The True Story Of Jesse James (1957)

After the disastrous failure of a bank raid in Northfield, Minnesota, Jesse James (Robert Wagner) and his brother Frank (Jeffrey Hunter) hide out in the mountains. Through a series of flashbacks, we find out the "true" story of Jesse James and how he came to be the most notorious bank and train robber in the West. A remake of of the 1939 film JESSE JAMES that's close enough that its screenwriter Nunnally Johnson is credited along with the new screenwriter Walter Newman and directed by Nicholas Ray. I wouldn't take that true in the title literally but with a grain of salt. A perfectly decent if unexceptional western on its own terms, it's still a major letdown because you expect more from Nicholas Ray especially coming off such recent films as JOHNNY GUITAR, REBEL WITHOUT A CAUSE and BIGGER THAN LIFE, great movies all and PARTY GIRL yet to come. Ray doesn't seem invested in the material, I can only guess it was a paycheck job. Wagner seems ill equipped at this stage of his career to carry such a heavy role, he wouldn't come into his own until the 1960s. The actual Northfield raid is handled very well and is the highlight of the film. With Hope Lange, Agnes Moorehead, Frank Gorshin, Frank Overton, Marian Seldes and Alan Hale Jr.  

The Inspector General (1949)

The corrupt mayor (Gene Lockhart) of a small village in an unspecified country under French rule hears that an Inspector General from Paris is investigating corruption through out the empire and that he is most likely in disguise. Enter an illiterate shill (Danny Kaye) working with a traveling Gypsy (Walter Slezak) and the mayor mistakes him for the Inspector General. Loosely based on the play by Nikolai Gogol and directed by Henry Koster (THE ROBE). One of Danny Kaye's better vehicles, it moves quickly with the laughs consistent and frequent. Of course, there's the usual amount of musical numbers written by Kaye's wife Sylvia Fine that allow Kaye to show off his talent for mimicry and patter songs. Even if you're not a Kaye fan (I adore him but I understand he rubs some people the wrong way), there's a good chance you'll be entertained. The movie benefits from a slew of fine character actors who shine. In addition to Slezak and Lockhart, there's Elsa Lanchester, Alan Hale, Walter Catlett and Rhys Williams with Barbara Bates (ALL ABOUT EVE) providing the romantic interest. 

Triple Echo (1972)

Set in WWII England, a woman (Glenda Jackson), whose husband is a prisoner of war in Japan, runs her farm all by herself. She begins an affair with a soldier (Brian Deacon) who is AWOL. In order to avoid suspicion, he dresses as a woman and passes himself off as her sister. But things go sour very quickly when a rough Sergeant (Oliver Reed) takes a fancy to the young "girl". Based on the novella by H.E. Bates and directed by Michael Apted (COAL MINER'S DAUGHTER) in his feature film debut. This odd little film is hampered by the fact that Brian Deacon simply isn't believable as a woman. In cross dressing comedies like TOOTSIE or THE BIRDCAGE, a suspension of belief is possible but it's not so simple for a dramatic story. Add to the fact that Deacon's character isn't very sympathetic, one can't get too wrapped up in his fate. There is the ambiguity over Deacon's character's motives. After awhile, he seems to enjoy dressing up and as Jackson's character points out behaves like a peevish woman but there's no suggestion he has homosexual tendencies. Other than that, it's a solid film with nice performances from Jackson and Reed (reuniting 3 years after WOMEN IN LOVE). With Gavin Richards and Jenny Lee Wright.

Uncle Vanya (1957)

Set in the rural Russian countryside of the late 19th century, an elderly professor (Clarence Derwent) and his much younger wife (Dolores Dorn) visit their estate where his daughter (Peggy McCay) resides. Tension arises when a country doctor (Franchot Tone) and the professor's brother in law (George Voskovec) from his first marriage both fall under the spell of the beautiful young wife. Based on the classic play by Anton Chekhov and directed by John Goetz. Franchot Tone was performing in an off Broadway production of UNCLE VANYA and decided to produce a film version of that production and this was the result. With one exception, the entire stage cast reprise their stage roles. The exception is Dolores Dorn, who was Tone's wife at the time, who takes over from Signe Hasso who played the role in the stage production. Unfortunately, with a couple of exceptions, the actors give their stage performances playing to the balcony and with grand gestures (Derwent is the worst offender). One can't tell from this film if the stage production was any good but as cinema, it's stagnant. When doing a filmed play, it helps if you have great performances that overrides the proscenium effect and that's not the case here. With Gerald Hiken, Shirley Gale and Mary Perry.

