The Court Jester (1955): The Brew That Is True

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Maybe I’m simply partial to Medieval forms of entertainment but it’s hard to imagine a finer vehicle for Danny Kaye than The Court Jester. It needs to be lithe enough to accommodate his goofy even acrobatic brand of song-and-dance buffoonery. What better arena for Kaye than the king’s courts, that laughable domain of a man in a dunce cap and tights?

However, equally important is some form of plot for the actor to hang his routine on. The production is complemented exquisitely by a lavish setting replete with fine costuming, bejeweled individuals, and everything from knights and sword fights to magic incantations, backroom treachery, and romantic entanglements.

The humorous tongue-in-cheek opening diddy “Life Could Not Better Be” sets the tone nicely. We are inserted into a storyline that is a decidedly genial Robin Hood knockoff. In his place is our righteous outlaw The Black Fox who is looking to install the rightful king to the throne, the infant with the royal birthmark — the purple pimpernel.

The malevolent, power-hungry King Roderick has usurped the domain and set himself up as the supreme leader of the land, surrounding himself with an array of equally loutish characters, namely Lord Ravenhurst (Basil Rathbone). The King is hopeful an alliance with a knight named Griswold will help him to vanquish his mortal foe, the Fox, promising to betroth his reluctant daughter (Angela Lansbury) as a sign of goodwill.

Ravenhurst, fearful that his place of prominence might be undercut, calls on the services of a Court Jester named Giacomo (John Carradine) to do away with the king’s other consorts. However, on the surface, it seems the perfect disguise for the minstrel Hubert Hawkins (Kaye) to aid the Black Fox in his raid on the castle.

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If Kaye is for all intent in purposes our Allan a Dale thrust into our Robin Hoodish role, then Glynnis John is his fair companion Maid Jean (aka Maid Marian) who also happens to be a trusted captain of the Foxes men (aka his capable Little John).

After they overtake the real Giacomo, the carnival showman dons the robes of a jester for the masquerade. He thinks there is only one agenda. To meet a contact within the castle on behalf of The Black Fox. Little does he know, he’s also got to look after the well-being of a precious baby in a basket while unwittingly making a connection with Ravenhurst who assumes him to be an assassin (“Get it?” “Got it.” “Good!”).

Meanwhile, the princess receives an oracle from her personal maid — a witch named Griselda (Mildred Natwick) — that a gallant man will soon arrive at the castle to have her hand. Little does the new Giacomo know he’s now caught up in a third complication as Griselda casts a spell on him turning him into a strapping and virtuous lover with the snap of her fingers — another one of the film’s recurring gags.

After his new entertainment arrives from Italy, the king also sends out an edict that all the fair wenches of the land be brought into his courts and, of course, the lovely countenance of Maid Jean gains the favor of the king, earning her a prestigious place in his company.

As he does his best not to bungle (by purposefully bungling) his floor show to earn the approbation of his master, Kaye must try and resolve the three plans of action put forward, though he’s conveniently forgotten them all.

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Soon our hero is ousted as an imposter and a cunning plan is enacted to red light him for knighthood so he will be eligible to face off against Griswold at the following day’s tournament for the hand of the princess. It’s all but inevitable. He’s a dead man without a chance at survival unless the Black Fox can come in time to take his place! Alas, it is not to be.

Their last-ditch effort is to try and poison Kaye’s formidable foe before they enter into combat. What it sets up is the film’s most beloved gag and one of the most heavily quoted routines there ever was: The Vessel with the Pestle and The Chalice from the Palace. In typical Kaye fashion, he struggles to remember which one holds the brew that is true or as he says it “the true that is brew.” Add the Flagon with the Dragon to the verbal shell game and he’s done for.

The extended hijinks is pure tongue-twisting, mind-boggling perfection, given an added exclamation point by his suit of armor becoming conveniently magnetized. This causes him to continually clunk into his adversary as they present themselves before the king. It couldn’t be funnier. And as a good belly laugh is often hard to come by these days, I was greatly delighted. The scene plays just as well as the first time I’d seen it.

