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The Snake Pit (1948)
Olivia's finest performance
Before The Snake Pit, I didn't really like Olivia de Havilland. I thought she was just the dizzy love interest in Errol Flynn flicks, and I couldn't understand why she won two Academy Awards. But then I saw The Snake Pit. It's such a contrast from her usual, smiling, contained performances. There's one scene where she locks herself in a bathroom, afraid of the asylum workers capturing her and forcing terrible treatment on her. They lure her out by telling her her husband is there for a visit, and her trust is betrayed as they hold her down and tie her in a strait jacket. She screams and fights, finally breaking free and running through the halls of the hospital, calling for help. I didn't know she had the acting chops for such heavy dramatics! At the Hot Toasty Rag Awards, I proudly cast my vote for her. What a tour-de-force!
Not only was her performance powerful and emotional, but it stands the test of time. It would have been easy to play the film as a melodrama, but her intricacies added quietness and realism to a very dramatic character. Watching it almost eighty years later, it's not one of those old movies that make you cringe at the dated acting style. Instead, you watch it and ask, "Why didn't she win the Oscar?" Then, you learn she won the Rag, and you feel a lot better.
There's a very famous moment from The Snake Pit, one that has since been mimicked ad nauseum, but Anatole Litvak's 1948 film contains the original. When Olivia accepts her fate in the insane asylum, her narration compares it to being tossed into a snake pit. Litvak zooms out from above, and we see the dancing, twitching, patients turn into writhing snakes at a distance. It's an incredible effect, and even though many, many more movies have been made about asylums, this image will live forever as the most visceral comparison.
Light in the Piazza (1962)
Great acting by mother and daughter
I'd seen the stage musical before the original 1962 movie, so I already knew the story of Light in the Piazza. If you haven't, you'll see a really interesting mother-daughter dynamic unfolding on the screen. Olivia de Havilland and Yvette Mimieux are vacationing in Italy and having a wonderful time seeing the sights - but then they see a couple of really great sights: Rossano Brazzi and George Hamilton. George is immediately smitten with Yvette's beauty, innocence, and appreciation of the little things. Olivia is an overprotective mother, and she tries to put a stop the romance. But when she gets to know George's dad, Rossano, she starts to see things differently.
There's a twist to the plot that I won't spoil, but if you look up the movie online, you'll read about it in the first sentence or two. If I were you, I'd go into it without knowing anything. It'll give you a reason to watch it twice, to fully appreciate everyone's performances. Both women completely nail their characters, from the overt to the nuanced. Yvette is beautiful and open, without inhibitions or judgment. When she cries, it's as if it's the first time she's ever felt pain before. Olivia is strong and cautious, a difficult dichotomy. She's completely believable as a mother who will do anything to stop her child from getting hurt. Though it's a bit of a heavy drama that will spark discussions afterwards, I'd recommend it. You'll see some great acting and pretty scenery (not only the guys - it was filmed on location!).
It's Love I'm After (1937)
Leslie Howard has energy!
Leslie Howard and Bette Davis must have had a blast making It's Love I'm After! They shucked their normally dramatic personas and played a pair of dueling divas. While onstage performing Romeo and Juliet, they try to upstage each other and mutter insults in each other's ears. Offstage, they bicker and scream, but is it a sign of true love? Bette wants to get married more than anything, but Leslie has kept putting it off. He's philandered with a different woman in every city, and when he vows to be faithful and honest, his dresser Eric Blore doubts it but starts keeping score of his good and bad deeds on a notepad.
At the exact moment he's promised to marry Bette, there's a knock on his dressing room door. Patric Knowles comes to ask a favor: He's not a fan of Leslie's, but his fiancée Olivia de Havilland is. Olivia idolizes Leslie so much that she refuses to marry Patric. Together, Leslie, Eric, and Patric come up with a plan: Leslie will visit the pair over the weekend and prove to be such a heel, Olivia will get over her idolatry and marry the decent fellow. When he makes yet another excuse to Bette about their postponed elopement, she's far from thrilled!
