Search This Blog
Monday, February 28, 2011
Smoke Signal (1955)
After a massacre at their fort by Ute Indians, a small handful of surviving soldiers plus a prisoner (Dana Andrews) awaiting court martial, a girl (Piper Laurie) and a skin hunter (Douglas Spencer) flee in canoes down the treacherous, uncharted Colorado river in an escape attempt. Thus, the film becomes more of an adventure than a traditional western as the bulk of the film takes place on the river. While the locations (Utah and Arizona) are lend authenticity to the film, the majority of the river rapids sequences are obviously done in a studio against projected backdrops which lessens the excitement. Still, some suspense is generated, not only by the "will they or will they not make it" plot but also by the tension between Andrews and the martinet Captain (William Talman) determined to bring Andrews through to court martial. Perhaps it is a routine western but it's compact and efficient and successfully completes its modest ambitions. Directed by Jerry Hopper and with Rex Reason (as Laurie's slimy fiancee), Robert J. Wilke, Milburn Stone and William Schallert. A western that I think non-western fans might enjoy even more than western fans.
You'll Find Out (1940)
A bandleader (Kay Kyser) and his orchestra are hired to play at the 21st birthday party of an heiress. The festivities turn deadly, however, when an attempt is made on her life. Directed by David Butler (CALAMITY JANE), this movie should be a lot more fun than it is. I'm a sucker for those "old creepy mansions with secret passages on a dark and stormy night as a killer stalks the house guests" horror comedies but this is no CAT AND THE CANARY or GHOST BREAKERS and, alas, no Bob Hope or Abbott & Costello. Instead, we're stuck with the weird Kay Kyser and the unfunny Ish Kabibble, who apparently were the cat's meow to 1940 audiences but their brand of comedic hi-jinks hasn't traveled well. I only laughed once when a dog with a stick of lit dynamite in his mouth ran around chasing everybody. The film does have an ace up its sleeve, however, a trifecta of villains played by Boris Karloff, Peter Lorre and Bela Lugosi. Unfortunately, none of them are at their best and, in fact, Karloff and Lugosi are wasted while Lorre has a few good moments. With Dennis O'Keefe, Ginny Simms, Harry Babbitt and Alma Kruger.
Sunday, February 27, 2011
Senso (1954)
Set in 1860's Venice at the time the Austrian occupation was nearing its end when Italian nationalists revolted against their presence, an aristocratic and married Italian countess (Alida Valli) enters an affair with an Austrian lieutenant (Farley Granger) which will have far reaching and tragic consequences. Directed by Luchino Visconti, this is a remarkable melodrama. Its portrayal of unbridled passion (I'm not sure one can legitimately call it love) and how reason and pride disappear as one abandons oneself to it, stands alone in cinema annals. It's clear right from the beginning that the Austrian lieutenant is unworthy of her and when he looks at her and says, "You shouldn't love me. No one should." you know the worst is yet to come. Visconti's rich Technicolor imagery is unsurpassed here, enhanced by the talents of Robert Krasker (THE THIRD MAN) and Aldo Graziato (UMBERTO D). Valli is superb here and it's Granger's finest hour though I suspect being dubbed in Italian helped. Tennessee Williams and Paul Bowles (THE SHELTERING SKY) are credited with something called "dialogue collaboration". I'm not quite sure what that means but perhaps it's more evident in the cut, dubbed version called THE WANTON COUNTESS. With Massimo Girotti and Sergio Fantoni.
