Rope, A League of Their Own, The Charge of the Light Brigade, Woman of the Year

9/8/17 Rope, 1948

Rope isn't on any of my lists, which kind of surprised me, at first, but after watching it, I guess I'm not. Two things intrigued me about it; one was the subject matter, which was loosely based on the killers Leopold and Loeb; the other was the way director Alfred Hitchcock filmed it. First, the two main characters are based on Leopold and Loeb who killed fourteen year-old Bobby Franks in 1924. Brandon and Phillip are 'roommates' (the homosexual subtext is very subtle) in a very swanky New York City apartment, and as the movie opens they are murdering David, a former classmate of theirs. The rest of the movie is Brandon and Phillip (mostly Brandon) trying to carry off a dinner party with the body of David in the same room in a chest; Brandon (John Dall) is smug and pompous, and poor Phillip (Farley Granger) is a bundle of nerves, snapping at Brandon and other guests, including their former housemaster, Rupert (James Stewart), as well as David's father, aunt and girlfriend. The acting was horrible, a lot of overacting; Stewart was the only one who didn't annoy me. Dall was almost a caricature. The other thing about watching this movie that is not on a single list was that I read Hitchcock filmed this with longer takes than usual, some of them going seven and a half minutes or longer, and I guess I thought that would be interesting. It didn't really help. So, I don't know, but what's done is done.

9/9/17 A League of Their Own, 1992 National Film Registry

I saw A League of Their Own when it opened in theaters 25 years ago, and every one in a while I catch it on television, but for a fresh perspective, I watched with some friends last weekend. I love this movie: it's got baseball, women playing baseball, humor, history, and some good acting. It's a cast of stars, and new and unknown actors directed by Penny Marshall. During World War II, women stepped into formerly male-dominated fields, like factory work and baseball. Yep, baseball. The All-American Girls Professional Baseball League was a real thing from 1943 - 1954, with teams scattered throughout the Midwest, and the movie focuses on the Rockford Peaches and the Racine Belles. The movie opens in current day (1988 to be exact) as Dottie Hinson (Geena Davis) reluctantly prepares to head east for a reunion with former players of the AAGPBL. As she heads to the airport, the movie goes back to 1943 and Oregon, where she and her kid sister, Kit, play fast pitch softball for the local dairy team. A wise-cracking, somewhat insulting scout, Ernie Capadino, (played by Jon Lovitz) wants Dottie to try out for this new league started up by Walter Harvey (based on Philip Wrigley; played by Garry Marshall); Dottie isn't interested, but Kit is desperate for the chance. No Dottie, no Kit, so Dottie agrees to go. Capadino drops the girls off at Harvey Field where around 100 girls are trying out for the four teams. Here is where we meet Doris (Rosie O'Donnell) who cannot be quiet to save her life, always with the wisecrack and her pal, Mae (Madonna) among others. Dottie, Kit, Doris, Mae and several others are on the Rockford Peaches. As they practice baseball skills, they are also put through etiquette classes, including grooming, eating, and walking. They may be baseball players, but they are also women, and there are still certain expectations and requirements. You can't have a baseball team without a manager, and the Peaches don't stretch too hard to find one, pick Jimmy Dugan (Tom Hanks), a drunk, washed up ballplayer, who is less than thrilled about girls playing baseball. Eventually Jimmy sobers up, and takes an interest in the team; the scene where he fights with Dottie over giving signs to the bewildered Marla is one of the funniest in the movie. The movie follows the first season, as the league builds momentum and popularity, on one hand, 'selling' the sex appeal of the women (who play in skirts) to the men; but also inspiring young girls. Throughout the film, Kit and Dottie have a typical big sister/little sister rivalry, which usually doesn't end well for Kit (Kit is a pitcher and Dottie is the catcher, which can also have its prickly points); the rivalry boils over when Kit is pulled from a game, and she blames Dottie when she is later traded to the Racine Belles. There is more that goes on, but if you've seen it, you know, and if you haven't seen it, I don't want to ruin it for you. I really love pretty much everything about the movie.

9/10/17 Woman of the Year, 1942 Best Original Screenplay, National Film Registry

I'm sure I'm committing some kind of blasphemy or someone is going to say I'm really missing the point, but I hated Woman of the Year. I understand that movies made seventy years ago have a different perspective, a different reality, and that society was different - I get that, and a lot of times, I can overlook that, and watch a movie 'in its time'. Not here. Katherine Hepburn as Tess Harding is a liberated, educated and opinionated woman, which are normally characteristics I love and admire, but she is also incredibly self-involved and annoying as hell. I'm not sure how Sam Craig (Spencer Tracy) puts up with her, or why. Tess and Sam are writers at The New York Chronicle, Sam covers sports and Tess covers world events, hobnobbing with politicians of the day; they have a spat and are ordered by their editor to make up. They do more than that, they fall in love, despite a bumpy start. I really felt bad for Sam, who gets run over by Tess. It was directed by Oscar-winning director, George Stevens (Giant, Diary of Anne Frank, Shane) and written by Ring Lardner, Jr. (MASH, Cincinnati Kid) and Michael Kanin. I found it shrill. This was the first collaboration between Tracy and Hepburn, and not one of their best I'm afraid.

