The Stranger (1946)

Posted on September 3, 2014 by 4 Star Films

In a whirlwind, the film goes from a moody foreign locale to a quaint American town called Harper, but it never ceases to be a gripping film noir. Considered Orson Welles‘ weakest project thus far, The Stranger is still thoroughly enjoyable thanks to the performances of Edward G. Robinson, Loretta Young and Welles himself. Much like Shadow of a Doubt, this film shows that noir thrillers can still take place in middle America, and they can be pulse-pounders all the same. Also, an evil man can easily exist in a mundane environment and still be evil.

The reason we end up in Harper of all towns has to do with an “escaped” Nazi war criminal. He was allowed to escape and investigator Mr. Wilson (Robinson) follows him. It’s an idyllic little town and one of its most respected members is professor Charles Rankin (Welles), who is soon to be wed to pretty Mary Longstreet (Young). Little does she know that he is former Nazi war criminal Franz Kindler, and he is the man the escaped Konrad Meinike is looking for. Mr. Wilson is very interested in his whereabouts too.

Meinike soon disappears but not before deterring Wilson. However, not one to shy away from his duty, Wilson soon ingratiates himself with the local people, especially the newly married Mary and her kindly family. He is eager to learn more about the professor and at first, the gentleman seems above reproach, but something lurks underneath his calm exterior. Soon the beloved family dog Red is killed, an increasingly manic Rankin confesses his predicament to his wife and conveniently leaves out a few facts. Now constantly paranoid, Mary’s life is in far more peril than she realizes, and Wilson takes all the precautions he can. The clanging of the newly refurbished clock becomes a point of major contention, and it also serves as the perfect locale for a final climatic showdown (Put aside the absurdity and just watch it).

The whole town turns out for the show and finally after getting conked on the head and nearly killed during the case, Mr. Wilson finally has time to relax. Welles is not quite as memorable as Harry Lime here but still a sophisticated villain of sorts. Likewise, Barton Keyes is a bit more memorable but Edward G. Robinson still brings his personality, iconic voice, and memorable mug to the table. Loretta Young has a radiant face and eyes like always. In other words, they do what they do. It works in making The Stranger a worthwhile thriller with the expected melodramatic music and shadowy facades of a film-noir. This is undoubtedly an oversimplification, but then again, Orson Welles needs no introduction, and he certainly does not need me to vouch for creative genius.

4/5 Stars

Talk of the Town (1942)

Posted on September 2, 2014 by 4 Star Films

This comedy-drama begins with a rather stark montage chronicling how the unfortunately named Leopold Gilg (Cary Grant) was accused of arson, murder, and finally imprisoned by one owner of a mill named Holmes. After escaping from prison and an imminent conviction, in a torrential downpour, the hampered Gilg seeks asylum in a nearby house. It just happens to belong to Miss Nora Shelley a local teacher in Lochester and an acquaintance of Gilg. She reluctantly allows the injured fugitive to hold up in her attic, but then her new tenant arrives a day early, the distinguished professor Lightcap (Ronald Colman).

After Gilg finally reveals himself to Lightcap as the gardener Joseph, what forms is an interesting triangle with the two men on the sides and Ms. Shelley in the middle. Both men take a liking to each other despite their difference in opinion on justice. Lightcap is much the academic and he goes by the book. “Joseph” on the other hand has a more practical approach.

It does not matter much until the professor finally learns Joseph’s true identity and now he feels it is his duty to report Gilg no matter his affinity for him. But after Gilg gets away once again, the professor is finally coaxed to look into the case that he has been so reluctant to involve himself in. Both men make concessions out of respect for the other. The professor involves himself, buys some borscht, and cuts his beard, while Gilg turns himself in. It almost drives Ms. Shelley up the wall with grief. You see she loves both of them.

In his final search, Lightcap finds something very interesting indeed. The town mob bursts into the courtroom as Gilg stands trial again, but the professor shows up with a surprise of his own. He ends up as the next Court Justice, a very happy man and Ms. Shelley and Gilg are very happy for him. They don’t have much to complain about either.

