frankwiener Reviews

A Night to Remember (1958)

A Movie to Remember

[9/10 · 29 January 2024]

This is another classic film that I had not seen in many years until I found the VHS version in an overlooked, plastic bin at a local thrift store. Now, this was a rare find, and I own it forever, not that the young 'uns can even begin to fathom what the heck that means.

As an American, I know by now that my inability to recognize many names in a British film from the golden era of the 1950's means nothing as to the potential quality of the film. The cast here was outstanding, which was not only a credit to their abilities but to the remarkable skills of their director, Roy Baker, who is also known for his direction of iconic British television series such as "The Saint" and "The Avengers".

The film very effectively captures the human aspects of a developing sense of ultimate doom. Even though we know the tragic outcome of the event, we are taken on the ill-fated sea journey itself as we experience the inescapable realization by 1,500 human beings of their horrible, impending deaths. While hope endures to the end that one of the closest ships would arrive on time to save all of the passengers, it becomes apparent that none of them will make it, including the Carpathia, regardless of the effort of its captain and crew.

With this recent viewing, I found myself somewhat traumatized by the immensity of the tragedy, especially since the original writer of the book, Walter Lord, and the director, Baker, took such great pains to expose the individual stories of a select group of passengers and crew, adding significantly to the overwhelming sense of catastrophe and sadness.

"We were so sure." These are the words that haunt us to this day. Never be so sure of anything...of anything whatsoever. That, to me, is the most powerful message. This film serves as a very effective tribute to those who died on that day. We must never forget them or the circumstances that led to their shocking, awful deaths.

No Way Out (1987)

Stay With It

[8/10 · 29 January 2024]

It's hard to believe that 35 years have passed since I rented the tape from my local video store. Remember those? The owners were always so helpful in my decision to choose the best films of the era, but there's no sense in dwelling in the past now that we nearly managed to survive the first quarter of the twenty first century. God help us.

What surprised me was how much I had forgotten about this film. I won't add a spoiler alert and will not describe the twist at the end, but now you know that it's there, and if you think that the characters of Fred Thompson and Gene Hackman turn out to be lovers, you'll be very disappointed. While we're on the topic of homosexuality, I seriously wonder whether a gay character can be depicted today quite as negatively as that of Will Patton. Just a thought.

One of the strengths of this film is its excellent cast, but somehow Patton stands out to me. I spent five very regrettable, unfulfilling years in Washington D. C. (ask me why, and I won't have a reasonable answer!), and the nefarious, driven Patton character, Scott Pritchard, seemed disturbingly real to me, as if I had actually met someone like him at least a dozen times on Capitol Hill alone. Patton played the role perfectly, and that notable, blonde crown was just the right touch. I knew that he would be trouble from the first moment that he appeared.

I admit that I'm not a fan of lovey-dovey, smoochy scenes, and much of the beginning concerned the development of the Costner-Young relationship. I believe that this was necessary before the real suspense and action, the film's greatest strength, begins. Maybe I'm just jealous that I am not Kevin Costner and never will be Kevin Costner, including his special ability to impress a woman at a social gathering and to exercise his special skills in the back of a limousine cruising through the imposing monuments of the nation's capitol. Even an old geezer like me, who has never seen the back of a limousine, found himself breathing rather heavily there as Susan deftly and gracefully removes her dress.

If you happen to be like me, as my title states, stick around for a very thrilling ride, including many twists and turns through the cold corridors of power, influence, and corruption in Washington, D. C. By the way, I didn't think that Susan was taking a photo of Tom's face, but I guess that I was mistaken. I even managed to catch more than one glimpse of my old apartment on the sixteenth floor of River House near the Pentagon in Arlington. Ah, the memories!

The Mating Season (1951)

Surprise!

[8/10 · 17 October 2023]

I didn't expect to appreciate this 1951 comedy as much as I did, but it's excellent pacing, effective script, and wonderful cast all contributed to a very positive cinematic experience. This film is almost as old as I am but seems to have aged much better than I have. Behind the comic facade lurks a very serious undercurrent concerning social status in America, which is just as relevant today as it was in 1951. The theme that prevails is that people are to be judged as individuals rather than by the socio-economic realm in which they exist.

John Lund, who also starred in "Foreign Affair" with Marlene Dietrich and Jean Arthur, gave a great performance as the newly wed who discovers that his working class mother has been hired by his aristocratic bride as their maid while he is forced to play along with the idea without revealing her identity. Gene Tierney as the wife is as charming as ever. I don't think that I would have liked the classic "Laura" very much without being enchanted by her quirky loveliness. Miriam Hopkins perfected the art of portraying some of the most obnoxious characters in cinema ("The Heiress", "Children's Hour"., etc.) and does so again as Tierney's repulsive and excessively snobby mother. But the performer who really steals the show, once again, is the one and only Thelma Ritter. No one can bring the silliest lines and the dullest movies to life like Thelma, who was recognized for her outstanding work here with the first of five Oscar nominations.

The Battle of Algiers (1966)

All For What?

[5/10 · 17 October 2023]

Although I was very impressed by this film as a brainwashed, leftwing adolescent, I find it mostly boring and tedious today. When I read about the nation of Algeria today, in spite of its vast wealth in oil and gas, I am completely unimpressed by its continuous political oppression since it achieved independence in 1962. I must ask, what was the ultimate outcome of its independence in terms of political freedom? Algeria may have achieved independence, but its people are far from free today.

While the pace of the film was exciting during my first viewing many years ago, the action loses its momentum with the second experience. I do give director Pontecorvo much credit for the ability to recreate acts of terrorism and their deadly results cinematically. The musical background also effectively contributes to the dramatic circumstances. I recognize these attributes in my rating.

1776 (1972)

A Musical Is As Good As Its Music

[6/10 · 1 September 2023]

Once again, having read so many glowing reviews on this website, I find myself in the minority. As much as I respect and value the subject matter here, I can't appreciate this as a musical, especially since so much of the music is not only mediocre but unpleasant to my ears. The very serious subject of the birth of our nation does not deserve all of the silly distractions that occur here. At 2 hours and 20 minutes, the length could have been shortened significantly without sacrificing important events and character development. If this film were produced as a straight drama, it would have made the impact that the occasion deserves. Perhaps I would feel differently about the live Broadway show, but, for me, I was disappointed with the film adaptation. While the performances of Howard da Silva and William Daniels were excellent, they could not compensate for all of the weaknesses.