Believe it or not, that's just the beginning! In this fast-paced, hilarious flick, you barely have time to catch your breath between laughs. It's my favorite Leslie Howard performance, since he's so energetic and egotistical - very different from his other roles. He's unexpectedly funny in his flippancy, and it's great that his two costars let him take center stage. He's a far cry from Ashley Wilkes in this movie, and he received his only Hot Toasty Rag nomination for it.
Chances are you've never heard of It's Love I'm After, but if you like the cast, don't normally like Leslie Howard, or enjoy witty, theatrical humor (Leslie throws a temper tantrum about eating kippers for breakfast), check it out. Once you do, you won't be able to resist quoting, "Don't tell me! ... Tell me," when you've forgotten something.
Hold Back the Dawn (1941)
A bit melodramatic
Set in a border town, Hold Back the Dawn deals with the issue of immigration by marriage. When Charles Boyer can't get into the United States legally, he waits it out by staying in Tijuana and talking to other immigrant-hopefuls. He meets Paulette Goddard, who shares that she married an American to get into the country. When he comes across an innocent and oblivious schoolteacher, Olivia de Havilland, on a field trip with her students, he decides to seduce her and follow Paulette's lead.
I don't know why Olivia was singled out and nominated for an Academy Award for this performance; it was another simpering, mildly stupid character like Melanie Wilkes. Besides being incredibly naïve (which only translated, to me, as vapid), she really didn't do much acting. It was Charles who had layers to his character and had to alter his emotions for different scenes. As it is the Hot Toasty Rag's motto to "right the wrong", we nominated Charles in 1941 instead.
Hold Back the Dawn isn't my favorite story, but it does have a unique angle: Charles's behavior is wrong. It's not considered admirable to do anything and everything to get into the United States. I basically found the beginning slow, the ending melodramatic, and Olivia's character silly. Besides that. . .
The Dark Mirror (1946)
Is that Olivia or the other one?
Wouldn't it be convenient, if you were arrested for murder, to be able to say, "It wasn't me; I have a twin!"? In The Dark Mirror, witnesses see Olivia de Havilland fleeing the scene of the crime, but when it turns out she has a twin, she can't really be identified. Both twins have alibis, so neither one can be arrested. In comes Lew Ayres, a psychiatrist anxious to study the pair of twins. In an incredible example of trick photography (which I still can't figure out to this day), they talk to each other in the same frame, and even touch hands! Olivia's "split personality" is very effective; throughout the movie, I kept thinking, "Is that Olivia or the other one?"
Some might find this movie predictable, since it has an "evil twin" plotline, but I liked it. It was exciting, and Olivia got to have a lot of fun acting as two different ladies. If you like this one, check out Bette Davis's turn as twins in A Stolen Life.
Wild River (1960)
Strange romance, but good acting
Wild River has a strange story, but if you're a Jo Van Fleet fan and want to see her in a solid character role, you can try it. She stars as an eighty-year-old stubborn woman (still in her 40s in real life) living in the sticks who refuses to vacate her home even though it's not safe anymore. It's on the Tennessee River banks, and not only does she risk the floods every year, but she's also standing in the way of building a dam for the safety of the other town's residents.
Montgomery Clift is a northerner, and when he's sent down to make sure the building of the dam goes smoothly, he encounters a massive culture clash with the residents - not to mention endless arguments with Jo. Jo lives with beautiful Lee Remick, her granddaughter, but the strange part of the story is the romance between Lee and Monty. She's a barefoot hick who doesn't even use proper grammar, and even though she's a natural beauty (she doesn't wear a speck of makeup in this movie), I doubt Monty would really want a relationship with her. His work takes up all his energy, and he wouldn't want to upset Jo any further by sleeping with her granddaughter. But few movies get the green light without a romance, so I understand the addition to the story.
As usual, Monty's conflicted expressions work well in the role, and Jo is a pro who knows how to take a large bite out of her elderly characters. It's fascinating to see Lee on retrospect; later in her career, she played classy and cultured (The Competition), a complex alcoholic (Days of Wine and Roses), a Swedish politician (The Farmer's Daughter), and the devil's assistant (Damn Yankees!). In a role where she has to count on her fingers and toes, she's quite different.
Interspersed in this drama are racial tensions and a battle of one against the world - everything you'd expect from an Elia Kazan film. The supporting cast includes Jay C. Flippen, Barbara Loden, and Bruce Dern in his film debut. If you like this one, check out 1984's The River.
