I saw Lawrence Kasdan being interviewed on Travis Smiley’s PBS television show recently and thought a quartet of his films might make a good contribution to this blog. When I went to choose the movies however I had some difficulty. Equally well known, and perhaps more prolific, as a screenwriter, selecting just four from the twelve movies Kasdan has directed took some time. Firstly you notice he has collaborated a great deal with both Kevins – Costner and Kline (both of whom should get a blog entry of their own here and soon) and also frequently casts Jeff Fahey, William, Hurt, Jeff Goldblum and a host of others. Secondly, the diversity of his subject matter shines out. So here’s my favourite four:
The Big Chill (1983)
A group of former college friends reunite at the funeral after the unexpected of one of their group, and over a weekend in a big house, catch up and reminisce. The cast is stellar: Tom Berenger, Glen Close, Jeff Goldblum, Meg Tilly and Kevin Kline to name just a few. A quiet thoughtful film, that is never without humour and rightly nominated for three Oscars. (Kevin Costner made his screen debut here, but other than appearing as the beloved corpse, got left on the cutting room floor.)
Silverado (1985)
My father’s favourite western, and just down right fun! Jaded cowboy Paden (Kevin Kline) robbed and left for dead in the desert, is rescued by Emmet (Scott Glenn) who’s on his way to meet his younger brother Jake (Kevin Costner) in Silverado. Paden tags along, but upon arrival his past catches up with him, and sets him on the road to a final showdown with old acquaintance Cobb. John Cleese is wonderful as a local sheriff and Jeff Fahey’s Tyree make this one a joy. Also watch for a great supporting cast including Linda Hunt, Jeff Goldblum and Danny Glover.
The Accidental Tourist (1988)
Based on the novel of the same name; Leary, a writer (William Hurt) travels the world, detailing locales in his guides. Living in a fog, his wife (Kathleen Turner) leaves him, neither of them is dealing well with the death of their young son. Leary unexpectedly finds himself in the company of a kooky young woman (Geena Davis) who awakens him to life that is passing him by. Just as Leary finds his feet again, he is forced to choose between his past and a future. The supporting cast is superb (Bill Pullman, David Odgen Stiers, Ed Begley, Jr., Amy Wright) and includes a corgi who steals every scene he appears in.
Grand Canyon (1991)
A subtle endearing ensemble film that revolves around the lives of six residents of Los Angeles with under-themes of class and race. The story pivots on an incident when the car of lawyer Mac (Kevin Kline) breaks down in a rough neighbourhood, and he is watched over by local man Simon (Danny Glover). The storylines of all six characters finally merge when they all visit the Grand Canyon. Steve Martin, Mary McDonnell, Alfre Woodward and Mary Louise Parker round out the impressive cast.
30 April 2012
23 March 2012
... the Unmistakable Ward Bond
Burly, growly, sometimes softy, Ward Bond was born in Nebraska in 1903. While attending the University of Southern California, he worked as an extra in the movies meeting his soon-to-be-life-long friend John Wayne. After getting his first speaking role with director John Ford in 1929, Bond appeared in literally hundreds of movies, usually in supporting roles - most notably in The Maltese Falcon (1941), It’s a Wonderful Life (1946) and The Searchers (1956). He became a founding member of the famous ‘Ford-Wayne’ acting ensemble, but ironically, the role which made him famous came on television, in 1950s series Wagon Train. Bond had a steady career until his death at age 57, and is reputed to have appeared in more films on the AFI’s Top 100 Movies list than any other actor. Here are four films that may show why.
3 Godfathers (1948, dir: John Ford)
A small film by Ford’s standards, filled with Wayne and Ford’s gang of actors. After robbing a small-town bank and going out into the desert to avoid the Marshall (Ward Bond) and his posse, three outlaws (John Wayne, Pedro Armendariz, John Carey Jr.) find an abandoned mother (Mildred Natwick) dying in a wrecked wagon, newborn in her arms. The ‘godfathers’ promise to take on the baby, despite being on the lam from the law.
Fort Apache (1948, dir: John Ford)
Perhaps my favourite Ward Bond role, here he plays Sgt. Mjr. Michael O’Rourke with dignity and panache. O’Rourke and his Captain Kirby York (John Wayne) have to content with the arrival of an unbending new commander Owen Thursday (Henry Fonda) who is determined to impose ‘west point’ values on a wild frontier post. Also notable is Shirley Temple, admirably playing one of her first adult roles, as Thursday’s equally self-willed daughter.
The Quiet Man (1952, dir: John Ford)
Ford’s tribute to the ‘the olde country’, Bond underplays the gentle local priest, Father Lonergan, administering (some might say 'refereeing') a village full of trying characters. American Boxer Sean Thornton (John Wayne) retires and returns to his family's Irish village but, unused to its confusing Irish traditions, soon falls foul of just about everyone, especially his new wife (Maureen O’Hara) and her stubborn brute of a brother Wil Danahar (Victor McLaglen).
The Wings of Eagles (1957, dir: John Ford)
Based on the life of Naval Officer-turned-Screenwriter Frank ‘Spig’ Wead, Bond supports John Wayne in the title role, with Maureen O’Hara as Spig’s long suffering wife, the third time the three of them appeared a movie together. Bond appears late in the movie, playing a hollywood director who gives Spig his first break, showing an uncanny resemblance to his old friend John Ford, even Bond’s office is strewn with props loaned by Ford himself.
3 Godfathers (1948, dir: John Ford)
A small film by Ford’s standards, filled with Wayne and Ford’s gang of actors. After robbing a small-town bank and going out into the desert to avoid the Marshall (Ward Bond) and his posse, three outlaws (John Wayne, Pedro Armendariz, John Carey Jr.) find an abandoned mother (Mildred Natwick) dying in a wrecked wagon, newborn in her arms. The ‘godfathers’ promise to take on the baby, despite being on the lam from the law.
Fort Apache (1948, dir: John Ford)
Perhaps my favourite Ward Bond role, here he plays Sgt. Mjr. Michael O’Rourke with dignity and panache. O’Rourke and his Captain Kirby York (John Wayne) have to content with the arrival of an unbending new commander Owen Thursday (Henry Fonda) who is determined to impose ‘west point’ values on a wild frontier post. Also notable is Shirley Temple, admirably playing one of her first adult roles, as Thursday’s equally self-willed daughter.
The Quiet Man (1952, dir: John Ford)
Ford’s tribute to the ‘the olde country’, Bond underplays the gentle local priest, Father Lonergan, administering (some might say 'refereeing') a village full of trying characters. American Boxer Sean Thornton (John Wayne) retires and returns to his family's Irish village but, unused to its confusing Irish traditions, soon falls foul of just about everyone, especially his new wife (Maureen O’Hara) and her stubborn brute of a brother Wil Danahar (Victor McLaglen).
The Wings of Eagles (1957, dir: John Ford)
Based on the life of Naval Officer-turned-Screenwriter Frank ‘Spig’ Wead, Bond supports John Wayne in the title role, with Maureen O’Hara as Spig’s long suffering wife, the third time the three of them appeared a movie together. Bond appears late in the movie, playing a hollywood director who gives Spig his first break, showing an uncanny resemblance to his old friend John Ford, even Bond’s office is strewn with props loaned by Ford himself.
27 February 2012
Apologies... I will be posting again soon!