9/10/17 The Charge of the Light Brigade, 1936, Best Assistant Director

It turns out that this is the first of several movies I will watch over the next few weeks featuring Olivia de Havilland, and one of a handful of movies to ever get a nomination and Oscar for Best Assistant Director. The Charge of the Light Brigade is based on the poem by Alfred, Lord Tennyson, which was based on a battle during the Crimean War; for those of you with a more populist leaning, it may be familiar to you through Alfalfa's recital in a Little Rascals episode. Errol Flynn stars as Major Geoffrey Vickers of the Light Brigade who is stationed in India; his brother, Captain Perry Vickers, is also stationed there, as well as their love interest (their, unknowingly to Geoffrey), Elsa (Olivia de Havilland). The fort/town where the 27th Lancers are stationed is brutally attacked by the Russians and their allies, led by the treacherous Surat Khan; Vickers survives to fight another day, which ultimately is to lead his men in the charge of the Light Brigade to avenge his friends. In addition to starring Flynn and de Havilland, the movie features David Niven, Nigel Bruce, and Donald Crisp. Both major battle scenes are pretty intense, but the last one featured dozens of horses which, according to Wikipedia, experienced extremely dangerous and fatal conditions (Errol Flynn protested to the director Michael Curtiz, to no avail). The 1930s seem to be a time where movies celebrate the rise of the British Empire like The Lives of a Bengal Lancer and Gunga Din, but sometimes they don't translate so well into the 21st century. I liked Flynn in this role, I thought the whole love triangle thing was unnecessary (but I usually do). This isn't a must-see by any stretch.

Dr. Strangelove, Psycho, E.T., The Gruffalo - an assortment of Oscar winners and nominees and the AFI list

Seed art - The Heights Theater

This is a strange combination of movies, even for me. All I can say is blame it on the lists. Speaking of lists, I only have 8 more movies from the AFI list, 39 from the BBC list of 100 Best American films, 781 Oscar winners to watch (out of 1213). It's always good to have goals. 

9/5/16 Dr. Strangelove, 1964, #39 AFI, National Film Registry, #42 BBC
Dr. Strangelove  is yet another movie that I have watched before and didn't really get it or care for it, but wanted to watch again so I could write a fair review. I'm kind of glad I did. I think the reason I didn't get it the first time is because it is classified as a 'comedy', sometimes as a dark comedy. When I think of comedy, I think of Jerry Lewis or in 21st century terms, Bridesmaids, that is to say, thigh slapping, laugh out loud funny. I don't think that is Dr. Strangelove, and when I saw it more as satire, political commentary on the geopolitics of the time, then I appreciated it more. Peter Sellers was nominated for a Best Actor Oscar for his THREE roles in the film (he lost to Rex Harrison in My Fair Lady, and looking back, I'm not even sure how that happened); he was Group Captain Mandrake, U.S. President Merkin Muffley and Dr. Strangelove. The rest of the cast is pretty amazing: George C. Scott is blustery, over the top general, General Buck Turgidson; Sterling Hayden is Brigadier General Jack Ripper who sets all of the events in motion through his extreme paranoia; Keenan Wynn is "Bat" Guano, an Army officer; Slim Pickens is Major "King" Kong, commander of the B-52 Stratofortress that is the instrument of doom. General Ripper has initiated the process to start a nuclear war with the U.S.S.R., setting the available bombers on paths to drop their payloads over the 'enemy'. The movie follows one bomber, led by Major Kong, as they try to check and double-check the protocols and code words, totally realizing the impending destruction; meanwhile, Group Captain Mandrake discovers that the code may not have been approved by the Pentagon and President and tries to deal with General Ripper. In his role as President Muffley, he tries to speak with the leader of the U.S.S.R. to defuse the situation and figure out the potential damage, and in doing so, he brings in an 'expert', in the form of Dr. Strangelove, a former Nazi, who has 'alien hand syndrome' which causes him to give the Nazi salute at the most inappropriate times.  Stanley Kubrick directed and apparently used some interesting techniques to get the performances he wanted: he only gave Slim Pickens his scenes so he would totally play his role straight; he got Scott to be so outrageous by telling him those scenes weren't being filmed. Many of Kubrick's films are on my lists, some I have seen and others I will be seeing soon, and they seem to be different genres: action (Full Metal Jacket), science fiction (2001: A Space Odyssey), dystopian (A Clockwork Orange), horror/suspense (The Shining, you know I'm looking forward to that one), and I don't know if I have the words or the insight to give you an analysis of his work, but suffice it to say that he was one of the most influential directors of our time, along with Alfred Hitchcock and Billy Wilder, they each have four films on AFI's top 100 list. If you are looking for a thigh slapping movie, I don't think this is it; but if you are looking for something that is funny, satirical, and strangely apropos (think if Donald Trump had the nuclear codes, this is what could happen), then this movie is for you.

