National Classic Movie Day Blogathon: 5 Favorite Films of the 1950s

Thank you Classic Film & TV Cafe for hosting this Blogathon!

Though it’s tantamount to utter absurdity to try and whittle all my personal favorites of the decade down to five choices (I might cheat a little), this is part of the fun of such lists, isn’t it? Each one is highly subjective. No two are the same. They change on whims; different today, tomorrow, and the next. But I will do the best to make a go of it.

If anything this is a humble beacon — a twinkling five-sided star — meant to shine a light upon my profound affinity for classic movies on this aptly conceived National Classic Movie Day. For those in need of gateway films, these are just a few I would recommend without deep analysis, solely following my most guttural feelings. Hopefully that is recommendation enough. Let the adulation begin!

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1. Singing In The Rain (1952):

Many classic film enthusiasts weren’t always so. At least, on many occasions, there was a demarcation point where the scales tipped and they became a little more frenzied in their pursuits. For someone like me, I didn’t always watch many movies. However, Gene Kelly, Donald O’Connor, and Debbie Reynolds were household names even from my earliest recollections.

Singin’ in the rain with the giddy abandon of Don and bringing down the house with gags like Cosmo were childhood aspirations. Kathy, the young hopeful, aspired for big dreams, not unlike my own. They were idols because they made life and the movies — even song and dance — so very euphoric. It took me many years to know this was a part of a musical cottage industry or who Cyd Charisse was (because we’d always fast-forward through that risque interlude). Regardless of anything else, the film effects me in the most revelatory way. You can barely put words to it. You need simply to experience it firsthand.

After seeing it so many times it becomes comforting to return again and again. What’s even better is how the magic never dies. We lost Stanley Donen this year but this extraordinary piece of entertainment will live on for generations to come.

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2. Roman Holiday (1953)

I distinctly remember the first time I ever saw Roman Holiday. It was on an international flight to England. I was young and ignorant with not the slightest idea who Audrey Hepburn and Gregory Peck were. You can determine whether or not I was living under a rock or not. However, what did happen is a young kid was decisively swept off his feet by a film. Those were before the days I gave even a moderate consideration of directors like William Wyler, much less debated or bandied about terms like auteur.

What does become so evident is the chemistry between our stars, hardly manufactured, even as the setting, placed in living, breathing Rome, imbues a certain authentic vitality of its own. Vespa rides are exhilarating. The sites are still ones I want to see and haven’t. And of course, I’ve only grown in my esteem of both Audrey and Mr. Peck as I’ve gotten older.

It’s crazy to imagine my only point of reference for such a picture was Eddie Albert (having been bred on more than a few episodes of Green Acres). Any way you slice it, this is, in my book, the quintessential romantic comedy because it is part fairy tale and it comes with all the necessary trimmings, while still planting itself in the real world. I always exit the halls of the palace feeling rejuvenated. Each time it’s like experiencing wonderful memories anew.

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3. Rear Window (1954)

It’s a weighty task to even begin considering your favorite film but to make it easier on myself whenever the inevitable question is dropped in my lap, I’m quick to reply: Rear Window. The answer is actually quite an easy one. Alfred Hitchcock is as good a reason as any. Add James Stewart and Grace Kelly and you’ve entered the gold standard of movie talent. They don’t come more iconic.

The Master of Suspense’s chilling thriller was another fairly early viewing experience with me and it immediately left an impression. Again, it’s another example of how appreciation can mature over time. Thelma Ritter is always a favorite. The use of diegetic and non-diegetic sound throughout the picture accentuates this artificial but nevertheless meticulous sense of authenticity.

How Hitchcock utilizes the fragments of music and the supporting characters in the courtyard to comment on these secondary themes of romantic love playing against the central mystery is superb. It’s a perfect coalescing of so much quality in one compelling cinematic endeavor. Even down to how the opening and final scenes are cut perfectly, introducing the story and encapsulating the progression of character from beginning to end. It is pure visual cinema.

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4. 12 Angry Men (1957)

I care deeply about interpersonal relationships and as movies have become more a part of my life it has become increasingly more important for them to hold a microscope to how we interact with one another in the world at hand. For me, there are very few films that channel real human relationships in a meaningful way as effectively as Sidney Lumet’s debut 12 Angry Men. Like Rear Window, it is developed in limiting environs and yet rather than such constraints leading to the stagnation of a story, it only serves to ratchet the tension.

Because the ensemble is an impeccable range of stars spearheaded by Henry Fonda and balanced out by a wide array of talent including a pair of friends from my classic sitcom days John Fiedler (The Bob Newhart Show) and Jack Klugman (The Odd Couple). However, all of this is only important because the story has actual consequence. Here we have 12 men battling over the verdict on a young man’s life.

But as any conflict has the habit of doing, it brings out all the prejudices, inconsistencies, and blind spots uncovered and aggravated when people from varying points of views are thrust in a room together. it’s an enlightening and ultimately humbling experience for me every time because it challenges me to actively listen to where others are coming from and empathize with their point of view so we can dialogue on a sincere level. It’s also simultaneously a sobering analysis of the gravity of the American justice system.

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5. Some Like it Hot (1959)

I most recently saw Some Like it Hot as part of a retrospective across the globe from where I usually call home. But what a wonderful viewing experience it was. Again, it’s akin to getting back together with old friends. I personally love Jack Lemmon to death and paired with Tony Curtis and the incomparable Marilyn Monroe, you’d be hard-pressed to find a more hair-brained, raucous comedy coming out of Hollywood.

