More Film Reviews of 2020

A Brazen Riff On 'Groundhog Day,' 'Palm Springs' Is Better Suited For The Small Screen | The ARTery

Since I watched more contemporary films than I usually do for award season, I put together some capsule reviews. There’s not too much rhyme or reason to these, but I thought I would include them here. Let me know what you thought of these movies. Thank you!

Palm Springs

In some serendipitous twist of fate, Palm Springs feels like the film made for the year of the pandemic — where the days are recycled and we are besieged by all the existential questions the world has to offer. It’s not just Groundhog’s Day redux because while Andy Samberg and Cristin Miloti spark romantic chemistry, the key is how they are stuck in a wedding day time loop together.

There are two ways to go about it: either accept the status quo or rage against it in the pursuit of something better. It speaks to love and intimacy and marriage in a way that wades through the refuse and the raunch and comes out with a resolute optimism. Life’s not just about finding your “Irvine.” It’s also made better when you find someone to walk alongside, especially when it’s for an eternity. 

The Way Back

If you’ve seen Hoosiers or any of those sports movies of old, there’s nothing particularly new about The Way Back. In spite of this, there’s something compelling; it’s borne on the performance of Ben Affleck — the inner demons of his character and this fractured road to redemption. It means something genuine and true to people who have played sports — been filled with that indescribable elation — and those who have been subjected to tragedy. It’s not just Affleck, but there’s a quiet and reserved profundity to many of these performances. I appreciated it a great deal more than I was expecting. 

Promising Young Woman

It grieves me that a film like this is deemed relevant in our contemporary society and of course I have no argument to the contrary because it’s true. Although the pieces of plot and fluctuating tone never totally gel with me, Carey Mulligan gives an evocative showing as per usual. I’m particularly fascinated by Fennell’s use of the thriller genre as a commentary, which feels perhaps more incisive than a one for one based on a true story expose might be.

All the pieces are there, the twists and turns, and the stings to a misogynistic society. But rather like last year’s Joker, I still rue the fact we’ve come to such a place in contemporary cinema — another discomforting representation of man’s inhumanity of man — much less man’s inhumanity to woman. It’s not like we were totally unaware of it before. However, we’ve given ourselves over to the vindictive nihilism of it all. I hope and pray for restoration. 

Mank' Official Trailer: Netflix Brings David Fincher Back to Theaters | IndieWire

Mank 

The film itself boasts a bounty of Classic Hollywood references and the kind of mimesis that might well turn moviegoers into black and white junkies. Alas, for me it had the opposite effect and despite any amount of technique and artistry by David Fincher, there never was a sense of true suspension of disbelief. Like Trumbo or Hitch, and other films before it, regardless of some notable performances, it all felt a bit like play-acting. And of course, such material cannot be taken as gospel. It’s a movie about movies after all.

But somehow the picture also lacks movie magic. I never felt truly captivated. For a film that took a closer, more personal look at one of the architects of that grand monolith Citizen Kane, somehow I wished the film had taken a more intimate even mundane scale. Oldman is winsome, but I couldn’t help flashing to Seyfried and Collins. Somehow their characters proved his most fascinating talking partners, though many have all but forgotten them in the shadow of Orson Welles and others.

Wonder Woman 84

Although it’s slow to get going and the pieces don’t always feel totally cohesive, there’s still a modicum of relish to be had from Patty Jenkins’s latest actioner. The 80s are not simply set dressing and eye candy, but they provide the perfect apex of consumer culture. Beyond hairstyles and workout regimens, it’s the emerging generation of instant gratification. Comfort and easy fixes are the world’s salve for any number of discomforts. But society still manages to splinter at its seams into an unfathomable entropy.

Diana (Gal Gadot) is once more a mighty protector of the nations, but the absence of Steve (Chris Pine), leaves a void in her life. This is her version of discontentment. While it never delivers the emotional import of its predecessor, it does attempt to synthesize some moderately intriguing thematic ideas. The ultimate temptation comes with the devil telling her she can have everything she wants. It becomes a tension of trading out selfish gain for a kind of utility, even personal sacrifice in service of truth. Wonder Woman’s greatest strength once again is her perceptive empathy. This doesn’t fail even when the blockbuster does. 

The Truth

While it provides a radically new context for Koreeda’s cinema, the quietly meditative quality that pervades his work is still present. The content feels foreign to us, but the form is familiar. Logistically, you can only imagine how the principal members were able to pull it off without a shared language. Still, cinema prevails. It’s steeped in this history, real and imagined, as the real-life legacies of Deneuve and Binoche, in particular, provide a richer backdrop for the film. Within the context of this tenuous mother-daughter relationship, it’s hard not to consider aspects like the tragedy of sister Francoise Dorleac or the missed opportunity to work with Hitchcock.

However, as Deneuve has her granddaughter brush her hair, we see the actress’s face in the mirror, and it must give us pause. She’s older but poised and immaculate as she has been for generations.  It’s so easy to impart our own desires of what the movie might be. After all, we have some of the greatest talents in French cinema. In comparison, Koreeda’s picture feels slight and deliberate. But for the gracious viewer, all these elements might just play to its advantage. 

Christopher Nolan's 'Tenet' Hopes to Kick Off Moviegoing Again - Variety

Tenet

Christopher Nolan is a director with unparalleled ambitions in the realms of narrative. It’s true Tenet is firmly entrenched in the traditions of Memento and Inception as he sculpts with time, in this case inverted, like we’ve rarely seen it before. It brings together many of his fascinations and folds them into a globetrotting spy thriller. There is so much here. We sit back, our minds racing as we take in the spectacle and look to play catch up with the story.

Because it is a puzzle and cipher for us to break as John David Washington, Robert Pattison, and Elizabeth Debicki are all implicated. There’s only one problem; it seems like comprehensible emotional stakes are missing altogether because we spend the whole time trying to crack Nolan’s code. There’s room for nothing else. If you’re contented with the perplexity of it all, the pincers through time might be enough, but I have an inkling a myriad of people will be dissatisfied. Still, others will feel he’s outdone himself. He’s a director always up for a new challenge.  