9/7/16 The Gruffalo, nominated for Best Animated Short, 2010
If you are looking for something to watch with the kids, or something for them to watch on their own, you know, while you're trying to pay bills or whatever, I totally recommend The Gruffalo (in my head I kept hearing "Mark Ruffalo"), starring my favorite, Helena Bonham Carter as mama squirrel (sorry, as an animated squirrel), James Corden as Mouse, Tom Wilkinson as Fox, John Hurt as Owl and Robbie Coltrane as the Gruffalo. Mother Squirrel is trying to bring back an acorn for her family when she is harassed by a bird; this frightens her children, so she tells them a story about a little mouse who fends off various predators by creating an imaginary creature called a 'gruffalo'. It's a great story about a smaller, weaker creature outsmarting and outwitting bigger, scarier animals by using his mind. The film has a fun story that kids and parents can enjoy (it is based on the book by Julie Donaldson and Axel Scheffler), and I loved the animation. The gruffalo looked like it was inspired by Maurice Sendak's drawings. The winner this year was The Lost Thing which I liked quite a bit as I recall; otherwise, I think The Gruffalo should have won.  I found The Gruffalo on Amazon Prime, and I think it was also on Youtube.

9/1/16 Gerald McBoing-Boing, Best Animated Short, 1950, National Film Registry
After you get done watching The Gruffalo, find Gerald McBoing-Boing on Youtube, it's only about 7 minutes long. Gerald is a little boy who can't speak with words, but makes the most fabulous noises: foghorns, whistles, beeps, anything you can imagine. Obviously, this isn't the best way to communicate in the real world, and he did have some challenges, until he met a man who could utilize his special talents, as a sound effects 'man' on the radio. The original story was written by Dr. Seuss, which you would probably figure out from the rhythm of the narration. The narrator is Marvin Miller whose voice may sound familiar as he was the voice of the PA announce in MASH, the voice in some Pink Panther segments, and the narrator for Electra Woman and Dyna Girl, among others. When kids struggle with where they fit in society and with their peers because they're 'different', this is good to watch; everyone fits somewhere and should be appreciated for their uniqueness. Go on, it's seven minutes of your life.

9/8/16 E.T The Extra Terrestrial, Best Original Score, Best Sound Editing, Best Sound Mixing, Best Visual Effects, 1982, #24 AFI, National Film Registry, #91 BBC
E.T. came out in 1982, I was fifteen and earning my curmudgeon stripes at an early age. I saw this movie in the theater and have not seen it again until this past week when I decided to watch again and get it off of my lists. I didn't love it the first time, and I am so sorry, but I didn't love it this time either. I did really get into the last forty minutes of the movie, but the first hour left me disinterested. It's times like this that make me feel like my inner child is stuck in an alternate Dickensian universe where there is no joy. An alien spaceship lands in California and leaves one of its passengers behind (kind of like some parents leave their kids at the roadside gas station 'accidentally'). Anyway, this little being makes its way to the home of ten-year old Elliott and his family, including his mom (Dee Wallace), older brother Michael (Robert MacNaughton) and his little sister, Gertie (a five-year old Drew Barrymore). Adults, and anyone over 10, are portrayed as mean, idiotic or lacking imagination, or a combination. Over a brief period of time, Elliott and E.T. form a bond that becomes a physical type of empathy, Elliott feels what E.T. feels and vice versa. Eventually, the government (which consists of adults) discovers that E.T. exists and they try to take him away, but the symbiosis that it and Elliott have created has taken a toll, when E.T. falls ill. Of course, this is where I was interested and started caring. There are some incredibly iconic moments in the movie, Elliott flying on his bicycle with E.T.; E.T.'s glowing finger reaching out to Elliott; "Phone home", etc. The action in the last forty minutes did get my adrenaline pumping even though I remembered what was going to happen. The score by the great John Williams is electric and has some of his trademark flourishes. I think that the movie does still hold up thirty plus years later, not so much on the technology level (that within the movie and that used on the movie), but on the theme of alienation that Elliott feels, especially after his parents' divorce and how kids are with each other - brothers and sisters don't always get along, but they can come together when necessary, especially against adults, and our interest in alien life forms. So, while the entire movie still doesn't do a lot for me, I see how it can and does appeal to others.