Synecdoche, New York (2008)

After his wife (Catherine Keener) leaves him and moves to Berlin with their daughter (Sadie Goldstein), a theater director (Philip Seymour Hoffman) receives a grant. He rents a massive warehouse in Manhattan's theater district where he will spend years creating a theater piece that is both personal and epic. Meanwhile, his body deteriorates with a mysterious medical condition. Written and directed by writer Charlie Kaufman in his directorial debut. It's an ambitious, perplexing film that is overwhelming. When it was over, I thought, "interesting" but I'm not quite sure if I got all of it. While words like pretentious and self indulgent come to mind, I'm not sure it's fair to the film. It's not a realistic film. If you've seen Kaufman's films as a writer (ETERNAL SUNSHINE OF THE SPOTLESS MIND, BEING JOHN MALKOVICH), you know they exist in an alternate universe that has nothing to do with the "real" world and here, Hoffman exists in a surreal world (someone buys a house that's perpetually on fire, etc.). It's themes are challenging and while I don't think it totally succeeds, I appreciate the attempt. The large cast includes Michelle Williams, Jennifer Jason Leigh, Dianne Wiest, Emily Watson, Hope Davis, Samantha Morton, Tom Noonan, Rosemary Murphy, Amy Wright, Alice Drummond and Peter Friedman.

Action Of The Tiger (1957)

A mercenary sea captain (Van Johnson) will do anything for money so when a beautiful adventuress (Martine Carol)  pays him a heap of money to infiltrate a communist country and help smuggle her brother (Gustavo Rojo) out, he goes but getting out proves far more difficult than he had anticipated. Based on the novel by James Willard and directed by Terence Young (WAIT UNTIL DARK). This standard action film is modestly entertaining albeit not particularly inventive. Van Johnson seems an unusual choice for the cynical macho sea captain but the movie was produced by Johnson's production company which explains it. This was the first American film (outside of a cameo in AROUND THE WORLD IN 80 DAYS) for the French film star Martine Carol but a career in English language films was not in the cards for her. Further down the cast list is a young Sean Connery as Johnson's hard drinking first mate and five years later, he would work with director Young again in DR. NO. Although it takes place in Greece and Albania, the movie was shot in Spain with Desmond Dickinson doing the cinematography. I saw the European cut which features a topless Martine Carol which would never have been shown in U.S. cinemas in 1957. With Herbert Lom, Helen Haye, Yvonne Romain, Jose Nieto and Anthony Dawson. 

Strange Confession (1945)

A chemist (Lon Chaney Jr.) working on a vaccine for the influenza is exploited by his employer (J. Carrol Naish), who is more interested in profits than integrity. When he meets the chemist's wife (Brenda Joyce), he concocts a plan to send her husband to South America for research. Directed by John Hoffman, this was the fifth of the six films marketed under the Inner Sanctum franchise. This is one of the better offerings of the series. Although it does have a morbid "twist" at the end, it's not really a horror movie but a revenge melodrama. At an hour and two minutes, it seems more like an episode of the ALFRED HITCHCOCK HOUR rather than a feature length movie. But it's a neat little B mystery melodrama with a nice performance by Naish as the unethical businessman who puts an untested drug on the market resulting in tragedy. Nothing to seek out but a watchable piece of pulp. With Lloyd Bridges, Milburn Stone, Mary Gordon and Addison Richards.

The Tall Men (1955)

An ex-Confederate soldier (Clark Gable) and his brother (Cameron Mitchell) enter an uneasy alliance with a shady businessman (Robert Ryan) on a perilous cattle drive across 1,500 miles of hostile Indian territory. Along for the ride is a woman (Jane Russell) that both men are interested in. Based on the novel by Heck Allen (using the pseudonym of Clay Fisher) and directed by the veteran Raoul Walsh. Walsh had directed one of the first attempts at wide screen in 1930 with THE BIG TRAIL. Wide screen movies didn't take off at that time but with the introduction of CinemaScope in 1953, wide screen movies became the norm. Walsh uses the CinemaScope format impeccably and along with his cinematographer Leo Tover (DAY THE EARTH STOOD STILL), they make formidable use of the Sierra De Organos National Park location in Mexico. The plot isn't very fresh but the three leads lend a certain amount of Star power and the wide screen visuals take care of the rest. The solid score is by Victor Young. With Juan Garcia and Emile Meyer.