George Steven’s film has a bit of a contrived plot much like The More the Merrier. Things certainly feel set up, but that’s okay because the cast is so wonderful it makes the set-piece work. Jean Arthur is in top form when she is exasperated and sneaking about making little white lies as people file in and out of her home. Gilg seemed like a rather odd role for Grant, but he pulled it off with his usual charm and charisma. Someone else might have made Lightcap unbearably stuffy, but Colman’s portrayal is always tolerable and very often charming. This had a lot more drama than I was expecting, but it was not short on the comedy either. My only complaint is that it ran a tad long, but it just meant more screen time for the leads. That’s not so bad. They were The Talk of the Town after all.

4/5 Stars

Review: The Killing (1956)

Posted on September 2, 2014 by 4 Star Films

Stanley Kubrick is one of the most acclaimed directors of all time, and The Killing is his first great film. The main focus of the action takes place at a racetrack, but a great deal of the story occurs in other places before and after the job is pulled. Recently released Johnny (Sterling Hayden) is the mastermind behind an intricately planned job. It’s a whole complex jigsaw puzzle involving a few “Average Joes” and a couple professionals. When you put it together it all adds up to the perfect heist.

Marvin is a friend of Johnny’s and a fatherly figure who is backing the deal. George (Elisha Cook Jr.) is the paranoid window teller banking on the job so he can hold onto his shallow wife. Randy is the policeman who is set to pick up the plunder. Then, Mike is the bartender who is supposed to help with the distraction. Johnny lines up the brawn, Maurice, to start a fight at the race track with Mike. He gets a sharpshooter named Nikki to bump off a horse and it’s all set. All their plans revolve around the Seventh Race, and they have it planned out to the minute. The beauty of The Killing is that it all but works like clockwork. The horse is shot, the brawl does its job, the vault is cleaned out, and the money gets picked up. Only a few small problems crop up.

After the job is done is another matter, as the perfect timetable begins to break down. In a matter of seconds, things blow up thanks to George’s backstabbing wife (Marie Windsor). Soon the carnage is strewn all over the floor. Johnny holds onto the money as previously decided since things go awry, and he makes the getaway. His girl (Colleen Gray) is waiting at the airport and it looks to be smooth sailing from here on out.

Thanks to a yippy dog and a precarious perch, the money-laden suitcase takes a tumble and the contents fly off. All too soon it’s raining money, and there’s nothing Johnny can do about it. He leaves the terminal with Fay, but with no taxi to be had, he gets nabbed and there is no chance to escape. After everything lining up so perfectly for him, in a cruel turn everything that could go wrong did. He was not going to be so lucky.

The title of this film always struck me as ambiguous, whether it meant the amount of money being taken or the deaths that take place I’m not sure. However, I do know that The Killing is tautly constructed. The non-linear and sometimes overlapping narrative is held together by the narrator. He seems fit for a newsreel, but he complements the straightforward procedure of the film with timestamps included.

Because of the lead performance of Sterling Hayden and the main plot element of a heist, this film can sometimes be confused with John Huston’s The Asphalt Jungle (1950). However, I enjoy this storyline more because the heist is not the issue. It is the aftermath and all the subsequent problems occurring so rapidly.

It is a wonderful unraveling thriller and although we do not see Johnny arrested, he might as well be because there are two men with pistols drawn walking right towards him. The Killing was not a big payoff for Hayden’s character, but it certainly is for the audience.

4.5/5 Stars

Review: On The Waterfront (1954)

Posted on August 31, 2014 by 4 Star Films

“They always said I was a bum, well I ain’t a bum Edie.” That is what washed up prizefighter Terry Malloy (Marlon Brando) must try and prove to himself and others for the entirety of this crime-drama. On the Waterfront is ultimately his story of conscience and redemption that we watch unfold. It’s not pretty, but you’ll soon see for yourself.