9/10/16 Psycho, 1960 #14 AFI, National Film Registry, #8 BBC
Not gonna lie, I was dreading this movie, I even asked a friend if she would watch it with me. Turns out, I'm a big girl, and having watched several of Alfred Hitchcock's other suspense-filled movies, I realized I would be safe. Psycho is another iconic American movie; even if you have not seen the whole movie (like myself), you have probably seen the scene of Janet Leigh as Marion Crane in the shower getting stabbed. The movie is so much more than that, and it really does have such a great element of suspense; I can only imagine what audiences in 1960 thought as this psychological suspense movie played out in front of their eyes. It's possible I would have cried, well, maybe not cried. Marion Crane is real estate secretary who is entrusted with $40,000 in cash to be deposited in the bank, but instead she heads off to meet her boyfriend, Sam (John Gavin). Without spoiling anything, let's just say she doesn't make it. She stops to spend the night at the Bates Motel, run by Norman Bates (Anthony Perkins) and his mother. Norman tries to engage Marion in conversation and seems very glad for her company. We never meet Norman's mother, but it's clear she has an influence on him. When Marion doesn't show up at her sister's house (played by Vera Miles), private investigator, Milton Arbogast (Martin Balsam) is brought in to find her. So, even though the audience by this time knows what happened to Marion, the rest of the cast is still in the dark. And you will be too because I am not telling you the rest of the plot. What I will tell you is that Anthony Perkins is wonderfully creepy, but you still feel a little sorry for him, he seems so lonely and eager to make friends. Hitchcock does what he does so well and that is build the suspense with a story, and editing and camera angles. The acting isn't overdone, which I do think can happen in some of his films. I may have cheated because I watched the movie in broad daylight, so I didn't have the atmosphere of a dark theater and having to go to bed right after watching it, BUT I did watch it and I did enjoy it. I might even watch it again. It didn't win any Oscars, but it was nominated for a few: Best Director which Hitchcock lost to Billy Wilder for The Apartment, Best Supporting Actress for Janet Leigh and she lost to Shirley Jones in Elmer Gantry, and Best Art Direction and Best Cinematography.

9/10/16 Midnight Cowboy, Best Picture, Best Director, Best Adapted Screenplay, 1969, #43 AFI, National Film Registry

I first watched Midnight Cowboy about ten years ago and hated it. I could not understand what was so great about it; my girlfriend's dad told me that at the time it was revolutionary in its content, it was originally rated X, mainly for its homosexual content. I suppose in the 21st century that is really not that revolutionary. Since I embarked on this project, I decided I wanted to re-watch to try and be fair in a review. I don't think that was necessary. I still didn't like it, although, I suppose I have a better appreciation for Dustin Hoffman's work as Ratso Rizzo (both he and Jon Voight were nominated for Best Actors in the film), but otherwise I probably could have spent those 90+ minutes cleaning. Jon Voight is Texan Joe Buck, a wannabe gigolo whose cowboy outfit seems to get him more attention in New York City's gay community. Joe Buck quickly finds himself out of his depth as he gets hustled by women and men alike. His only ally is Ratso Rizzo, a crippled hustler played by Dustin Hoffman. Directed by John Schlesinger, the movie uses flashbacks to suggest the kind of life that Joe Buck left, raised by a grandmother more concerned with her sex life than him; a girl, Crazy Annie, and I'm not sure what the hell was going on there. There are a lot of quick edits, giving a frenetic feeling to the movie. It is very much of the later 1960s, including members of Andy Warhol's entourage and the loose mores of that period. It was kind of like Shampoo; it may have been groundbreaking at the time, but for me, in this time, it doesn't hold up (sorry Roger Ebert, we have to disagree here). I did, and do, like the song that was used throughout the movie, sung by Harry Nilsson, "Everybody's Talkin' ". Personally, I think Butch Cassidy and the Sundance Kid should have won for Best Picture.

John Wayne, Orson Welles, Hitchcock, Tootsie and Frida - something for everyone

3/13/16 Rio Bravo, 1959, #41 BBC, National Film Registry

Rio Bravo was directed by Howard Hawks (His Girl Friday) and stars John Wayne, Dean Martin and Ricky Nelson. It kind of seems like an unusual combination, but it really works. Toss in Walter Brennan, a couple of songs sung by Martin and Nelson, pretty good banter and you have a movie perfect for a Saturday afternoon at the cabin (since it's getting to be that time again). Sheriff John T. Chance (Wayne) is guarding a high value target (as we would say these days) and doesn't have a large pool of deputies, so he scrapes the bottom of the barrel. Chance puts his faith in Dude (Martin), an alcoholic cowboy who used to be a great shot; Stumpy (Brennan) who makes up in heart and spirit with what he lacks in physical mobility; Colorado (Nelson), a young cowboy who works for a friend of Chance and only joins Chance when his boss is gunned down by someone trying to free Joe Burdette. I liked the movie; there was a little bit of suspense, some great shooting, and like I have gotten used to from Hawks' films - quick, rapid fire dialog. John Wayne may have been one of the great unintentional straight men, putting the lines out there for Brennan to hit out of the park. The one thing I really didn't like, and I don't feel that it added to the movie, was Chance's relationship with Feathers (Angie Dickinson). Otherwise, it was fun.  

