Key Largo (1948) – Film-Noir

Posted on August 12, 2014 by 4 Star Films

Starring Humphrey Bogart, Edward G. Robinson, Lauren Bacall, with director John Huston, the film takes place on a sweltering day during the hurricane season. Bogart is passing through Florida to say hello to the relations of a dead war buddy. In the process he and the others at the hotel are held hostage by the mobster Johnny Rocco (Robinson). Bogart seems to back away from conflict but he is only biding his time with the villainous gangster. Through a series of events the war veteran is supposed to pilot the mobsters to Cuba, however he ultimately turns on them and brings justice. This is a fairly good film with Lionel Barrymore, Claire Trevor, and Jay Silverheels in support. It must be mentioned that this was the final film pairing of Bogey and Bacall. Get ready to sweat it out in Key Largo.

4/5 Stars

In honor of Lauren Bacall

To Have and Have Not (1944)

Posted on August 12, 2014 by 4 Star Films

Starring Humphrey Bogart, Lauren Bacall, Walter Brennan, Hoagy Carmichael, and with director Howard Hawks, this film is very reminiscent of Casablanca. On the small Vichy-controlled island of Martinique, a hardened seaman spends his days steering his boat and his nights at the local hotel. The French resistance stir up his life by asking for his help but he refuses. Everything changes however when he meets a mysterious young woman (Bacall). Their playful banter eventually leads them to a mutual affection. Wanting to help his new found girl get home, Harry Morgan finally does agree to help the French and in the process he shows his true colors. Cementing Bogey and Bacall as a star couple, and immortalizing a certain line about how to whistle, this film is a good one. It has everything you come to expect with Bogart and it gives you something special in Bacall.

4/5 Stars

In honor of Lauren Bacall

The Dead Poets Society (1989)

Posted on August 11, 2014 by 4 Star Films

Directed by Peter Weir and starring Robin Williams in a career-defining role, the film opens with the commencement of a prestigious all-boys school. There the boys say tearful goodbyes to their parents and get reacquainted with their chums. The strict and disciplined class regiment soon starts and everything is business as usual for these driven boys.

However, their new English professor John Keating (Robin Williams) was a former student of Welton, and his teaching style is far from ordinary. His pupils first find him strange and then come to admire his methods. He instills them with the phrase “carpe diem,” has them rip out the stuffy introduction to their poetry textbooks, gets them to see the world from on top of their desks, and encourages them to call him “O Captain, My Captain.” Above all, he leads his students to seize the day, and think for themselves in the process.

A group of his students re-launch the illegal Dead Poets Society that Keating himself had been a part of as a lad. There they share their thoughts, feelings, and ideas freely in defiance of the school. Charlie (Gale Hanson) for one puts an illicit article in the paper only to follow it by an audacious act that receives retribution from the Headmaster. Knox (Josh Charles) somewhat accidentally meets a girl who he immediately falls head over heels for. However, she already has a boyfriend, but the undaunted Knox will not be deterred, and he keeps seeing her. Against his father’s wishes, Neil (Robert Sean Leonard) takes up acting in a play only to receive his father’s immense disapproval later on. The outcome of this is tragic, and it ultimately leads to an investigation of Keating. Everything seems bleak for the boys as they either rat on Keating or risk expulsion.

Keating is released and English returns to the same monotony. However, Keating’s impact cannot be destroyed that easily, and in one last act of the defiance the boys stand up for their Captain led by the formerly timid Todd (Ethan Hawke). I must say that although the film’s ending was inspiring, it left me wondering what the consequences were. Also, I did not really understand the point of The Dead Poets Society. The title would seem to be more aptly Carpe Diem. Putting that aside, there are some good performances here, and Robin Williams is truly a pleasure to watch. He could be my English teacher any day. There are some good lessons to be learned here too. Take note boys.

4/5 Stars

Review: The Spectacular Now (2013)

Posted on August 10, 2014 by 4 Star Films

Looking back a year later…

The moment Aimee Finicky appears onscreen is perhaps the most remarkable instant out of many great moments in this film. The light must have been exactly perfect and everything seems calm and serene. The only thing we focus on is the initial meeting between two individuals, and that’s all that matters. That anxious face obscured by the light. That voice tinged with worry and relief. As an audience, we have our first encounter with the girl that the same Sutter who is sprawled on the ground, will fall for over the course of the film. However, right now he can’t remember who she is. There could not have been a better meet cute.