Mask (1985)

The Second Time Around

[6/10 · 23 August 2023]

Having read several user reviews, all glowing and full of praise, I am surely the outlier here and will most likely find disapproval, but I can take it.

For some reason, the second viewing of this film wasn't nearly as powerful as the first. I feel very strongly that it should have been reduced by 30 minutes as it seemed to lag during the several biker gang sequences. I got the message very, very early that the mother, Rusty Dennis, was unconventional, hard as nails, and loved the fast and dangerous life in spite of the special needs required by her son, Rocky, who was diagnosed with a rare, disfiguring disease called craniodiaphyseal dysplasia. In spite of her love and devotion to Rocky, I still found Rusty to be a very disagreeable character for many reasons, and I am sure that I would not have liked her if I knew her in real life. Still, Cher was extremely photogenic and did an excellent job with the script that was handed to her, and Eric Stoltz was outstanding as Rocky. I was disturbed by the total waste of two great talents, Estelle Getty and Richard Dysart, as the very unremarkable grandparents. Anyone could have played those roles. For me, Sam Elliot was very one dimensional and tended to react with the same bland facial expressions again and again. Perhaps this is what the character, Gar, required, but I had trouble empathizing with both him and Rusty.

Although cinematographer Laszlo Kovacs captured the rather sterile, dusty atmosphere of Azusa, California very well, I found the soundtrack to be mostly annoying. Although I was born and raised in Central Jersey at the same time as Bruce Springsteen, for the most part, I could never appreciate his music or his singing voice, and I'm not apologizing to anyone for my opinion. For me, it was just one more disagreeable element, but, Stoltz and Kovacs saved the entire project.

Stand by Me (1986)

When a Theme Song Outperforms a Movie

[6/10 · 12 December 2022]

This is another instance where I must diverge from the consensus that the film deserves an 8.2 rating out of a possible 10. That is very high for the average rating of a movie, especially one from the 20th century and 36 years old at the time of this writing.

I was 10 in 1959 when the movie was supposed to occur, but I was 12 when Ben E. King's hit, which serves as the film's theme, soared to the top of the charts in 1961. That places me at the same age of the boys when the critical song was most popular, so I should be able to relate to the story on that basis, but I don't. The theme song and the soundtrack were the most positive aspects of the film. I loved the song in 1961 and still love it today, over 60 years later. No matter how hard I tried, I just could not get involved with the story, the somewhat lethargic, if not banal, screenplay, or the characters. Even the location in the Eugene, Oregon area couldn't inspire me very much. I lived in Eugene for a short time a decade before the film was made, and I don't believe the beauty of the region was captured as it could have been.

I remember the age of 12 as being one of the most difficult eras of my life, but my best friends came along when I was around 17, so I couldn't relate to Richard Dreyfuss's final words either. The age of 12 was nothing more than a total nightmare for me even without the sight of a deceased classmate. Life was bad enough without that, thank you.

I wish that I could rate this film higher, but I just can't. No apologies either.

La Jetée (1962)

Over My Head

[6/10 · 7 December 2022]

My mind is not abstract enough to understand this film. I couldn't understand how anyone could survive a nuclear holocaust, even below ground. Perhaps no one did. I can't say for sure.

Considering how insane the world has become with world "leaders" who are either homicidal, or feebleminded, or, worst of all, ineffective and impotent, this was nothing more than a 27 minute nightmare for me, especially when we seem to be living in an endless Cuban missile crisis right now. Perhaps only those who were at least 12 years old in October of 1962.could understand what I mean. Is it a mere coincidence that this film was produced in the same year?

I couldn't understand the significance of the observation deck of then Orly Field in Paris, but it seemed to be critical to the overall theme. It reminded me of one of my favorite destinations as a child, the outdoor deck at the old Newark Airport, which, like so many fond memories of my youth, is nothing but a faded memory to me now.

Heathers (1988)

Che Sera Sera

[5/10 · 3 December 2022]

Considering the apparent cult devotion to the film, I am prepared for down votes, so go ahead. I've been here for a while and can take it.

For me, the best part of the entire film is the opening and closing theme song of Che Sera Sera sung by Sly and the Family Stone. I actually date back to 1956 when it was a major hit by Doris Day and the much repeated (!) theme song of Hitchcock's remake of "The Man Who Knew Too Much" in the same year. As much as I love that movie, I never liked the way Doris sang it, but this version provides the perfect, serene setting that clearly telegraphs "prepare yourself for trouble and conflict because it's coming fast and furious". Perhaps the rest of the film just can't live up to the very effective first scene.

I have seen Winona Ryder in other films before, and there is just so much that any actor can do with a shoddy script. Unlike many other reviewers, I did not appreciate the trite, silly, and embarrassingly profane dialogue. My high school experience twenty years earlier was less than ideal, to make a huge understatement, but this high school, which is supposed to be somewhere in Ohio, seems totally implausible even for southern California, which is probably where all of the creators attended high school.

I haven't seen Christian Slater before, but he thoroughly annoyed me throughout the movie. Was it his odd, affected manner of speaking? The main problem, at least for me, is that Veronica, played by Ryder, under no circumstances would depend upon the disagreeable likes of the Heathers for an active social life at ANY high school in America. It is completely unlikely that she would subject her character to any of these people. Why would she do that? I missed the motivation behind her association with "friends" she did not like, but I admit that I started to lose my attention early.

Having endured, as a nation, the insane level of violence in our public schools that we have experienced in the 21st century, I had a very difficult time laughing at any of this. The Columbine incident would not occur until more than a decade after this film was made, so I suppose I understand that the general sentiments on the matter of public school violence was much different in 1988, but I'm not sure. This was difficult for me to sit through, but I was determined to do it because I knew that I would never see it again, and I still struggle to understand how it could be so popular after what we have witnessed in this country in the 21st century.

I actually know someone in real life who used to call her father an "idiot". I'm not sure if she still does. Perhaps she was inspired by this film. Observing it in real life is even more repulsive than in a movie.