The Search (1948)
Very sweet film
I'm a notoriously hard sell with films about children, but I was captivated and charmed by The Search. A young Czechoslovakian boy, Ivan Jandi, starred as one of the children in post-WWII Europe who lost their families and were taken in by American organizations in the reconstruction effort. He spoke no English and learned all his lines phonetically, working with the director and his costar Montgomery Clift. You'd never know he has no idea what he's saying - his emotional delivery was very convincing! It's a heart-wrenching performance from a non-actor, and he was rewarded with a Juvenile Oscar (and a Rag, too).
At the time, it was bravely directed by Fred Zinnemann, who shot on location in the ruined cities of Germany. American audiences weren't used to seeing the damage our bombs had done, and it was quite sobering to watch art imitating real life. When we see Monty and Ivan walking around the rubble, it's not fake stones or set pieces. Everything is real, just as there were really tons of displaced children we tried to help after the war. There are sweet moments in this movie, as the two leads bond even with a language barrier; but there are also heavy moments, too. Ivan has a tattoo on his arm, and even though he managed to survive a concentration camp, he still has upsetting obstacles to overcome.
For a unique post-war story that quite literally hit home, I'd definitely recommend The Search. It won the Golden Globe for Promoting International Understanding, a wonderful category that unfortunately no longer exists. Even if you're tough on child actors and prefer to watch movies about "real people", give this one a chance. It's very sweet.
Red River (1948)
Great classic
I'd seen City Slickers a dozen times (or more) before watching Red River. The famous "yee-haw!" scene quoted in the Billy Crystal comedy was immortalized, and I was so excited to see the black-and-white original. It's a very exciting classic documenting the most quintessential cowboy activity: a cattle drive. John Wayne is heading a wagon train with his pal Walter Brennan, but when they're ambushed by Indians, there are very few survivors. Even the Duke's girlfriend, Coleen Gray, gets killed! He finds a new purpose by raising an orphaned preteen, Mickey Kuhn, and starting a cattle ranch. As the years pass, Duke gets more successful but hardens his heart against everyone besides the boy - who grows up to be Montgomery Clift. So if you see still photos from this movie with a gray-haired John Wayne, it's because the movie spans a couple of decades.
The cattle drive is wonderfully engrossing, and all the varied characters will find places in your heart. Even crusty Wayne is easy to root for, as you hope he remembers what's really important in life and softens up a bit. Monty is very young and handsome, so it's no wonder he has a romance as a side plot (with western veteran Joanne Dru). You'll also see the familiar faces of Noah Beery, Harry Carey Sr. And Jr., John Ireland, and if you keep your eyes peeled for the dance hall girl, you'll see Shelley Winters for a minute.
While I don't like the ending of the movie, it's a western I'll definitely recommend. It's an enjoyable ride with wonderful music taking you along the way. It's unusual for Dimitri Tiomkin to write a western theme, and he was rewarded with a Hot Toasty Rag! For an must-see John Wayne double feature, pair this with Hondo.
The Portrait of a Lady (1996)
Similar to 'Dangerous Liasons'
Written and directed by Hollywood's greatest feminist, Jane Campion. The Portrait of a Lady arguably lives up to its title. I didn't like it, but then again, I'm not its target audience. One of the most memorable scenes is when the women are out in nature and one of them has to urinate. They all trot into the woods and form a circle around the one who has to pee to protect her privacy. The one in the middle squats, and everyone giggles. I understand Campion wanted to show a truly feminine moment when all women literally gather around each other and share a uniquely girly activity. While I'm glad the girl-time wasn't some other bodily function, I still found the famous scene overrated.
The rest of the story hasn't anything to do with female hygiene - thank goodness! Nicole Kidman plays a woman of independent means who becomes prey to the cold, calculating Barbara Hershey and her male companion, John Malkovich. If you liked John in 1988's Dangerous Liasons, you'll like his extremely similar character in this. In fact, The Portrait of a Lady reminded me very much of Dangerous Liasons. This type of plot isn't my favorite, and I'm very surprised that a noted feminist would choose to glorify one woman deliberately turning against another. Shouldn't stories be made about women sticking together and rising above unnecessary cruelties to get ahead (or at least equal) in a man's world? The good points to the movie are the costumes and art direction, but besides the background eye candy, I really can't recommend this one.