Billy Wilder is certainly one reason for this and I’ve always come to admire his ability for screwball and often mordant wit. There is arguably no higher watermark than Some Like it Hot and the script is wall-to-wall with hilarious gags and scenarios. Like all the great ones, you wait for a favorite line with expectancy only to be ambushed by another zinger you never found time to catch before.

But there is also a personal element to the picture. Many might know the Hotel Del Coronado in sunny San Diego filled in for the Florida coast and having spent many a lovely day on those very shores, I cannot help but get nostalgic. Not only was this film indicative of a different time — the jazz age by way of the 1950s — it also suggests a very different juncture in my own life. While I cannot have the time back I can look on those memories fondly just as I do with this film…

So there you have it. I gave it my best shot pulling from personal preference and the idealistic leanings of my heart of hearts. I hope you enjoyed my Top 5 from The ’50s!

But wait…


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Honorary Inclusion: The Crimson Kimono (1959)

Full disclosure. I know this is cheating but I take any occasion I possibly can to promote Sam Fuller‘s gritty Little Tokyo police procedural. For me, it deserves a special acknowledgment. As a Japanese-American and coming from a multicultural background myself, it was a groundbreaking discovery and an unassuming film with a richness proving very resonant over the recent years. It blends elements so very near and dear to me. Namely, film noir and my own heritage — all wrapped up into one wonderful B-film package. Please give it a watch!

THE END

Review: Singin’ in the Rain (1952)

f7d3a-singin_rain I always seem to get goosebumps during Gene Kelly’s “Singin’ in the Rain” number, because each time I see and hear it, there is still a new magic to it every time. You see when I was young, before I knew all the classics, first and foremost, I knew this gem of a film. It is such a wonderful buildup to that moment with such personal favorites as “Make em’ Laugh” and “Moses Supposes.” Then you have the always popular “Good Morning” with not only Kelly but Donald O’Connor and Debbie Reynolds performing. Great stuff! There’s tireless choreography that goes into many of those sequences but it comes off so effortlessly and it brings us into the moment. There those wonderful, brief instances when you lose yourself in the music, the magic, and so on.

As the story goes, the three friends save the failing “Dueling Cavalier” by losing the simple “talkie” gimmick and making it a musical by dubbing the squeaky-voiced Lena Lamont (Jean Hagen). Cathy (Reynolds) no longer is a bit player, and she gains the acknowledgment that she deserves. Then Don Lockwood (Kelly) gets the girl who burst out of a cake. Cosmo Brown (O’Connor) is along for the ride staying with Don through thick and through thin, even calling him a cab when necessary. He’s a true friend in a million.

Although Kelly had a career with other high points (arguably never as high as this one), I am always slightly saddened that O’Connor and Reynolds never reached another apex like this in their subsequent careers. But they were both so great here, we must simply cherish this film for what it is.

Even to this day, the film holds up, and that is a tribute to the writing of Betty Comden and Adolph Green highlighting the infant Hollywood and the advent of talkies. In the same breath, it’s both a satire of the movie star culture and still a love letter to that same cottage industry. The only film with a similar dissection of Hollywood’s Golden Age is another 50s classic in Sunset Boulevard. The big difference is that Wilder’s film is chock full of drama and darkness. Singin’ in the Rain will always and forever be a light, fun musical with a lot of laughs.  It is constantly quotable whether it is “dignity, always dignity” or “I CAN’T stand it!”

Jean Hagen is always the butt of everyone’s jokes, but she is indeed very funny with the most annoying voice in the history of cinema (She can’t act, she can’t sing, she can’t dance. Triple threat). You also have other fine performers like Millard Mitchell as studio head R.F., and then appearances by Cyd Charisse and Rita Moreno who made a name for themselves as dancers in the ensuing years. And is it just me or does Donald O’Connor remind others of Danny Kaye? He not only cracks the jokes, but he is a wonderful all-around performer. Although O’Connor was undoubtedly a better dancer.

All in all, this is a timeless classic and it will undoubtedly keep that title for as long as people watch movies. Now I hope it starts pouring buckets of rain so I can go outside and stomp around in the puddles. I will let you know if I come down with pneumonia. But until that happens I’ll enjoy every minute of it. I entreat you to do the same.

5/5 Stars

Singin’ In the Rain (1952)

This movie is a comedy, a romance, and above all a musical. However along with the immortal dance routines there is a plot and characters that are memorable as well. It helps to glorify a very different time in Hollywood and delivers a film that is funny and full of excellent song and dance.

There is something about this film that makes it extremely special. Even after seeing it many times I am still captivated by every joke and every unforgettable song. What can beat the brilliance and antics of Gene Kelly and Donald O’Connor backed by Debbie Reynolds? There is a touching love story to go along with these great actors and songs. Gene Kelly’s sloshing about in the title song is timeless and O’Connor delivers a hilarious performance in such songs as Make ’em Laugh. There are a few dance sequences that are drawn out but the rest is top notch and keeps the audience enamored the entire time. This truly is a classic movie and musical that is both funny and heartwarming.

5/5 Stars

“Dignity. Always, dignity”
~ Don Lockwood