Island in the Sun (1957)

Soapsuds in the Sun

[6/10 · 26 November 2022]

Sadly, Hollywood, once again, uses a very serious subject and makes a mockery of it with banal dialogue and overall superficiality. Instead of focusing on the painful abuse of one people by another, the director here presents a confusing plot involving no fewer than five separate couples and their romantic complications. Some of the cast, including Belafonte and Dandridge, are each included in more than one of these hookups.

Admittedly, I am not a fan of romantic drama, but I have seen soap operas of the same era that remained loyal to their serious subject matter without sacrificing the subject's gravity among a series of confusing, romantic entanglements. Regrettably, this film allows its very important political and social themes to suffocate under the heavy emphasis of frivolous relationships. One film that comes to mind is "Home Before Dark" (1958) in which director Mervyn Leroy never allows the important subject of mental illness to lose its impact beneath some very compelling portrayals of individual relationships. It helps to have two leads, Jean Simmons and Dan O'Herlihy, so strongly committed to their roles. I don't feel that many cast members here are emotionally invested in their roles.

Unfortunately, as is the case with the important topic, an otherwise capable cast is also wasted here. Even the likes of James Mason and Joan Fontaine cannot save this faulty production. Belafonte's one "moment in the sun" occurs during the public showdown with Mason, but it isn't enough, probably because of the otherwise lethargic dialogue.

Aside from a very nice theme song rendered by Belafonte, the cinematography by Freddie Young ("Dr. Zhivago", "Lawrence of Arabia". "Lust for Life", among many others) is exceptional. Having spent some time in Barbados, I especially appreciate the scenes of the spectacular, far less commercialized east coast of the island, most notably the finale. For me, the views of a much more lush and mountainous Grenada are very obvious, including the aerial shots of Grenada's capital, St. George's. Young was able to capture the best of both islands, and his photography is the film's greatest attribute.

Great Expectations (1999 TV Movie)

Good But Cannot Top the 1946 Production

[8/10 · 15 May 2022]

Although I very much enjoyed this updated interpretation of the classic Dickens novel, no remake has ever surpassed the authenticity of the atmosphere created so masterfully by David Lean in his glorious, if not gloomy, black and white version of 1946. Beyond the prevailing murkiness of Lean's remarkable setting, the extraordinary 1946 cast can never be duplicated, especially the unique quirkiness of many of the most eccentric characters. In my humble view, none of the young Estellas could match the bratty nastiness projected by Jean Simmons nor her stunning beauty. Furthermore, Francis J. Sullivan was born to play the role of Jagger and no other actor can even approach him in this endeavor. Thirdly, Martita Hunt sets a very high standard for Miss Havisham that simply has not been met. I could go down the entire list, but I'll stop it there for the sake of brevity.

This cast here performs admirably, and I do appreciate all of the modern cinematic techniques and gimmicks, such as the unexpected, colorful mechanization of the steamship and the specifics of Miss Havisham's worm infestation, just to mention two instances of many, but, for me, there is no substitution for the 1946 film. No one could ever strip Miss Havisham's rotting banquet table quite as dramatically and effectively as John Mills when he tries to save her from burning to death. I sorely miss elements such as that here and so much more, but if you love the book, as I do, this very different rendition must be experienced and appreciated.

Great Expectations (1946)

Expectations Exceeded, Now More Than Ever

[9/10 · 9 May 2022]

Way back in 1961, Dickens' classic novel "Great Expectations" was required reading for eighth graders in my school district. God only knows what eighth graders in New Jersey are required to read today. I don't want to think about that today. I'll think about it tomorrow. In spite of the fact that the book was literally shoved down our throats, I was impressed by the novel, and it marked the beginning of my long appreciation for its amazingly prolific creator. Wisely, my English teacher projected this movie on a screen for us, and it helped us in understanding at least some of the complicated plot elements.

Flash forward more than sixty years later, and I find myself enjoying director David Lean's outstanding achievement even more than ever. Having experienced life for the past six decades, I can appreciate many aspects of the production much more than I could at age 12, including the compelling circumstances and themes of the basic story, the superb acting of the British cast, and Lean's special touch as director. The entire mood of the film is successfully established at the very start in the spooky churchyard scene, and, unlike other reviewers, I never felt that the subsequent action ever let me down, thanks to an excellent script, fine direction, and a seemingly endless supply of fascinating, eccentric characters who are so ably brought to life by an exceptionally talented group of actors. That having been said, I won't dispute those who found Valerie Hobson's performance a bit of a letdown, especially when the standard set by the rest of the cast was so high. I also can't disagree with those who believe that John Mills was too old for the role of the grown Pip, but he was a great actor, and he truly excelled here in skillfully providing us with a wide variety of emotions and reactions.

Although the cast as a team is first-rate, accolades especially go to Martita Hunt as a superlative Miss Havisham, Alec Guinness in his film debut as Pip's a quirky, lovable buddy, Francis Sullivan as Jagger, Finlay Currie as Magwitch, Bernard Miles as Joe, and Freda Jackson as Mrs. Joe. I also thought that Tony Wager plays the perfect Pip, especially when good child actors seem to be a rarity, today and yesterday. Sadly, his life ended from poor health at the relatively young age of 58 after a long career, mostly in television. A young and beautiful Jean Simmons is as striking as ever in her role as the nasty, young Estella, which marked the beginning of a very successful career for her in both Britain and the United States. I would love to see her as Miss Havisham in the 1989 television series.

As to the ending, it was Dickens who was pressured by his advisors to change the original conclusion to a more positive one, so I can't blame the screenwriters, the producers, or the director for that.

Anne Frank Remembered (1995)

The Worst and the Best of Us

[9/10 · 4 May 2022]

While George Stevens' outstanding film "The Diary of Anne Frank" is very moving and very powerful, it is an artistic product in which professional actors and a robust script bring the darkest days of modern history to life. This documentary, consisting mostly of the words of actual victims of the Nazi Holocaust during World War II, is at times even more penetrating. In Stevens' film, the experience of eight Jews hiding for more than two years in the attic of an Amsterdam spice factory is dramatized very effectively while this very gripping account describes very painfully and sadly what actually happened to Anne and her family after they were discovered and transported from their native Amsterdam, first to a camp in northern Holland and then to even more horrifying facilities of death and misery in Poland. In this instance, we observe and listen to the words of the eyewitnesses who came in contact with the Frank family during their horrific and tragic imprisonment by the Nazis.