Living on the waterfront is a tough existence. The mob decides who works and who won’t. Longshoremen are expected to be D & D (Deaf and Dumb) or else they have something coming. That’s how big shot Johnny Friendly (Lee J. Cobb) and his boys can run the entire area. They utilize fear and money to keep the working masses at bay. No matter what police or the crime commission might try to do, they have no hold on the waterfront. It’s a jungle out there and if you want to survive you look out for number one, don’t ask questions, and live another day.That is Terry Malloy’s philosophy and it suits him just fine. His brother Charley is Friendly’sright-handd man and he’s made a good life for himself thanks to his brains. Terry is more brawn than brain, and he does what his brother says. One night he blows the horn on a young man named Joey because he called out Johnny Friendly. That same evening Joey is knocked off, literally. Terry tries to justify it. He only thought they were going to “lean on him” a bit. With that incident begins Terry’s inner battle.

The moral compass of the film is supplied by two people. Edie Doyle (Eva Marie Saint) returns to her town from school with her beloved brother Joey now dead. She cannot understand why no one else will speak out about it or do anything to carry his cause. It is ultimately Father Barry (Karl Malden) who does just that realizing that his parish is the waterfront. He must fight against the injustice of the mob and hope others will join him. It’s a tall order. At the first meeting he holds in the church, a window gets busted, and thugs wait outside for people to beat up on. Terry was sent by Johnny to check it out and it is there that he meets Edie. He is immediately taken by her, and she warms to him. She sees him differently than the others without knowing what role he had in her brother’s death. The Father and Edie encourage Terry to testify at the crime commission after another man is killed in an “accident.”

Friendly can’t have a canary and its Charley’s job to straighten out his brother. That’s when they take their fateful car ride. Terry spill his guts (I coulda had class. I coulda been a contender. I coulda been somebody, instead of a bum, which is what I am, let’s face it. It was you, Charley.) and Charley responds the only way he knows how. He saves his little brother who he has always looked out for and pays the price.

Now Terry has his reason to testify and soon enough he goes before the crime commission to call out John Friendly. He has broken the waterfront code and gone canary. All respect for him is gone and Friendly wants his hide, but Edie is overjoyed in him. Finally, Terry has left the shackles on the waterfront and freed his conscience. He confronts the big man himself and is beaten to a pulp. But as Father Barry says he may have lost the battle, but he won the war.

Before getting to Brando, I must acknowledge the other players for their stellar performances. Eva Marie Saint is just that, a saint, and she gives a heartfelt performance as Edie. It is her love and care that leads Terry to turn himself around because she sees a little piece of humanity left in him. Karl Malden has perhaps one of his finest roles as the Father who represents a man of the faith remarkably. He is no joke, and he does not cave to hypocrisy. His waterfront sermon is one of the most powerful moments:

“You want to know what’s wrong with our waterfront? It’s the love of a lousy buck. It’s making the love of the lousy buck – the cushy job – more important than the love of man! It’s forgettin’ that every fellow down here is your brother in Christ!”

However, Rod Steiger’s poignant scene with Brando in the car is similarly extraordinary, because he realizes where he has failed. He does not need the words. He just stays silent, and we see it on his face. He is the one who pays for the mistakes, though, and he is far from a bum. Then, of course, there is Marlon Brando himself. He is often hailed one of the greatest actors of all time, but he usually played corrupt undesirables or rebels. Terry Malloy is perhaps his best role, and he is the good guy for once. He must struggle to do what is right by him, and he must struggle to prove himself to others. Brando plays him with some much genuineness, heart, and vulnerability at times. He is far more than the brusque meat head we take him for initially.

Elia Kazan was a champion of hard- edged dramas especially in the 1950s and he never succeeded more so than with this film. The black and white cinematography with perpetual fog drifting in fits the dire mood nicely and Leonard Bernstein’s score further compliments the drama. This is a fine example of Classic Hollywood cinema which was praised back then and lauded now. Our fake blood may have gotten better, but otherwise, it’s hard to top this film.

5/5 Stars

Review: 12 Angry Men (1957)

Posted on August 28, 2014 by 4 Star Films

With a title like 12 Angry Men you might come away with the false idea that all the characters in this film are the same, emotionally and otherwise. That is far from the truth. The reason a film like this stands up even today is because the fellows who sit down around that table are everymen that each and every one of us can relate to in some way. Yes, they are all male and all white, but they reflect little bits of us and our own humanity.

