well with others in its genre. Personally, I found it a lot more enjoyable that 'Whatever Happened...' perhaps because Bette Davis wasn't in it. It may not have the subtext of 'Baby Jane' or 'Lady in a Cage' but, no other words to really explain it, it is simply more fun to watch.

Flight to Tangier (1953)

'How was I to know a donkey would stop traffic?'

[1 June 2003]

Although this film is by no means an AFI classic, I was nonetheless surprised that it hadn't yet received a single comment. For what it is its fine, an enjoyable drama very much a product of its time (Cold War themes, etc.) The sets are laughably unreal, but the acting (and by that I mean Fontaine and Palance) compensates. Joan Fontaine is one of my favorite actresses and was the main reason for my watching this. She does seem to be having fun in a film that is quite a departure from her typical fare. I had never seen Corinne Calvet in anything before and I suppose she does all that is required of her, i.e. look buxom and speak in a breathy French intonation. She is the standard Tart-With-A-Heart character, and its interesting to note (spoiler) Palance's rejection of her attempts at seduction as an interesting indication of 50s morality: sexuality is something to be suppressed, not exposed. Ultimately she pays for her behavior. All in all an entertaining film, and I'm sure those who watch it will realize the type of film that it is going into it.

Dead Reckoning (1946)

Unoriginal but enjoyable noir

[7/10 · 1 June 2003]

This movie, while certainly not the best film noir, certainly would be an ideal introduction to the genre, in large part because of its blatant banality. It does not even attempt to elaborate or subvert any of the genre's themes, so in that sense is ideal for someone wanting to get a feel of a film noir. All of the noir ingredients are there: man returning from war, femme fatale, flashback narrative, gambling, seedy clubs, suspicion, paranoia, etc. I've never seen Lizabeth Scott in anything else so can't really comment on her, but my goodness she seems to be trying to do her best Lauren Bacall impression. Certainly she's no Bacall, Lake, Gardner or even Turner, but is passable in her performance as the femme fatale. The plot is more complicated than someone used to contemporary movies may expect, and one certainly needs to pay a lot of attention to it. That being said, it can work in the same way as 'The Big Sleep' (a much superior film) if one disregards the plot and just soaks in the atmosphere. The city at night shots at the movie's beginning are incredible, probably the photographic highlight of the entire movie. I've read criticism about the direction and lighting in the sense that it switches between light and dark. I think that it is supposed to work in the same way that a movie such as 'Mildred Pierce' works in the sense that the juxtaposition between light and dark represents the character's state of mind. So in a scene where Bogie is content with Scott, the colors are extremely light, representing his state of mind. More suspicious scenes are thereby darker. I don't know, just a theory, and even if this was the director's intention its debatable as to whether its effectively achieved.

All in all, an enjoyable noir, certainly recommended for fans of the genre, just don't expect any originality.

Leave Her to Heaven (1945)

Melodrama or noir?

[7/10 · 1 June 2003]

Believe it or not, I actually studied this movie for a cinema class. After repeated watchings, I got quite bored of it but is nonetheless a good example of genres merging. With 'Leave Her to Heaven' we have the melodramatic plot, but characterisation and some plot elements that belong more to film noir than melodrama. Gene Tierney plays Ellen, a typical femme fatale from noir who is determined to be a good wife and just wants to be alone with her husband. Some of the plot developments do verge on the tragicomic, but its clear that things like lighting and overall mise en scene have been thought about by the director which isn't always the case with movies like this.

Tierney was Oscar-nominated for this role and it certainly is one of her better performances. Her character is a lot more fleshed out and emotional than her eponymous role in 'Laura'.

I wouldn't recommend this to the casual viewer, unless you're particularly interested in the actors or the genres. Thumbs firmly in the middle.