... I haven't given up the blog, but the last year have been 'hectic': lost job, six months' employment, working part-time, taken classes, had a blood clot in my leg, and - on the plus side - met a GREAT guy. So intend posting again soon!
02 March 2011
... the roles of Colin Firth
Best known perhaps for his performance as Mr. Darcy in the British TV series of Jane Austen’s Pride and Prejudice (1995), Colin Firth finally won the 2010 Best Actor Oscar (as well as Golden Globes and the SAG award) for his role as stuttering suffering man-who-rather-not-be King, George IV in 2010’s best picture winner, The King’s Speech. His ability to bring deep humanity to such cardboard characters as Austen’s Darcy is perhaps his greatest gift. I particularly admire his uncanny ability to remain straight-faced, when all the character’s emotions, thoughts and angst are slipping from Firth’s expressive eyes. (He often brings to mind the emoting of silent-screen icons like Keaton and Chaplin.) His career has built gradually, including ensemble roles in such great films as Love Actually and Bridget Jones (1&2), to his striking lead in Tom Ford’s A Single Man (2009). Here are four movies to whet your appetite for his acting.
Valmont (1989, Dr: Milos Forman)
The first time I noticed Colin Firth was in this European production, based on the Dangerous Liaisons novel. The film stars Firth, Annette Benning and Meg Tilly in the tragedy of one bitter French widow, one dissipated Count and the ever-increasing ripples of destruction they cause as they contrive a cynical bet to bring down one virtuous woman. You can also watch director Stephen Frears’ better-known Dangerous Liaisons (1998), starring Glenn Close, John Malkovich, Michelle Pfeiffer and compare performances, just for fun.
The Importance of being Earnest (2002, Dir: Oliver Parker)
Firth takes on the sparking genuis of Oscar Wilde, and holds his own with crème of British actors (Anna Massey, Judy Dench Edward Fox, Tom Wikinson) as well as playing Jack to the ever scene-strealing Rupert Everett, as his cousin Algy. Two gentlemen living in 1890's England assume the same pseudonym (Ernest), until they fall in love with two women (Reese Witherspoon, Frances O’Connor) using that same name, leading to a witty comedy of ever-increasing mistaken identities.
A Single Man (2009, Dir: Tom Ford)
In L.A. in 1962, a English College Professor George is still overcome with grief a year after the death of his partner Jim in a car accident. Given the repression of the times, the only outlet for his pain is old friend, Charley (Julianne Moore) who has been in (unrequited) love with him for years. Contemplating suicide, what George believes to be his last day is taken up by encounters with his faithful housekeeper, Charley, and one of his students, Kenny (Nicholas Hoult), who is concerned about his teacher’s recent subdued behaviour.
Mamma Mia! (2008, Dir: Phyllida Lloyd)
Contriving to string together Abba’s hits into some form of narrative was not an inspired idea, but this movie is just plain fun! Donna (Meryl Streep), the mother of a bride-to-be is dismayed when three former boyfriends turn up for the wedding, any of whom may be her daughter’s father. Harry (Colin Firth), Sam (Pierce Bronson) and Bill (Stellan Skarsgard) on a Greek island together is three fathers too many! All the cast sing and dance their way through the film, and the ending credits a la Abba spandex suits is well worth the wait. (I know this movie had mixed reviews, mostly due to the vocal performances of actors who clearly were not trained singers, but I believe that just made their performances genuine.)
Valmont (1989, Dr: Milos Forman)
The first time I noticed Colin Firth was in this European production, based on the Dangerous Liaisons novel. The film stars Firth, Annette Benning and Meg Tilly in the tragedy of one bitter French widow, one dissipated Count and the ever-increasing ripples of destruction they cause as they contrive a cynical bet to bring down one virtuous woman. You can also watch director Stephen Frears’ better-known Dangerous Liaisons (1998), starring Glenn Close, John Malkovich, Michelle Pfeiffer and compare performances, just for fun.
The Importance of being Earnest (2002, Dir: Oliver Parker)
Firth takes on the sparking genuis of Oscar Wilde, and holds his own with crème of British actors (Anna Massey, Judy Dench Edward Fox, Tom Wikinson) as well as playing Jack to the ever scene-strealing Rupert Everett, as his cousin Algy. Two gentlemen living in 1890's England assume the same pseudonym (Ernest), until they fall in love with two women (Reese Witherspoon, Frances O’Connor) using that same name, leading to a witty comedy of ever-increasing mistaken identities.
A Single Man (2009, Dir: Tom Ford)
In L.A. in 1962, a English College Professor George is still overcome with grief a year after the death of his partner Jim in a car accident. Given the repression of the times, the only outlet for his pain is old friend, Charley (Julianne Moore) who has been in (unrequited) love with him for years. Contemplating suicide, what George believes to be his last day is taken up by encounters with his faithful housekeeper, Charley, and one of his students, Kenny (Nicholas Hoult), who is concerned about his teacher’s recent subdued behaviour.
Mamma Mia! (2008, Dir: Phyllida Lloyd)
Contriving to string together Abba’s hits into some form of narrative was not an inspired idea, but this movie is just plain fun! Donna (Meryl Streep), the mother of a bride-to-be is dismayed when three former boyfriends turn up for the wedding, any of whom may be her daughter’s father. Harry (Colin Firth), Sam (Pierce Bronson) and Bill (Stellan Skarsgard) on a Greek island together is three fathers too many! All the cast sing and dance their way through the film, and the ending credits a la Abba spandex suits is well worth the wait. (I know this movie had mixed reviews, mostly due to the vocal performances of actors who clearly were not trained singers, but I believe that just made their performances genuine.)
28 August 2010
… my favourite Director, Sir David Lean
Although I greatly admire the work of such visual directors John Boorman and Ridley Scott, and more recently discovered the stunning films of Akira Kurosawa (see earlier post), my favourite director remains, by far, Sir David Lean. Lean began his career as an film editor in Britain in the 30s and 40s, which is perhaps where he developed such a keen visual eye. In 1942 he began a collaboration with Noel Coward; the first four films he directed were derived from Coward’s work (In which We Serve, This Happy Breed, Blithe Spirit, Brief Encounter) and the next two superb, beloved adaptations of Dickens (Great Expectations, Oliver Twist).
Amazingly, Lean directed only 16 movies in his career (1942-1985), but each of them is exquisite. Like Kurosawa (another gifted but stern task-master) Lean suffered later in his career, as studios became less willing to invest in large-scale – hence costly - productions. Many actors owe career-making roles to Lean, including Peter O’Toole, Omar Sharif, Sir John Mills and perhaps notably, Sir Alec Guinness, with whom Lean maintained a life-long, if cranky, relationship. Lean was nominated and won countless awards for such the large-scale epics as Lawrence of Arabia, Dr. Zhivago, Ryan’s Daughter and A Passage to India, but below are my four favourites.
This Happy Breed (1944)
Based on Noel Coward’s play, the story deals with the working class English Gibbons family as they move into a new house just after WW1, and the events of their lives – both political and familial. Frank (Robert Newton), a Great War veteran, and Ethel (Celia Johnson) have three children. Sam (John Blythe) and Vi (Eileen Erskine), have an encounter with Socialism. Queenie (Kay Walsh), the youngest, is loved by boy-next-door Sailor Billy (John Mills) but she seeks a more glamorous life and eventually runs away from home. Events unfold until finally Frank and Ethel find themselves empty-nesters, and decide to sell the house, poignantly on the eve of WW2.