3/13/16 Touch of Evil, 1958, #51 BBC, National Film Registry

Orson Welles wrote, directed and starred in this dark, moody and tense thriller set on the borders of the United States and Mexico. Welles is Captain Hank Quinlan (he is under a lot of makeup, but he's there) and Charlton Heston is Miguel "Mike" Vargas, a drug enforcement official from Mexico who has just married his American wife, Susie (Janet Leigh). They stumble upon a car bomb that goes off on the American side of the border and kills an American businessman.Vargas and Quinlan engage in a turf war of sorts, with Quinlan predictably against Vargas's presence in the investigation of the bombing, as well as biased against Mexicans in general. Susie is not thrilled about being in Mexico, and while she waits for Mike to finish his official business, she waits in a motel, owned by "Uncle Joe" Grandi, a Mexican mob-type figure who has his fingers in all kinds of things. Susie (Janet Leigh is relegated to panicked looks, hysterical screaming and crying, necessary, but annoying) is cut-off from Mike and his American counterparts and is harassed and tormented by Uncle Joe's minions. This seems like a throwaway part of the story, but it does bring everything together in the end. We are not sure if Quinlan is just a hard-boiled cop, upset at Vargas's presence, or a corrupt and jaded man. There is a hint of sadness in him and we don't get the whole story, but we get hints, through his conversations with his loyal partner, Pete, as well as his reminiscences with Tanya (Marlene Dietrich), a brothel owner. I am not overly familiar with the work of Marlene Dietrich, but I thought she was wonderfully understated, but strong, and I would have liked to see more interactions with Tanya and Quinlan (that could have been a totally separate movie). The last twenty minutes are really intense and very suspenseful. Once I got past Charlton Heston as Mexican (I thought surely there were Mexican or Mexican-American actors, but maybe they went with Heston for star power), and Susie/Janet Leigh's whininess, I was very enthralled. If I didn't know Welles was involved, I would have thought this was a Hitchcock film, except it didn't have any of those comedic touches that Hitchcock used. If you are looking for a film noir for your next movie night, I suggest A Touch of Evil.

3/19/16 Frida, Best Makeup, Best Original Score, 2002 

Frida is a bio-pic about Mexican surrealist Frida Kahlo (Selma Hayek) and her husband and painter, Diego Rivera (Alfred Molina). The movie introduces us to a young Frida Kahlo, playful, philosophical, and in love, when she is involved in a devastating trolley versus bus accident, where she experiences injuries that affect her the rest of her life. She has a lot of time to paint and draw as she recuperates from many surgeries; and upon her recovery, she visits famed Mexican painter, Diego Rivera. They bond over art, but also politics as they are both Communists/Socialists. They swear to remain friends, because Rivera has a terrible reputation as a womanizer, and that promise lasts about 60 seconds. What follows is a tumultuous and passionate love affair that informs Frida's art, although to be fair, the movie features both artists' work as they traveled together as Rivera did his murals in America (Detroit, New York City, Chicago). Frida and Diego both had relationships outside of their marriage and it seemed to work for them, until Diego had an affair with Frida's sister and later after they reconciled, Frida had an affair with Leon Trotsky. This was a world where politics and art collided. I liked the movie, and I liked the way the artwork was shown, and for Frida how much of her inner pain, physical and emotional, came through her work. I was less thrilled with the surrealistic 'vignettes' that director Julie Taymor included. I thought they were annoying; others may disagree. I learned a lot about both artists, and Hayek and Molina were Frida and Rivera; it was truly a tragic love story. I probably would not have watched this movie if it wasn't on my list, but I am glad I did.

3/19/16 Marnie, 1964, #47 BBC

What can I say about Hitchcock? He is the master of suspense, and I always (always) get his movies with a lump in my throat because I am so sure I am going to be scared out of my wits, even before watching them or even knowing what they're about. I'm sure he would be pleased. I made sure to watch Marnie, starring Sean Connery and Tippi Hedren, during the day so I would not have nightmares before bedtime. Seriously. And not that I was disappointed, but I didn't have any nightmares and quite enjoyed the movie. Tippi Hedren is the title character, Marnie, who has a bad habit of stealing from her employers and then disappearing into a new identity. She's quite effective until she meets Mark Rutland (the ever so suave Sean Connery) who owns Rutland Publishing. Through a variety of special effects as well as the powerful score, by Bernard Hermann, gives us some clue that Marnie isn't a hardened criminal, but a damaged young woman (think back to Hitchock's Spellbound or Vertigo) who needs the understanding Rutland to 'fix' her. There were times when I felt things dragged a bit or that the acting from the other characters was pretty bad, but the last thirty minutes are outstanding. Since I watched A Touch of Evil just a few days before Marnie I was making comparisons in my mind about the films, the camera angles, the use of suspense and letting the viewer know only what the director wanted us to know and the use of visual and sound effects to heighten the tension. Marnie may be one of my favorite Hitchcock films now. I have to watch Psycho and perhaps I will get up the courage...or not.