Da 5 Bloods

Da 5 Bloods stands at the crossroads of Vietnam and the black experience carved out across a tumultuous half-century of American history. There can be no other soundtrack than Marvin Gaye’s What’s Going On. Spike Lee is made to tell this story and he uses the tableau of newsreel footage to lay the groundwork for our story if it’s not already inculcated within our collective consciousness. It’s an impassioned collage of history, culture, and the like from Apocalypse Now’s “Flight of the Valkyrie” to John Huston’s Treasure of The Sierra Madre.

There are moments where the scripting feels corny and even the special effects feel abruptly unpolished. However, it revels in these moments of b-grade thrills creating a vehicle for a band of brothers to reunite in one last mission.  As our Bogey stand-in, Delroy Lindo positively seethes. Although when he marches off into the woods bellowing out the words of Psalm 23 or embracing his long-lost comrade Stormin’ Norman (Chadwick Boseman), there’s a semblance of healing rising up through his veins. He aids in making the movie about something substantive.

My Top Films of 2020

These are some of the films that I enjoyed from 2020. Because I watched more new releases than is typical in the last few years, I went ahead and wrote capsule length reviews to keep it more manageable. Enjoy!

Minari 

Minari plays as another perspective on the American Dream. It’s an immigrant story insulated by the family unit. You have a melding of cultures born across a smattering of languages and cultural references from Mountain Dew to the resilient minari plant. I can’t think of anything more resolutely American. Any conflict comes from within and there are real decisions to be made, whether it’s in service of a father’s compulsion to provide for his family or a mother’s commitment to stay together at all costs. Steven Yeun and Han Ye-ri are wonderful, but it’s just as much a story about their children or about the spirited grandma who comes to live with them.

These are living, breathing folks inspired by Isaac Lee Chung’s own experience and colored with the deep affections of personal filmmaking. There’s a tranquility about the film that feels like some sort of balm for the world we live in — if not this entire year — because hardship besets them as it does us. It’s taxing and dire. This is all but inevitable. This is life. Our only true sustenance comes from bringing family together, holding onto our loved ones, and praying for God’s daily mercies as we push forward. Though our experiences all differ, they converge at this one vital crossroad of understanding. Notice there is no “ending” to Minari. The fact that this lowly water wort flourishes, only after hardship, provides a symbolic glint of hope. 

Nomadland

There’s a reassuring shorthand that comes with Willie Nelson’s “On The Road Again” familiar to anyone who has ever trekked across America or been on a road trip. Chloe Zhao’s film is cinema, travelogue, and National Geographic all rolled into one with spectacular images of both intimate and indescribable beauty. Because they are snapshots of life imbued with a resolute empathy. What an incomparable and honest treasure Frances McDormand remains fully humanizing this itinerant lifestyle. There’s a striking a cadence between Fern and the flora and fauna of the world around her. It joins the lineage of meditative, hypnotic moviemaking that’s come before it — films collaborating with nature — and thus blending God’s green earth and the human experience. By the end, we come to realize how unified they really are. 

Wolfwalkers

Draped in folklore and armed with long-held political division, Tomm Moore’s latest with Ross Stewart is as visually resplendent and verdant as ever with its golden hues of green. The fact that the local city is the picture of Cromwellian drudgery and repression only puts the adjoining forest in sharp relief. The populous is made to fear it and the wolves that live there, but it’s also a space of unimaginable magic.

Myth is effectively brought down to its most relatable and intimate. It becomes a war between worlds and ideologies made tangible through the trials of an intrepid girl and her hunter father. There’s a debilitating fear in the face of the powers that be and religious faith is militarized. Life is man vs. wolf. And yet in the face of this unyielding landscape, something extraordinary is born. Fairy tales become fact. Resurrection is real. Grief is ultimately supplanted by newfound joy.

Sound of Metal 

Riz Ahmed proves himself to be thoroughly committed to his role as a drummer who is impacted by a sudden loss of hearing. The premise is immediately intriguing, but he busts the story wide open as it becomes far more than a handy idea. We get so much in the realm of performance and sound, existential weight, and deep wells of human empathy. Olivia Cooke is in a symbiotic relationship with him — his fellow bandmate and lover — and as the movie evolves what a revelatory thing it is to see them both change. He finds a community that he can grow into even as he comes to terms with his hearing and the distant hope of regaining his senses through the latest technology.

She also has facets of her character and background that we only understand when they reconvene overseas. But we also witness how lives can go in different directions, and that’s not always a bad thing — it can somehow be cathartic even in the waves of ambiguity. The same might be said of silence in the face of noise. That stillness can be the Kingdom of God for some people. It’s not a deficiency or a tragedy, but an entirely new beginning. Sound of Metal also featured one of my favorite extended cameos of the year. 

Small Axe: Mangrove

I’ve seen In the Name of the Father and I’ve seen Notting Hill, but what Mangrove gives us is a powerful portrait showcasing another facet of this world. That is the rich Trinidadian culture that holds its rightful place in the ecosystem of mid-century London. Steve McQueen’s film makes it more about the world than the words spoken. We have the privilege of existing in a neighborhood, frequenting a local establishment fraught with all sorts of opposition.

Mangrove is a validation that big historical events are not the only way to galvanize — though the movie does evolve into a stunning courtroom drama. Still, this only reaps fruit when the grassroots ambitions of everyday people standing up for what they see as justice, join together as one. Self-representation is a powerful thing indeed and there’s something extraordinary about McQueen bringing to life a world that is so near and dear to his own heart. 

Small Axe: Lovers Rock

It feels like such an unassuming picture. We’re accustomed to blockbusters or Oscar hopefuls with often gluttonous runtimes. Lovers Rock is nothing like that. It’s lithe and exuberant in all the best ways, identifying this universal sense of burgeoning romance. And yet it plays as such a full-bodied, deeply engaged, and present evocation of a specific moment. This specificity is key, supplying its vital life-blood and culture while allowing it to be a fitting ode to a bygone era.