Saturday, February 26, 2011
The Big Game (1974)
Libel (1959)
Friday, February 25, 2011
Bachelor In Paradise (1961)
A best selling author (Bob Hope) on love making around the world, who has been living in Europe for 14 years, must return to the United States because of taxes owed to the IRS. In order to pay off his taxes, he goes undercover to a suburban community in Southern California to write a book on how Americans deal with sex and romance. Directed by Jack Arnold (CREATURE FROM THE BLACK LAGOON, IT CAME FROM OUTER SPACE), an unlikely director for a sex farce, the film is a typical Hope vehicle but more sophisticated than his usual fare. Oh, he still has the one line zingers but he's venturing into Rock Hudson/Doris Day territory here and the plot isn't as thin or far fetched as some of his comedies. Lana Turner in a rare foray into comedy plays straight man to Hope but she loosens up enough to do an amusing Tahitian dance while drunk. The talented supporting cast all seem up for the hi-jinks including Paula Prentiss, Jim Hutton, Janis Paige, Agnes Moorehead, Virginia Grey and Don Porter. The cocktail lounge score is by Henry Mancini, whose title song received an Oscar nomination.
Thursday, February 24, 2011
Fire Down Below (1957)
Wednesday, February 23, 2011
Bullwhip (1958)
According to her father's will, a fiercely independent young woman (Rhonda Fleming) must marry immediately in order to retain control of her father's estate and business. To this end, with the aid of a corrupt judge, she marries a man (Guy Madison) about to be hanged to fulfill her father's last wishes. But when he escapes from jail, he follows her and demands his place as her husband. Directed by Harmon Jones, this would ordinarily be a nondescript routine "pass the time" western. What makes it so disturbing, even repugnant, is the systematic humiliation and domineering of the woman by the cocky and arrogant man in an attempt to break her independent spirit and take control. It's the most sexist western I've ever seen in that respect. Madison is adequate and Fleming looks breathtaking in color and CinemaScope but the unsavory aspects of the story dampen whatever enjoyment one might ordinarily have. The title song, with whip cracks and all, is by Frankie Laine, who else? I wonder if Mel Brooks saw BULLWHIP as the title song from BLAZING SADDLES, also sung by Laine sounds quite similar.
Tuesday, February 22, 2011
The Exorcist (1973)
Crazy On The Outside (2010)
After serving three years in prison, an ex-con (Tim Allen) attempts to rebuild his life but there are complications. He's still hooked on his deceitful ex-girlfriend (Julie Bowen), his former partner (Ray Liotta) tries to lure him back into the illegal business that got him convicted in the first place and his wacky sister (Sigourney Weaver) has told the family that he's been living in France for three years instead of being in prison. Directed by Allen, the film is too predictable and the lines just aren't funny. The only amusing thing that works consistently is the euphemism of France for prison. A major impediment is that Allen's character is not the brightest bulb. We can see the trouble coming way before he does. The most interesting character is Weaver as his sister and it's near miraculous that she's able to squeeze some laughs out of the most lame dialogue. I doubt probation officers would be pleased with the portrayal of Jeanne Tripplehorn as the neurotic probation officer who has a propensity for falling in love with ex-cons. The score is by David Newman, whose score has some amusing faux Philip Glass moments. With Kelsey Grammer and J.K. Simmons.
Mrs. 'Arris Goes To Paris (1992)
Monday, February 21, 2011
Bagdad (1949)
Sunday, February 20, 2011
Death In Love (2009)
A monstrous psychotic (Jacqueline Bisset), who survived the concentration camps by seducing a Nazi doctor (who did medical experiments on Jews) into becoming his love slave passes on her emotional and mental instabilities to her two grown sons. One (Josh Lucas) is unable to have a healthy, lasting relationship with a woman, the other (Lukas Haas) is a self mutilating agoraphobic. As Lucas becomes involved in a homoerotic relationship with a co-worker (Adam Brody), Bisset's lovers start getting murdered by a serial killer. The movie is as crazy as it sounds. The director Boaz Yakin is borderline exploitative. The scenes of torture and experimentation on Jews in the concentration camps are so graphic and bloody, I had to turn away. The untalented Josh Lucas is so bad and one begins to develop a perverse sympathy for him, the actor not his character. There's lots of talk, talk, talk but it's not the way real people talk, it's psychobabble! That being said, the film is fascinating but I'm not sure in a good way. It's harder to shake off than much better films so I suppose that says something. Bisset is superb here, she's never done anything like this before and it's a brave performance and Haas is very good too so it's a pity it's not for a better film. I'm not sure what to make of the rock song sung in Yiddish over the end title credits. Let me just say I've never seen anything like it and leave it at that.