Great Expectations (1946)
Young Pip (John Mills) is apprenticed as a blacksmith to his sister’s gentle-giant husband, Joe (Bernard Miles). But Pip yearns to be a gentleman after becoming a paid companion to the reclusive Miss Haversham (Valerie Hobson), and her young ward, Estelle (Jeans Simmons). When lawyer Jaggers (Francis L. Sullivan) arrives to say that Pip has been given a legacy and now has ‘great expectations’, he is shipped off to a new life in London and given into the care of Herbert Pocket (Alec Guinness) who is to teach him the 'genteel' way of living. Yet nothing is as simple is as it seems, and the film, ever faithful to Dicken’s beloved novel, leads Pip through disappointments and a dangerous adventure with his mysterious benefactor.
Hobson’s Choice (1954)
Successful 19th century Boozy English Bootmaker, Henry Horatio Hobson (Charles Laughton at his best) ruthlessly rules the roost, his shop and bullies his daughters. But the eldest Maggie (Brenda de Banzie) has her own plans of rebellion. She pursues her father’s apprentice, the reluctant Willy Mossop (John Mills) and together they gradually knock her father off his perch and helps her sisters escape his tyranny.
Lawrence of Arabia (1962)
This is the film I believe the best ever made, for a multitude of reasons. It remains #1 on my list as no other film has its sheer impact, visual beauty, and balance of subject matter. Based on the WW1 experiences of the short-lived T.E. Lawrence (played by Peter O’Toole), it covers the unlikely meteoric military career of a man most had written-off. As an Oxford-trained archeologist and historian, Lawrence was always been captivated by the desert and the Arabs, and this becomes his downfall as he is torn apart by conflicting loyalties. Superb performances from the likes of Jack Hawkins, Omar Sharif, Alec Guinness and (my beloved) Claude Rains, in one of his last roles. See it – but ensure you have the longer director’s cut restored version – and judge for yourselves.
Amazingly, Lean directed only 16 movies in his career (1942-1985), but each of them is exquisite. Like Kurosawa (another gifted but stern task-master) Lean suffered later in his career, as studios became less willing to invest in large-scale – hence costly - productions. Many actors owe career-making roles to Lean, including Peter O’Toole, Omar Sharif, Sir John Mills and perhaps notably, Sir Alec Guinness, with whom Lean maintained a life-long, if cranky, relationship. Lean was nominated and won countless awards for such the large-scale epics as Lawrence of Arabia, Dr. Zhivago, Ryan’s Daughter and A Passage to India, but below are my four favourites.
This Happy Breed (1944)
Based on Noel Coward’s play, the story deals with the working class English Gibbons family as they move into a new house just after WW1, and the events of their lives – both political and familial. Frank (Robert Newton), a Great War veteran, and Ethel (Celia Johnson) have three children. Sam (John Blythe) and Vi (Eileen Erskine), have an encounter with Socialism. Queenie (Kay Walsh), the youngest, is loved by boy-next-door Sailor Billy (John Mills) but she seeks a more glamorous life and eventually runs away from home. Events unfold until finally Frank and Ethel find themselves empty-nesters, and decide to sell the house, poignantly on the eve of WW2.
Great Expectations (1946)
Young Pip (John Mills) is apprenticed as a blacksmith to his sister’s gentle-giant husband, Joe (Bernard Miles). But Pip yearns to be a gentleman after becoming a paid companion to the reclusive Miss Haversham (Valerie Hobson), and her young ward, Estelle (Jeans Simmons). When lawyer Jaggers (Francis L. Sullivan) arrives to say that Pip has been given a legacy and now has ‘great expectations’, he is shipped off to a new life in London and given into the care of Herbert Pocket (Alec Guinness) who is to teach him the 'genteel' way of living. Yet nothing is as simple is as it seems, and the film, ever faithful to Dicken’s beloved novel, leads Pip through disappointments and a dangerous adventure with his mysterious benefactor.
Hobson’s Choice (1954)
Successful 19th century Boozy English Bootmaker, Henry Horatio Hobson (Charles Laughton at his best) ruthlessly rules the roost, his shop and bullies his daughters. But the eldest Maggie (Brenda de Banzie) has her own plans of rebellion. She pursues her father’s apprentice, the reluctant Willy Mossop (John Mills) and together they gradually knock her father off his perch and helps her sisters escape his tyranny.
Lawrence of Arabia (1962)
This is the film I believe the best ever made, for a multitude of reasons. It remains #1 on my list as no other film has its sheer impact, visual beauty, and balance of subject matter. Based on the WW1 experiences of the short-lived T.E. Lawrence (played by Peter O’Toole), it covers the unlikely meteoric military career of a man most had written-off. As an Oxford-trained archeologist and historian, Lawrence was always been captivated by the desert and the Arabs, and this becomes his downfall as he is torn apart by conflicting loyalties. Superb performances from the likes of Jack Hawkins, Omar Sharif, Alec Guinness and (my beloved) Claude Rains, in one of his last roles. See it – but ensure you have the longer director’s cut restored version – and judge for yourselves.
28 July 2010
... the films of Billy Wilder
Born in 1906 in what was the Austro-Hungarian empire (now Poland), Billy Wilder was already a well-known writer/director in Europe when he escaped the Nazis and hit Hollywood in the mid-1930s. Equally renowned as both a screenwriter and director, Wilder wittingly handled such diverse genres as the gritty Double Indemnity to the sublimely silly Some like it Hot, from the eerie Sunset Boulevard to the panic of a memory-loss alcoholic in The Lost Weekend. Billy officially retired in 1981 but remained active in film circles as a teacher and critic, passing away in 2002. Here are four of his varied films, all of which he both wrote and directed.
Stalag 17 (1953)
During WWII, a group of American Airmen are cooped up in Barrack 4 at a prisoner-of-war camp. They soon become aware that there is a stoolie in their midst, passing on escape plans to the Germans, led by their commandant (menacingly played by director Otto Preminger). Suspicion falls on Sefton (William Holden) who up until now has been their distrusted but grudgingly appreciated fixer, scrounging everything they need on the black market by paling around with the guards. As his countrymen turn on him, Sefton must discover the real culprit, or risk of his life. Holden won the Best Actor Oscar for this role.
The Apartment (1960)
Jack Lemmon plays C.C. Baxter, a young insurance clerk who begins a rapid rise on the corporate ladder when he lends his apartment first to the big boss Jeff (Fred McMurray) and other high-rollers, so they can have conduct trysts with their mistresses. Things become complicated when one of the ladies, Miss Kublenik (Shirley Maclaine), whom Baxter has a crush on, despairingly tries to commit suicide in the apartment after Jeff leaves her there following their assignation. Won three Oscars for Wilder (Best Picture, Best Writing, Best Director) and another for Lemmon.
Witness for the Prosecution (1947)
Curmudgeonly barrister Sir Wilfred Robarts (Charles Laughton) returns from an enforced sabbatical, away from his law offices due to ill health. Despite medical advice, and the ever-watchful presence of nurse Miss Plimsoll (Laughton’s wife, Elsa Lanchester), Sir Wilfred agrees to take on a murder case, not when he meets the accused man (Tyrone Power) but his impressive German wife Christine (Marlene Dietrich), who is determined to save her husband no matter what the cost. Nominated for six Oscars.