DLM Warning: If you suffer from vertigo or dizzy spells, like my mom does, this movie might not be your friend. There are sudden tilts of the camera that will make you sick. In other words, "Don't Look, Mom!"
Larceny (1948)
Exciting noir
Much different from his nice guy Mr. Gailey in Miracle on 34th Street the previous year, John Payne plays a villain in Larceny. This fun film noir features John and Dan Duryea as con artists who pick the innocent, pious widow John Caufield as their next target. They plan to swindle her into investing in their "charity", and John puts on the moves to help cloud her judgment. Meanwhile, Dan's girlfriend, Shelley Winters starts to get jealous when it seems that John's judgment gets clouded - she's got a crush on him and doesn't want Joan to take him away. While she still seems new to the screen, Shelley does assert a memorable presence. She's a tough moll with great one-liners to rattle off. She finds a photograph of another girl in John's wallet and gets upset. John insists she's his kid sister, and Shelley replies, "If she's your kid sister, I'm a boa constrictor in high heels." John admits she is, and when she slaps his face, he slaps her right back. Talk about exciting!
If you've seen all the popular noirs too many times and are in the mood for something new, check out Larceny. Dan is always a fun, slimy bad guy, and John gets to show a different side to him. Joan is as sweet as Shelley is salty; try to figure out who he's going to pick!
I Died a Thousand Times (1955)
For those who didn't like the original
The Humphrey Bogart classic High Sierra has been remade twice: I Died a Thousand Times and Colorado Territory. The latter is a western with Joel McCrea, and the former is a nearly identical version of the original, starring Jack Palance. Of the three, my favorite is the western. But since I'm a fan of Shelley Winters, I do like the 1955 version as well. Ironically, the first and most famous version is my least favorite.
If you don't already know the story, it's the age-old tale of a criminal pulling off one last job before going straight. Jack is an ex-con released from prison who joins his followers to pull off one last robbery. His girlfriend, Shelly, has waited for him while he was in jail, but Jack's eye wanders to a completely different type of girl: innocent, inexperienced, and trusting. In essence, it's a story of personal growth and loyalty. Jack tries to mature and become worthy of Lori Nelson's image of him, and Shelley remains loyal through thick and thin. Give it a shot if you want to see a young Jack Palance, but you might not like it if you're as loyal to Humph as Shelley is to Jack.
He Ran All the Way (1951)
Excellent in every way
He Ran All the Way was John Garfield's final film. He died tragically of a heart attack, so when you watch this movie and see him exerting himself running up and down the stairs and waving a gun around in tense situations, it is extremely sad. Had another actor been cast in the film, it would merely be an exciting, very well acted thriller. But John Garfield is the lead, and it adds an extra layer of desperation, knowing that this man is quite literally running for his life. We know that he doesn't win the battle in real life, and we hope that he will on the screen.
After an overture of Franz Waxman's completely unexpected and frantic music, we see a robbery gone wrong. John and his cohort kill a cop, and he immediately goes into hiding. In a smart move, he goes to a public swimming pool, hoping he can blend in without anyone being able to pinpoint exactly when he arrived there. While in the pool, he meets Shelley Winters. He puts the moves on her and goes with her back to her apartment - but then he shows his true colors. . .
I would never be as tactless as to say Julie put his whole heart into the performance, but he put every ounce of his talent into this role. Press pause on any frame of any scene, and you will see an incredible combination of emotions written on his face. This was the best performance of his career, and if it weren't such a contentious year, the Hot Toasty Rag Awards would have been proud to give him the honor of Best Actor. As it was, he was up against A Place in the Sun, Death of a Salesman, Blind Victory, and others.
I'm a Shelley Winters fan, and her brand of insecurity and slight dowdiness works well in this role. Her parents, veteran character actors Wallace Ford and Selena Royle, don't let their supporting characters curtail solid, simmering performances. Everyone is top-notch, which I usually attribute to a good director: John Berry. His pace and framing are intriguing, and again, we would have loved to have honored him at the Rag Awards. But, with on-location filming in Africa, dancing on the ceiling, two war movies, and more, Berry didn't make it on the list. This thriller is excellent, and if you've followed John Garfield's career, you owe it to him to watch his final onscreen piece.
