The Window (1949)

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The main conceit is just too delightful to ignore. It posits the following dramatic question: What if the boy who cried wolf saw a murder being committed immediately afterward? Because that’s precisely what happens to little Tommy Woodry.

He’s one of those imaginative little boys who likes playing Cowboys and Indians while telling his contemporaries that his family has a large ranch out west where they raise horses. It all seems perfectly innocent except in close confines such stories take on a life of their own. Soon the landlord assumes that the Woodrys will be moving out shortly.

It’s not just this incident either but Tommy has a history of dreaming up all sorts of stories and wanting to teach their son good old-fashioned American values and honesty, his parents say there will be consequences if he lies again.

What happens next is so absurd and outrageous Tommy is sunk even before he’s begun. He spies the upstairs neighbors Mr. and Mrs. Kellerson (Paul Stewart and Ruth Roman) take part in a grisly murder. He does the fairly logical thing and goes to wake up his mother to let her know what he witnessed. But it’s not so logical based on what has already happened.

First, she dismisses his stories as a bad dream but after he goes down to the police station to get them involved, his mother is even more alarmed. Mr. Woodry comes back home from the night shift to hear about his son’s behavior and as much as he doesn’t like to do it, he does the fatherly thing and punishes the boy.

He’s meant to stay in his room and that wouldn’t be so bad if his father didn’t work nights and his mother wasn’t called away to take care of her ailing kinfolk. Because the Kellersons know he’s been snooping around and they’re not about to be found out — especially not by an inquisitive kid. When they figure out what he knows, he’s little better than a sitting duck.

If it wasn’t obvious from the outset the picture sets itself up for a claustrophobic finale that’s quite the piece of entertainment. Rear Window is one of my favorite films and it’s hard not to draw up comparisons between the two pictures because they both utilize their limited space well and allow us to get inside the plight of our protagonist in a way that’s excruciatingly disconcerting.

For L.B. Jeffries it’s the fact that he’s trapped in a wheelchair with a purported murderer living right across the courtyard from him. In this picture, it’s that little Tommy has his freedom revoked and finds himself made prisoner in his own home with his parent’s gone because they are angry with his constant fits of fibbing.

But more so than Rear Window which is a fairly opulent picture, The Window suggest the impoverished state of the characters at the fore, living on the Lower East Side as they do. Their lives are not glamorous at home or at work. They have a tough time scraping by and it shows in their dress and how they present themselves every day.

Arthur Kennedy and Barbara Hale do a fine job as Tommy’s parents because they feel like decent folks, generally humble and wanting to raise their son the best way. That doesn’t make their immune to parental blunders but, nevertheless, they love their boy.

Likewise, Paul Stewart is a bit menacing and thuggish veiling it with a good-natured facade while Ruth Roman normally remembered for fairly upright roles is cast as a wife who seems more frightened by her circumstances than anything else. She’s hardly a villain but that doesn’t make her any less complicit in this whole affair.

Bobby Driscoll was on loan out from Disney and he embodies the precocious nature of a boy in a way that’s completely believable and at the very least compelling.  It’s a wonderful live-action performance to fit right alongside his voice work before his life took a tragic dive into drug addiction.

It might be an unnecessary connection to make but director Ted Tetzlaff was formerly a cinematographer and one of the films attributed to him was Alfred Hitchcock’s Notorious (1946) from only a few years before. Hitch would come out with his home thriller in 1954. I’m still partial to the later film — it’s one of my personal favorites — but there’s no doubt The Window proves itself as a harrowing family thriller in its own right.

3.5/5 Stars

High Sierra (1941)

high-sierra-1They Drive by Night is a surprisingly engrossing picture and I only mention it for its obvious relation to High Sierra. It came out a year earlier, helmed by Raoul Walsh starring George Raft, Ann Sheridan, Ida Lupino and, of course, Humphrey Bogart. The important fact is that if Walsh had gotten his way, he would have cast Raft again as Hollywood’s perennial tough-guy leading man.

But Bogart saw what this film, based on the work of W.R. Burnett, could do for him and he talked Raft out of the part while lobbying Walsh for the role. Reluctantly the director agreed and as it turned out it was the perfect vehicle for Bogart’s big break as he had foreseen.

High Sierra functions as a crossroads of sorts between America’s standard genres. There’s no question that Roy Earle is a gangster in the former sense of the word. And even as an actor Bogart was used to playing second fiddle to the likes of the Cagneys, Rafts, and Robinsons. But if there was ever a poster boy for the emerging film-noir movement Bogart is the shining example carrying that tough as nails persona from gangster films but also functioning as a fatalistic antihero in the same sense. We see it with Spade, Marlowe, and all the rest. Also, as an early heist drama, High Sierra ushers in a trend that would be explored further in films like The Asphalt Jungle, Kansas City Confidential, and The Killing (notably all gritty cogs in the film-noir canon).