Sabrina (1954)
Humphrey Bogart, wonderfully cast against type, plays Linus, busy head of the Larabee family corporation. His playboy younger brother, David (William Holden) will soon marry into the Tyson family, creating both a familial bond and a large merger with that family’s company. But all of Linus’ work is thrown off-kilter with the return of the chauffeur’s daughter, Sabrina (Audrey Hepburn), who has undergone an ugly-duckling/swan transformation on a lengthy study trip to Paris. For Sabrina has always had a crush on David, and is delighted when he takes notice of her return, putting all of Linus' business plans in jeopardy.
Stalag 17 (1953)
During WWII, a group of American Airmen are cooped up in Barrack 4 at a prisoner-of-war camp. They soon become aware that there is a stoolie in their midst, passing on escape plans to the Germans, led by their commandant (menacingly played by director Otto Preminger). Suspicion falls on Sefton (William Holden) who up until now has been their distrusted but grudgingly appreciated fixer, scrounging everything they need on the black market by paling around with the guards. As his countrymen turn on him, Sefton must discover the real culprit, or risk of his life. Holden won the Best Actor Oscar for this role.
The Apartment (1960)
Jack Lemmon plays C.C. Baxter, a young insurance clerk who begins a rapid rise on the corporate ladder when he lends his apartment first to the big boss Jeff (Fred McMurray) and other high-rollers, so they can have conduct trysts with their mistresses. Things become complicated when one of the ladies, Miss Kublenik (Shirley Maclaine), whom Baxter has a crush on, despairingly tries to commit suicide in the apartment after Jeff leaves her there following their assignation. Won three Oscars for Wilder (Best Picture, Best Writing, Best Director) and another for Lemmon.
Witness for the Prosecution (1947)
Curmudgeonly barrister Sir Wilfred Robarts (Charles Laughton) returns from an enforced sabbatical, away from his law offices due to ill health. Despite medical advice, and the ever-watchful presence of nurse Miss Plimsoll (Laughton’s wife, Elsa Lanchester), Sir Wilfred agrees to take on a murder case, not when he meets the accused man (Tyrone Power) but his impressive German wife Christine (Marlene Dietrich), who is determined to save her husband no matter what the cost. Nominated for six Oscars.
Sabrina (1954)
Humphrey Bogart, wonderfully cast against type, plays Linus, busy head of the Larabee family corporation. His playboy younger brother, David (William Holden) will soon marry into the Tyson family, creating both a familial bond and a large merger with that family’s company. But all of Linus’ work is thrown off-kilter with the return of the chauffeur’s daughter, Sabrina (Audrey Hepburn), who has undergone an ugly-duckling/swan transformation on a lengthy study trip to Paris. For Sabrina has always had a crush on David, and is delighted when he takes notice of her return, putting all of Linus' business plans in jeopardy.
10 June 2010
... celebrating Canada Day
Here are some movies to help you celebrate our Great Day, and to remember where we came from, what we are, and perhaps even where we are going.
Black Robe (1991, Dir: Brian Beresford)
Set in Quebec in 1634, a priest (Lothaire Bluteau) and a young Frenchman (Aden Young) begin an epic journey to re-establish contact with an unheard-from Jesuit mission deep within the Huron nation. Lead by Captain Champlain (Jean Brousseau) and an Algonquin guide (August Schellenberg) and his family, the pair soon find themselves at the mercy of clashing faiths, tribal hostilities and harsh winter conditions. Screenplay by Irish-Canadian Brian Moore, adapted from his novel of the same name.
Passchendaele (2009, Dir: Paul Gross)
A tour de force from Gross (reputedly the most-expensive Canadian film made to date); based upon the war experiences of his grandfather. World War I was a catalyst for Canada to shed its colonial roots and begin to create its own identity. Gross plays Michael Dunne, a shell-shocked disillusioned veteran of the trenches is sent home, only to return recluctantly to combat to recover the naive young brother of Caroline (Sarah Mann), the woman he loves. The fact that Caroline's parents were German immigrants brings a depth of conflict to the narrative. Watch out for Shaw Festival’s Jim Merzon as the jingoistic British recruiting officer Dobson-Hughes.
Bon Cop, Bad Cop (2006, Dir: Eric Canuel)
Great cop-buddy flick with a premise maybe only Canadians will ‘get’. Fate and a cross-province case brings uptight suit-wearing anglophone detective Martin Ward (Colm Feore) into contact with jean-wearing, laid-back laissez faire Francophone detective David Bouchard (Paul Huard). Both are bilingual, but still they can’t speak the same language! Inevitably they clash, a situation not helped when each becomes involved with the other’s family members.
Paddle to the Sea (1966, National Film Board)
Far up in the great white North, a young boy carves a man in a canoe, names it ‘Paddle to the Sea’ and leaves it on a frozen stream. As the spring thaw begins, Paddle begins a great journey. The film follows its watery progress through Lake Superior and on to the Sea. A kindergarten staple, those 27 minutes which leave children with a wide-eyed awe of the enormity of our country’s nature beauty. (I know I've never forgotten it.)
Did you know?
At the National Film Board’s Mediatheque (corner of John & Richmond Sts. Toronto), you can watch any film in their vast and celebrated collection for a just Toonie! See: www.onf-nfb.gc.ca/eng/mediatheque
Black Robe (1991, Dir: Brian Beresford)
Set in Quebec in 1634, a priest (Lothaire Bluteau) and a young Frenchman (Aden Young) begin an epic journey to re-establish contact with an unheard-from Jesuit mission deep within the Huron nation. Lead by Captain Champlain (Jean Brousseau) and an Algonquin guide (August Schellenberg) and his family, the pair soon find themselves at the mercy of clashing faiths, tribal hostilities and harsh winter conditions. Screenplay by Irish-Canadian Brian Moore, adapted from his novel of the same name.
Passchendaele (2009, Dir: Paul Gross)
A tour de force from Gross (reputedly the most-expensive Canadian film made to date); based upon the war experiences of his grandfather. World War I was a catalyst for Canada to shed its colonial roots and begin to create its own identity. Gross plays Michael Dunne, a shell-shocked disillusioned veteran of the trenches is sent home, only to return recluctantly to combat to recover the naive young brother of Caroline (Sarah Mann), the woman he loves. The fact that Caroline's parents were German immigrants brings a depth of conflict to the narrative. Watch out for Shaw Festival’s Jim Merzon as the jingoistic British recruiting officer Dobson-Hughes.
Bon Cop, Bad Cop (2006, Dir: Eric Canuel)
Great cop-buddy flick with a premise maybe only Canadians will ‘get’. Fate and a cross-province case brings uptight suit-wearing anglophone detective Martin Ward (Colm Feore) into contact with jean-wearing, laid-back laissez faire Francophone detective David Bouchard (Paul Huard). Both are bilingual, but still they can’t speak the same language! Inevitably they clash, a situation not helped when each becomes involved with the other’s family members.
Paddle to the Sea (1966, National Film Board)
Far up in the great white North, a young boy carves a man in a canoe, names it ‘Paddle to the Sea’ and leaves it on a frozen stream. As the spring thaw begins, Paddle begins a great journey. The film follows its watery progress through Lake Superior and on to the Sea. A kindergarten staple, those 27 minutes which leave children with a wide-eyed awe of the enormity of our country’s nature beauty. (I know I've never forgotten it.)
Did you know?