However, director SteveMcQueen also allows time to flow at its own pace, capturing the vibes in a room alive with black joy and a myriad of a cappella voices. It’s so easy to get lost in it as if we are in that very room experiencing the tremors and pulses making their way across the dance floor. Far from being a mere jukebox movie, it has a kind of real-world substance about it that feels genuinely pure and honest. For the uninitiated, it’s a pleasant surprise and no doubt worthy of future viewings. 

The Assistant 

Kitty Green’s film shies away from sensationalized drama and settles into a far more harrowing and morose sense of powerlessness. I’ve had the ability to stay well outside the film industry so it’s never been able to fully envelop me. But here there is no place to hide. We imbibe the weight of depression and helplessness piled on Julia Garner. One particularly excruciating scene with an HR rep turns painfully cruel.  However, this is not only a film about sexual harassment — although this is a crucial piece — it’s indicative of a toxic culture and mindset from the top down. 

Still, in showing her plight and the network of similarly situated co-conspirators, it doesn’t so much provide them greater agency as it shifts the story away from the bosses. It also provides some much-needed empathy. In the quiet rhythms of an oppressive job, undertaken by aspirational people who feel like they’re trapped and their dreams have turned into a nightmare, suddenly we’re there with them. It’s a powerful film just as it is pressing. It speaks into our cultural moment not with a blaring megaphone, but a whisper we would do well to heed. 

Collective 

This Romanian documentary exposé lays out the groundwork for the story ahead of us so there is no initial confusion. That comes later when we are enveloped in a harrowing world that feels akin to the “follow the money” moments in All The President’s Men and even takes cues from the dirty black marketeering immortalized by Orson Welles’ charismatic cad Harry Lime in The Third Man.

Here everything is current and fresh happening in front of us. First, a horrible fire and then incompetence throughout the national health system that leads to greater human tragedy. The aftermath brings out shockwaves of negligence within the government and more sinister intentions with national implications. It’s worthy of righteous anger from us all, but what’s greater and more profound is this pursuit of veracity in the face of deception. Transparency and truth are still powerful instruments for good. 

Farwell Amor

The movie begins with the kind of opening shot that makes you hold your breath. Long takes can be boring, but they can also imbue scenes with such a greater understanding. Farewell Amor is about a family living in the transitory state as immigrants reunited after many years apart. It becomes increasingly apparent that they must now cross another great divide. It’s no longer geographical but beholden to cultural differences and lost time. A husband and wife hardly know one another. Religious faith does not hold the same import in their lifestyles.

Meanwhile, a daughter must acclimate to a father who she has not seen since her youth. Through its Rashomon structure, we are privy to three empathetic points of view, and it makes for a powerful experience. How lives can be outwardly connected — sharing the same space — and somehow disengaged and aloof. You have three people living in their own worlds, coming to terms with what it means to be a family again. There’s such care and sensitivity, when it falls apart it galls me. There’s not so much a Pollyanna happy ending to the movie. Rather it’s a vow to abide and share each other’s burdens. After all, that’s what families are meant to do. 

Never Rarely Sometimes Always

The film title remains effectively obscured until a pivotal scene where the submerged depths of the iceberg are unearthed and human frailty is made fully known to us. But until that point, the movie is defined by this overarching bleakness — a high schooler’s slice of life — inundated with the numbing rhythms of work and school. Sidney Flanigan brings so much to the young woman even as she bends away from us. A pilgrimage to New York with her cousin to take care of an unwanted pregnancy makes us come face to face with her innate wounds.

Suddenly the movie unravels and becomes one of the most emotive empathy machines of the year. It breaks your heart. It’s so vulnerable. But the bottom line, the song she sings, is “Don’t Let The Sun Catch You Crying.” The very same issues at the core of this film are full of emotional baggage in both religious and social spheres, but here they are allowed to be fully human, and I won’t say anything more for the time being. Broken people deserve dignity. This film looks to extend them this basic courtesy even as we can still grieve the outcomes. 

Beanpole 

Set in the context of post-WWII Russia, more so than almost any other country, you feel like these people know what hardship and tragedy engenders. There’s a matter-of-fact immediacy to everything that happens to these people — two young women who fought in the antiaircraft during the war and now serve the wounded as nurses. Of course, they have their own wounds both physical and emotional. Written on the page, moments of grief, pain, and blackmail feel like high drama, and yet here they are distilled into something both mundane and vulnerable. What a beautiful cast of characters they are and by this I mean in a way antithetical to conventional Hollywood glamor.

They feel real and honest with bodies and features that take on almost classical dimensions. Eyes say so much as do silence or an uninhibited, frenzied twirl in a dress. Against the rigidness and the jadedness of the world, there are these tiny acts of rebellion and by that I mean humanity. What does it mean to try to condone their behavior? Far more than that, it starts with beginning to understand even an iota of what they have experienced. 

One Night in Miami…

There are four men at the center of Kemp Howard’s reimagination of a fateful meeting: Malcolm X, Muhammid Ali, Sam Cooke, and Jim Brown. It’s sobering to acknowledge that only one of them is still living and only two lived into old age. It’s talky and stagy, for good reason, but it’s also a film about those core issues at the very fabric of America’s tumultuous heart. There’s a moment late in the movie where Leslie Odom Jr. as Cooke sings “A Change is Gonna Come.” It signals a change in Cooke’s ambitions as an artist — more in the vein of a Bob Dylan perhaps — but I wasn’t thinking of that. I was nearly moved to tears. It’s moments like these I turn out to movies for — to be moved in unexplainable ways — but what is this emotion if it doesn’t lead to a visible change in my own life?

Ma Rainey’s Black Bottom

Denzel Washington has shouldered a sacred mission to introduce the works of August Wilson to the uninitiated such as myself. What Ma Rainey has to offer has much to do with performance and a dialogue with heady topics, nevertheless carried out in a kind of cajoling, free-flowing style brimming with life, laughs, and animosity. It’s a film born on the stage and as such, it utilizes a limited, intimate space to navigate the cultural climate of the Jazz Age for black folks in particular. Conversations of cultural clout, the arts and ambitions of blacks in a white man’s world remain pertinent to this day.