To understand what Bogart saw in this picture and to comprehend what a lynchpin it was, it’s necessary to delve into the story itself penned by Burnett and Bogart’s long time future collaborator John Huston.

Veteran gangster Roy Earle (Bogart) has just earned a government pardon with a little help from a powerful friend. It’s this aged gangster from the old days Big Mac who pays his loyal henchman a favor so he can run point on a new bank job. Big Mac is on his deathbed and the changing of the guards seems all too imminent, still, Earle is beholden to him. He’s a loyal son of a gun and tough as all get out. He’s not about to trust a copper and just about scoffs at the men who are supposed to help in pulling off the job.

high-sierra-3He’s not about to lose his nerves or take his eyes off the objective but the two young bucks he’s thrown in with (Alan Curtis and Arthur Kennedy) carry the tough guy bravado well but there hardly as experienced as him. He’s not too happy about the girl (Ida Lupino) they have hanging around either because she’s an obvious liability. In his experience, women squawk too much. The man on the inside (Cornel Wilde) is even worse, a spineless hotel clerk with even less nerve.

Earle’s philosophy is nothing out of the ordinary. It’s what we expect from a gangster picture. However, there are several elements to suggest that we are on the brink of a new movement to reflect the changing American zeitgeist. High Sierra is actually composed of a great deal of on location shooting throughout the Lone Pine area that adds a layer of credence to this entire tale but also a certain visual tranquility. And although it’s difficult to know precisely how much involvement Huston had on the script, there’s no doubt that his impact on noir was crucial with The Maltese Falcon released the same year.

But the bottom line is Bogart’s character has another side. With the gears of the heist in motion, he wryly notes, “Of all the 14 karat saps, I start out this caper with a girl and a dog.” And it’s true he has a certain soft spot for Marie Garson, and the yippy dog Pard (Bogart’s own pet Zero) but that’s not the extent of his character. In the stories most striking B plot, he befriends a trio of poor country folk led by their patriarch the always amiable Henry Travers and important to Roy because of their pretty granddaughter (Joan Leslie) who also happens to be a cripple.

high-sierra-2In an unassuming act of charity, Roy has a doctor friend take a look at Velma and ultimately pays for the surgery that heals her ailment completely. Still, if the story ended there it would be a happy ending but with the heist in the works, Roy is not so lucky. He pulls off the job and makes his getaway but with most any cinematic criminal activity in Hollywood’s Golden Age there must be repercussions. After all, that’s what keeps things interesting and it’s true that Roy and Marie are able to lay low for a time but soon the word is out and the gangster is a wanted man.

Walsh orchestrates the tense finale stirringly in a way that still has the power to excite with editing, score, and camera all flowing seamlessly for the most crackerjack of endings. It’s true that big shots are brought low and the irony was that it was hardly a woman or a dog that caused his downfall. It was himself. In those faltering moments, Bogart won his audience over as a leading man and would never lose them again. Certainly, we have the rather unfair added benefit of hindsight, but High Sierra stands as a monumental picture.

4/5 Stars

 

 

Some Came Running (1958)

Poster_of_the_movie_Some_Came_RunningSome Came Running is a film that can so easily get lost in the shuffle of 1950s Hollywood. It’s hardly the most well-known picture of director Vincente Minnelli, known generally for his musicals and excellent set direction. Furthermore, this is most certainly a melodrama, certainly affecting, but not quite as falsely superficial to the degree of Douglas Sirk’s work. In a way, it feels like a 50s variation on The Best Years of Our Lives.

In the post-war years drifting vet and one-time author Dave Hirsh (Frank Sinatra) comes back to the town he skipped out on as a young kid. He’s a bit hung over getting off the Greyhound and realizes he has another traveler in his wake. The fellow passenger is the potentially disreputable and slightly dumb Ginny Moorehead (Shirley MacLaine), who came along for the ride from Chicago on his invitation.

Now that he’s back home, he just wants Ginny to head back the way she came, while he gets over with the obligatory meeting with his older brother. After handing his brother over to a boarding school, Frank Hirsh (Arthur Kennedy) did pretty well for himself. He married a wife (Leora Dana) from a good family and inherited a profitable jewelry business. By now he’s living the American Dream and his daughter Dawn (Betty Lou Keim) is growing up to be a beautiful young woman. In fact, you might call Frank a pillar of society, because everything’s working for him and people look up to him for what he has made for himself.