At the National Film Board’s Mediatheque (corner of John & Richmond Sts. Toronto), you can watch any film in their vast and celebrated collection for a just Toonie! See: www.onf-nfb.gc.ca/eng/mediatheque
25 May 2010
... the Art of Akira Kurosawa
One of the finest Japanese Directors, Akira Kurosawa (1910-1998) came to the notice of the West when his revolutionary Rashomon (1950) won the ‘Golden Lion’ at the Venice Film Festival, but he is perhaps best known for his historical masterpiece Seven Samurai (1954) which was re-made as a Hollywood western, The Magnificent Seven (1960). Kurosawa acknowledged the films of such directors as Capra, Wyler and especially John Ford, influenced his approach, and he, in turn, inspired such diverse directors as Lucas, Ford-Coppola, Peckinpah and Scorsese. Kurosawa’s historical epics included Ran (1983) which was loosely based on Shakespeare’s King Lear, Kagemusha (1980), financed in part by Ford-Coppola and Lucas, and Dersu Uzala (1975) the only film he made outside Japan, at the invitation of Mosfilm of the then-soviet Russia. Below are four of Kurosawa’s lesser known works, two contemporary, two historical. Like many Hollywood directors, Kurosawa had a ‘family’ of actors he frequently worked with, including Toshiro Mifune, Takashi Shimura and Minoru Chiaki.
Throne of Blood (1957)
Based on Shakespeare’s Macbeth, the movie follows the rise to power of a lesser feudal lord in sixteenth century Japan. In the ‘cob-web’ forest two mounted Samurai are haunted by a forest ghost spirit (inspired by the characters from Japanese Noh theatre) and the Spirit prophesizes great things for both Washizu (Toshiro Mifune) and the descendents of Miki (Minoru Chiaki) his loyal companion. When the predictions prove true all too soon, Washizu’s nagging wife (Isuzu Yamada) pushes him down a path of bloodly betrayal. (Kurosawa’s recurring connections to nature is at its best here, much of the film was shot on location in and around Mount Fiji. )
Stray Dog (1949)
In post-WWII Tokyo, former soldier turned policeman Murakami (Toshiro Mifune) earns a promotion to detective. During his first few days in plain-clothes, he loses his gun to a pick-pocket on a bus. Shamed, he attempts to resign, but both his department head and his partner-mentor Sato (Takashi Shimura) tell him to deal with it. Then a series of robberies and a murder occur, all using Murakami’s pistol. An chase to capture the fugitive, through a war-ravaged, heat-racked, world-weary Japan.
Drunken Angel (1948)
In his first role for Kurosawa, Toshiro Mifune plays Matsunaga, a tubercular member of the Yakuza (gangsters). Sanada (Takashi Shimura) a grumpy doctor who likes his beer, doggedly attempts to get the reluctant gangster to take the cure, after he treats him (none too softly) for a gun-shot wound. Amidst the harsh underworld of the post-war black-market, ministering to patients living around a more than symbolic cesspool, Sanada does his best for the misfortunates in his care, despite the temptations of a new hospital being staffed by a former colleague. (Mifune, newly released from army service, is suitably emaciated for his role.)
The Hidden Fortress (1958)
After being heavily defeated in battle and bearly escaping with their lives, General Makabe (Toshiro Mifune) is tasked with getting his tribal Princess Yuki (Misa Uehara) and a hidden stash of gold across enemy territory to the safety of their allies. Travelling incognito, the aristocrats are joined by two meddling peasants Tahei (Minoru Chiaki) and Matakishi (Kamatari Fujiwara) whom they accept as travel companions merely to provide cover. But after the peasants aid an escaped slave-girl (Toshiko Higuchi), the General finds himself burdened with getting all five of them to safety. (George Lucas is on record as saying that this movie inspired the basis of his Star Wars Trilogy.)
Throne of Blood (1957)
Based on Shakespeare’s Macbeth, the movie follows the rise to power of a lesser feudal lord in sixteenth century Japan. In the ‘cob-web’ forest two mounted Samurai are haunted by a forest ghost spirit (inspired by the characters from Japanese Noh theatre) and the Spirit prophesizes great things for both Washizu (Toshiro Mifune) and the descendents of Miki (Minoru Chiaki) his loyal companion. When the predictions prove true all too soon, Washizu’s nagging wife (Isuzu Yamada) pushes him down a path of bloodly betrayal. (Kurosawa’s recurring connections to nature is at its best here, much of the film was shot on location in and around Mount Fiji. )
Stray Dog (1949)
In post-WWII Tokyo, former soldier turned policeman Murakami (Toshiro Mifune) earns a promotion to detective. During his first few days in plain-clothes, he loses his gun to a pick-pocket on a bus. Shamed, he attempts to resign, but both his department head and his partner-mentor Sato (Takashi Shimura) tell him to deal with it. Then a series of robberies and a murder occur, all using Murakami’s pistol. An chase to capture the fugitive, through a war-ravaged, heat-racked, world-weary Japan.
Drunken Angel (1948)
In his first role for Kurosawa, Toshiro Mifune plays Matsunaga, a tubercular member of the Yakuza (gangsters). Sanada (Takashi Shimura) a grumpy doctor who likes his beer, doggedly attempts to get the reluctant gangster to take the cure, after he treats him (none too softly) for a gun-shot wound. Amidst the harsh underworld of the post-war black-market, ministering to patients living around a more than symbolic cesspool, Sanada does his best for the misfortunates in his care, despite the temptations of a new hospital being staffed by a former colleague. (Mifune, newly released from army service, is suitably emaciated for his role.)
The Hidden Fortress (1958)
After being heavily defeated in battle and bearly escaping with their lives, General Makabe (Toshiro Mifune) is tasked with getting his tribal Princess Yuki (Misa Uehara) and a hidden stash of gold across enemy territory to the safety of their allies. Travelling incognito, the aristocrats are joined by two meddling peasants Tahei (Minoru Chiaki) and Matakishi (Kamatari Fujiwara) whom they accept as travel companions merely to provide cover. But after the peasants aid an escaped slave-girl (Toshiko Higuchi), the General finds himself burdened with getting all five of them to safety. (George Lucas is on record as saying that this movie inspired the basis of his Star Wars Trilogy.)
29 April 2010
.. the wily Charles Coburn
Lovable old codger Charles Coburn, born in 1877 in Georgia, began as a stage actor, making his debut on Broadway in 1901. His first movie role didn’t come along until 1933, after which he maintained a steady career in supporting roles on film, stage and later in television, almost right up until his death in 1961. Mr. Coburn can be enjoyed in the following, in two of which co-starring alongside the great Jean Arthur.
The More the Merrier (1943, Dir: George Stevens)
With war-time Washington packed with visitors and housing at a premium, Connie Milligan (Jean Arthur) considers it her patriotic duty to rent her apartment’s second bedroom to another woman. Unfortunately, Benjamin Dingle wheedles his way into renting the room, and the next day, rents half of that room to handsome draftee Joe Carter (Joel McCrea). For the sake of propriety, Connie finds herself shielding both of them from the attention of her fiancée, while falling in love with Joe, just as Dingle’s match-making predicts. Coburn won a best supporting actor Academy Award for his role as Dingle.