3/19/16 Tootsie, 1982, Best Actress in a Supporting Role, #69 AFI, National Film Registry

A friend and I were talking about how so many movies (it seems) that were made decades ago that had racist or sexist elements still seemed to be relevant today. I saw Tootsie when it came out in the theaters over thirty years ago and I remember my friends and I thought it was hilarious and that Dustin Hoffman was awesome (actually, I don't think 'awesome' was in the lingo as much as it is these days). It went on to be one of the year's best movies and was nominated for ten Oscars, although only winning one. Dustin Hoffman is Michael Dorsey, an out of work and difficult to work with actor in New York City who finally gets a job on a soap opera as Dorothy Michaels. The only other person who knows about this twist is Dorsey's roommate and playwright, Jeff played Bill Murray who is nonplussed by his friend's behavior. Teri Garr is Sandy Lester a friend and fellow actor who also struggles to find employment. Much to his surprise, Michael gets the role on the soap (the audition is hilarious, with the producer and director imploring the cameramen not to get too close); and this new role leads Michael to see how hard it is for actresses who face more discrimination and harassment by their co-stars and employers. Michael, being a sensitive soul, decides to make his character, Emily Kimberly, a voice for these women, and "she" becomes a rallying point for women around the country. I don't often laugh out loud at movies, they're not that funny or I'm just laughing on the inside, but I laughed a lot during Tootsie. Hoffman is surrounded by a great cast (Jessica Lange, Geena Davis, Charles Durning, Dabney Coleman, Sydney Pollack) and they all play off of one another so well; they are so believable in their belief in Dorothy's existence. Teri Garr and Jessica Lange were both nominated for Best Supporting Actress, with Lange winning. I was worried that I would not find Tootsie as funny the second time around, but I was wrong. It was funny, still current in some respects, and nostalgic in others (the Stephen Bishop soundtrack). If you haven't seen this one in a while, you should watch it. 

Classics Easy Rider, Vertigo and The Wild Bunch and music with Kinky Boots, Pitch Perfect and Madame Butterfly and

There's a little bit of everything in this post, some theater, comedy, drama, westerns. It made for a fun week and I hope it makes for a fun 200th post (yes 200!). I think this deserves a cake.

7/28/15 Kinky Boots, Orpheum Theater, Minneapolis

I saw Kinky Boots the movie years ago and really loved it (a great contrast between Chiwetel Ejiofor's role as Lola in Kinky Boots and as Dr. Martin Luther King, Jr. is Selma). I was excited to see the musical, with music and lyrics by Cindy Lauper and book by Harvey Fierstein. The story is about a young man from Northampton, Charlie Price, who inherits the family shoe business from his dad, who really wants to live in London with his girlfriend. But, the ties of family and the fact that he has known most of the employees his whole life, do not make it an easy proposition. Charlie meets Lola, a drag queen who could use a good sturdy, but sexy, boot. Lola (given name Simon) is a strong young black man living in London; when Charlie invites Lola out to Northampton, most of the men at the factory do not want Lola or her friends around and do not want to make boots for drag queens. Kinky Boots is a story about acceptance, acceptance of oneself and others. The songs and costumes were fabulous, the audience cheered several times during songs and were on their feet at the end. My issue (aside from the fidgety woman in front of me and the three stooges behind me) were some of the slower numbers seemed to go on too long, and even as the audience was really into the more upbeat numbers, their attention seemed to wander during the slow songs. If you can see the musical, I suggest you get tickets; in the meantime, get the movie. You'll definitely feel good.

7/30/15 Pitch Perfect

If you are like most of my friends, you have already seen Pitch Perfect and probably have seen Pitch Perfect 2. Like most things in my life, I was a little slow to the gate on this one. I was probably having a snooty moment and thought myself too above a comedy film. Don't worry, I just gave myself a head slap. Pitch Perfect is about college a capella singing groups. Anna Kendrick, Brittany Snow and Rebel Wilson star and they are part of the Barden Bellas. They face off against their arch-rivals, The Treblemakers. There is nothing overly intellectual or thought-provoking, but that's okay, that's what documentaries are for. I laughed my ass off and I enjoyed the music as well. I was really impressed with Anna Kendrick, although, I think I was impressed with her in the last Oscars presentation, so I was confirmed in my impressions. She really can sing and she's pretty funny (she was the friend in Cake so she can do serious as well). It's a lot like those other 'team' movies, like Bring It On or The Internship, except I would watch Pitch Perfect again. (In fact it was on television as I was writing this and I watched it again.)