But the antics in part give way to some genuine thrills as the jester leads a daring uprising against their would-be captors capped off by a counter-offensive by their friends. A merry band of little people sneaks in only to terrorize the courts and form a conveyor belt to fling their adversary away from the castle premises with a catapult. What follows is a storming of the castle by the rest of the rebels and a finale of the best comical homage to Technicolor Robin Hood there ever was.

A final duel with Ravenhurst showcases Kaye’s bipolar “dual” personalities. First, the frantic slap fighting of a craven coward, then the cocksure swordsmanship of a man with endless confidence, though it takes some support from his true love to send Ravehurst to his fitting demise.

There, in a nutshell, you have the impeccable concoction of the film reflected in Kaye. He’s a buffoon as much as he is a hero who nevertheless comes out on top thanks to another’s love. With a fairy tale ending such as this, life could not better be. Of course, The Court Jester is spruced up by the very fact it supplies a wagon-load of laughs to supplement a thoroughly agreeable adventure.

4.5/5 Stars

The Long, Hot Summer (1958)

The_Long,_Hot_SummerAs it turns out, Paul Newman’s a real barn burner. His family name is synonymous with conflagrations and it’s a great entry point for a character, in this case, a drifter named Ben Quick who’s run out of town by the local judge.

We never actually know if he was guilty of arson or not but we assume he must be. And so even with the audience, Quick carries that onus because the reputation seems to fit him. He’s a leering no-good, not to be trusted with money or women. It’s all speculation, mind you, though it cuts pretty close to the truth.

He receives some southern hospitality when a car screeches to a stop to pick him up. In the passenger’s seat is Eula (Lee Remick) with a coaxing sensuality accentuated by a sing-song twang that’s irresistible. More reserved is the driver, Clara (Joanne Woodward), who sees through Quick just like most people. She’s not about to be taken in by his animal magnetism.

This is just the beginning of a vast family drama and the names we have to thank are director Maritn Ritt, still trying to get his head above water after a blacklisting, and screenwriting stalwarts Irving Ravitch and Harriet Frank Jr.

Their tale was realized by weaving together three stories by William Faulkner that I have no prior knowledge of, matched with the atmospherics of a Tennessee Williams sweaty drama. In fact, it was released before a couple films that share more than superficial similarities, namely the well-remembered Cat on a Hot Tin Roof (1958) also starring Newman, this time opposite Elizabeth Taylor and Burl Ives. Then, there was God’s Little Acre (1958) which was probably the quirkiest and most erratic of the trio starring Robert Ryan as the head of the family.

Arguably, there’s no larger-than-life figure than Orson Welles to take the part of the portly patriarch of the Varner clan, Will, a man who puts his stamp on the local town. After a stint in the hospital with ailments, he comes back in fashion, sirens howling, so everyone knows that the king has returned. First, it’s a visit to his mistress (Angela Lansbury) who’s anxious to get married so she can have more stability. His responses remain evasive.

The Louisianna heat is no fluke and Welles is perpetually perspiring. He lends an earthiness to the proceedings that undoubtedly takes some cues from Ritt. Will Varner laughs boisterously at the catcalls of young boys directed towards his daughter-in-law, just as he conspires to get his other daughter hitched up so grandchildren can start popping out. In this regard, he’s very pragmatic (if not misogynistic). He wants heirs to maintain the family name because his gutless son certainly isn’t going to be the one to do it.

While important to the stability of the picture, by all accounts, Welles was a terror to work with for everyone on set. There are multiple indications of why this might have been. It’s all too probable he felt pressured and slightly insecure with the young upstarts coming on the scene from the Actor’s Studio, including Marlon Brando and his current co-star Paul Newman. Alternatively, with Welles being the renowned directorial power that he was, there was probably some dissatisfaction on his part because he couldn’t pull all the strings and have total control like he was normally accustomed to.

However,  put him together in a room with Paul Newman and you have two men in front of you as crooked as a barrel of fish hooks. Varner’s perceptive daughter puts it aptly, “One wolf recognizes another.” Soon they strike up a mutually beneficial deal throwing other people and lives around like they were pawns in a chess match to solely serve the two of them.