Thus, the arrival of Dave is not without its problems. The brothers have not talked for well nigh 16 years now. Frank looks to play things up like nothing’s changed and they’re both pals. He sets his brother up to an evening with a Professor French and his beautiful and highly intelligent daughter Gwen (Martha Hyer), who happens to be a literature teacher at the local high school. This is his way of trying to get his brother into good company. After all, he can’t bear that people should talk. He’s got a reputation to uphold.

But Dave’s not much for that type of company, although he takes a liking to Gwen, who avoids his advances while still taking a great interest in his work as an author. Furthermore, the cynical drifter begins to keep company with jovial gambler Bama Dillert, played by none other than a boozing, poker playing Dean Martin. Thus, there are some genuinely entertaining moments that feel like nothing more than a Rat Pack hangout.

But Some Came Running is quick to plunge back into dramatic turmoil. There are affairs, hypocrisy, unbridled passion, bar fights, parades, and carnivals all highlighted by the eye-catching staging of Minnelli. In fact, Minnelli always has an eye for his scenes, and there’s nothing different about this film. We are watching the players of course, but the space they fill, the clothes they wear, and so on are almost just as interesting. Colors pop making for vibrant viewing to match the spectacle. The climactic moments feel rather Hitchcockian with the pulse-pounding intensity set to the backdrop of a bustling carnival and the Elmer Bernstein score reverberates with his usual fervor.

Dean Martin is the comedy. Arthur Kennedy is necessary. Shirley MacLaine is the tragedy. Martha Hyer is rationality. But Frank Sinatra is the core of this film because he balances a surface level cynicism with genuine affection. He shows his interior on multiple occasions. His eyes watch over his niece with great care. His heart yearns for Gwen ardently, and he holds a deep sympathy for Ginny. Sinatra was in many quality films, but this is perhaps his greatest performance.

Is it blasphemy that in many ways I appreciate this James Jones adaptation just as much, if not more than, the long-heralded From Here to Eternity?  I suppose I am entitled to my opinion.

4/5 Stars

Champion (1949)

Champion1949filmA premier boxing film and Kirk Douglas‘s big break, Champion is in the company of other Noir such as The Killers, Body and Soul, and The Set-Up. This story is about one man’s rise to the top of the business and in his business, the blood and corruption actually show.

Douglas is Midge Kelly, a fiery nobody who is trying to make ends meet with his crippled brother Connie (Arthur Kennedy). When work at a hot dog joint falls through, Midge willingly takes some quick money sparring in the boxing ring. He’s got guts, but no skill, so he thinks that’s the end of his chances. Back to working at a Diner it is, and Midge has his eyes on the proprietor’s daughter (Ruth Roman), but then he’s forced into a shotgun wedding that he’s not too fond about.

Fed up with this kind of life, he searches out a manager so he can begin the long hard odyssey to make a name for himself as a boxer. His faithful brother Connie sticks by his side as does his manager Tom Kelly. City after city, Midge keeps knocking them out rising up the ranks until he is called on to throw a match. It’s all set, but in a brief instant, the reluctant slugger splits with the program. It’s a turning point that gets him in trouble with the big boys and yet makes him a media darling with the press. The opportunistic platinum blonde Grace Diamond (Marilyn Maxwell) realizes the tides are shifting and begins pursuing Midge.

It’s at this crossroads that Midge’s relationships begin to splinter since Diamond convinces him to take on the bigger fight manager Mr. Harris who can help catapult him to the top. The one thing Midge always had going for him was his loyalty to brother and manager, but in the pursuit of “happiness,” he lost both.

Connie returns to the home of his mother and pleads with Emma to come back with him. Their romance quietly builds as Midge’s star continues to rise. His infidelity also ascends with it. His next object after Diamond is the beautiful and more cultured Palmer Harris (Lola Albright), who also happens to be the young wife of Jerome Harris. However, he soon ditches the genuinely lovestruck girl when Harris gives him a wad a money to lay off of her. That’s the kind of man he’s become, but at least he’s Champion.

In one final effort, he tries to patch things up with Connie and Emma following the death of his mother. A rematch with Johnny Dunne is coming up and Midge hints at retirement, while also bringing Tommy back for one last hurrah. In rather predictable fashion, the fight plays out as we expect and yet as with any good noir their needs to be a little wrinkle and there is.