8/1/15 Madame Butterfly, Minnesota Orchestra, Minneapolis

I have been fortunate enough to see the Minnesota Opera perform Puccini's Madame Butterfly years ago and I really love the CD performance. A friend and I attended the Minnesota Orchestra's summer finale which was a performance of Madame Butterfly. It was a little weird, nothing sounded familiar. Nothing. Once I got past that little hang up, I enjoyed the performance. Butterfly is a young girl who marries B.F. Pinkerton, an American naval officer; Butterfly has fallen in love with Pinkerton, even after only knowing him for a short time, but it's not a two-way street. Pinkerton goes back to America and is away for three years with Butterfly pining for him and raising their young son. Her maid, Suzuki, looks after her and worries about her health. Pinkerton sneaks back into Japan, although Butterfly recognized his ship out in the harbor. Pinkerton wants his new American wife to raise his son. Butterfly is distraught but realizes it would be for the best, but she wants to see Pinkerton. He arrives too late. Overall, the performance was not the best I have ever seen, mainly because of the sound issues; one part of the stage seemed 'dead', a place where sound went to die. However, it was still wonderful and the audience, which wasn't a sell out, was appreciative, with several 'Bravas' being shouted out for Kelly Kaduce (Butterfly) and Kelly O'Connor (Suzuki). When I tell people that I have been to the opera, they have look that is a mixture of admiration and being perplexed. People seem to be afraid of opera, the fact that many are not sung in English, there are super titles and sometimes the music is perceived as screechy. I have seen some not so good operas, Glimmerglass and some other one I cannot remember, come to mind; they were actually horrible. HOWEVER, I have seen some incredible operas as well, Turandot, Madame Butterfly, Don Giovanni to name a few. I'm used to listening to music that is not in English, and if you think about it, you can't really understand the words to most songs and they don't make sense when you do understand them, so to me, opera is no different. It's 18th and 19th century musical theater. The next time you see your local opera company's schedule come out, challenge yourself and go see one (the funny operas like Falstaff or  The Merry Widow may be more accessible, but Puccini is always a good bet in my opinion).

8/2/15 Vertigo, 1958 #9 AFI, National Film Registry, #3 BBC 

I seem to be on an Alfred Hitchcock kick lately, or it's just a coincidence that so many of his movies are on three of the four lists I am using. A few weeks ago I watched Rear View Mirror and North by Northwest and I didn't care so much for Rear View Mirror but I did like North by Northwest. I really liked Vertigo, though, it was a suspenseful film that really sucked me in and had me on the edge of my seat. James Stewart stars in another Hitchcock film as John "Scottie" Ferguson, a former police detective who retired due to a severe fear of heights and vertigo; Kim Novak is Judy Barton. The film is set in San Francisco and we get a nice flavor of the city. Scottie meets up with an old friend, Gavin Elster, to follow Elster's wife and determine the cause of her recent strange behavior. I am going to stop here with any other plot points because I don't want to ruin the suspense. I was reminded of one of Hitchock's other films, and one of my favorite books, Rebecca. It's moody and tense, and there is almost a 'ghost story' element. Scottie is a flawed hero, and perhaps it's not even right to call him a hero. Novak does a good job at portraying Barton as a conflicted woman (you'll have to watch the movie to see why). There are a few more Hitchcock movies on my lists including Marnie and Psycho and I'm embarrassed to say I'm afraid to watch Psycho by myself.

8/6/15 Easy Rider, 1969 #84 AFI, National Film Registry 

Like a lot of movies on 'the lists', I have heard of Easy Rider and seen clips of Peter Fonda and Dennis Hopper riding motorcycles, but I have never seen the movie in its entirety. I wasn't sure what to expect or if I would like it, I kind of thought I would hate it. I'm kind of a square if you haven't guessed that already by the fact that I spend my spare timing writing this blog, so I thought I would be less than impressed by this look at American counter-culture. I'm not ashamed to admit that I liked it. Easy Rider is a buddy/road film with Wyatt/Captain America (Peter Fonda) and Billy (Dennis Hopper) traveling from California to New Orleans after making a lot of money on a drug sale. Along the way, Wyatt and Billy meet people who are not too fond of their long hair, loud motorcycles and their hippie lifestyle (this is the year of Woodstock), but they also meet people sympathetic to them, including members of a desert commune, an alcoholic lawyer (Jack Nicholson) and two prostitutes. One of the things that blew me away was the cinematography, there were some incredible scenes where the sky was purple-red - AMAZING! I also learned from Wikipedia is a lot of the dialog was improvised. Hopper directed the movie and Hopper, Fonda and Terry Southern wrote it. I had the notion that the movie was kind of drug-addled, and while drugs are a pretty significant part of the plot, there is an underlying sense that Wyatt is on a quest for something, maybe the American dream, whatever that is. He is much more appreciative and interested in the people they meet on the road than Billy is. I did not know how the movie ended and I was very surprised and kind of bummed out, and maybe that was the point, you don't always get what you want or expect. The music is a perfect time capsule of 1969 with songs from Steppenwolf, The Byrds, The Band, The Jimi Hendrix Experience and more. Some movies from this period don't translate very well into the 21st century (Shampoo) is one that always sticks in my mind, but I think Easy Rider can be appreciated for its film-making style, the soundtrack and the journey that Wyatt and Billy are on, in Wyatt's case, a journey for meaning and purpose.