While Viola Davis feels like the obvious standout as the eponymous, irascible, unfathomable Ma Rainey, it’s equally easy to be entranced by Chadwick Boseman. His spiritual anguish is probably one of the most affecting and terrifying cinematic experiences of this year. Oftentimes we are quick to heap praise or christen a posthumous performance a triumph, and yet in Boseman’s case, it feels true. He tears through his role with relish, alive with an irrepressible vitality and plagued with the kind of demons that make the film burn with a fire far greater than its simple premise. It’s the kind of characterization that sears into your mind’s eye, not soon to be forgotten. The same might be said of him. 

News of the World

Paul Greengrass hardly feels like a director of westerns, but here he helms one that takes the grand, blustering landscapes of the West and somehow makes them feel slight and less consequential. Try as I might, this is meant to be a compliment. Because at its center is Tom Hanks and a perfect riding companion Helena Zengel. Although, as the modern generation’s Jimmy Stewart, I would love to see Hanks dip into his vengeful side out on the range, his steady candor provides a disarming uprightness.

He need not revise the West just as he doesn’t rewrite his persona. Aside from his trade, he’s no Herculean gunslinger, and there are few grandiose moments, but the bits of characterization give us something to be relished for their universal humanity. Sometimes all you need is an actor set against a cinematic panorama and being rapt up in the moment is enough. It’s not quite John Ford and hardly Anthony Mann and yet it’s still a distinct pleasure to have a western again. 

On The Rocks

What a light and marvelous film this is because it’s not trying to be anything more. It’s about the mid-life malaise, it’s about a wife’s (Rashida Jones) suspicions of her ambitious husband (Marlon Wayans), and fathers and daughters, but it never aims for anything sordid. The streets of New York feel out of reach to me, but they are magical, and Coppola looks to be in love with the world as she is with Bill Murray. He has that same winking charm, older now (aren’t we all); always incorrigible, but real and honest. When he and Jones whistle “Laura’s Theme” in the back of a limo, I knew I was invested in the ride. It’s not Lost in Translation, and I’m thankful for that. 

Recommend: Driveways, I Used to Go Here, The Personal History of David Copperfield, I’m Your Woman, Boys State, Athlete A, Apocalypse ’45,

Classic Hollywood Baseball Movies

Gary Cooper and Babe Ruth

Given its hallowed place as American’s original national pastime, I thought it would be worthwhile to share some of the best baseball movies classic Hollywood ever offered during its heyday.

I’m not sure if the industry ever made a baseball masterpiece during the Golden Age, but it did highlight some of the great talents of the era both on the field and in front of the camera.

If nothing else, they play a bit like comfort food, between fairy tale romances and warm humor, highlighting men who overcame obstacles to become world-class talents in the Major Leagues.

Pride of the Yankees (1942)

Here is, arguably, the standard-bearer of all baseball movies of a similar ilk. Gary Cooper stars as another famed All-American superstar, Lou Gehrig. Teresa Wright costars as his loving wife Eleanor. The Iron Horse became one of the most formidable ballplayers ever, despite being overshadowed by Babe Ruth. His final days, stricken with ALS, remain a stirring tragedy to this day. There’s hardly a dry eye as he “considers himself the luckiest man on the face of the earth” only to walk off the field for good.

It Happens Every Spring (1949)

This unabashed comedy relies on a crackling premise: a university professor comes upon a curious new formula in his laboratory. No, it’s not flubber but methylethylpropylbutyl. It’s most noteworthy trait is its repellence of wood! Soon the bookish baseball fan is touting his pitching abilities and goes from a nobody to carrying his ball club toward the pennant. Ray Milland stars alongside Jean Peters and Paul Douglas.

The Stratton Story (1949)

Here is a picture certainly in the mold of Pride of The Yankees. This time it’s James Stewart playing Monty Stratton with June Alyson as his crush and future wife. Although Stratton is hardly as well-remembered today, the heart of the romantic drama involves his rehabilitation after he undergoes an amputation. Through grit and determination (and the support of his wife), he made a comeback from his injury to pitch another day.

Take Me Out to the Ballgame (1949)

Although it has much more in common with the other MGM musicals of the day, between Gene Kelly and Frank Sinatra on the ball field (making up a Tinker to Evers to Chance combo with Jules Munshin), and Esther Williams, it’s hard not to enjoy this bright and cheery Technicolor singalong. The shakeup of new female ownership is a good excuse for sparks to fly and quality entertainment to abound courtesy of Busby Berkeley and Arthur Freed.

The Jackie Robinson Story (1950)

There are not necessarily a lot of dramatic thrills to this feature adaptation of Jackie Robinson’s life, but unlike all these other movies, there’s something distinctly special about Jackie portraying himself. With Ruby Dee as his steadfast wife Rachael, we watch Jackie as he is signed by Branch Rickey and rises up the ranks to break the color barrier in baseball, becoming a stalwart of the Brooklyn Dodgers’ team even as he faces an onslaught of prejudice and intimidation. He’s the definition of a sports hero.

Angels in the Outfield (1951)

It plays as a slight and fluffy fantasy story with a demonstrative big league manager (Paul Douglas) receiving some angelic intervention only if he agrees straightens up his act. He goes from being universally reviled by the world to a newsworthy curio. As he starts to change, the team’s fortunes pick up, and romance flowers between him and Janet Leigh. There’s not too much more to it. Donna Corcoran gives an adorable portrayal of a young girl who can see the angels.

The Pride of St. Louis (1953)

The arguments for making a movie about the life of Dizzy Dean seem somewhat slim. Granted, he was a thoroughly colorful figure, born in the backwoods of the Ozarks only to become one of the big leagues preeminent pitchers along with his brother Paul. Dan Dailey and Joanne Dru form a chemistry of contrasts, as Dizzy learns what it is to love someone else and have his will crossed. It’s hardly on par with Gehrig’s or even Stratton’s career trajectory, at least in purely Hollywood terms, but it’s an agreeable story from top to bottom.