The Devil and Miss Jones (1941, Dir: Sam Wood)
When millionaire-tycoon J.P. Merrick (Coburn) finds the staff of his flagship department store are trying to form a union, he decides to go undercover. Getting a job in the shoe department under the name 'Higgins', Merrick intends to find the agitators and fire them. He is soon befriended by Mary Jones (Jean Arthur), and her boyfriend Joe (Robert Cummings), both of whom are among the ringleaders. 'Higgins' then falls for his co-worker Elizabeth Ellis (Spryng Byington) resulting in a suitor-rivalry with their snide-snobby supervisor Hooper (Edmund Gwynn). As a strike looms, the store employees walk out, marching to the mansion home of their unseen boss Merrick for a showdown.
The Lady Eve (1941, Dir: Preston Sturges)
Abroad a luxury ocean liner, grifter Jean (Barbara Stanwyck) sincerely falls hard for snobby explorer Charlie (Henry Fonda), but they're abruptly parted when Charlie’s snooping valet Mugsy (William Demarest) discovers she and her father (Charles Coburn) are wanted con-artists. Intending to seek revenge, Jean shows up in Charlie’s wealthy circle, posing as English aristocrat, Lady Eve. Charlie is happily duped, Mugsy is adamant Eve is Jean, while Charlie’s father, Horace (Eugene Pallette) is eager to have his son to marry into the nobility.
In this Our Life (1942, Dir: John Houston/Raoul Walsh)
If you want to cause family dysfunction, give your two daughters male names. Based on a Pulitzer-prize winning novel, Coburn plays Uncle William, who is creepily close to his unstable niece Stanley (Bette Davis). Stanley runs off with the husband of her sister Roy (Olivia de Havilland) resulting in mutual misery and his eventual suicide. Stanley returns home, only to cause distress to all those around her. (The movie’s making as was miserable as its themes. Three days after Pearl Harbour, director Huston was called up for active duty, and Raoul Walsh stepped in to finish the production. He and Bette Davis clashed viciously, and her fury is evident in her performance.)
The More the Merrier (1943, Dir: George Stevens)
With war-time Washington packed with visitors and housing at a premium, Connie Milligan (Jean Arthur) considers it her patriotic duty to rent her apartment’s second bedroom to another woman. Unfortunately, Benjamin Dingle wheedles his way into renting the room, and the next day, rents half of that room to handsome draftee Joe Carter (Joel McCrea). For the sake of propriety, Connie finds herself shielding both of them from the attention of her fiancée, while falling in love with Joe, just as Dingle’s match-making predicts. Coburn won a best supporting actor Academy Award for his role as Dingle.
The Devil and Miss Jones (1941, Dir: Sam Wood)
When millionaire-tycoon J.P. Merrick (Coburn) finds the staff of his flagship department store are trying to form a union, he decides to go undercover. Getting a job in the shoe department under the name 'Higgins', Merrick intends to find the agitators and fire them. He is soon befriended by Mary Jones (Jean Arthur), and her boyfriend Joe (Robert Cummings), both of whom are among the ringleaders. 'Higgins' then falls for his co-worker Elizabeth Ellis (Spryng Byington) resulting in a suitor-rivalry with their snide-snobby supervisor Hooper (Edmund Gwynn). As a strike looms, the store employees walk out, marching to the mansion home of their unseen boss Merrick for a showdown.
The Lady Eve (1941, Dir: Preston Sturges)
Abroad a luxury ocean liner, grifter Jean (Barbara Stanwyck) sincerely falls hard for snobby explorer Charlie (Henry Fonda), but they're abruptly parted when Charlie’s snooping valet Mugsy (William Demarest) discovers she and her father (Charles Coburn) are wanted con-artists. Intending to seek revenge, Jean shows up in Charlie’s wealthy circle, posing as English aristocrat, Lady Eve. Charlie is happily duped, Mugsy is adamant Eve is Jean, while Charlie’s father, Horace (Eugene Pallette) is eager to have his son to marry into the nobility.
In this Our Life (1942, Dir: John Houston/Raoul Walsh)
If you want to cause family dysfunction, give your two daughters male names. Based on a Pulitzer-prize winning novel, Coburn plays Uncle William, who is creepily close to his unstable niece Stanley (Bette Davis). Stanley runs off with the husband of her sister Roy (Olivia de Havilland) resulting in mutual misery and his eventual suicide. Stanley returns home, only to cause distress to all those around her. (The movie’s making as was miserable as its themes. Three days after Pearl Harbour, director Huston was called up for active duty, and Raoul Walsh stepped in to finish the production. He and Bette Davis clashed viciously, and her fury is evident in her performance.)
13 April 2010
.. the Love of Sport
Movies about Sports – do they work? Not always; most of them fail to capture the spontaneity, grace and passion that fans enjoy. But here are four films that not only reflect the glory of the sports involved, but also the behind-the-scenes, joys, sorrows, sacrifices and political machinations surrounding the athletes in their obsessions to be the Best - Darwin’s Theory of Evolution in motion.
Grand Prix (1966, Dir: John Frankenheimer)
Formula One Racing has the one true racing pedigree, surviving in one form or another for over half-a-century. This Academy Award winning film centres on four F-1 drivers through a fictionalized version of the 1966 season. Originally shown in 70mm Cinerama and filmed on location at actual races, the ensemble cast reflects the international spirit of this form of racing including: James Garner (U.S.), Brian Bedford (U.K./Canada), Toshiro Mifune (Japan), Yves Montand (France). Look out for cameos from some of the greatest F-1 drivers of the period, such as Graham Hill, Bruce McLaren, Jim Clark and Jack Brabham.
Chariots of Fire (1981, Dir: Hugh Hudson)
Winning four Academy Awards, including Best Picture, this movie has one of the most memorable beginnings ever filmed and a truly unforgetable soundtrack. Based on the true lives of two British runners, Cambridge undergrad Abrahams (Ben Cross) and Scottish Missionary Liddle (Ian Charleston), each facing their own challenges; Abrahams fights a chip on his shoulder from recurring religious and class prejudice, and Liddle ponders whether his passion for running may be keeping him from ‘the Lord’s work’. Both runners earn a place on the 1924 British Olympic Team, competing in Paris, and Abrahams longs for a chance to avenge his defeat by Liddle in earlier race. Fate however may intervene, as Liddle finds his religious principles clash with what others see as his patriotic duty.
Rudy (1993, Dir: David Anspaugh)
Long before he went on his epic adventure alongside Frodo, Sean Astin took the title role of this college football film. Based on a true story, Rudy Ruettiger comes from a blue-collar family of steel workers, but dreams of playing football for Notre Dame. Rudy gets accepted to a minor college, leaving home with a heartfelt but disappointing warning from his father (Ned Beatty) that ‘Ruettigers don't belong at college’. When Rudy’s tenacity - and some luck - finally gets him into Notre Dame, he defiantly tries out for the legendary football team, demonstrating just what ‘Fighting Irish’ really means.
The Hustler (1961, Dir: Robert Rossen)
Paul Newman stars as ‘Fast Eddie’ Felson, a small-time hustling pool shark, emphatically trounced by the great ‘Minnesota Fats’ (Jackie Gleason). Now broke, he encounters the fragile Sarah (Piper Laurie) in the café at the bus terminal. The couple begin a hesitant affair as she nurses him after an attack by thugs. Abandoning both Sarah and his long-time manager, Eddie signs on with a sleazy new agent (George C. Scott in only his third film role). Eddie finally gets another shot at Minnesota Fats, but at just what cost? Giving a truly classy performance, Gleason, T.V.’s premiere funnyman at the time, did all his own pool-playing (Newman needed a ‘technical advisor’ for his trick shots).