The Changeling (1974)

When her father (Alan Webb) attempts to force her into a marriage to a man (Malcolm Reynolds) she doesn't love, a young woman (Helen Mirren) coerces a servant (Stanley Baker) into murdering the groom. But when she discovers that it isn't money he wants for payment but her, it spirals downward into tragedy. Based on the 1622 play by Thomas Middleton and William Rowley and directed by Anthony Page. Jacobean tragedy is an acquired taste and it's not for everyone but THE CHANGELING is a good place to start if you're unfamiliar with the genre. While its outlook on morality and sin may seem too black and white for contemporary audiences, as a theatrical piece it can be riveting if done right. This production is quite well done although Stanley Baker seems miscast. His character is supposed to be physically repugnant and thus unattractive which the ruggedly handsome Baker is not. No "ugly" make up has been applied to Baker so you wonder why Mirren's character finds him repulsive. Other than that, it plays well. There is another parallel story, which could be called a subplot I suppose, set in an insane asylum that doesn't work for me and I found myself annoyed whenever the narrative changed to that setting. With Brian Cox, Frances Tomelty, Susan Penhaligon and T.P. McKenna.

When Ladies Meet (1933)

A writer (Myrna Loy) is having an affair with her married publisher (Frank Morgan). The young man (Robert Montgomery) who loves her arranges for her to meet the publisher's wife (Ann Harding) without either woman knowing who the other is. Based on the play by Rachel Crothers and directed by Harry Beaumont. I've been a fan of the 1941 remake for many years but this first version has eluded me until now. They're strikingly similar in execution, even the sets look the same! The ending to the 1933 version seems less ambiguous than the 1941 remake and being a pre-code film, there's a greater amount of sexual suggestion. Then there are the performances, all good with Myrna Loy giving out a bit more vulnerability than Joan Crawford did in the remake. If I say I slightly prefer the 1941 version, that's most likely because it's the version I saw first and I'm used to it but this one is a winner too. With Alice Brady, Martin Burton, Sterling Hollway and Luis Alberni.

My Foolish Heart (1949)

When her husband (Kent Smith) asks her for a divorce as well as custody of their daughter (Gigi Perreau), a bitter and unhappy alcoholic (Susan Hayward) reflects back on the one true love (Dana Andrews) of her life. Based on the short story UNCLE WIGGILY IN CONNECTICUT by J.D. Salinger and directed by Mark Robson (VALLEY OF THE DOLLS). When people wonder why J.D. Salinger's classic novel CATCHER IN THE RYE has never been adapted into a film, this movie is the reason. Salinger so hated what they did to his story that he refused to have any movies made from his books. The movie bears little resemblance to Salinger's dark story and instead it has been turned into a sentimental tearjerker. On its own terms, the movie accomplishes what it sets out to do but I wish its touch had been a little more deft instead of so heavy handed. I'm not adverse to tearjerkers, far from it, but this one left me dry eyed. Hayward is fine though her Oscar nomination for her work here is inexplicable. But there is one bright spot, the lovely title ballad (also Oscar nominated for best song) by Victor Young and Ned Washington which became a popular standard. With Lois Wheeler, Jessie Royce Landis, Robert Keith, Karin Booth, Martha Mears and Jerry Paris. 

Suddenly Last Summer (1959)

Set in 1937 New Orleans, a wealthy woman (Katharine Hepburn) urges a young doctor (Montgomery Clift) to perform a lobotomy on her niece (Elizabeth Taylor), who she insists is mad and babbling slander about her recently deceased son. Based on the one act play by Tennessee Williams and adapted for the screen by Gore Vidal and directed by Joseph L. Mankiewicz (ALL ABOUT EVE). Williams' one act play was part of an off Broadway production called GARDEN DISTRICT and was performed with another Williams one act play called SOMETHING UNSPOKEN. Vidal extends the one act play to feature length and much of the original criticism of the movie was that padding out the film diluted much of the one act's strengths. Much of the criticism was also directed toward the film's unsavory aspects: homosexuality, incest and cannibalism were heady stuff in 1959. What's surprising is how much of those unsavory aspects were retained (albeit somewhat watered down) for the film considering how films of Williams' A STREETCAR NAMED DESIRE and CAT ON A HOT TIN ROOF were stripped of their "unsavory" aspects. While Clift's performance is mostly reactive, both Taylor and Hepburn go full throttle with their roles and do some of their best work (in Taylor's case, I think it is her best work). There's a lyrical beauty to Williams' dialog and Vidal is smart enough to retain that lyricism and not rewrite it. Perhaps it is overlong but it still packs a punch. With Mercedes McCambridge, Albert Dekker and Gary Raymond.