Fear Strikes Out (1957)

Here is a baseball biopic that takes the conventional formula while slotting in a younger star in Anthony Perkins to portray up-and-coming outfielder Jimmy Piersall. Far from having his career behind him, it was very much a current event highlighting the ballplayer’s battle with mental health problems, in this case, bipolar disorder (although it was not described as such initially). The two crucial relationships in his life are with his overbearing father (Karl Malden) and his wife (Norma Moore).

Bonus: That Touch of Mink (1962)

While it’s not explicitly a baseball movie, this New York Rom-Com has one of the great baseball cameos with Cary Grant and Doris Day joining the Yankees’ dugout only to see their famed trifecta of Mickey Mantle, Roger Maris, and Yogi Berra all unceremoniously tossed from the game by the agitated umpire. Although it’s hardly as enjoyable, Jerry Lewis’s Geisha Boy similarly features cameos from some of the LA Dodgers’ ballplayers from 1958 for the west coast aficionados.

8 Underrated Screwball Comedies

theodora goes wild

Screwball comedies, like film noir, have a fairly devoted following and although they were very much of their time, they still have descendants and influences on the movies coming out today.

Many of the heavy hitters from the 30s and 40s are household names, but I thought it would be fun to highlight a few titles that fewer people might think about in conversations surrounding screwball comedies. Let me know what you think!

Theodora Goes Wild (1936)

Irene Dunne is a great person to start this list off with because I always enjoy her films and yet she oftentimes feels woefully forgotten. In this zany vehicle, she is the eponymous title character who, while living a life of propriety in a small town, actually moonlights as quite the titillating author. Her life gets flipped upside down when one of the city slickers (Mervyn Douglas) finds out her secret.

Easy Living (1937)

It’s true a whole movie can be born out of a fur coat dropping from the sky, and it builds into a wonderfully raucous narrative thanks to the wonky scripting of Preston Sturges. Jean Arthur and Edward Arnold make a fine pair and send the town into a tizzy when rumors start circulating about the extent of their relationship. Ray Milland also proves why he was a much sought after rom-com lead.

It’s Love I’m After (1937)

It’s a dream cast with Leslie Howard, Bette Davis, and Olivia de Havilland in a dream scenario: a love triangle dressed up with Shakespearean theatricality. What better bedfellow for screwball comedy as Howard puts on a performance to rebuff a starstruck fan girl and earn back his jealous co-star. Eric Blore is stupendous as per usual.

True Confession (1937)

It’s courtroom drama meets screwball romance with Carole Lombard giving one of her most frenzied performances as a serial fibber who pleads guilty to an egregious crime so she can drum up some publicity for her husband (Fred MacMurray), a struggling lawyer in need of a big case. Una Merkel and John Barrymore show up to supply some added character.

Merrily We Live (1938)

Here is a movie that’s good-naturedly built out of the mode of My Man Godfrey. It’s about a family of idle rich: Constance Bennett, Billie Burke, Clarence Kolb, and Bonita Granville, of all people! They’re a constant whirlwind of ditzy entertainment around the breakfast table, and they quite unwittingly pull a passerby (Brian Aherne) into their comic vortex. Chaos ensues.

Vivacious Lady (1938)

Ginger Rogers and Jimmy Stewart have a glowing chemistry. However, their recent marriage has a wrench thrown into it when they head home to meet the parents. The word never got to them, and Charles Coburn, in one of his most obstinate performances, will never approve. Ginger uses all her tricks to woo her husband’s family over and fight off any rivals with her unparalleled catfighting skills. It’s as delightful as it sounds.

The Rage of Paris (1938)

Spunky Danielle Darrieux and Douglas Fairbanks Jr. spar across social lines with your typical screwball romance riddled with conflict transplanted to Paris and the French countryside. What Henry Koster brings is his usual heart-warming tone, and with support from the likes of Helen Broderick and Misca Auer, the material receives a dose of extra comedic oomph.

The Devil and Miss Jones (1941)

Here is the original uncover boss with the always cantankerous Charles Coburn slinking around his own department store. Not only does he come to understand his employees’ dissatisfaction with their work, through the eyes of Jean Arthur and Robert Cummings, he also learns what real friendship is. The movie is blessed with that wonderful one-two combo of uproarious antics and genuine heart.

Let me know what screwball comedies you would include!

4 Living Legends Part 5

Here is another entry in our ongoing series of Classic Hollywood Stars who are still with us. This is an effort to acknowledge living legends who are well-deserving of our appreciation.

Marsha Hunt (1917-)

Marsha Hunt is one of Classic Hollywood’s amazing centenarians. Before having her career sabotaged by the Hollywood Blacklist in the age of McCarthyism she showed surprising utility in a range of pictures including Pride and Prejudice (1940), Kid Glove Killer (1942), Cry Havoc (1943),  and most memorably in Raw Deal (1948).

Eva Marie Saint (1924-)

Aside from starring in such perennial classics as On The Waterfront (1954) and North by Northwest (1959), she was also married to her husband Jeffrey Hayden for over 60 years, until his passing in 2016.

Angela Lansbury (1925-)

With her starring lead as amateur sleuth Jessica Fletcher in Murder, She Wrote, it’s sometimes easy to forget how early Angela Lansbury started her career in Hollywood. Some of her wide-ranging performances included Gaslight (1944), Picture of Dorian Gray (1945), The Manchurian Candidate (1962), Bedknobs and Broomsticks (1970), and, of course, Beauty and The Beast (1991).

Sidney Poitier (1927-)

There is so much to be said about Sidney Poitier’s impact on American cinema and representation of African-American masculinity. His catalog is still staggering to this day going beyond high profile successes from ’67 like In The Heat of The Night, To Sir With Love, and Guess Who’s Coming to Dinner. No Way Out (1950), Defiant Ones (1958), Paris Blues (1961), Lillies of The Field, and A Patch of Blue (1965) are all worth searching out, among many others.