White Dog (1982)
Saturday, February 19, 2011
Sons And Lovers (1960)
La Tete Contre Les Murs (aka Head Against The Wall) (1959)
An emotionally disturbed young man (Jean Pierre Mocky) is institutionalized against his will at a mental asylum by his spiteful father (Jean Galland). There, two doctors with decidedly different methods in treatment attempt to cure their patients. One (Pierre Brasseur) is more traditional and disciplinary and by the book and also a bit of a hypocrite (he chastises an intern for using the word lunatic to describe a patient but in private with another doctor, he does the exact same thing). The other (Paul Meurisse) is less authoritative and allows more freedom. Based on the novel by Herve Bazin and directed by Georges Franju. The same year he directed the elegant horror film LES YEUX SANS VISAGE, Franju directed this less known but insightful look into mental asylums and its treatment of patients. It's far more restrained and matter of fact than the overheated melodrama of its American counterparts like THE SNAKE PIT or ONE FLEW OVER THE CUCKOO'S NEST and therefore by default, more disturbing. The similarities to Ken Kesey's CUCKOO'S NEST are evident and one wonders if Kesey had seen it as the film came out in 1959 and Kesey's novel published in 1962. Maurice Jarre contributes one of his very best scores. With Anouk Aimee and Charles Aznavour, who would probably have gotten an Oscar nomination if this had been an American film.
Friday, February 18, 2011
Brief Encounter (1974)
At a railway station tea shop, a housewife (Sophia Loren) is assisted by a doctor (Richard Burton) after she gets a piece of grit from a passing train in her eye. They run into each other again and a tentative near platonic romance begins although she feels guilty because she's happily married with children but he's unhappily married. Directed by Alan Bridges (THE HIRELING) and based on Noel Coward's play STILL LIFE, which was previously made by David Lean in 1945 under the present title, the film suffers by the lack of chemistry between Loren and Burton which is a pity because they're quite good here. It's a treat to see a low-keyed, restrained Burton who curbs his tendency to overact and Loren playing against type but we never see the passion, the intensity of their relationship. They talk about it, yes, but we never see it. The film almost seems turned over to Loren's character. We get a detailed view of her home life with her husband (Jack Hedley) and children but there's just one brief scene with Burton at home with his icy wife (Ann Firbank). It's photographed by Arthur Ibbetson (ANNE OF THE THOUSAND DAYS) who gives the film a few nice touches and the quietly effective score is by Cyril Ornadel.
Goliath And The Barbarians (aka Il Terrore Dei Barbari) (1959)
Set in 6th century Italy during the "Barbarian" invasions, when a small village is devastated by the pillage, rape and killing of its citizens by barbarian tribes, a young man (Steve Reeves) vows to avenge the death of his father and destroy as many of the barbarian tribe as he can. Directed by Carlo Campogalliani, this may be the best of the Steve Reeves Italian sword and sandal epics (which isn't saying much) but it lacks the imagination of his HERCULES or even HERCULES UNCHAINED. Reeves seems to easily conquer the barbarians by beating them with a big stick of some kind while it seems odd that it never occurs to the barbarians to shoot him with an arrow. The battle scenes are handled nicely and cinematography by Bitto Albertini often has a nice rich look to it and the Les Baxter score (for the U.S. cut) is stirring. The exotic Chelo Alonso as the daughter of a barbarian ruler, and Reeves' love interest, has a couple of sexy dance numbers. With Andrea Checchi and Bruce Cabot (the original KING KONG) makes an appearance.