Varner wants a form of southern immortality. Males to bear his name and people to sing his praises and tame the land in a sprawling estate with spoils to match what he has accumulated over his lifetime. Quick, why, he just wants money and land and whatever else he can finagle out of the old man. What unites them is they’re both out for number one.

Paul Newman and Joanne Woodward go on their first cinematic date together and it’s a picnic in the park that ends prematurely. In real life, they would get married soon after principal photography wrapped and as they say, the rest was history. They stayed married for another 50 years until Newman’s passing in 2008. For a Hollywood marriage, this has to be some kind of record.

But regardless of what was going outside the frame, what is within the confines of the space is just as enchanting for the simple reason that they make some amount of palpable magic together. There’s a tension between them but then a certain attraction and pull that leads to oscillation back and forth in a continuous orbit of gravitation and then distaste.

In real life, it’s not what leads to stable romance but in film, it’s what dreams are made of because every sequence has an intangible undercurrent of spiritedness. It’s in the eyes twinkling. The unspoken words along with the spoken ones. Maybe it’s a lot of making something out of nothing but I would like to think it isn’t. They have something electric together.

Just as the film opened with fire, it’s another barn burning that ends the picture and gets the town in a tizzy. The irony is the very event that looks to be a dramatic firecracker actually reconciles a father and son. That’s the thing about The Long Hot Summer; it has the guts — some might say the gall — to end on an optimistic note without plunging into the throes of deep dark tragedy. Sometimes the 50s dramas take it too far. It’s almost as if they forget some of the greatest dramas historically were as much comedy as they were tragedy.

With so much talent, I’m inclined to like this one and since it all but led the pack coming out of the gates, it deserves some kudos. But best of all, the partnership between Martin Ritt, Ravitch, Frank, and Newman was just beginning, not to mention a marriage for the ages. It’s part of the reason why one can come away from The Long Hot Summer with a smile as wide as Will Varner’s.

3.5/5 Stars

The Three Musketeers (1948)

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The Three Musketeers is a luscious Technicolor swashbuckler done in the fashion of the luxuriant Hollywood costume dramas of the time as we are no doubt accustomed to seeing. Fittingly, they’re also easily subject to classic stereotypes. It’s positively bloated with top-tier talent and whether or not it takes on its source material faithfully is generally beside the point.

Its aims are not those of authenticity and if they were it would be laughable. Maybe it is still laughable but it proves to be made for enjoyment as much as it is made up of cliches. Because in one single package it sums up all that is marvelous and to some, all that is tawdry about such productions of old.

It’s a cinematic “Illustrated Classic” courtesy of George Sidney who provides a film that’s precisely to his proclivities as we might expect even if it’s not so much a musical. It’s meant to be gobbled up voraciously by the children and enjoyed with unbridled enthusiasm by their parents. No more, no less.  And how can you not at least admire its sheer gaudy decadence and the way it chooses to slice a path through the material?

Where there’s no pretense to mask any of the actor’s normal speech patterns or any discernable patois. I think mainly of Van Heflin and Vincent Price sounding like they always have and who nevertheless are both generally enjoyable. We also have the pleasure of a cutthroat Lana Turner, an angelic June Allyson, and a various number of others including royalty played by Frank Morgan and Angela Lansbury and a lovestruck maidservant played by Patricia Medina. Undoubtedly there are still others lost under facial hair and plumage but, again, that hardly matters.

Initially, it also felt like a royal pity that Gene Kelly (playing the lead of D’Artagnan) was not dancing but then being the athletic performer that he is, it soon becomes obvious that his sword fighting utilizes many of the limber movements his dancing has and he really is well suited for such a role. If there was ever a genesis for “The Dueling Cavalier” look no further than right here.

Beginning with the opening duel with Richelieu’s men that sees the formation of the famed partnership as we know it, the picture proves to be ripe with thoroughly gripping and lightly comic fight sequences. They prove to be the highlight of the film on a spectrum of entertainment.