Odds Against Tomorrow (1959)
Gritty heist movie
In this gritty drama, gambling, racism, robbery, and murder are the main characters. It's exciting, but definitely has an indie feel to it. There's no glamour, no frills - this raw drama would have found a better home had it waited a few years and been released in the 1960s. Released during a year when audiences wanted to see Ben-Hur, The Best of Everything, and This Earth Is Mine, it's not a movie most people remember.
Robert Ryan is a racist ex-con who unknowingly signs up to commit a bank robbery with Harry Belafonte, an unsuccessful gambler. The third partner is a disgraced former cop, Ed Begley. Robert doesn't want to work with Harry, but he's broke and tired of sponging off his girlfriend's, Shelley Winters, money. The tension and arguments between the three partners threaten the execution and success of the robbery. Keep in mind, we're supposed to be rooting for the bad guys!
Some Like It Hot may have received all the attention for the gay innuendo that made it past the censors, but Odds Against Tomorrow was far more explicit. No one in Some Like It Hot is actually gay, but there is some humor about cross-dressing and pseudo male romances. There's an openly gay character in Odds Against Tomorrow, who constantly checks out Harry Belafonte and sidles up to him in a bar and tries to buy him a drink. It's not going to be everyone's cup of tea, but if you like gritty heist dramas, give it a try.
Meet Danny Wilson (1952)
Fun, light fare
If you liked Frank Sinatra in the light fare Double Dynamite, you can check him out in Meet Danny Wilson. He plays a singer with a knack for getting into trouble, who also gets involved with a gangster. Some might call it a story that's a little close to home, but others will just take it for what it is: a cutesy love triangle with some Frank Sinatra songs thrown in for good measure. You'll get to see "How Deep Is the Ocean?", "I've Got a Crush on You", "That Old Black Magic", and "All of Me" performed in a fun nightclub setting.
The woman who is the object of everyone's desire is Shelley Winters, and although she sang in a few movies, she didn't have the best voice. It's still fun to see her share a duet with Frankie, and her eyes sparkle with the fun we think she's having. It turns out, they didn't enjoy working together, but you'd never know it from their cute rapport onscreen. I always wished Shelley had been cast as Adelaide in Guys in Dolls - she would have been so much better! Alex Nicol, Frankie's piano player, and Raymond Burr, the mobster, also vie for Shelley's affections. Who will win out? Find out if you can have love and success all in one in Meet Danny Wilson.
Phone Call from a Stranger (1952)
Don't look up the plot synopsis!
On a flight from Chicago to Los Angeles, Gary Merrill befriends three fellow passengers while one technical issue after another lead to unscheduled stops. The new acquaintances are Michael Rennie, a doctor with a drinking problem and a guilty conscience, Shelley Winters, a failed actress who's ashamed to return home, and Keenan Wynn, a loud-mouthed salesman who's always quick with a joke.
If you've never seen this movie, I beg you not to look it up online or search for a plot synopsis. Just let the movie unfold naturally. You can only watch it for the first time once, after all! This unforgettable tearjerker shows the humanity in all of us, and the driving desire to do the right thing. Nominated for Best Picture and Screenplay at the Rag Awards, this classic belongs in every movie collection.
The Scalphunters (1968)
Story is too dated
The entire premise and plot of The Scalphunters is pretty dated. It's difficult to actually enjoy this movie unless Burt Lancaster is your favorite actor of all time. He stars as a fur trapper whose stock gets stolen by a band of violent Indians, who leave Burt with a piece of property they believe is a fair trade for the furs: a slave. Ossie Davis is better educated than Burt and that's supposed to be funny. See what I mean? This movie is extremely dated.