Thursday, February 17, 2011
This Earth Is Mine (1959)
A sprawling saga of a wine making dynasty set in the Napa Valley of Northern California during the last days of prohibition. A young woman (Jean Simmons) arrives from England to stay with her grandfather (Claude Rains), the patriarch of the clan, where she finds a conflict between the grandfather and her cousin (Rock Hudson), carrying the burden of an illegitimate birth, about the future of the vineyards. The cousin wants to sell the grapes to bootleggers for booze but Rains refuses to have his grapes used for illegal purposes. Based on the novel THE CUP AND THE SWORD by Alice Tisdale Hobart and directed by Henry King (SONG OF BERNARDETTE). This melodrama suffers from a muted restraint which ill serves the genre. The structure cries out for a more ambitious film (something along the lines of GIANT) but the plot seems splintered as if pieces have been left out. I haven't read the 1942 source material but perhaps the book has been bowdlerized. Hudson seems inadequate to the demands placed on him in the role but the rest of the cast does well enough especially Dorothy McGuire as Rains' strong willed daughter. The score is by Hugo Friedhofer. With Anna Lee, Kent Smith, Ken Scott and Cindy Robbins.
Blue Remembered Hills (1979)
Set in 1943 England during WWII, the film follows seven aimless, foolish 7 year old children on a sunny afternoon that turns deadly when a mean spirited prank goes wrong. Directed by Brian Gibson (WHAT'S LOVE GOT TO DO WITH IT?) and written by Dennis Potter (PENNIES FROM HEAVEN), the film examines how cruel children can be (a squirrel is gleefully beaten to death) and perhaps an allegory for their adult counterparts which may be why it's set in WWII. My main problem with the film is the casting of adult actors as the children. It distances the horror we would feel if the parts were played by actual child actors. There's nothing sillier than grown ups acting like children (does anyone remember the embarrassing vision of Grant and Rogers in Hawks' MONKEY BUSINESS?) and the actors tend to act more like children than real children do. The thick regional accents also hampers the clarity of the dialogue. The seven children are played by Helen Mirren, Colin Welland (who would later turn writer and win an Oscar for CHARIOTS OF FIRE), Michael Elphick, Robin Ellis, John Bird, Janine Duvitski and Colin Jeavons.
Wednesday, February 16, 2011
Song Without End (1960)
Tuesday, February 15, 2011
Five Finger Exercise (1962)
Monday, February 14, 2011
Designing Woman (1957)
Sunday, February 13, 2011
Adua E Le Compagne (1960)
After their brothel is closed down, four prostitutes attempt to start a new life by opening a restaurant in the countryside. But the past has long arms and can be cruel and unforgiving and happy endings don't always come to those who try. Directed by Antonio Pietrangeli, the film takes an unromanticized look at prostitution with excellent work by the four actresses. Simone Signoret is slightly hampered by being dubbed in Italian but she brings strength to the determined leader of the quartet, Sandra Milo (8 1/2) is charming as the easy going but not too bright free spirit, Emmanuelle Riva (HIROSHIMA MON AMOUR) as the high strung hooker trying to raise a child and Gina Rovere is touching as the one who finds true love only to have it snatched away. Pietrangeli may be one of the most undervalued of Italian directors. His I KNEW HER WELL is a stunning film and this one is pretty damn good. Normally, I'm all for honest endings even if they hurt but, for once, I wanted to buy the Cinderella ending because this one stung. The jazz score is by Piero Piccioni. With Marcello Mastroianni as the car salesman who courts Signoret, only to crumble when she needs him.