The best part is that they keep on coming at us with rip-roaring wreckless abandon, sabers at the ready, though it begins to fizzle out, in the end, overcome by a plodding narrative that seems no fault of Dumas but rather the adaptation itself. If I were to choose favorites I for one would single out Richard Lester’s adaptation but then again, maybe even that film is not for all.

3/5 Stars

National Velvet (1944)

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“Everyone should have a chance at a breathtaking piece of folly, once in his life.” ~ Anne Revere as Mrs. Brown

There’s been many a boxing and a ball sport movie and so it seems only fair that there be room for at least one more Technicolor horse drama, especially one with the breathtaking and gloriously unbridled energy of National Velvet.

It showcases the lofty aspirations riding on the back of a horse and carrying the effervescent hopes of a young girl. I’m certain we could use more movies like this — ones done with this amount of candor and geared toward a broad audience — namely the entire family.

True, Clarence Brown is a director mostly lost to time and perhaps understandably so. This isn’t so much of a technical marvel as it is a story that wraps up its audience with some amount of vigor.

Nor was it a film shot abroad in some exotic location. But that is hardly a criticism, mind you. This was Hollywood’s rendition of the British Isles created in Pebble Beach, California much in the same category of other such period classics like How Green Was My Valley (1941) and Lassie Come Home (1943) — the most obvious point of connection being the always admirable Donald Crisp.

Featured front and center is Elizabeth Taylor in the days when she hadn’t yet been propelled to iconic sex symbol status and still remained the sweet precocious little girl who made the screen sparkle with her adorableness.

Here she is as Velvet Brown. Other girls, namely her big sister (Angela Lansbury) are boy struck but Velvet can best be described as horse struck. She dreams about them in her sleep, thinks about them in her waking hours, and must stop the moment she sees one of her favorite thoroughbreds in the fields on the road home to her town of Sewells.

From the first time she sees “The Pie” in all his majesty, she’s absolutely enchanted by him. It was a love story meant to be. Stirred up by her mother’s own past forays in sport, Velvet begins to entertain thoughts of entering her beloved horse in the Grand Nationals which she believes he is capable of winning with the right training and a rider who knows him.

With the guidance of Mi (Mickey Rooney), a young nomad hired on by the family, they get the horse trained up for competition. But of course, the only one who truly can ride “The Pie” and believes he cannot put a foot wrong is Velvet herself.

Perhaps it’s not as epic as a Ben Hur chariot race or a pod race but there’s still somehow such investment in Velvet and her horse and we feel the same urgency that’s coursing through Mi as he’s watching the race. It’s an infectious moment that catches us up in its swelling emotions to the very last leg.

Far more important than the outcome of the race, however, is how Velvet remains true what she deems to be right. She never lets her pure love of horses — or this particular horse — be muddied by any amount of press or potential fame that might come out of the partnership. Because she’s not seeking any of that. Her intentions are very sincere. She’s doing it all for the sheer joy of getting to gallop across country with her best friend. That’s reward enough for her.

It’s true that Velvet’s parents prove to constantly upend our typical expectations and there’s a pleasure in finding out more about their true character bit by bit. They are folks of hardy stock who are plain but not without their unostentatious charm that comes from being bred in a world of hard work and no doubt Christian charity.

Anne Revere gives one of the most enjoyable performances of her career, start to finish, imbued with an impeccably dry wit that also comes with being a mother who loves her family dearly and aspires for them to have hopes and dreams to carry them through life. You get a sense that she desires they might be decent people who never weary of doing the right thing. There’s a sublime nuance to her turn that would be lacking from the film’s frames otherwise. She is the moral heartbeat and the counterbalance to every other character.

Fiction also mirrored reality in that Elizabeth Taylor truly became the tenderhearted horse whisperer as one of the few people who could actually handle and ride her horse. There’s no sense of parlor tricks and if it’s possible to say this, there’s almost a visible chemistry between her and her steed. They seem meant to be together. Fittingly, on her 13th birthday after the filming was done she was bequeathed her four-legged friend and they remained together for his entire lifetime.