But getting down to the specifics, what is 12 Angry Men really and truly about? If you want to break it down, all it boils down to is 12 men gathering in a room to talk out a murder case. It sounds pretty dull and it had the potential to be so. In fact, calling it a courtroom drama is partially a misnomer because we hardly spend five minutes there before the jury is deliberating. We see the members of the jury, hear the final statement of the judge, and get a last look at the young defendant.

What comes next is the beginning of the decision-making process and seeing as it looks like an open and shut case, an initial vote is called for. If everyone agrees, this boy will be sent to the electric chair for killing his father. The vote is taken and it is 11 to 1 with one man holding out. Juror Number 8 (Henry Fonda), an architect, cannot bring himself to send the boy off without talking some more and so, begrudgingly, they do talk.

That is where the true heart of this film comes out, through the discussion and back and forth of the characters. They get around to evidence like the switchblade which the boy supposedly dropped. There were two witnesses: One being an old man living downstairs and the other a middle-aged woman who lived across the train tracks. Then, there is the business about the boy’s flimsy alibi about going to the movies. All are hotly debated and quarreled over.

It just happens to be the hottest day of the year and about an hour in it starts pouring cats and dogs. Tempers reach their apex, feelings are hurt, and major prejudices are revealed. The beauty of this film is not simply the sentiment that the jury switches its decision. The beauty truly comes from this wonderfully colorful ensemble of actors under the direction of Sidney Lumet in a confined space. But before mentioning the direction it is important to acknowledge the players because they are the heart and soul of this story.

Juror # 1: (Martin Balsam) He is the foreman who moderates, and he tries to keep the discussion civil with a relatively calm demeanor. All we know about him is that he is an assistant coach for a high school football team.

Juror # 2: (John Fielder) He is one of the younger members of the jury and a quiet individual with a timid voice. He is a banker.

Juror # 3 (Lee J. Cobb) The main driving force of conflict, he holds out when everyone else switches their vote. He is a businessman who also has familial issues with his son that come into play.

Juror # 4 (E.G. Marshall) A rational and measured broker, he holds that the boy is guilty until some facts are laid out that make him think otherwise.

Juror # 5 (Jack Klugman) A meek man and Baltimore baseball fan who also has a fiery side as well. It comes out that he grew up in the slums when he was a kid.

Juror # 6 (Edward Binns) A straightforward and kindly painter who is respectful in his conduct.

Juror # 7 (Jack Warner) The jokester of the group who makes his living selling Marmalade. He is looking forward to a Yankees baseball game and tries to push the proceedings forward as fast as possible.

Juror # 9 (Joseph Sweeney) The eldest member of the jury and the first to side with Juror # 8. He has a fighting spirit and also some thoughtful observations on the case.

Juror # 10 (Ed Begley) A loud-mouthed older man with a penchant for insults and unsavory remarks about foreigners.

Juror # 11 (George Voskovec) He is a watchmaker and the foreigner in the group. However, he is obviously quite intelligent and passionate about American democracy. He takes seriously the duty that comes with being a juror.

Juror # 12 (Robert Webber) Lastly comes the wisecracking man in advertising who tries to lighten up the conversation. He is the major flip flopper in the group.

A mention now must be made of Sidney Lumet’s direction, because for his first film he was extremely bold to film it essentially in one room. He does it so wonderfully, however, because the confined space only heightens the drama thanks to his progressive change in camera angles. They start above eye level and slowly get lower as the drama increases. He is very rarely stagnant either, having the camera on the move or cutting to different characters. A great example of this is the tracking shot as the jurors enter the room. We are introduced to almost every character in such a fluid, natural way that sets up the story nicely.

There is so much else that could be said about Fonda’s performance and individual actors who I admire, but I will leave this discussion by saying that this is one of the greatest ensembles I have ever seen brought together. The intensity they created makes me want to get up right now and serve on a jury. Too bad I already served my jury duty this year!