Grand Prix (1966, Dir: John Frankenheimer)
Formula One Racing has the one true racing pedigree, surviving in one form or another for over half-a-century. This Academy Award winning film centres on four F-1 drivers through a fictionalized version of the 1966 season. Originally shown in 70mm Cinerama and filmed on location at actual races, the ensemble cast reflects the international spirit of this form of racing including: James Garner (U.S.), Brian Bedford (U.K./Canada), Toshiro Mifune (Japan), Yves Montand (France). Look out for cameos from some of the greatest F-1 drivers of the period, such as Graham Hill, Bruce McLaren, Jim Clark and Jack Brabham.
Chariots of Fire (1981, Dir: Hugh Hudson)
Winning four Academy Awards, including Best Picture, this movie has one of the most memorable beginnings ever filmed and a truly unforgetable soundtrack. Based on the true lives of two British runners, Cambridge undergrad Abrahams (Ben Cross) and Scottish Missionary Liddle (Ian Charleston), each facing their own challenges; Abrahams fights a chip on his shoulder from recurring religious and class prejudice, and Liddle ponders whether his passion for running may be keeping him from ‘the Lord’s work’. Both runners earn a place on the 1924 British Olympic Team, competing in Paris, and Abrahams longs for a chance to avenge his defeat by Liddle in earlier race. Fate however may intervene, as Liddle finds his religious principles clash with what others see as his patriotic duty.
Rudy (1993, Dir: David Anspaugh)
Long before he went on his epic adventure alongside Frodo, Sean Astin took the title role of this college football film. Based on a true story, Rudy Ruettiger comes from a blue-collar family of steel workers, but dreams of playing football for Notre Dame. Rudy gets accepted to a minor college, leaving home with a heartfelt but disappointing warning from his father (Ned Beatty) that ‘Ruettigers don't belong at college’. When Rudy’s tenacity - and some luck - finally gets him into Notre Dame, he defiantly tries out for the legendary football team, demonstrating just what ‘Fighting Irish’ really means.
The Hustler (1961, Dir: Robert Rossen)
Paul Newman stars as ‘Fast Eddie’ Felson, a small-time hustling pool shark, emphatically trounced by the great ‘Minnesota Fats’ (Jackie Gleason). Now broke, he encounters the fragile Sarah (Piper Laurie) in the café at the bus terminal. The couple begin a hesitant affair as she nurses him after an attack by thugs. Abandoning both Sarah and his long-time manager, Eddie signs on with a sleazy new agent (George C. Scott in only his third film role). Eddie finally gets another shot at Minnesota Fats, but at just what cost? Giving a truly classy performance, Gleason, T.V.’s premiere funnyman at the time, did all his own pool-playing (Newman needed a ‘technical advisor’ for his trick shots).
27 March 2010
... the magic of Preston Sturges
Preston Sturges made several comedies in the 1940s that were both zany and edgy, perhaps even dark. He started out as a successful playwright, which led to screen-writing and winning an Original Screenplay Academy Award for ‘The Great McGinty’. His brand of off-beat gritty comedy made him a Maverick and his frequent clashes with the studios made him unpopular in Hollywood. Here are four to whet your appetite.
The Lady Eve (1941)
Abroad a luxury ocean liner, grifter Jean (Barbara Stanwyck) sincerely falls hard for snobby explorer Charlie (Henry Fonda), but they're abruptly parted when Charlie’s snooping valet Mugsy (William Demarest) discovers she and her party are wanted con-artists. Intending to seek revenge, Jean shows up in his wealthy circle, posing as English aristocrat, Lady Eve. Charlie is completely (and happily) duped, Mugsy's adamant Eve is Jean, and Charlie’s father Horace (the marvellous Eugene Pallette, who gets no respect - and no breakfast!) wants his son to marry nobility. Chaos ensues.
Sullivan’s Travels (1941)
Joel McCrea plays a spoilt movie director of what he calls ‘fluff’, who decides to go incognito across the country, to research a ‘serious’ film about the suffering poor. Despite his studio bosses trying to stop him, he swaps clothes with a street bum, puts a dime in his pocket and takes off. Along the way he teams up with an out-of-work actress (Veronica Lake). Sullivan, a victim of his own naivety, he gets a lot more than he bargained for.
The Palm Beach Story (1942)
Geraldine (Claudette Colbert), impatient wife of struggling inventor Tom (Joel McCrea) hatches a plan to escape to Palm Beach and find a millionaire to marry, to get Tom the money he needs to finance his new invention. When Tom finally tracks her down, she's already in the company of millionaire John (Rudy Vallee) so she introduces Tom as her brother Mac. Geraldine then finds herself torn between securing John and keeping ‘Mac’ out of the hands of other women.
Hail the Conquering Hero (1944)
Woodrow (Eddie Bracken) comes from a long line of military men, but he’s 4F - medically unsuitable for military duty – a fact he’s hidden from his family. His big-city civilian war work ends and he’s too scared to go back to his home town. In a bar he meets a group of sympathetic Marines, one of whom (William Demarest) fought with his father in WW1. The Marines hatch a plan for him to return home as a uniformed decorated hero – dragging the hapless Woodrow in their wake.
The Lady Eve (1941)
Abroad a luxury ocean liner, grifter Jean (Barbara Stanwyck) sincerely falls hard for snobby explorer Charlie (Henry Fonda), but they're abruptly parted when Charlie’s snooping valet Mugsy (William Demarest) discovers she and her party are wanted con-artists. Intending to seek revenge, Jean shows up in his wealthy circle, posing as English aristocrat, Lady Eve. Charlie is completely (and happily) duped, Mugsy's adamant Eve is Jean, and Charlie’s father Horace (the marvellous Eugene Pallette, who gets no respect - and no breakfast!) wants his son to marry nobility. Chaos ensues.
Sullivan’s Travels (1941)
Joel McCrea plays a spoilt movie director of what he calls ‘fluff’, who decides to go incognito across the country, to research a ‘serious’ film about the suffering poor. Despite his studio bosses trying to stop him, he swaps clothes with a street bum, puts a dime in his pocket and takes off. Along the way he teams up with an out-of-work actress (Veronica Lake). Sullivan, a victim of his own naivety, he gets a lot more than he bargained for.
The Palm Beach Story (1942)
Geraldine (Claudette Colbert), impatient wife of struggling inventor Tom (Joel McCrea) hatches a plan to escape to Palm Beach and find a millionaire to marry, to get Tom the money he needs to finance his new invention. When Tom finally tracks her down, she's already in the company of millionaire John (Rudy Vallee) so she introduces Tom as her brother Mac. Geraldine then finds herself torn between securing John and keeping ‘Mac’ out of the hands of other women.
Hail the Conquering Hero (1944)
Woodrow (Eddie Bracken) comes from a long line of military men, but he’s 4F - medically unsuitable for military duty – a fact he’s hidden from his family. His big-city civilian war work ends and he’s too scared to go back to his home town. In a bar he meets a group of sympathetic Marines, one of whom (William Demarest) fought with his father in WW1. The Marines hatch a plan for him to return home as a uniformed decorated hero – dragging the hapless Woodrow in their wake.
26 March 2010
... Claude Rains
Bette Davis maintained throughout her career that Claude Rains was her favourite co-star. Rains was born into an English theatre family, making his stage debut aged 11, and also become a sought-after acting coach, the young Laurence Olivier and John Gielgud amongst his pupils. In 1932, Universal screen-tested Rains and he never looked back. Best known for character and supporting roles in such classics as 'The Adventures of Robin Hood (1938), 'Casablanca' (1944) and David Lean’s epic 'Lawrence of Arabia' (1962), here are some other chances to appreciate Rains’ great talent.