The only rather odd performance or casting choice might seem to be Mickey Rooney who was still a major star in 1944 but sometimes his role doesn’t feel the most authentic. It feels like he’s playing at his part. Meanwhile, Taylor continually bowls us over with every drop of cheerfulness she has in her being.

Maybe I am unfairly prejudiced against Mickey Rooney but he always seemed more like a personality than a true actor. Here as Mi he more or less looks like a tragic story waiting to happen but now thanks to a girl and a horse, he’s getting his shot at redemption. Thankfully for us, this is not wholly his story but more so the story of the horse and its girl.

It’s a wonderfully forward-thinking message for its day that a young girl with ambition can succeed in a man’s world even on the racetrack. Fantasy or not this is a story that uplifts with sheer climactic euphoria.

To all the future teachers, doctors, lawyers, explorers, scientists, and jockeys, this film gives its message loud and clear. Dare to dream. You can’t worry about what others might say. Just go out and pursue whatever it is with all the passion you can muster. No matter the outcome, there will be little to regret.

4/5 Stars

Gaslight (1944)

eb609-gaslight-1944Directed by George Cukor and starring Ingrid Bergman, Charles Boyer, and Josesph Cotten, with Angela Lansbury, this film begins rather abruptly with a young girl in England who witnessed the aftermath of her aunt’s murder. Then in a whirl wind she has become married to a nice young pianist and they move back to her old home in England to settle down to together. From that point on everything begins to change gradually. Gregory has a violent outburst over a letter, Paula loses her brooch mysteriously, a picture is misplaced, there are seemingly footsteps from above, and the gaslights change for no apparent reason. Gregory continues to manipulate and isolate his wife telling her it is for her own girl. A traumatic night at the opera and the new maid only worsen Paula’s mental state. She soon believes she is sinking deeper and deeper into hysteria thanks to Gregory. However, a former admirer of her aunt becomes curious of Paula and tries in earnest to meet her as he reopens her aunt’s case. Finally, they meet and together they piece together what is really going on. In the final climatic moments the inspector comes to Paula’s aid and she turns the tables on her husband. All the main players do a wonderful job, especially Bergman, and this film was built up nicely. My only qualms would have to be Joseph Cotten playing an Englishman and I found it hard to follow in the very beginning.

4.5/5 Stars

The Manchurian Candidate (1962)

Starring Frank Sinatra, Laurence Harvey, Angela Lansbury, and Janet Leigh, the plot revolves around a Korean war hero who is brainwashed to be a weapon for Communists. Several men in the company have recurring nightmares about brainwashing, communists, and murder. Sinatra’s character has trouble finding solace, however he does meet a beautiful woman (Leigh). Harvey’s character returns home constantly at odds with his domineering mother who is married to a dim-witted senator. He has no idea what deadly purpose he is being used for. His brainwashing causes him to commit several shocking murders. It is up to Sinatra to finally save him and stop his one final violent act. However, Harvey’s character does prevail by himself but not without tragedy. Sinatra and Harvey give wonderful performances and Lansbury is especially chilling. As you will find out, this film shows all the twists and thrills that come out of a simple game of solitaire. It was also a sign of the times during the Cold War.

5/5 Stars

The Court Jester (1956)

ad192-thecourtjesterposterStarring Danny Kaye with Glynis Johns, Basil Rathbone, and Angela Lansbury, this comedy of errors has a man posing as a court jester in order to assist the true heir to regain his throne. After infiltrating the castle, Kaye unknowingly gets mixed up in a murder plot, falls under the spell of the witch, and must complete his mission, all the while posing as the funny man. However, he finds himself accidentally jousting for the king’s daughter as well as dueling while his beautiful accomplice tries to bail him out and save their plan. Despite all the mishaps, more often then not everything turns out right and that goes for the ending too. Danny Kaye is hilarious and some of the scenes are classic including the snapping spell and the chalice from the palace. It is certainly evident after watching this film that life could not better be!

4.5/5 Stars