5/5 Stars

Once Upon a Time in the West (1968)

Posted on August 25, 2014 by 4 Star Films

Starring Charles Bronson, Henry Fonda, Claudia Cardinale, and Jason Robards with director Sergio Leone, this is another memorable Italian western. The film follows a recently widowed beauty (Cardinale), the villainous killer who is after her (Fonda), a anti-hero bandit (Robards), and of course the man with a harmonica who is looking for revenge (Bronson). The gunman Frank commits murders, turns on his employer the railroad tycoon, and forces the widow to auction off her land. However, “Harmonica” comes to her aid and then he is confronted by Frank several times since he wants to know the man’s purpose. After a flashback we know what “Harmonica” wants and another gunfight ensues. The ending is bittersweet but the town’s future looks bright thanks to the railroad and the radiant widow. The long opening sequence sets the tone nicely for this visually beautiful film. It moves at its own pace and it has a good score and great characters including an evil Henry Fonda!

5/5 Stars

Wait Until Dark (1967) – Updated

Posted on August 24, 2014 by 4 Star Films

This is very much a contrived plot line but it certainly is an interesting set piece surrounding a defenseless blind woman targeted because of a heroin-filled doll which fell into her husband’s possession. It sounds like a pretty ludicrous set up but Audrey Hepburn is so believable and at times pitiful that she makes the film works thanks to her performance. Alan Arkin plays an over the top terror of a man bent on getting the doll back and he procures the help of two men to play parts in his elaborate charade. He is the near perfect opposition to torture the angelic Hepburn.

Through the entire story Susy’s blindness is being manipulated and she is constantly in a vulnerable state that is extremely uncomfortable for the audience. She is fed lies and entrusts men who she should not, but she cannot know any better. Thus, we soon forget how ridiculous this whole affair is and get caught up instead in our own fears and anxieties for Susy. From that point on we are hooked and there is no turning back until nighttime comes. Susy is cut off from the world with darkness approaching and that’s when the real nail-biting begins. But that’s for you to see for yourself. I would not deprive you of that pleasure.

The cast is rounded out by Richard Crenna, Emfram Zimbalist Jr. and Jack Weston who all are decent but their roles are relatively cookie cutter. The little girl Gloria is a spunky character but the real attraction as I said before is Hepburn. The score by Henry Mancini gives the film a thrilling feel rather like a Columbo special. If there ever was a thriller this is certainly one of them! Just Wait Until Dark, you’ll see.

4/5 Stars

The Roaring Twenties (1939)

Posted on August 24, 2014 by 4 Star Films

Here is a retrospective gangster film reminiscing about the Jazz Age and Roaring Twenties extending from the post WWI period of prohibition to the election of FDR.

Two mainstays of the genre including the original gangster James Cagney and hard-boiled Humphrey Bogart star as two men in a group of three soldiers who meet during World War I. In the ensuing years Eddie Bartlett (James Cagney) initially has difficulty getting back into society, but after meeting Speakeasy owner Panama Smith (Gladys George) he finds himself climbing the ranks in the bootlegging business. Soon through grit and a ruthless drive Eddie makes good racketeering by utilizing taxis with booze to make it big.

Through it all Eddie becomes smitten with a young singer he used to know when she was a young girl (Priscilla Lane), except she does not share his affection. Pretty soon his ol’ buddy George (Bogart) comes back into the picture, with a some shifting dealings of his own. Eddie practically runs the town now but when the Crash happens he gets pushed out by George and now Jean is off and married to her lawyer beau. Eddie is a washed-up taxi driver still hanging around Panama and he has time to do one last favor for Jean.

This is one of the last great gangster films of the 1930s following in the wake of other Cagney classics like The Public Enemy and Angel with Dirty Faces. Raoul Walsh directs this film and it develops as another dynamic, action packed film with a lot of drama and heart thanks to Cagney and George. It is however different from previous gangster flicks in that it plays out as a history although it keeps the nitty-gritty look of the previous films. Like Angel with Dirty Faces especially, there are also some sentimental moments because Cagney is not a complete scoundrel, just mostly. Not wanting to continue being typecast Cagney took a break from the genre not coming back until White Heat in 1949. He did pretty well for himself during the 1940s though with performances in The Stawberry Blonde and Yankee Doodle Dandy. There was another fellow who did not do too bad in that interim period either, new found leading man Humphrey Bogart.

“What was his business?”
“He used to be a big shot.”