Fast forward to the ending of The Spectacular Now. So much has taken place in a short span of 90 minutes, it’s hard to keep track of it all. Just like much of the high school experience. Aimee and Sutter have been on an emotional roller coaster which Sutter has succeeded in derailing, but he has a new resolve and he will not waste this opportunity in the now.

There she is walking down the steps of her new college. Pleasant looking as always, undoubtedly with thoughts of academia swirling around pushing her past memories into the back of her mind. Then, all of a sudden they’re all right in front of her again in the form of Sutter.

There is a look on her face that is almost indescribable and it seems apparent that words are about to form on her lips, and the film cuts away. It is absolutely maddening as an audience who has become so invested in the story of these two high schoolers.

For some reason, this final shot of Aimee reminds me of The Tramp’s final reaction in City Lights. It might be a stretch but in both situations, there is a tinge of hope, but there is still this uncomfortable feeling of the unknown. And yet if we had known the resolution both these films would have lost some of their allure and City Lights is Chaplin’s masterpiece. As of right now The Spectacular Now is a little blimp on the radar in 2013. Shailene Woodley and Miles Teller might change that with the rate they are going. They certainly do not have the weight of the one and only Charlie Chaplin, but I am sure both of them are destined for numerous other great performances.

4.5/5 Stars

A Man For All Seasons (1966)

Posted on August 10, 2014 by 4 Star Films

Sir Thomas More had the misfortune of getting in the way of perhaps one of the most notorious kings in history, and it proved costly. It is the early 1500s in England, and the Reformation has shaken the world but Henry VIII (Robert Shaw) has his own plans for the church in his country. He is bent on getting his marriage annulled by the pop,e because young Anne Boleyn will be much more likely to give a healthy heir to the throne.

A Man For All Seasons focuses on the position of More who at the time was Lord Chancellor of England. First, in talking with Cardinal Wolsey, More resolves not to sign the letter to the pope on the king’s behalf, because it goes against his conscience. Later, in his dealings with Thomas Cromwell, More resigns rather than to sign an oath making Henry VIII the supreme leader of the church in England.

Except there is more to it than that. More certainly was not a dissident or a rebellious political figure. Far from it. At least in the film, he is portrayed by Paul Scofield as a constantly even-keeled and gracious man in all circumstances. When a young man named Rich (John Hurt) sold More out for a high title, in a Christ-like response More has only pity for the fellow. Selling his soul for the world is worse enough, but Rich did it for Wales.

Not even the pleading of his newly-wedded daughter (Susannah York), or his strong-willed wife (Wendy Hiller) can change More’s conviction as he wastes away in the Tower of London. Sir Thomas went calmly to his death confident that his faith in his Lord would give him eternal peace. He died there for a seemingly trivial reason at the hands of men who used to be his friends. But he died with his conscience intact.

As I acknowledged, Paul Scofield is such a serene force during the storm of this film. The portly Orson Welles and Leo McKern seem to fit their roles well, and Robert Shaw has enough bluster to pull off Henry VIII. A young John Hurt turns in a fine performance as the Judas of the film and Nigel Davenport is commendable as More’s exasperated friend the Duke.

Adapted from a stage play, here is another highly acclaimed film from director Fred Zinnemann. Perhaps it is the period drama, but this film strikes me as very English and it did very well for itself. I suppose because it’s a tale that is universal and audiences love to identify with men such as Sir Thomas More. Zinnemann was always superb at capturing the inner struggles that humanity is often forced to confront, and he did it once again here.

4/5 Stars

Repulsion (1965)

Posted on August 10, 2014 by 4 Star Films

Directed by Roman Polanski and starring Catherine Deneuve, this British Psychological thriller is in the same vain as Psycho. Carol is a manicurist who is often absent-minded at work and she returns home to an apartment that she shares with her older sister. She passively resists the advances of an infatuated young man and at home she must live through her sister and a boyfriend in the next room.

*May Contain Spoilers
Then, they leave and an attached Carol cannot bear her sister to leave her alone. The next days and weeks she sinks into a unstable state and slowly loses her sanity while losing track of reality at the same time. She is sent home from work, becomes even more preoccupied, and then begins hallucinating back in her home. When Colin comes to speak with her she is still unresponsive and she unexpectedly bludgeons him to death. Then, later on the annoyed landlord comes by for his money, and then makes advances on her, only to be killed by a frightened Carol. Helen and her boyfriend return to find the apartment in disarray and Carol out of sorts and concerned neighbors come to spectate. The camera closes in on a family photo and a young Carol’s perturbing face.