Although the statements of the victims are extremely compelling, I was most impressed by the remarkable courage of Miep Gies, as well as her associates, who assisted the Franks and their fellow captors throughout their period of hiding. This woman was a true hero who risked her very life and those of her family so that others might live. There were other "righteous gentiles" throughout Europe who could have easily turned away to pursue a life of complacency during the Nazi occupation, but they chose a different, much more difficult path for the sake of their fellow human beings. In the face of very dangerous circumstances, would I possess the unselfish courage demonstrated by individuals such as Miep Gies? Although the experiences of the Holocaust victims are very troubling to hear, this is a film that must be seen so that history may not be repeated. Unfortunately, the shocking brutality and inhumanity of the past is recurring in Ukraine today. Once again, it will take many bold acts of courage to reverse. Pray and act for peace.

War and Peace (1965)

1812 vs. 2022

[8/10 · 1 May 2022]

Having devoted two hours each of the past several evenings to this film, I feel that I now have "War and Peace" withdrawal, if such a condition is possible. The cast, the direction, and the cinematography here are superb. I suppose the director, Sergey Bondarchuk, who also co-wrote the script and stars as the intellectual aristocrat Count Pierre Bezukhov, was determined to present a film that was worthy of the classic novel by Leo Tolstoy, which ranges from 1250-1400 pages, depending upon the specific edition. On this basis, I accept the length of the film, although I do believe that at least some of the dialogue and the lengthy battle scenes, as dramatic and spectacular as they are, could have been shortened. Unfortunately, it is impossible, at least for me, to read subtitles and to appreciate fully the cinematic beauty of a film, especially in this case. The fact is that I am not getting any younger, and my complete understanding of the relationships of the characters suffered as I became entranced by the breathtaking visual images exploding on the screen.

As I watched over several evenings, I had the opportunity during the day to research at least some of the historical circumstances of Napoleon Bonaparte's aggressive, unprovoked invasion of Russia in 1812. Although my ancestral heritage is solidly eastern European (the southeastern corner of Poland as well as Belarus) and I have developed a keen interest in the geographical origins of my family, by no means am I a qualified historian. What struck me was that the entire motivation behind Napoleon's disastrous Russian invasion was the establishment of an economic blockade against his archrival, Britain. In consideration of the enormous amount of resources devoted to such a monumental and very risky undertaking in order to weaken the economy of a third nation, I find it all even more perplexing and disturbing, especially in view of the loss of life on both sides and the misery inflicted upon the civilian population of Russia.

As I watched the cinematic re-enactment of the invasion of a sovereign country, Russia, by another, France, I could not avoid the comparison of this event to the present invasion by Russia of neighboring Ukraine and all of the horrifying, human suffering that has resulted from it. In the end, the shared motivation behind both invasions is the most vulgar exercise of power for power's own sake at a staggering cost to the lives of millions of people. What has changed over the past 210 years? How far has humanity advanced during this time? With the advancement of technology, which now dominates nearly every aspect of our lives, we are deceived into believing that the human species is progressing at a rapid pace while, in reality, our sense of humanity and decency has not improved at all. To the contrary, we seem to have taken a huge step backwards in spite of the gifts that have bestowed upon us as a species.

To me, "War and Peace" is a study of life and death. Bondarchuk's greatest success is conveying so effectively Tolstoy's reverence and appreciation for life itself. Nothing communicates this so powerfully as a soldier in combat who is forced to face death on a cold, heartless battlefield that is void of all humanity, decency, and compassion. What soldier wouldn't rather be gliding across a gleaming ballroom floor with the love of his life?

Europe '51 (1952)

Even the Likes of Bergman and Massina Can't Rescue This Turkey from the Mack Truck

[2/10 · 5 January 2022]

Having read several glowing reviews of this film, I am not sure that I just watched the same movie. Did the enraptured authors see the same, disastrously dubbed version that I did or something else?

At least three post-World War II Italian films are among my all-time favorites, including De Sica's "Umberto D" and "Bicycle Thieves" and Fellini's "La Strada", which starred his amazing spouse, Giulietta Masina, who happens to appear here in the most bizarre cinematic circumstances.

Whatever director Rosselini wanted to accomplish here was totally destroyed by some of the worst English dubbing that I have ever witnessed in more than seven decades of movie viewing. Did Ms. Masina realize how mutilated her role would be when it was recited in pure Brooklynese by one of the bimbos "hosted" in "The Apartment" rented by Jack Lemmon? In fact, all of the Italian actors, which were most of them, spoke in the horribly dubbed English words of mechanical, robotic voices that very offensively rendered totally ludicrous a very serious movie on a very compelling subject. That, by itself, is very sad and very annoying.

As to the plot, why did guilt-ridden Irene (Bergman) agree to her transfer to an insane asylum? That, by itself, seriously weakened her character. While she was free of police custody and apparently a foreign citizen, she should have fled from her totally obtuse husband and from the entire country. True, this essential act would have eliminated the film from its existence, but would that have been a bad thing? Alexander Knox as the totally unsympathetic husband appeared in nearly 100 films over a span of more than 50 years and surely deserved much more than this awful role, which will never influence my high opinion of him.

Disastrous English dubbing, poor character development, overwrought, melodramatic dialogue, and tedious discourse of political and religious nature aside, what was the resolution in the end? Not that there needs to be a resolution to every story, but the entire presentation seemed pointless to me. Who did Irene help? Herself? Anyone else? What did she accomplish for the dying prostitute? When I suffered from a near fatal case of pneumonia, I barely had the energy to open my mouth, let alone shriek, seemingly without end, about the thieves in my awful neighborhood. At the time, the whereabouts of my wallet was the last thing on my exhausted, fever-ridden mind.

In honor of the much valued talent of Ingrid Bergman and Giulietta Masina, I gave this an extra star.

King of Cool (2021)

Rough Realities Beneath the Image of Mr. Smooth

[7/10 · 2 January 2022]

Based on the information in the ten user reviews of this biography to date, I may be the oldest person in the room as I grew up with Martin and Lewis on television during the 1950's and 60's. For what it's worth, my father, who owned a bar featuring live entertainment in downtown Newark, New Jersey, was a personal acquaintance of Jerry Lewis, but I do not know the extent or depth of this relationship, and he is no longer here to explain it.