4 WWII Home Front Movies

World War II gave rise to a whole cottage industry of war films during the conflict and for generations to come. There are, of course, so many facets of the war to explore whether it’s Europe, The Pacific, North Africa, and any number of elements.

However, something that always fascinated me was life on the Home Front. Now wars feel like proxies. They rarely affect us first-hand. During the 1940s the war was a concerted effort on all fronts. It affected not only soldiers but civilians living miles away.

Mrs. Miniver (1942) chronicles the exploits of a fearless mother who holds her family together during The Blitz and the threat of German invasion. More The Merrier (1943) takes a comical look at the housing crisis that plagued Washington D.C. and other metropolis areas. Even the likes of Stage Door Canteen (1943) and Thank Our Lucky Stars (1943) give a picture into the USO and entertainment efforts put on for soldiers.

Here is a list of four other films from the World War II years that function as time capsules giving us some element of what life was like during those impactful years in history.

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Hail The Conquering Hero (1944)

Certainly, The Miracle of Morgan’s Creek is another uproarious wartime comedy from Preston Sturges. But this other offering is equally memorable in how it takes on small-town jingoism and hero worship to outrageous proportions. Whereas most old war pictures look moth-bitten with age and overly saccharine, somehow this effort strikes a phenomenal balance between absurd satire and lucid sentimentality.

It’s not making fun of our war heroes as much as it lampoons how we try to exalt them in our own well-meaning blundering. There’s no doubt some of this was certainly acknowledged during the war although I’m not sure how the general public would have felt about the movie in that context. Now it looks prescient. Eddie Bracken, William Demarest, and company are absolutely hilarious

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Hollywood Canteen (1944)

Actors Bette Davis and John Garfield of Warner Bros. famously set up the Hollywood Canteen as a haven for soldiers on leave. The perks were free and included dances with the most beautiful starlets and entertainment provided by the brightest comedic and musical personalities of the day. You could even win a raffle to kiss Hedy Lamarr.

Although the film is slight, sentimental propaganda, it does give at least a hint of what this group endeavor was all about. For old movie aficionados, it also provides a convenient opportunity to see just about every person Warner Bros. had on the lot in 1944. They all come out to the party to pitch in on the morale-boosting effort.

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The Clock (1945)

Whirlwind romances feel almost commonplace in the war years. Imagine the scenario. You’re longtime beau or the eligible man or woman you just met is going off to war. Miles will separate you. All you have are letters. There’s an uncertainty of whether or not you will ever see them again. The only thing that does seem permanent (even if it’s not) is love.

The theme would crop up in any number of pictures from The Very Thought of You to I’ll Be Seeing You as the situation undoubtedly resonated with a contemporary audience. However, another favorite is The Clock, starring Judy Garland and Robert Walker. It encapsulates the moment in time so well with heightened emotions, an unceremonious courthouse wedding, and the open-ending. We don’t know what the future holds.

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The Best Years of Our Lives (1946)

If Since You Went Away was David Selznick’s WWII epic, this was certainly Samuel Goldwyn’s entry. Its title plays with this ironic ambiguity. The best years of our lives would seem to be ahead of us. The war is over. The Allies have won. The soldiers return home victorious. And yet even in their victory, there is so much to navigate in the civilian world.

Wyler’s effort is such a perceptive picture in how it makes us feel the growing pains and relational tribulations of an entire community. It might be the fact you barely know your wife because you’ve been away for the majority of your marriage. Maybe your kids have grown up in a different world and there’s a corporate job waiting for you to reacclimate to. It might be PTSD or tangible physical injuries totally changing your day-to-day existence. As such the movie is indicative of a certain time and place and a tipping point in American society.

What is your favorite WWII film, whether it depicts the war or some aspect of the home front?

4 Star Double Feature – Coming of Age Flicks

Starter for 10 (2006)

The cast boasts the likes of James McAvoy, Benedict Cumberbatch, Rebecca Hall, Alice Eve, and even James Corden all in one film together! The year is 1985 and Brian is off to his first year at university which turns into a formative moment in his life of new experiences, romantic entanglements, and, yes, even trivia. He’s really good at trivia. But sometimes being good at trivia still cannot prepare you for the things that life throws at you. That’s what makes life, life and not a game show as he finds out.

Sing Street (2016)

Also set in 1985 but in this case in Dublin, Sing Street is a high school coming of age story about a boy who forms a band to get a girl. It’s a simple premise but John Carney’s film explores much of the turbulence as well as the glories of that time in life. It’s about love and music and personal exploration. It also happens to be a darn good musical with a steady stream of catchy 80s tunes both real and fictional.

10 Films to Watch if You Like Classic Bond

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North by Northwest (1959): It’s no surprise that Alfred Hitchcock was offered the chance to direct Dr. No because he had singlehandedly propelled the spy thriller into the public eye through such classic as The 39 Steps, Foreign Correspondent, and Notorious. It’s also no surprise that he turned down the chance because had essentially made the greatest spy thriller ever. There was no reason to attempt to make another. Cary Grant. Eva Marie Sainte. Bernard Hermann. Ernest Lehman. Mt. Rushmore. Cropdusters. Just a few of the things that make this film awesome. It’s a must for all Bond fans.

That Man from Rio (1964): So there’s no doubt that Philippe de Broca’s film was made in a world conscious of the James Bond phenomenon but it’s also a charming blend of Tintin-esque action serials and wild humor that’s anchored by the charming pair of Jean-Pierre Belmondo and Francoise Dorleac. Its mixture of lavish location shooting, fun-filled action, and consistent humor makes it a must for all Bond lovers.

Charade (1963): By now we’ve all heard that this picture from Stanley Donen was the best Hitchcock film that he never made. Sure, that’s probably true if you want to put any stock in such an assertion but beyond that, we have Cary Grant and Audrey Hepburn starring opposite each other in a spy comedy romance. It sounds like an absolutely delightful proposition and it is. It’s funny as a rom-com but still exhibits enough intrigue to pass as a compelling thriller.