This film is by no means Citizen Kane, but in a sense, it is Kirk Douglas’s version of it.  Because he got the opportunity to play a character following the mold of the American Dream. He rose from the depths of poverty to become the champion of the world! And yet along the way, he became a cold-blooded, money-grubbing, scumbag who lost connection with all the people who actually cared about him. It’s the inverted American Dream — a cautionary tale on the most archetypal level. He plays Midge with the same tenacity of some of his earlier roles where he balances cold-hearted corruption with a nevertheless infectious charm.

Something else it has is a Cain and Abel type complex  — much like Force of Evil. There are the two brothers at odds, except instead of murder, there’s more of a self-destruct going on. In this respect, Connie is far from the most important character, but he is an interesting character thanks to the earnestness of Arthur Kennedy.

Also, I find it particularly interesting in terms of the women in Midge’s life. Thanks to posters I assumed Marilyn Maxwell was the main love interest, but in the film, he’s actually married to Ruth Roman’s character almost the entire film, and it seems to be Lola Albright’s character who is the only one who actually loves him. It makes for an interesting dynamic because these women are drifting in and out of his life. And he doesn’t end up with any of them. That’s the life of a Champion sometimes.

4/5 Stars

Lawrence of Arabia (1962)


A film of truly epic proportions, in length, scenery, and brilliance, Lawrence of Arabia is essential cinema. Peter O’Toole delivers a stellar performance as T.E. Lawrence, a British soldier during World War I. The movie begins with his death from a motorcycle crash, which gives an early glimpse of the character.

Then, a flashback goes to his time in Arabia where his task was to unite the Arab tribes, and lead them in rebellion against the enemy so the British might win. Against the better judgment of his commanding officer, a Mr. Dryden of the Arab Bureau suggests Lawrence be sent to assess the possibility of an Arab revolt against the Turks. Lawrence heads with his guide to pay a visit to Prince Faisal. However, his guide is shot by another man and Lawrence resolves to make the journey alone. Their paths cross again in the camp of Faisal. There Lawrence interests the Prince because his ideas are far different from his commanding officer.

Showcasing his audaciousness Lawrence suggests a bold attack on Acaba which would allow the British to bring in supplies. He leads a group of men across the brutal desert knowing that this will be less expected. Sheriff Ali (Omar Sharif) doubts it will work and disapproves that Lawrence takes two young outcasts as his servants. It is later during the journey that Lawrence truly wins over the other men, including Ali, because he is relentless, even going back for a lost straggler. With some luck, Lawrence is able to gain the help of Auda Abu Tayi, but it is not without tension. Ultimately, his forces are able to take out the Turks, and Lawrence heads back to Cairo to relay his progress. However, on the way back he must struggle with the loss of a servant and the guilt of executing a man.

Lawrence is sent back to Arabia and there he leads his forces in guerrilla operations against the Turkish railroads. His exploits are documented by an American newsman, and by this point, he has become a mythical hero among his followers. However, after going to scout a town the seemingly invincible Lawrence is ultimately flogged and tortured, leaving him a broken shell of a man. He insists on leaving Arabia but his new commander, General Allenby orders him back for one final push towards Damascus.

This final mission sees a change in Lawrence, who has hired killers and missionaries to help him in his siege. Against the better judgment of Sherif Ali, Lawrence leads a massacre of Turks as they move onward. He takes Damascus, but his fragmented counsel of Arabs are unable to unite, and the city is given back to the English. Major Lawrence is promoted once more to Colonel, and then gets shipped home because his services are no longer necessary.

This is one of those films you want to see on the big screen because the scenery and cinematography is just that impressive by itself. David Lean had a skill at making epics, and this is perhaps his masterpiece. The desert is often stark and desolate, and yet striking in the same instance. The expanse of space that is viewed in a single shot is often mind-blowing. A human being on the horizon is hardly a speck, and the ever-present camels are hardly any more substantial. To complement these grand images is an equally magnificent score by Maurice Jarre, complete with overture and all. The cast must be mentioned too with such supporting stars as Omar Sharif, Anthony Quinn, Alec Guinness, Claude Rains, Jack Hawkins, and Anthony Quayle.

Then, of course, there is the man who played Lawrence. As portrayed so wonderfully by Peter O’Toole, Lawrence is an intelligent and, at times, arrogant man, who can be odd, distant, audacious, and also unscrupulous. That being said, he was an extraordinary man who was a mover and a leader of men. A very unique, at times controversial, and long unheralded man, who contributed to the war effort in a far different way.  In many ways, he was an adopted brother to the Arabs, and their country was also his. He was “Lawrence of Arabia.”

5/5 Stars