I am much more of a fan of Dean Martin as a superb, silken singer who developed a unique, easygoing style than as a comedian or an actor, but his performances in "The Young Lions", "Some Came Running", "Rio Bravo", and "Ada" are very noteworthy. The airing of this biography together with these films by TCM would have been a nice touch, but you can stream them at your convenience whenever they are available on TCM . I am the proud owner of a wonderful album entitled "Dino: The Essential Dean Martin" generously offering 30 of some of his greatest songs. For inspiration, I am playing it now. An extraordinary singer with a distinct voice and tone, there is only one Dean Martin, and he can never be duplicated.

Overall, this was a very good documentary on the life of Dean Martin and his meteoric rise to fame from very modest beginnings in Steubenville, Ohio. It allowed me a rare opportunity to witness a sometimes painfully honest account of a man who made a huge impact on me during my most impressionable years. I very much appreciated the views of those who knew him best, especially his devoted daughter, Deana. I was very moved by her love for her father as well as her candor in explaining the full story, or at least as much of it as she was willing to reveal.

What totally wrecked the film for me were the appearances of individuals who apparently did not know Martin at all and who seem to be unfamiliar with the totality of his work as a performing artist. For me, the appearance of Alec Baldwin, who provided absolutely no insight or contribution whatsoever, was downright disturbing. Jon Hamm seemed to be reading from notes, and I received no benefit at all from RZA's segments. I felt as though these individuals were thrown into the production only for purposes of attracting a wider audience. They not only added zero value to the film but substantially reduced its overall effectiveness. Without their annoying presence, I would have rated this very worthy effort more highly.

Walkabout (1971)

When the Wheels Come Off

[9/10 · 10 December 2021]

SPOILER ALERT!

Although this film, superbly directed and photographed by Nicholas Roeg, is visually stunning, it also depicts a very bleak and unforgiving world. For those of us living in "modern civilization", a thin coating of social order cannot entirely insulate us from the raw, natural world that exists beyond the skyscrapers and conveniences of urban life. It is a world filled with devouring insects, menacing reptiles, foreboding skeletons, and, perhaps worst of all, the mental fragility and moral weakness of humans that can so easily create unpleasant, if not horrific, consequences when we least expect them. How do we survive in such a world of such stark contrasts? Some of us can't and don't.

Aside from its broader, more universal theme, the film specifically illustrates the extraordinary disparity between the cities of Australia, where the overwhelming majority of people live, and the vast, enormous wilderness that covers most of that nation/continent which is unique in so many different ways.

This is a very important film that has managed to overcome its undeniable 1970's cultural attributes. To me those aspects of the film's era are superficial in comparison to its profound message concerning a human species that attempts to control and organize a world that naturally resists such efforts. As the director has famously stated, "Man plans and God laughs."

The names of the three main characters are never revealed, as if they have no personal identity as individuals. While their different races and ethnocultural backgrounds are essential on one level, the specific details of their individual lives are insignificant on another, higher level. As humans, they are just one species of many in a world that is only a small part of a wider universe that renders all, including our own personal identity, as meaningless in the long run. The world of the white children's father has obviously reached a point of worthlessness. The hostile, unhelpful man in the abandoned mining town pathetically grasps for some purpose remaining in his life while there apparently is none.

I am surprised that some other reviewers had problems with Jennie Agutter's nude scenes as they include no sexual activity whatsoever. In my view, the segment that fully exposes a beautiful young woman swimming in her most natural, unembellished state effectively portrays the vulnerability and temporality of such beauty and bliss, threatened on all sides by forces and conditions that could easily destroy it all on very short notice. Even her own father, of all people, came very close to eliminating her quite suddenly and unexpectedly. For me, her natural beauty serves as a triumph over the potential horror and hideousness that lurk behind every corner. Somehow, the young woman's beauty prevails, at least for the moment, against great odds.

In spite of the disturbing reality of our world, the three young people at the center of the film do manage to achieve, under very difficult circumstances, an idyllic paradise, even if it is doomed from the start and of very brief duration. As the film reminds us again and again, our individual lives are a mere flash in time, whether we choose to accept this reality or not. Truth is not always what we would like it to be.

Most significantly, the young woman runs to the house that represents the "civilized" world of which she is familiar. She fears the aboriginal boy's ritual dance because it represents a world that is unknown to her. Her single step onto the road that will inevitably lead her back to the world that she knows cannot be lost in its significance. In the end, she cannot break from her unshakeable ties to the world that binds her and where she finds the most comfort.

In this imperfect world, we must seize the fleeting moments of perfection as they occur because we may never live to experience them again. If we do manage to survive in such a menacing, dangerous world, the only remnant of pure, innocent joy endures as a memory.

Paths of Glory (1957)

Of War and Humanity

[9/10 · 30 November 2021]

Although "Paths of Glory" certainly makes a powerful statement about the horror, misery, and insanity of war, specifically the hellish conditions of the World War I trenches, it confronts a much broader matter of the arrogant abuse of power by morally bankrupt, corrupt, and highly incompetent individuals who somehow advance to occupy positions of enormous power. These idiots not only control our lives, but they determine who among us is to live another day or die.

The "powers that be" demand that Colonel Dax (Kirk Douglas) and his men take the anthill no later than the day after tomorrow, and the generals don't want to hear any objections about it. From the response of Dax, who seems reasonably intelligent and capable, we soon realize that the order by the distant and detached generals is all but impossible under the current conditions on the battlefield. The generals have barked their commands but appear indifferent to the unlikelihood of a successful outcome. They dine and dance in palatial magnificence far away from the difficult and inhuman conditions of the foul and filthy trenches and then break for a few minutes to plan for the sure slaughter of their own subordinates without the slightest concern for the impact of their decisions upon the very lives of other human beings.

Filmed in stark black and white, director Stanley Kubrick very ably recreates the maddening and terrifying conditions of the World War I trenches unlike any other film that I have ever seen. As Colonel Dax passes through his weary and injured troops, who line both sides of the narrow, fortified passages, a constant barrage of enemy explosions and whizzing missiles threatens them from all sides. What could Dax be thinking and feeling as he is about to lead his men beyond the trenches into an even worse hell of open and direct combat? We observe an extraordinary sense of unavoidable terror in his face that is camouflaged by the strength and resolve that is required to lead in battle. To me, this very complex and intense portrayal, so impeccably performed by Kirk Douglas, stands as one of the most unforgettable moments in cinema.