The Ipcress File (1965): Sir Michael Caine as British spy Harry Palmer should be enough to pull audiences into this franchise. But if not that then consider this. Although it was made by some of the minds behind Bond, this franchise was supposed to be its antithesis in its representation of the spy life. It’s the anti-Bond if you will. Funeral in Berlin and Billion Dollar Brain would follow in the subsequent years.

The Spy Who Came in From the Cold (1965): However, if you want something completely different from Bond with a sense of stark realism matched with a cynical edge you probably couldn’t get closer to the mark than watching this thriller based off the work of John Le Carre. Richard Burton is as disillusioned as any spy in the history of the movies and you get the strange sense that he has the right to be. If you looking for another tonal shift in the realm of spy thrillers look to The Spy Who Came in From the Cold. It’s demanding but certainly worthwhile.

Casino Royale (1967): We’re about to enter the territory of less demanding fare and the epitome of that is this initial Casino Royale (please don’t dare confuse this installment with Daniel Craig’s. Please don’t). All you need to know is that Peter Sellers plays Evelyn Tremble (ie James Bond), Ursula Andress is Vesper Lynd (ie James Bond), Orson Welles is Le Chiffre, Woody Allen is Jimmy Bond…must I go on or do you get the idea? If you had any preconception that this was a Bond movie you were mistaken.

Our Man Flint (1967): James Coburn the tough guy from such classics as The Magnificent Seven and The Great Escape landed his own headlining gig as a spy in his own right. See him in Charade (previously mentioned) and the continuing installment In Like Flint.

Murderers Row (1966): Dean Martin as super spy Matt Helm. Need I say more? Is it any surprise that he’s a dashing ladies man who also seems to like the high life and hitting the sauce. It grabs hold of the Bond phase like any good (or mediocre copycat) although it was based on a number of novels by Donald Hamilton. A number of sequels followed including The Silencers, The Ambushers and The Wrecking Crew.

Austin Powers: International Man of Mystery (1997): Mike Myers as Austin Powers the most ludicrous, wacky, grooviest, and strangely perverse spy you’ve ever known. But his arch nemesis Dr. Evil is far worse. Pit them off against each other and you’re bound to have a stupid good time amid all the outrageous bits of parody. Oh yeah, check out The Spy Who Shagged Me and Austin Powers in Goldmember too. Groovy Baby!

Get Smart (2008): This is a public service announcement. No offense to Steve Carell or Anne Hathaway whatsoever, but please just go ahead and watch the TV show with the iconic duo of Don Adams and Barbara Feldon with Edward Platt. Mel Brooks and Buck Henry were comic geniuses and they knew a good fad when they saw one. Spies might come and go but “Shoe Phones” and “Cones of Silence” will never die. Would you believe? Because you should.

Bonus – Raiders of the Lost Ark (1981) et al: It might not feel exactly like Bond and Indiana Jones is a big enough star in his own right but there’s no doubt that the special mixture of thrills, humor, and iconic status also falls on the mantle of Dr. Jones. Of course, it doesn’t hurt either that his father is played by none other than Sean Connery the guy who was in Marnie, The Hunt for Red October, and, yes, a few other movies.

This is only a few options so please don’t think you have a license to kill me for leaving something off. But hope you enjoyed this assortment of 10 classic flicks for every Bond lover.

11 Classic Film Stars who Never Won an Oscar

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From the dawn of time, or at least as early as May, 1929, when the first Oscar Ceremony took place, all people from pundits to the general public have squabbled and made a general stink about the egregious omissions throughout the decades. After all, acting performances are subjective, each year is different, and so many things are going on behind the scenes. In a perfect world, everyone would be a winner but sadly we do not live in a perfect world. That goes for the Oscars too. Here are 11 Classic Hollywood stars who Never Won an Oscar.

Peter O’Toole – 8 Nominations without a win – The great Shakespearian titan of the stage and screen, O’Toole’s performance as WWI icon T.E. Lawrence will be forever emblematic of his career, although he lost the statuette to the equally revered performance of Gregory Peck as To Kill a Mockingbird’s Atticus Finch.  Despite, a tumultuous life, O’Toole’s body of work speaks for itself.

His other nominations included nods for a diverse array of work including Beckett, Lion of Winter, Goodbye Mr. Chips, The Ruling Class, The Stunt Man, My Favorite Year, and finally Venus in 2006.

Richard Burton – 7 Oscar Nominations without a win – O’Toole’s contemporary, there’s no doubt the Welshman who was famously twice married to Elizabeth Taylor was a stellar performer in his own right. Like O’Toole he was a trained Shakespearian actor, in fact, they both starred together in Beckett (1964). However, he’s perhaps best remembered for the cynical spy thriller The Man Who Came in From the Cold as well as his performance opposite his wife in the blistering Who’s Afraid of Virginia Woolf? (1966)

His other nominations include My Cousin Rachel, The Robe, Anne of The Thousand Days, and Equus.

Deborah Kerr6 Oscar Nominations without a win – Deborah Kerr made her name in the films of Powell & Pressburger before positioning herself as one of Hollywood’s most elegant and graceful leading ladies of the 1950s. Although one of her most iconic roles had her playing against type in From Here from Eternity (1953) opposite Burt Lancaster. She was equally beloved for her roles in The King and I (1956) and Heaven Knows, Mr. Allison (1957).

Her other nominations include Edward My Son, Separate Tables, and The Sundowners.

Thelma Ritter6 Oscar Nominations without a win – Thelma Ritter is without a question one of the treasures of the studio age, lending life and dry wit to numerous supporting roles throughout the 50s and 60s in everything from All About Eve (1950) to Pillow Talk (1959). There’s something so satisfying about seeing her in a film because you know you’re not going to be disappointed.

Her other nominations came in The Mating Season, With a Song in My Heart, Pickup on South Street, and Birdman of Alcatraz.