The rest of the movie features Burt and Ossie teaming up to try and find the Indians and win back the furs. Modern audiences will not be rooting for them, since it is not considered fashionable anymore to kill animals for their skins. Telly Savalas is a rival fur trader who is also after the stock. Shelley winters is Telly's girlfriend, which brings me to the only interesting part of the movie:
Burt Lancaster and Shelley Winters had a torrid affair years before, and I wondered how they could have been reunited in this movie. Yes, Deborah Kerr had the guts (or desire for revenge) to have an onscreen sex scene with Burt fifteen years after their affair - but however theirs ended, it couldn't have been as painful as his and Shelley's. If you watch this movie closely, you'll notice that they never share a frame together; perhaps she insisted (understandably so) that they never went to work on the same days.
What's the Matter with Helen? (1971)
One of the better 70s thrillers
What's the Matter with Helen? Is one of those campy thrillers from the 1970s that older women acted in when they didn't know what else to do with their careers; but if you're going to watch one of those movies, make it this one. It's actually pretty good.
Debbie Reynolds and Shelley Winters are two friends whose sons are also friends. When the boys commit a murder and are convicted, their mothers' reputations are ruined. Anxious for a fresh start so that they live out what is left of their lives with dignity and potentially happiness, they move to California and change their names. They open up a dance studio for Hollywood hopefuls, and the little tap dancing children flocking. However, when Debbie gets a suitor, Dennis Weaver, Shelly starts to get upset. Hence the title question.
When, with fun, frisky music by David Raksin, this thriller is head and shoulders above the others, like Whatever Happened to Baby Jane and Lady in a Cage. If you like the cast or the genre, give it a shot.
Tennessee Champ (1954)
A knockoff of 'Kid Galahad'
If you liked the old boxing flick Kid Galahad, you can check out a similar version that's not nearly as good: Tennessee Champ. It features a hardened boxing manager with a fiancé he strings along and won't marry, and when a squeaky clean kid with a talent for fighting comes along, he tries to make him a champ without suspecting the kid's good manners will win over his girlfriend. Sound familiar?
The cast in this one is Keenan Wynn, Shelley Winters, and Dewey Martin as the Tennessee Champ. He's very religious and would rather be a preacher than a boxer, but Keenan talks him into it, saying that he can donate all his profits to the church. That part of the plot is very silly, because it implies that he is moron, not merely a man of God. Shelley has a throwaway part, because she doesn't have a love triangle and mainly bickers with Keenan whenever she's on the screen. If you recognize the cutie pie in the first five minutes of the movie, it is a pre-famous Charles Bronson (billed as Charles Buchinsky). For the life of me, I couldn't figure out why he wasn't the lead, especially since he and Dewey Martin resembled each other.
You'll also see Earl Holliman as Keenan's assistant who took too many blows to the head. However, no one really stands out in this movie. The cutest part is during Dewey's first match. He thinks Earl is going to go easy on him as promised, but when he stops pulling his punches, Dewey, says, "That hurts, now stop it, please!" Besides that, and Charles Bronson, you're better off with Kid Galahad.
Something to Hide (1972)
Save your time
If the first ten minutes of Something to Hide seem cheesy and over the top, you should know that it only goes downhill from there. I stuck through the end because Peter Finch is a good actor, and I'll give anything with Shelley Winters a try. However, I should have stuck with my initial impression. I should have watched an old favorite of Shelley's and remembered Peter Finch in movies where he showed his acting talents. This is not one of them.
The movie starts with Peter and Shelly screaming at each other. There are a very unhappily married couple having another fight. Shelley pushes him too far, and it implies that Peter loses control... The next section features Peter functioning in the house without Shelly, but sometimes he hears her voice and believes her to still be in the house. It is pretty obvious what has happened, but the movie doesn't come right out and say it. Meanwhile, he picks up a pregnant hitchhiker and allows her to stay in his home. Their relationship is ambiguous and quite pointless. Save your time and watch something else tonight.
Kiddy Warning: Obviously, you have control over your own children. However, due to adult content, I wouldn't let my kids watch it.