When the predictable outcome of the mission is reported to the distant generals, that is, as soon as they find a moment to pause from their perpetual partying, imbibing, and gorging, they decide to hold responsible one individual from each of the three companies for the highly predictable failure. Corporal Paris (Ralph Meeker) is selected by his cowardly, drunken Lieutenant Roget only because he witnessed Roget killing a subordinate in order to escape from a very dangerous assignment. By selecting Paris, Roget conveniently avoids his own trial for murder. Private Arnaud (Joe Turkel) is picked merely at random from the drawing of lots. Private Fierol (Timothy Carey) is chosen only because his superior took a personal disliking to him as a "social outcast". "Me a social outcast?" Fierol asks in outrage and disbelief. As in "The Killing", Carey is a special kind of an actor who plays his characters so realistically that you feel as though you've met them somewhere in your life, but you can't recall exactly when or where. Maybe it was in gym class or afterschool detention but definitely somewhere.

As a lifelong fan of "Blackboard Jungle", produced two years earlier, I had a tough time accepting the instant conversion of Emile Meyer from the gruff, no-nonsense vice principal of an inner city high school to a compassionate priest charged with the impossible task of comforting three doomed, innocent men. Nevertheless, Meyer's appearance is always welcome even in the most unexpected situations.

Rather than revealing the exasperating trial proceedings, I'll skip to the final scene in which Dax's remaining troops are celebrating their fortuitous survival at a local bar. The proprietor introduces a very reluctant, captured German girl (played by Christina Kubrick, the director's wife), who is forced to perform before the rowdy and raucous group. As she slowly begins her melancholy song, the camera shifts to the individual faces of some of the men who have quickly quieted down as they listen to the music. The tune sung by the traumatized, tearful girl moves them to end their noisy celebration and to focus instead on their own inner thoughts, perhaps of the lives they left behind or of their uncertainty in surviving a very brutal war. The men then start humming to the girl's song as she finally succeeds in composing herself on stage. The camera then shifts to Colonel Dax who has paused in front of the bar to listen to his men singing while being absorbed in his own, private thoughts. A messenger arrives to inform Dax that he and his men must immediately report to battle. "Give the men a few more minutes," replies Dax, fully aware of how very precious those moments are.

Lassie Come Home (1943)

Even Among A Stellar Human Cast, Pal Shines

[7/10 · 18 November 2021]

For me, this is a film that has certainly withstood the test of time. Although I have seen it many times, it still makes a very strong emotional impact on me. Even though I know the outcome by now, observing this poor dog endure so many hardships in "her" journey from England to Scotland through many obstacles is still a very painful but engaging view for me.

Although I appreciate Elizabeth Taylor as an adult actor, there is an awkward, stilted aspect to her childhood roles. There is an overshadowing aura of sadness to them. Roddy McDowell, as Joe, seems far less oppressed here than poor Elizabeth. By the time she starred in "Place in the Sun", she managed to achieve a welcome sense of balance and ease before the camera. In my humble view, she owes much to the great director, George Stevens, for showing her the way forward to a very successful career.

In addition to the extraordinary talent and charisma of Pal as the lead dog, the film features an outstanding human cast, including Donald Crisp, Elsa Lanchester, Nigel Bruce, Dame May Whitty, and Edmund Gwenn. Fred Wilcox's excellent direction, some very good writing by Eric Knight (the novel) and Hugo Butler (screenplay), beautiful cinematography, and a fitting musical score by Daniele Amfitheatrof (love that name) combine to create a very visually appealing film, especially for dog lovers and lifelong dog companions like me.

I Walked with a Zombie (1943)

Where Few Tourists Dare to Tread

[8/10 · 3 November 2021]

I have always been attracted to the Caribbean region and have found it to be not only naturally beautiful but culturally mystifying in many respects. For me, a remote Caribbean island not yet corrupted by large-scale, commercial tourism and floating, high rise hotels overflowing with armies of invading day trippers serves as the perfect setting for a strange and unsettling film such as this. While one reviewer claims that the island is Haiti, no one speaks French or even has a French accent, so it couldn't be Haiti.

As was the case with "Cat People", produced only one year earlier, Director Tourneur and Producer Lewton worked diligently to create a credible, mysterious atmosphere in spite of the fact that most of the film is set in Malibu, only a few miles from Hollywood. Forget that I ever wrote that. Deep within the surrounding jungle, the unnerving, ceaseless beat of drums menaces the island's rustling cane fields while the hot, overbearing winds hypnotize the island and all of its inhabitants. We never know when to expect the fearsome image of Carrefour, an imposing zombie with bulging, catatonic eyes, to appear in search of some lost soul, struggling between this world and another. Whether authentic or not, the enactment of a frenetic voodoo ceremony is very captivating.

While the island's white settlers hold most of the economic power, they are spiritually dominated by the much more powerful, intangible influence of the local, black culture. While the past misery of the island's black enslavement is very clear, none of the local folks seem to be as despondent as the affluent whites. For example, Alma, the maid (Theresa Harris), may cry when her niece is born as part of a long, tragic tradition, but she is among the few characters who manages to maintain an overall bright and sunny disposition. Unlike most of the white people, she has achieved a state of harmony with the island's environment.

Similar to Tourneur's and Lewton's production of "Cat People", the center of the story is a tormented soul who cannot be helped by conventional psychiatry or medicine, if anything at all on this earth. The only resolution for such intense misery is death itself. Only in death can peace be achieved.

For me, the biggest, unresolved mysteries are the mostly unexplained circumstances of the mother, Mrs. Rand (Edith Barrett, who happened to be Mrs. Vincent Price in real life), and the attraction of beautiful nurse Betsy (Frances Dee) to the gloomy figure of Paul Holland (Tom Conway). Although Betsy is recruited from Canada to the tropical island in order to care for Holland's psychotic wife, once she realizes that Mrs. Holland is beyond hope, she promptly turns her attention to the rehabilitation of the husband instead. Can she succeed?