This low budget documentary grade black and white film still packs a powerful punch and the best word to describe it is probably disconcerting. Unfortunately, I had never heard of the cinematographer Gilbert Taylor, but he had several wonderful films in his catalog including Dr. Strangelove, A Hard Day’s Night, Star Wars, and of course Repulsion.

4/5 Stars

The Lion in Winter (1968)

Posted on August 9, 2014 by 4 Star Films

The year is 1183 and the castle of King Henry II is a dark and dank place during the winter months. You would not think so by the opening moments where an energetic King (Peter O’Toole) duels his young boy John (Nigel Terry). His mistress takes in the scene from afar. On first glance, this whole scenario seems pleasant enough, but that would be far from the truth.

Young John is the King’s favorite, but his aged yet cunning wife Eleanor (Katharine Hepburn) has a special affection for the eldest brother Richard (Anthony Hopkins), who she desires to take the throne. Stuck between the two favorites is middle child Geoffrey (John Castle), who has plans of his own. Bring the French King Phillip II (Timothy Dalton) into the equation and the situation becomes even messier than before. What follows is an elaborate web of lies, deceptions, side deals, false motives, eavesdropping, and of course backstabbing. Henry and Eleanor constantly battle back and forth as their sons bicker among themselves. One big unhappy family to be sure.

Henry tries to marry off his mistress (Jane Merrow) to Richard to satisfy King Phillip, but his son will not have it. Next, Henry tries to compromise with Phillip only to learn that his sons were planning to gang up against him. Now he cannot trust any of them, and they find themselves in the dungeon. He makes a new plan to get remarried to his mistress so that he might have another son to be king, but his other sons will be a threat so long as they live. His dilemma is evident, but he cannot bear to kill them. Things seem to go back to the way they always were with Eleanor going back behind bars and Henry playfully barking at her. All’s well that ends well perhaps.

Peter O’Toole and Katharine Hepburn were certainly two titans in this film. O’Toole, whether he is roaring or confiding in his former love, does everything with purpose and bravado. He does show his soft, vulnerable underbelly at times, though, as a man advanced in years. Hepburn on her part is absolutely acerbic, oftentimes governing the tone of the film with her barbs and snide comments. And yet with her, there is also at least a few instances of true humanity. She and Henry seem to be made for each other and their boys are seemingly just as loathsome and underhanded.

4/5 Stars

Review: The Third Man (1949)

Posted on August 8, 2014 by 4 Star Films

I am continually drawn to The Third Man for a number of reasons, which I would love to highlight right now. To begin with, the opening credits come up and yet behind them is the rather odd image of a row of strings. As an audience, this is our first introduction to the zither, the twangy instrument that will create the strangely haunting score over the course of the film.

Then, we are fed a casual bit of narration that quickly throws us into the story of western writer Holly Martins (Joseph Cotten), as he heads to Vienna to meet his old school chum Harry Lime (to be revealed later!). It seems safe to say that World War II was not good to the city, which is a mixture of ruins, cobblestone streets and ornate architecture that lend itself to an uneasy feeling. In other words, what happens in Vienna, stays in Vienna. Everything is zoned off nicely, and the authorities try and stay out of each other’s way.

Martins learns soon enough that Lime is dead and yet it doesn’t add up. His best friend was hit by a car driven by a colleague, carried off the road by two friends, and diagnosed by his personal doctor who all happened to be present. Martins is urged by a Major Calloway to not get involved. Heading home would be a much better solution.

But of course, Martins does not heed this advice. He meets Harry Lime’s girl, the beautiful but somber Anna (Valli), who has her own troubles with the authorities. Further investigation points to a mysterious third man who a local porter saw from his window. The old man winds up dead and soon Martins himself is threatened. Calloway encourages him to leave again before reluctantly disclosing that Lime was dealing diluted penicillin on the black market. That batch ultimately killed and harmed many a patient.

It’s a whole different ballgame now. But wait, after dropping in on Anna, Martins sees a shadowy figure out her window and in a dramatic entrance Lime shows his face. A magnificent magic trick and fully alive. The next day on a Ferris wheel Lime’s true character comes out. All I will say is that he would have been at home in the Borgia family.