Mr. Skeffington (1944, Dr: Vincent Sherman)
Of the films Rains and Davis did together, the only one where they shared top billing. Davis plays Fanny, a well-bred vain penniless socialite, who marries Job Skeffington for his money. Job takes her as she is, loving her in spite of her heartless affairs and neglect of their daughter. Only decades later does Fanny realize just what his love and loyalty are really worth.
Caesar and Cleopatra (1945, Dr: Gabriel Pascal)
Based on George Bernard Shaw’s wordy and witty play, Rains shines as the aging pragmatic Julius Caesar, easily conquering Egypt, but perhaps not entirely taming the young kittenish Cleopatra (Vivien Leigh). It’s a witty film adaption one of Shaw’s great plays, showcasing some great British actors in support including a young Stewart Granger and (Dame) Flora Robson.
Notorious (1947, Dr: Alfred Hitchcock)
A tense Ben Hecht screenplay based around a group of Nazis in South America, Rains plays the role of Sebastian with relish. Sebastian suspects his wife Alicia (Ingrid Bergman) of having an affair with American Devlin (Cary Grant), but then discovers that Devlin isn’t her lover but her handler, as she is spying on his German friends for the U.S. So which betrayal is the worse?
Here comes Mr. Jordan (1941, Dr: Alexander Hall)
Re-made more recently by Warren Beatty as 'Heaven can Wait', Rains plays Mr. Jordan, a supervisor sent down from Heaven when a novice angel messenger plucks a boxer named Joe (Robert Montgomery) out of a plane crash to save his suffering, only to find Joe wasn’t destined to perish. Adventures ensue before Mr. Jordan can get find a suitable ‘body’ to allow Joe to live out the rest of his days. (Also watch out for wonderful James Gleason as Max.)
Mr. Skeffington (1944, Dr: Vincent Sherman)
Of the films Rains and Davis did together, the only one where they shared top billing. Davis plays Fanny, a well-bred vain penniless socialite, who marries Job Skeffington for his money. Job takes her as she is, loving her in spite of her heartless affairs and neglect of their daughter. Only decades later does Fanny realize just what his love and loyalty are really worth.
Caesar and Cleopatra (1945, Dr: Gabriel Pascal)
Based on George Bernard Shaw’s wordy and witty play, Rains shines as the aging pragmatic Julius Caesar, easily conquering Egypt, but perhaps not entirely taming the young kittenish Cleopatra (Vivien Leigh). It’s a witty film adaption one of Shaw’s great plays, showcasing some great British actors in support including a young Stewart Granger and (Dame) Flora Robson.
Notorious (1947, Dr: Alfred Hitchcock)
A tense Ben Hecht screenplay based around a group of Nazis in South America, Rains plays the role of Sebastian with relish. Sebastian suspects his wife Alicia (Ingrid Bergman) of having an affair with American Devlin (Cary Grant), but then discovers that Devlin isn’t her lover but her handler, as she is spying on his German friends for the U.S. So which betrayal is the worse?
Here comes Mr. Jordan (1941, Dr: Alexander Hall)
Re-made more recently by Warren Beatty as 'Heaven can Wait', Rains plays Mr. Jordan, a supervisor sent down from Heaven when a novice angel messenger plucks a boxer named Joe (Robert Montgomery) out of a plane crash to save his suffering, only to find Joe wasn’t destined to perish. Adventures ensue before Mr. Jordan can get find a suitable ‘body’ to allow Joe to live out the rest of his days. (Also watch out for wonderful James Gleason as Max.)
25 March 2010
... an Anti-Valentine's Day Party
Tired of the sappy unrealistic romance of ‘chic flick’ movies? Forget sighing over not receiving lovey-dovey cards, fattening chocolates or exploitively expensive Roses! Gather your single friends together for an impromptu pyjama party, find a great wine and a strong cheese, and take your pick of these:
Letter from an Unknown Women (1948, Director: Max Ophüls)
Stefan, a jaded composer (Louis Jourdan) receives a death-bed letter from a Covent hospital. Seemingly from a stranger named Lisa (Joan Fontaine) she writes she has known and loved him three times over, each time to her detriment. Stefan, a notorious womanizer, remembers nothing of her, but the letter reveals all.
Dangerous Liaisons (1988, Dr: Stephen Frears)
or Valmont (1989, Dr: Milos Forman)
Opt for either the American (Glenn Close, John Malkovich, Michelle Pfeiffer) or European (Colin Firth, Annette Benning, Meg Tilly) version - same story, different ensemble. Simply take one bitter French widow and one dissipated Count then watch the ever-increasing ripples of destruction created when they contrive a cynical bet to bring down one virtuous woman.
The Good Earth (1937, Dr: Sidney Franklin)
Adapted from Pearl Buck’s beloved novel of China, this is a tale of Wang-Lung, an unassuming dirt-poor farmer (Paul Muni) whose luck changes when he is given O-lan (Luise Rainer), an unwanted house slave, as a bride. Despite neglect, bad harvests and near starvation, she remains a dutiful wife even when her loyalty is sorely tested, as her husband’s sudden good fortune goes to his head.
Immortal Beloved (1994, Dr: Bernard Rose)
Composer Beethoven (Gary Oldman) dies, leaving friend and executor of his will Anton (Jeroen Crabbe) to discover the ‘immortal beloved’ to whom Lugwig has left a bequest. With only one love letter to go on, the movie follows Anton as he searches for Beethoven’s loves and muses, including the enigmatic Anna Marie (Isabella Rossellini).
Letter from an Unknown Women (1948, Director: Max Ophüls)
Stefan, a jaded composer (Louis Jourdan) receives a death-bed letter from a Covent hospital. Seemingly from a stranger named Lisa (Joan Fontaine) she writes she has known and loved him three times over, each time to her detriment. Stefan, a notorious womanizer, remembers nothing of her, but the letter reveals all.
Dangerous Liaisons (1988, Dr: Stephen Frears)
or Valmont (1989, Dr: Milos Forman)
Opt for either the American (Glenn Close, John Malkovich, Michelle Pfeiffer) or European (Colin Firth, Annette Benning, Meg Tilly) version - same story, different ensemble. Simply take one bitter French widow and one dissipated Count then watch the ever-increasing ripples of destruction created when they contrive a cynical bet to bring down one virtuous woman.
The Good Earth (1937, Dr: Sidney Franklin)
Adapted from Pearl Buck’s beloved novel of China, this is a tale of Wang-Lung, an unassuming dirt-poor farmer (Paul Muni) whose luck changes when he is given O-lan (Luise Rainer), an unwanted house slave, as a bride. Despite neglect, bad harvests and near starvation, she remains a dutiful wife even when her loyalty is sorely tested, as her husband’s sudden good fortune goes to his head.
Immortal Beloved (1994, Dr: Bernard Rose)
Composer Beethoven (Gary Oldman) dies, leaving friend and executor of his will Anton (Jeroen Crabbe) to discover the ‘immortal beloved’ to whom Lugwig has left a bequest. With only one love letter to go on, the movie follows Anton as he searches for Beethoven’s loves and muses, including the enigmatic Anna Marie (Isabella Rossellini).
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