Room at the Top (1958)

So Real That I Could Actually Touch It

[9/10 · 31 October 2021]

As soon as I saw the names of Simone Signoret and Laurence Harvey at the top of the billing for this film, I knew immediately that I would not be in for a 1930's screwball comedy. Thank goodness for that, thought I, but at the same time I knew instinctively that I would be viewing a tragedy of major proportions with immense sadness. In fact, the movie would have the power to invoke some of the saddest moments of my own life even if the details had little resemblance to those of Joe Lampton (Harvey) and Alice Aisgill (Signoret). No, I never left the embrace of a hopelessly married woman, ten years my senior and the object of my deep love, in order to marry a very wealthy, socially privileged woman who I did not love but impregnated anyway. No, none of that ever happened to me, but the deep sadness resulting from their romantic predicament nevertheless plunged me into the darkest days of my own life. The details don't really matter in the end. What does matter is that this film, as a work of art, succeeded in producing a strong sense of empathy from me for the main characters, regardless of their imperfections and flaws as human beings.

If I knew even before the first scene that Signoret and Harvey would lead me to a very sad tragedy, does that, by itself, mean that both actors, as great as they are, have been stereotyped? I know Signoret best as La Condesa in "Ship of Fools", another superb portrayal of a doomed, sexually charged, if not starved, woman, and I am most familiar with Harvey as the ill-fated Raymond Shaw in the original "Manchurian Candidate" (1962) and as the deeply conflicted Weston Liggett in "Butterfield 8". All of these roles for me are unforgettable, but they make me wonder whether certain actors, no matter how good they may be, are best suited for very specific kinds of roles. The fact that they may be typecast during their careers should not, by itself, diminish their greatness or their ability. In this case, Signoret and Harvey forcefully drew me into the tormented lives of their characters. To me, this is as good as acting gets. In fact, the entire cast, predominantly British, was superb. Neil Paterson's very potent screenplay and the naturalistic direction by Jack Clayton ("The Great Gatsby" (1974), "The Innocents") contributed to the film's overall success as being, in my humble opinion, among the best of the British "Kitchen Sink"/"Angry Young Man" genre of the 1950's and 60's. The filming locations of bleak British industrial cities significantly adds to the film's overall, atmospheric authenticity, thanks largely to the talent of cinematographer Freddie Francis ("The Innocents", "Elephant Man"). It felt as if I were there.

In spite of his tears, I couldn't feel sorry for Joe in the end. We can't all have the love that we would like, but he has some wonderful friends, a lovely wife who truly loves him, and he won't exactly be starving, will he?

Brute Force (1947)

Nobody Likes a Squealer, Franklin

[8/10 · 29 October 2021]

My father grew up in the impoverished Central Ward of Newark, New Jersey in the 1920's and 30's. In my mind, it was like a prison without walls in many respects. As I watched this captivating film (no pun intended), my father's words of wisdom immediately came to mind as none of the informers have any friends, and the authorities certainly do nothing to protect them in exchange for their very risky, dangerous services. They are lost, loveless souls, and their ends are especially brutal even for the inhuman standards of a harsh and unforgiving hellhole like Westgate Penitentiary.

As bleak and depressing as it is, this film ranks as one of my favorite prison movies, thanks mostly to the outstanding cast, many of whom appear in roles that are very different from those with which I previously associated them. Hume Cronyn as the psychotic, sadistic prison warden is about as far as he can reach from Herbie Hawkins, the nerdy, eccentric hero in Hitchcock's "Shadow of a Doubt", Cronyn's film debut. John Hoyt as a mild mannered swindler is a far cry from the hardened high school principal in "Blackboard Jungle. Charles Bickford, whose primal, desperate holler of "yeah!" will be deeply imbedded in my mind forever, is totally different from Johnny Belinda's tough but understanding father, struggling to make sense of the very harsh, unforgiving world around him. Finally, Burt Lancaster delivers powerfully as he usually does. Sam Levene (the original, not the much younger actor with a different spelling) gets brutally beaten again as he did at the merciless, bigoted hands of Robert Ryan in "Crossfire". It's as if directors read the word "victim" spelled across his face. Poor guy. The rest of the cast, at least within the prison, is excellent.

The flashback scenes involving the four women do not work for me, but I'm guessing that director Dassin and producer Hellinger believed that the camera needed to move away from the intolerably miserable conditions of the prison. The four flashbacks aren't much less depressing than the conditions within the prison, so I feel no relief at all from them, and the acting, as well as the situations, are, at best, bland. I couldn't help from remembering how Dassin and Hellinger messed up what would otherwise be an exceptional picture, "The Naked City", by inserting embarrassingly corny, ridiculous narration, which seriously downgrades the entire production and for no logical reason whatsoever. Thanks to the excellent cast, some superb camera work, and the highly engaging stories of both movies, the serious flaws are triumphantly overcome.

Westward the Women (1951)

A Horse of a Different Color

[8/10 · 20 October 2021]

While I am no expert of the western film genre, I surely have seen enough of it, especially having grown up in the 50's and 60's. This is one western that is unlike any other, mainly because it is a western focused on women, specifically women who are sufficiently fit, both physically and emotionally, to withstand every kind of calamity imaginable from deadly tribal attacks, to uncompromising, uncharted mountains and deserts, floods, runaway wagons, and several instances of death, brutally up-close and inescapable.

Roy Whitman (John McIntyre) has established what should be the perfect farming settlement in 1850's California. The only problem is that there are no women, a situation that makes it anything but ideal for its male population. He hires seasoned wagon master, Buck Wyatt (Robert Taylor), to help him recruit 150 women in Chicago who are willing and able to make the rugged journey west. Under Wyatt's skeptical, no-nonsense leadership, the women make their way west, encountering many hardships along the arduous course, including several fatal accidents that constantly test their motivation and their fortitude.