Now Holly is conflicted about helping the police snag his old friend or heading home, wiping his hands of the whole ordeal. He finally reluctantly swings a deal because of his love for Anna. Plans are set and soon a trap is sprung for Lime. He is tipped off by a still faithful Anna, but the police force him to make his getaway into the sewers. That is where it all goes down for good. The next day Holly Martins waits at the side of the road for Anna. She slowly makes her way in his direction and without any acknowledgment, she keeps on walking on. She is now out of the picture and all he can do is light yet another cigarette. That is the cold and painful ending to The Third Man, a perfectly suited story for Post-War Vienna and a great Film-Noir.

We become constantly aware of this film’s almost painful camera angles, at times, which slightly distort scenes and close in on faces. It is an unnerving feeling for the viewer which is only compounded by the bleak and shadowy cinematography, along with the haunting music. It all adds up to a perfectly chilling composition. The story feels starkly real too thanks to the on-location shooting and the mixing in of the German with the English. As a non-German speaker, this extra language only furthered my confusion and, at times, my paranoia. Along with Martins, I often could not understand what was going on, causing me to be more and more befuddled.

All in all, although Orson Welles stole the show, both Joseph Cotten and Valli were superb. The two of them had the most screen time and it certainly was not wasted. Whether they were walking or talking they always made for an interesting contrast. Their accents, their demeanor, even their opinions of Lime were often in juxtaposition. I was not a fan of Trevor Howard, but he was not meant to be a likable character. Bernard Lee, on the other hand, had to be my favorite supporting role.

The Third Man is already on my watch list again and for good reason! Well done Carol Reed, Grahame Green, and Anton Karas!

5/5 Stars

The Ox-Bow Incident (1943)

Posted on August 8, 2014 by 4 Star Films

Starring Henry Fonda, Dana Andrews, Harry Morgan, Anthony Quinn, and many more, the film begins with two drifters (Fonda and Morgan) who enter a small western town. Soon it gets around that a man is dead and some of his cattle were also stolen. Hurriedly, a posse is put together and they ride off to find the culprits even though the Sheriff is looking already. They come upon three men and the majority of the posse believes the men are the perpetrators even though the trio profess their innocence. The posse votes on the spot whether to hang them or give them a trial and then they act. Only afterward do they discover the whole truth. Although the plot is simple, this western brings up some interesting and difficult questions. It certainly seems to blur the lines between the good and bad guys.

4/5 Stars

The Nun’s Story (1959)

Posted on August 2, 2014 by 4 Star Films

From director Fred Zinnemann and starring Audrey Hepburn, here comes a very unique film indeed. Hepburn is Gaby also known as Sister Luke, who makes it her life mission to become a Nun. She leaves behind her loving father (Dean Jagger), young love, and siblings to lead a life of solitude and sacrifice.

She learns and is disciplined at the convent, finding out what it means to “die to self.” However, it is by no means easy, because as with any human being pride and other struggles impede her progress.

Quickly she shows her skill as a nurse, and yet she is challenged to act with more humility. Sister Luke winds up not in her desired location of the Congo, but in Europe to continue to grow spiritually.

Finally, she is rewarded for her patience and goes to the Congo only to fall into her element. There she is beloved by the natives and nuns alike, while also gaining the respect of the local practicing doctor (Peter Finch) who is not a believer.

He however rightly concludes that Sister Luke is not your typical nun, because she has too much self-determination and individuality. As a good sister she tries to block out his words, but after she is sent back to the convent she must face this reality head on. World War II has erupted and the Sisters are called not to intercede on either side, but after personal tragedy Sister Luke realizes she must give up the life of the nun.

After so much loving service to her fellow man while wearing the robes, she is forced to shed them on her own accord. It is a solemn moment as Gaby once again removes her ring of commitment and walks off into the unknown world plagued by war. It is an unsatisfying conclusion but a moving ending nonetheless.

Zinnemann is often interested in the inner struggles of his protagonists and that is on display again in this film. Furthermore, his on location shooting in the Congo adds a sense of authenticity to the story. I am convinced that no actress other than Audrey Hepburn could possibly have done justice to this role, or at least no one else could have played it so wonderfully. She exudes such a sweetness and innocence it is difficult to see how anyone could every get annoyed with her. Her Sister Luke is seemingly spot on, and the lengthy film would have certainly faltered without her.

4/5 Stars