4/5 Stars

Review: Roman Holiday (1953)

Posted on August 23, 2014 by 4 Star Films

Joe: Today’s gonna be a holiday.

Princess Ann: But you want to do a lot of silly things?

The answer is yes, yes we would!! That is the beauty of this film, which plays out as a lovely jaunt through Italy with two favorites in Audrey Hepburn and Gregory Peck. With Hepburn being practically unknown at this point in time, it made her a wonderful choice to play Princess Ann. She was someone without any prior identifying roles making her young princess seem plausible. William Wyler took a chance on an unknown and he certainly hit the jackpot.

Gregory Peck on his part was always a strong leading man and an All-American type, perfect to play Joe Bradley. However, he also exuded gentlemanliness,s so despite the fact that the princess spent the night in his apartment we know nothing went on. He had no ulterior motives bringing her to his apartment and even when he arranges to get an article out of her we know that is not who he is.

The film itself consists of wonderfully connected vignettes incorporating the Roman culture and landscape. Princess Ann leaves behind the hospitality of Joe in order to explore a bit before she goes back to her real life. In order to get that major scoop, he tails her and finally invites himself to tag along, so beginning the real fun. Princess Ann gets her beautiful locks cut by a friendly barber and buys some gelato from a street vendor.

Soon she takes her first puff of a cigarette, takes in the glory of the Coliseum, rides a Vespa through the hectic streets of Rome, and winds up in police headquarters with some explaining to do.They finish up their afternoon on a more thoughtful note at a wall of wishes originating during World War II.

One of the best moments occurs at the mouth of truth, a great stone statue, which you are supposed to stick your hand in before it eats it up. In a moment of sheer fear Princess Ann or Audrey Hepburn, I’m not quite sure who looks on in horror as a screaming Bradley removes his arm and his hand is gone. Up comes the hand from the coat sleeves and the jokes on her. It has absolutely no bearing on the plot but it makes us love Peck and Hepburn even more.

To finish off the evening the two companions and Irving (Eddie Albert) cause a ruckus at a dance aboard a barge before swimming away to safety. There Ann finds love and a soaking wet kiss to go with it. But it is at that moment when the laughs stop and the romance begins that everything becomes all too clear. This wonderful day cannot last forever. There is a moment, after one final embrace, when they have to say goodbye for good.

This is not one of those “love at first sight” stories, but it is a different sort of fairy tale where two individuals share an enchanting day together and fall in love. Every Cinderella story must end and so does this one (Anna: At midnight I’ll turn into a pumpkin and drive away in my glass slipper). They must eventually come back down to reality with Princess Ann fulfilling his duties and Joe moving on with his career.

Joe’s major newsflash is not a thing anymore. The whole day means too much to him and being the buddy he is, good ol’ Irving understands that. Speaking of Irving, he deserves some discussion. Eddie Albert’s character is spilled on, stepped on, knocked over, tripped, and through it all remains the perfect buddy for Gregory Peck. Even his little car is a riot, not to mention his inconspicuous tiny cigarette camera and his sly efforts at photography in every type of circumstance. Irving shares a great deal of double talk with Joe which somehow gets past the unsuspecting princess. However, by the end of the film, the princess is also a cohort in their memorable adventure with commemorative photos included!

When Joe Bradley walks out of the grand palace he leaves content knowing that he shared something special. No one else needs to know (aside from Irving) about the fairy tale they shared and that is the beauty of it all. It is just their little secret, their Roman Holiday.

5/5 Stars

The Women (1939)

Posted on August 22, 2014 by 4 Star Films

Starring a cast including Norma Shearer, Joan Crawford, Rosalind Russell, Paulette Goddard, and Joan Fontaine, this film is all about the lives of these women. Mary is a member of New York high society who is happy with her marriage. However, when her gossipy friends begin to talk about her husband with another women she is hurt. She eventually files for divorce and while waiting for the conformation in Reno she meets some new friends and is finally able to find a way to get her husband back. Needless to say the ending is happy and a few women get what they deserve. This film had an enjoyable introduction, a sequence in Technicolor, and an all female cast. Most of all it characterizes the various women in this walk of life. Some are kindly, others foolish, and still others are treacherous.