While Taylor, McIntyre, and French actress Denise Darcel are excellent, Hope Emerson, Henry Nakamura, and a little black and white dog, who is totally uncredited, manage to steal nearly every scene in which they appear. I am most familiar with Emerson in "Caged", in which she perfectly portrays a nasty, corrupt prison matron. Here she is much more sympathetic but just as effective, again as a powerful, dynamic character in more ways than just one. While other reviewers see Nakamura as an Asian stereotype, I view him instead as an amazingly natural performer who manages to speak lines written by others as if they are his own, a true indication of real talent, especially his extraordinarily understated comedic skills. Darcel's and Nakamura's Hollywood careers were unfortunately cut short and for very different reasons. We are all the poorer as a result. McIntyre, on the other hand, followed this and another notable role immediately afterward as the police commissioner in "The Asphalt Jungle" by launching a prolific film and television career, including prominent contributions to iconic tv series such as "Naked City", "Wagon Train" and "The Virginian". As the baffled sheriff in "Psycho", he delivered the unforgettable line, "Well, if the woman up there is Mrs. Bates, who's that woman buried out at Greenlawn Cemetery?" Legendary.

Directed by William Wellman ("The Public Enemy", "The High and the Mighty", "The Ox-Bow Incident", etc.), this film, extraordinary and unique, serves as a tribute to the pioneering women who fearlessly ventured into the perilous unknown in order to help develop America. Although this is a work of fiction, originally written by Frank Capra, real women experienced the hardships, the tragedies, and the triumphs of these women. They are a vital part of our history as a nation.

King Solomon's Mines (1950)

But This Is NOT Indiana Jones!

[8/10 · 13 October 2021]

I am disappointed by this film's low rating among Imdb subscribers. Judging from a number of user reviews, many expected this to be similar to the Indiana Jones series of pure adventure movies, but it is not that kind of an action film. For one, this film delves deeper into very adult matters concerning human disillusionment with life and the exploitation of natural habitat for selfish profit and entertainment. From the start, the film makes a powerful statement about killing animals purely for recreational purposes rather than for survival or sustenance. To me, this is especially noteworthy for a 1950 film. The film also succeeds in capturing authentic African culture as much of it is filmed on location in eastern and central Africa and features genuine, local people and wildlife. Although I have been to North Africa, I don't expect to visit these parts of Africa at this late stage of my life, and I truly appreciate the spectacular photography, especially of the tribal ceremonies, even after many viewings. One of the Masai dances, ordinarily prohibited by the colonial British government in East Africa at the time, is so authentic that it even stirred the tribesmen to violence against the western crew.

The cinematography by the legendary Robert Surtees is spectacular and, by itself, deserves far better than a mediocre 6.9 imdb rating. Among the many cinematic achievements during his three decade career, which roughly spanned from the early 40's to the mid 70's, include a very diversified "Thirty Seconds Over Tokyo", "Act of Violence", "Intruder in the Dust", "The Long, Long Trailer" (turn right here left!), "Oklahoma!", "Ben Hur", "The Graduate", and "The Sting", just to name a few of my favorites. If you comb through the long list, you will probably find your own.

The two leads, Deborah Kerr and Stewart Granger, are very credible and perfectly cast. Unlike Errol Flynn, who was originally chosen for the role, Granger had no problem sleeping in a tent on location and speaking genuine Kiswahili. I have seen Deborah Kerr in many roles through the years. Some of the films may have been entirely forgettable but never Deborah's dynamic performances. In this case, I did have trouble understanding her character's motivation in undergoing such an extreme degree of hardship and danger as an act of penance for not loving her spouse. Is it a crime not to love one's spouse, or at least to lose the love of a spouse somewhere along the way? The emptiness experienced from the absence or loss of love is punishment itself. One doesn't need to endure cannibalistic tribes and all forms of threatening wildlife only because she did not or could not love someone. When her husband, Mr. Curtis, decided to embark on his search for the mines, he acted at his own risk and at no one else's.

I wish that reviewers would stop comparing this very serious film to the Indiana Jones series, but I will probably never get my wish. It is not at all in the same category. Like the Maltese falcon itself, the ultimate objective of the diamond mine paled in comparison to everything else that was occurring around it. Also noteworthy is that the film has no musical score other than the authentic chanting and drumming of the local tribes. If you're looking for Indiana Jones, go elsewhere.

The Man from Laramie (1955)

Troubling Script But Stewart and Lang Light Up the Sky

[7/10 · 6 October 2021]

Back in the days of yore when I was an English major, an esteemed professor strongly reprimanded me for not demonstrating enough sympathy for King Lear. If this story is supposed to be inspired by that noteworthy Shakespearean play, as has been mentioned on this website several times, and if Alec Waggoman (Donald Crisp), who ironically and tragically "sees" the truth when he loses his physical sight, is supposed to represent the King, then, as the immortal Yogi Berra would say, it's like déjà vu all over again because I, once again, do not sympathize with fathers of evil children who refuse to recognize their extreme malevolence until it is far too late. This applies to both the film world and the real world. Anyway, in the case of Lear, how could I ever sympathize with a man who would name his kid Goneril?

If the character of Alec Waggoman utterly baffles me, Vic Hansbro (Arthur Kennedy), Alec's ranch foreman, who is treated like Alec's adopted son, is even more perplexing. Why would he agree to associate himself in any way with a totally unpredictable, psychotic, and sadistic maniac like Dave Waggoman, Alec's only blood son? Is the management position at Alec's Barb Ranch the last one in the entire west? Considering how demonic Dave is, I would never have signed the employment agreement in the first place if Dave was part of the package. And why would ANYONE in Coronado sell rifles to the belligerent and aggressive Apaches under ANY circumstances unless they had a death wish not only for themselves but for every other member of their community? None of this made any sense to me, but it should have, and I blame the poor script, written by Philip Yordan. I had seen "The Harder They Fall" (1956) just before seeing this film, and that screenplay is very "strong", if you'll excuse the pun, while this is very wobbly and confusing. Both screenplays were written within a year of each other, and I found the dialogue in this one to be banal and even silly to the point of embarrassment. In particular, the two female leads, Aline MacMahon and Cathy O'Donnell, who reached a level of perfection as disabled Homer Parrish's partner in "The Best Years of Our Lives", deserved far better than the nonsense that was handed to them here.

As a result of the poor writing, I was inclined to rate this even lower than I did, but Jimmy Stewart's charismatic and dynamic presence and Charles Lang's magnificent cinematography on location in northern New Mexico significantly elevated the film in my eyes. More than three decades ago, I was married in this beautiful area, captured so handsomely by Lang, and it will always have a deep place in my heart. Nothing against Al Martino when he delivers the right material, but I didn't like the theme song either.