Freud (aka The Secret Passion) (1962)
Saturday, February 12, 2011
Hot Blood (1956)
Night And The City (1992)
Friday, February 11, 2011
Gun For A Coward (1957)
Internes Can't Take Money (1937)
Thursday, February 10, 2011
Casino Royale (1954)
An American CIA agent James Bond (Barry Nelson) is assigned to work with his British counterpart Leiter (Michael Pate) in bringing down the Soviet agent Le Chiffre (Peter Lorre) by beating him in a game of Baccarat. Le Chiffre has been using party funds to gamble and lost and his life depends on his winning and Bond's ability at Baccarat makes him the right man for the job. This first adaptation of the Ian Fleming novel was done for live television and is almost unrecognizable from Fleming's book. The British Bond of HMSS is now an American CIA agent and the CIA agent of the novel, Leiter, is now a British agent and the production, for the most part, focuses on the actual Baccarat game. It's of archival interest mostly as the first James Bond adaptation for film or television and a must for James Bond buffs but of only marginal interest to the casual moviegoer. Nelson makes for a bland Bond and only Lorre as Le Chiffre brings a sense of the Bond universe. With Linda Christian as the first Bond girl, her name changed from Vesper of the book to Valerie.
Casino Royale (1967)
James Bond 007 (David Niven) is forced out of retirement after "M" (John Huston) is killed to investigate a rash of disappearances and deaths of spies under SMERSH's directives. This spy spoof is all over the place, everything but the kitchen sink thrown in and never more so than in the film's bizarre big brawl finale at the casino with the U.S. Cavalry, the French foreign legion, seals and Indians parachuting through the roof. The film doesn't even try to make any narrative sense despite the effort of five directors (Huston, Val Guest, Robert Parrish, Ken Hughes, Joseph McGrath) . That said, the film plays better today than it did in 1967. Its surreal insanity allows for many splendid sight gags, tongue in cheek deliveries and puns. Erratic, yes, and parts of it are almost embarrassingly lame but its playful attempt to please become almost charming. The massive cast includes Peter Sellers, Deborah Kerr (wonderful to see her do physical comedy), Ursula Andress, Orson Welles, William Holden, Woody Allen (not at his best), Charles Boyer, Peter O'Toole, Jacqueline Bisset, Jean Paul Belmondo, George Raft, Joanna Pettet (whose dance number is a highlight), Daliah Lavi, Kurt Kasznar, Anna Quayle and Barbara Bouchet. The tuneful, witty score is by Burt Bacharach and introduced the seductive The Look Of Love sung by the great Dusty Springfield and the often inspired art direction by Michael Stringer.
Wednesday, February 9, 2011
Shark! (1969)
An American gunrunner (Burt Reynolds), stranded in North Africa, accepts a job offer from a mysterious woman (Silvia Pinal, Bunuel's VIRIDIANA) to assist a scientist (Barry Sullivan) in his undersea research. He soon discovers that it's just a cover for raiding a sunken ship of treasure. Directed by the great Samuel Fuller but you'd never know it if his name wasn't on the credits. It's easily the career low point for the maverick director, horribly inept and sloppily made. To be fair though, the editing was taken away from Fuller and he asked to have his name removed from the film but the producers refused. Still, from what remains I can't imagine anything worthwhile to be gleaned from the ashes. The film dedicated the film to its stuntmen which seems self serving since a stuntman was killed by a shark during the filming. Mexico does a credible job of standing in for North Africa though, not surprisingly, all the Arabs look Mexican! The film's ironic finale is pretty terrific actually. Pity it's wasted on an inferior film. Fuller completists might find some interest in it but it lacks Fuller's primitive pulpy trademark style. With Arthur Kennedy as an alcoholic doctor and Carlos Barry as an Arab street kid who Reynolds takes under his wing and is meant to be adorable but is just annoying.