Frenchie (1950)
Shelley is adorable
If you (like the rest of the world) think of Shelley Winters as an overweight, frumpy, whiny old lady, rent Frenchie. I'm in the minority, I realize, but this is how I think of Shelley winters. She's cute as a button, has a fun and flirtatious personality, and believe it or not, she has a figure. Frenchie is a western with a thin plot, but it doesn't matter. Shelley is trying to find the murderer of her father, and Joel McCrea is the sheriff. Joel warns her with a story of a girl he knew who rode a wild horse for too long and got into trouble. "Don't worry about me, Sherriff. Anything I can get on. . ." she says tauntingly as she fixes his bow tie, "I can get off." How did that get past the censors? Perhaps the members of the Hays board were too distracted with Shelley's adorableness and glamorous saloon costumes to notice what was coming out of her mouth. What a figure (she used to share clothes with her roommate, Marilyn Monroe)! It's no wonder all eyes in the saloon leave the can-can dancers when she walks into the room.
Seriously, folks. I know Shelley Winters isn't a glamour queen. I realize no one remembers her as a great beauty or sex symbol. But I always think of her as she was in Frenchie. She's a bundle of fun, and I would have loved to have been her friend.
The Big Knife (1955)
Excellent Palance performance
Jack Palance has been immortalized as Curly from City Slickers, and it's a good thing, too - before that comeback, he made terrible European flicks for thirty years. But before all that, he actually acted. If you can't imagine him in a heavy drama, rent The Big Knife. It's a classic Kirk Douglas role, but watching Jack in it makes you think there's no other actor who could have taken it on. John Garfield did the part on Broadway, which is to be expected since he frequently worked with playwright Clifford Odets. Had he lived, Julie would have been fine on the screen as well, but my point is that Jack Palance was wonderful. There were lots of heavyweight dramatic actors in 1955 (Burt Lancaster even turned it down), but in this movie we forget all about them.
In this heavy cynical drama, stars as a Hollywood actor with skeletons in his closet. He is temperamental and cruel when he argues with his soon-to-be ex-wife Ida Lupino, but he's scared and malleable in his scenes with his agent, Everett Sloane. Everett has been with Jack for a long time, and he knows where the bodies are buried. There's a particular body that's starting to get unearthed, and Everett wants to do everything possible to keep it covered. Blackmail and deceit take front seats in the story. It is not a feel good movie, so you might want to have a comedy on hand for a double feature. This movie shows the seedy side to Hollywood, one a lot of people didn't want to talk about at that time. It took guts to make this movie. There have been lots of movies in the decades since, like L. A. Confidential, that have watered down the message of this original. But keep in mind that up to 1955, when Hollywood made a movie about itself, it was usually light fare. Everyone involved in this movie took a chance, and perhaps Jack was forced abroad after putting his face on the big screen. Or perhaps he merely had a bad agent. He should have employed Everett!
The Poseidon Adventure (1972)
Best Picture of 1972
I was a little reluctant to watch The Poseidon Adventure because of my great fear of water. My mom assured me that there was only one scene where I'd need to close my eyes, and she gave me my cue. The rest of the movie was practically indoors, she said. Boy, am I glad I listened! What a fantastic adventure movie! I highly recommend it, even to those of you out there who are afraid of water like I am. Just close your eyes when Shelley Winters decides to take a swim.
As in all disaster movies, a group of eclectic characters are gathered in a large setting, and each is given a couple of minutes of screen time to explain themselves and endear them to the audience. In this one, everyone's together on a party cruise for New Year's Eve. I won't tell you exactly what happens, because it's extremely exciting to watch it unfold, but after the disastrous event happens, the surviving passengers are forced to band together and find their way to the surface, or else go down with the ship. Gene Hackman plays a new-age reverend, and he shows more energy and passion than in most of his performances. Ernest Borgnine and Stella Stevens play bickering spouses, each with strong personalities; whenever Stella's on the screen, she makes their impossible surroundings look beautiful. Shelley Winters and Jack Albertson are an older couple, fulfilling the "tearjerker scenes" as they constantly talk about their grandchildren. Red Buttons is a hardworking bachelor who gets to act like a hero for the first time by bolstering Carol Lynley's confidence. Roddy McDowall and Arthur O'Connell go along for the ride, and just like in all disaster flicks, not everyone makes it out alive.
The Poseidon Adventure is so extremely exciting, and I don't know how they did those special effects in 1972. Even with today's technologies, the shipwreck scene in the beginning is lifelike and frightening. Nothing drags in this movie, and the tension is constant as the passenger list dwindles. The best picture of 1972 (according to the Rag Awards) and one of the best disaster movies of all time, The Poseidon Adventure will keep you riveted from start to finish.