Irene Dunne – 5 Oscar Nominations without a win – There’s a case to be made that Irene Dunne just might be one of Cary Grant’s best romantic partners. They made three pictures together and in their collaborations as well as her other roles Dunne showcases a surprising lassitude on screen, capable in drama, comedy, and even musical numbers being a trained singer. Her greatest turn opposite Grant came in their first pairing, the zany Leo McCary screwball The Awful Truth (1937) but perhaps her greatest performance came as the titular character in I Remember Mama (1948).

Her other nominations include Cimarron, Theodora Goes Wild, and Love Affair.

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Barbara Stanwyck – 4 Oscar Nominations without a win – Without a doubt, Barbara Stanwyck stands unequivocally as one of Hollywood’s greatest stars during the Golden Age. Her career spanned from the 1930s well into the 1950s when she continued her career with a transition to television by the 1960s. Her most heart-wrenching performance came as the loving mother in Stella Dallas (1937). In 1941 she could have probably been nominated for three films although she ended up receiving it for her lively turn in Ball of Fire. Her iconic and venomous turn as Phyllis Dietrichson also earned her a nomination for Billy Wilder’s Double Indemnity (1944).

Her other nomination came for Sorry Wrong Number.

Montgomery Clift – 4 Oscar Nominations without a win – An actor of immense intensity and investment in his craft, Clift was undoubtedly one of the premier stars of the late 1940s and early 50s making the transition from the stage seamlessly in the post-war classic The Search (1948). Although his most famous roles came opposite Elizabeth Taylor in A Place in the Sun (1951) and with the all-star ensemble from From Here to Eternity (1953) including Burt Lancaster, Donna Reed, and Deborah Kerr (also on this list).

His other nomination was one of his final roles, a supporting nod for Judgment at Nuremberg (1961).

Rosalind Russell4 Oscar Nominations without a win – Rosalind Russell was imbued with a vitality much like Barbara Stanwyck. She could be the catty gossip or the larger than life personality and while best remembered now for comedy she could function in dramas as well. She took the stage role of Auntie Mame (1958) and turned it into a truly iconic performance that’s hard to forget.

She was also nominated for My Sister Eileen, Sister Kenny, and Mourning Becomes Electra.

Peter Sellers3 Oscar Nominations without a win – Another Brit, Peter Sellers was the man of a thousand voices and even more quips, donning roles like people put on clothes and playing slapstick comedy and heartfelt drama with equal skill. His tour de force will always be his multirole in Dr. Strangelove, however, he was equally compelling as the ethereal Gardner in Being There

His other nomination was for the short subject The Running Jumping & Standing Still Film.

Natalie Wood3 Oscar Nominations without a win – Initially remembered as a child actor in a number of 1940s classics, Natalie Wood flourished into a surprisingly compelling actress gaining recognition for such films as Rebel Without a Cause (1955), Splendor in the Grass (1961), and Love with a Proper Stranger (1963) all coming before her tragic death in 1981.

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Cary Grant2 Oscar Nominations without a win – If you were to try and pinpoint the heart and soul of Classic Hollywood romance and comedy, the epitome of suavity and charm matched with comic timing and physical chops, Cary Grant is without question the gold standard and there’s no one that even comes close to touching him. With a career ranging from the 1930s well into the 1960s, he starred opposite everyone you could possibly dream of being in a film with. Although ironically, of all the classic, iconic, masterful pictures that he lent his charm, the two that he was nominated for are relatively unknown. Not surprisingly, both are dramas and not comedies. Perhaps there’s a bit of a genre bias in the Oscars?

Cary Grant was nominated for Penny Serenade and None But the Lonely Heart.

 

 

 

4 Star Films’ Favorite Movies: 16-20

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Okay, here we go with the next installment in the series of my favorite films. But, in case you missed #21-#25 and have a passing fancy to see what I fancy,  check them out Here…

Otherwise, enjoy part II!

16. Back to the Future (1985)
Doc Brown and Marty McFly. A delorean time machine. Awkward mother, son relationships. High School Dances circa 1955. Good ol’ fashioned rock n’ roll. These are only a few of the reasons that Back to the Future is a perennial classic and the best time travel film around. Two more installments followed re-teaming Michael J. Fox and Christopher Lloyd, but it’s hard to top the original Sci-Fi classic.

17. Shane (1953)
There are numerous classic westerns from the Golden Age, but Shane is one of the most unassuming. It’s a treasure of a film, revolving around of the great iconic heroes of cinema, the eponymous Shane. He’s a gunslinger, upright and kind, but he’s also deadly. Within the expanse of George Stevens’s tale of the untamed West, is a human heart and also foreboding moments of darkness. It’s the complexities of this film that bring me back to it time and time again. Its main character being a fascinating man indeed.

18. Chariots of Fire (1981)
Walking on that beach in St. Andrews Scotland was one of the most enjoyable things in my life thus far. Partially because it’s so incredibly gorgeous in a raw, untouched sort of way. But the other reason is due to this film, full of heart and some of the most inspiring music ever. By telling the biographical story of the likes of world class sprinters Eric Liddel and Harold Abrahams, it successfully blends so many things that I like. Sports, history, Great Britain, and deep spiritual dilemmas. Let us remember those few men with hope in their hearts and wings on their heels.

19. The Odd Couple (1968)
I’m a fan of comedies that boast good unadulterated fun. The Odd Couple is one such film born of a Neil Simon play and subsequently turned into a successful television show. This is the rendition starring the bickering duo of Jack Lemmon and Walter Matthau, both in fine form. They take this simple tale about two divorced men living together and make it a bellyful of laughs. Their poker playing buddies are a gas as well. It remains a classic with renewed value each and every time.

20. The Dark Knight (2008)
I am a product of the age of superhero films. Some mediocre, some simply run-of-the-mill, but few have left such an indelible mark as Christopher Nolan’s Dark Knight. What sets it apart is a villain, a most worthy adversary for the cape crusader. Heath Ledger’s Joker is the creme de la creme of cinematic bad guys, and he elevates this film to be one of the most intriguing moral tales released in the last decade. This is far more than a superficial action flick.