Tuesday, February 8, 2011
Second Time Around (1961)
War Of The Satellites (1958)
Monday, February 7, 2011
Footsteps In The Fog (1955)
Live And Let Die (1973)
Sunday, February 6, 2011
King Lear (1953)
An elderly King (Orson Welles) decides to retire from the throne and offers to divide his kingdom to his three daughters, the ones who love him most getting the largest shares. Two of his daughters (Beatrice Straight NETWORK, Margaret Phillips THE NUN'S STORY) flatter him while the third (Natasha Parry, Zeffirelli's ROMEO AND JULIET), while expressing her love, refuses to flatter him and in a rage, he disinherits her. But the two daughters prove themselves to be selfish and cruel and drive him away with only his fool (Alan Badel) to accompany him. Shakespeare's great tragedy, possibly his greatest, gets a stripped down production by Peter Brook who staged it with assistance from director Andrew McCullough. Everything not relating directly to the Lear plot is excised, most notably the Edgar/Edmond/Gloucester subplot which makes the production a showcase for Welles as Lear and what a wonderful Lear he is. Alas, the production is limited by both the cuts, the budget and limitations of live television (though surprisingly the graphic eye gouging scene got by the censors) but don't let that dissuade you. The score is by Virgil Thomson, no less. With Arnold Moss, Bramwell Fletcher, Michael MacLiammoir and Lloyd Bochner.
Isadora (1968)
Opening on the French Riviera in 1927 during the last week of her life, through flashbacks we see the life of the revolutionary, free thinking, free spirited, controversial and celebrated dance pioneer Isadora Duncan (Vanessa Redgrave). Based on the books MY LIFE by Isadora Duncan and ISADORA, AN INTIMATE PORTRAIT by Sewell Stokes and directed by Karel Reisz (THE FRENCH LIEUTENANT'S WOMAN). As far as movie biographies go, it's blessedly free of most of the cliches (Duncan wasn't a drug addict or alcoholic) of the genre but neither, due to the restrictions of the genre, very fluid as cinema. A film like this rises or falls on the shoulders of the actress playing Isadora Duncan and that is the film's piece de resistance, an extraordinary performance by Redgrave in the title role. It ranks with the greatest performances by an actress ever put on film (Redgrave won the Cannes film festival best actress award as well as the New York Film Critics award and an Oscar nomination), playing the fresh faced young Isadora and the henna haired aging Isadora with equal aplomb. So brilliantly that one overlooks a crucial fact ..... Redgrave is not a dancer. Fortunately, she carries herself as a dancer but when required to actually dance, she doesn't have a dancer's grace, a dancer's mobility. The film was originally shown in Los Angeles in 1968 as a three hour Roadshow cut to qualify for the Academy Awards but when released in the rest of the country in April 1969 (including New York), the film had been cut down to two hours and 20 minutes. Apparently, the three hour Roadshow cut no longer exists which is a pity. The dreary score is by Maurice Jarre. With Jason Robards, James Fox, John Fraser, Zvonimir Cmko and Bessie Love.
The Birds (1963)
In a small Northern California seaside town, a series of unexplained, escalating bird attacks turns deadly while a wealthy socialite (Tippi Hedren) and an attorney (Rod Taylor) find themselves falling in love and dealing not only with the vicious attacks but his mother's (Jessica Tandy) neurosis. This Alfred Hitchcock classic is one of his greatest achievements. Using the literate Evan Hunter script as a template, Hitchcock goes beyond mere suspense and shock but his intelligent, well written characters are a very part of the fabric, not just filler until the next bird attack. I can't imagine a contemporary horror film (though to call THE BIRDS a horror film seems ludicrous) taking the time and devote to such detailed characterizations. Hitchcock's pacing (aided by George Tomasini's judicious editing), Robert Burks' creative cinematography and the audacious sound design by Oskar Sala and Remi Gassmann (Bernard Herrmann is credited as a sound consultant) all contribute to an extremely consuming build up and one of the bleakest fade outs in film history. The acting ranges from good (Suzanne Pleshette) to superb (Tandy). With Veronica Cartwright and a large cast filled by a gallery of quality character actors like Charles McGraw, Elizabeth Wilson, Joe Mantell, Ethel Griffies, Richard Deacon, Ruth McDevitt, Lonny Chapman, Karl Swenson, Doreen Lang and Malcolm Atterbury.