DLM Warning: If you suffer from vertigo or dizzy spells, like my mom does, this movie might not be your friend. When the ship turns upside down, that will make you sick. In other words, "Don't Look, Mom!"
Harper (1966)
Solid Paul Newman performance
While Paul Newman spent the first half of his career playing sexy bad boys with an attitude problem, he easily transitioned to tired cynics with a rebellious edge leftover. If you're wondering where it all started, rent Harper. Paul plays a private detective who gets in over his head while trying to find Lauren Bacall's husband, and while he's still young and charming in 1966, he acts like he's been doing the same thing for too long but he doesn't know what else to do. For example, there's a scene where he goes to a restaurant and pumps the hostess and the bartender for information using the exact same verbiage. The hostess says she could tell he was a bookie; he says, "No kidding? You really could tell, huh?" Then the bartender says he could tell he was from Las Vegas; he says, "No kidding? You really could tell, huh?" The second time he says it, you can feel his exhaustion behind the inflection. He's done this routine a hundred times before.
If you like 1960s detective movies, you'll probably want to check this one out. I liked the Tony Rome movies better because there was more humor in them, and Harper is more of a straight drama. My favorite scenes were the ones with Shelley Winters, since she was fun and frisky; what a cute character! It wasn't very nice, though, when the other characters talked about her getting fat and letting herself go. I hope she didn't have hurt feelings.
Elvis (1979)
The first biopic
It feels like they've made a million different Elvis Presley biopics, but really there've only been thirty film portrayals of The King. I haven't seen most of them, but I did sit through 1979's tv-movie Elvis, starring Kurt Russell. If you're going to pick one, you might want to pick this one. Oftentimes the first stab at something is like a trial-run, full of errors and leaving room for improvement by later versions. This was the first Elvis biopic, but it's stood the test of time remarkably well, and it's revered by his greatest fans.
This movie doesn't go into Elvis's later years, but when you watch the movie, it doesn't feel like anything's missing. Everything you'd want to see in an Elvis biography is included: his war years, his devotion to his mother, played by Shelley Winters, his romance with Priscilla, played by Season Hubley, and plenty of vocal performances. While Kurt doesn't do his own singing, he more than makes up for it with his movements and expressions. He clearly did his homework, knowing that, not only was it an honor to be the first to play Elvis, but also keeping in mind that he himself had a personal connection to the star. As a little boy, he played a small part in an Elvis Presley movie in the early 1960s!
Kurt Russell does an excellent job both impersonating Elvis's outward persona and revealing his private moments. If you're a fan and want to see him in a different type of role than he usually takes, rent this drama. It's extremely entertaining, informative, and engaging.
The Diary of Anne Frank (1959)
Too glamorized
I know it makes me sound like a terrible person, but I just didn't like The Diary of Anne Frank. It's a terribly depressing story! I can't imagine actually enjoying watching this movie and wanting to watch it over and over again. Everyone knows how it turns out, and if someone doesn't, they might enjoy watching it even less.
Millie Perkins made her film debut as the titular character, and while she does possess a great amount of confidence in front of the camera, she isn't really convincing as Anne Frank. She was twenty portraying a thirteen-year-old, and much, much prettier than the real girl. I couldn't help but think Hollywood wanted to draw audiences by casting an international model in the lead, which shouldn't be the point of the film. And, although filmed in stark black and white, the cinematography seemed to "glamorize" the attic. Critics have complimented George Stevens's direction, but it felt too sanitized. If you're focused on the framing of the wooden beams, you're not immersed in the story and the characters.
Shelley Winters, Joseph Schildkraut, Lou Jacobi, Richard Beymer, Diane Baker, Gusti Huber, and Ed Wynn are the other Jewish family members and friends who are being hidden from the Nazis. Virtually the entire movie takes place in the small attic, but even though two years pass within the running time of the movie, Millie still looked too old for the part. The film was a great success, though, winning two Oscars for 1959 and earning five additional nominations. It is a classic, so if you're reading the book or play in school, that would be a good time to rent the movie just to say you've seen it.