Saturday, February 5, 2011
Border River (1954)
As the Civil War continues to rage on in the United States, a Confederate officer (Joel McCrea) crosses over to Mexico to a "free zone", ruled over by a self important despot (Pedro Armendariz), in an attempt to buy guns for the Confederacy with two million in stolen gold bullion. But things heat up when McCrea makes eyes to Yvonne De Carlo, the object of Armendariz' heart despite her loathing of him. Directed by the veteran George Sherman, this is an enjoyable minor programmer, the kind of movie that was usually the first half of a double feature in the neighborhood nabes. There's nothing remotely fresh or provocative about it but a pleasant Technicolor time waster that should find favor with western fans, non western fans shouldn't even bother. Shot in Technicolor, the cinematographer Irving Glassberg (TARNISHED ANGELS) does a nice job with the Utah locations including the Colorado river. With Alfonso Bedoya, Howard Petrie and Ivan Triesault.
Buta To Gunkan (aka Pigs And Battleships) (1961)
In a small fishing village in post war Japan which is now a port for the United States Navy, a petty thug (Hiroyuki Nagato) and a bar girl (Jitsuko Yoshimura), who's hopelessly in love with him, attempt to fulfill their aspirations in a changing Japan. He wants to be a Yakuza big shot and she just wants to get married, have him work in a factory and settle down to domestic life. Directed by Shohei Imamura, the film could safely be described as a black comedy, an often satirical look at the local Yakuza as well as the corruption of traditional Japanese life (more specifically its women) by the influence of the American presence in Japan. The film is hampered by its leading characters. Nagato's gangster wannabe is incredibly dumb or to be more generous, naive and his appeal to Yoshimura is lost to us which makes her come across as a clinging, nagging girlfriend. One can barely summon up much compassion for their situation which seems of their own making. Imamura's portrayal of Americans as big, dumb brutes are a caricature but perhaps justifiable retaliation for Hollywood's stereotypical portrayals of Japanese though out the decades. Still, it's eminently watchable and Imamura manages to whip up an imaginative finale. The playful score is by Toshiro Mayuzumi. With Tetsuro Tamba (Tiger Tanaka from YOU ONLY LIVE TWICE) and the prolific Eijiro Tono who I swear pops up in every other Japanese film I see.
Thursday, February 3, 2011
Evening Primrose (1966)
Wednesday, February 2, 2011
Saigon - Year Of The Cat (1983)
Tuesday, February 1, 2011
No Room For The Groom (1952)
Anastasia (1956)
In 1928 Paris, a young woman (Ingrid Bergman) who has spent the last ten years drifting, including stays in hospitals, has no memory of who she is. A Russian emigre (Yul Brynner) seizes the opportunity to coach her in an attempt to pass her off as the Grand Duchess Anastasia, the daughter of Czar Nicholas II, and the alleged sole survivor of the assassinated dynasty. The film, directed by Anatole Litvak and based on the play by Guy Bolton (who co-wrote the screenplay) and Marcelle Maurette takes the rumors and alleged claims of one "Anna Anderson", who made claims she was Anastasia, and uses it as the basis of the film's story. After Ms. Anderson's death, the rumors were put to rest, she was not Anastasia. But the film makes for an engrossing story anyway, due in no small part to the strong performance of Bergman, which earned her a second Oscar, which almost convinces us she is Anastasia. The elegant CinemaScope lensing is by Oscar winner Jack Hildyard (BRIDGE ON THE RIVER KWAI) and with a sterling Oscar nominated score by Alfred Newman. With Helen Hayes as the Dowager Empress, whose reconciliation scene with Bergman is the highlight of the film. The large cast includes Akim Tamiroff, Martita Hunt, Natalie Schafer, Felix Aylmer and Ivan Desny.
Subscribe to:
Posts (Atom)