8/8/15 The Wild Bunch, 1969 #79 AFI, National Film Registry, #52 BBC 

The only Sam Peckinpah movie that I can recall seeing is Straw Dogs which I hated, loathed, despised, so I wasn't in a great hurry to watch any of his other movies. The Wild Bunch is a Western set in 1913 southern Texas and northern Mexico and stars William Holden, Ernest Borgnine, Robert Ryan and Warren Oates. Pike (Holden) leads a group of robbers looking for their last big score before they ride off into the sunset. Something goes terribly wrong when they try to rob a railroad, and that something is Deke Thornton (Robert Ryan), formerly Pike's partner who has been forced to betray his old friend to stay out of prison. The movie follows Pike and his gang as they try to outrun Thornton and his crew of misfits (including Strother Martin) while they are also trying to complete a job for General Mapache, the Mexican leader of the area.The Wild Bunch is noted for being very violent, and it definitely is, but for some reason it didn't upset or bother me as much as it did it Straw Dogs (although it is a different type of violence) or in Bonnie and Clyde (but I think the shrieking of Estelle Parsons bothered me more). At times, it was definitely over the top, one of the final scenes reminded me of the end of Django Unchained and I was wondering if Quentin Tarantino had been influenced by Peckinpah (I would say probably). Robert Ryan (Dirty Dozen, The Longest Day) was really good as the reluctant agent of the railroad; Thornton seemed okay with trying to capture Pike and the gang, but he didn't want the bloodshed that his 'crew' lusted after, he and Pike knew each other so well it was like they were playing a chess match. When Pike would talk about Thornton, he knew what his next move would be and he didn't even seem to begrudge the fact that Thornton was hunting him down, he understood it was Thornton's only choice. Pike isn't overly sentimental, but he does have a code that he lives by, although it's hard to discern at first. Peckinpah used film techniques that we take for granted now like slow motion scenes. He really captured the the feeling of the dusty, dry Southwest, and also the changing of an era. Most Westerns are set in the mid-1800s, this one is set on the eve of World War I, even including some German officers and automobiles. I love William Holden and I was thinking that he was really an incredible actor when you think about the roles he had, from Paul in Born Yesterday to David Larrabee in Sabrina to grizzled news division president in Network, he had great range. In an earlier post I mention that I really didn't like Westerns, except I think I need to revise that opinion. If it's a good movie, regardless of genre, it's a good movie. I did like The Wild Bunch, it has action, some humor and good acting. If you like Quentin Tarantino's movies, you will probably like this as well.

Focusing on the National Film Registry and the AFI list with Hitchock and 12 Angry Men

7/1/15 12 Angry Men, 1957, AFI #87, National Film Registry

I've mentioned a couple times here that I don't watch too many movies more than once, but I have watched 12 Angry Men several times and I find something to keep my attention each time. 12 Angry Men was directed by Sidney Lumet (Dog Day Afternoon, Network) and starred several big named actors, or soon to be big name actors including Henry Fonda, Lee J. Cobb, Jack Warden and Jack Klugman. Most of the movie is set in a jury room where the twelve men are deciding the fate of an 18 year old young man; the room is claustrophobic and the heat is overbearing. It seems at first that it's an easy decision - guilty, but juror number 8 (Henry Fonda) wants the men to take more than a cursory glance at the evidence and discuss it before they sentence the defendant to a death sentence. He runs into resistance by the other jurors who want to leave for their evening plans or just get out of the jury room. If you have not seen the movie, I really don't want to give too much away because the way Juror 8 lays out his arguments and just tries to ask probing questions is the best part of the film. Wikipedia refers to it as a film on consensus building, but I also think it's an example of critical thinking, looking beyond the surface of things, challenging the popular opinion. The performances are taut, you really can feel the tension and the heat and smell the cigarette smoke. The men are angry, and it's interesting to hear how fears or prejudices come out. The movie was nominated for Best Picture, Best Director and Best Writing of an Adapted Screenplay, but lost to Bridge on the River Kwai (another movie I have watched a few times). 12 Angry Men is currently on the AFI list of the best 100 films as well as being added to the National Film Registry.

7/2/15 Tangled, nominated for Best Song, 2010
7/4/15 The Princess and the Frog, nominated Best Animated Film, Best Original Song, 2008

Tangled is an animated version of the Rapunzel fairy tale; it may be an exact version, I don't know, it's not one of the fairy tales with which I am most familiar, and I wasn't very enthralled. Honestly, I was bored. I feel kind of bad for saying that, as I love to find movies that are great for kids, especially girls. Rapunzel is a strong character, and she eventually becomes independent from her mother (who really isn't her mother), but meh, I would skip it. Unlike The Princess and the Frog which worked on several different levels: the music, by Randy Newman, provides a great taste of the New Orleans sound; the peripheral characters add humor; and a poignant, but not overly sappy storyline. The Princess and the Frog is set in 1920s New Orleans, and Tiana is a young girl who aspires to open the restaurant her father had always wanted. Unfortunately, she doesn't have the money to buy the building, and as Mardi Gras is set to unfold, there's a little voodoo and magic going on, and Tiana is turned into a frog. Prince Naveen, a visiting dignitary also falls under the spell of Dr. Facilier, a witch doctor, and he is turned into a frog as well. Tiana and Prince Naveen set off on their quest to undo the spell, and that's where they meet some great bayou characters, including Louis, an alligator and Ray, a Cajun firefly. If you have to pick, and of course you don't, I would pick The Princess and the Frog because it's a better, more interesting story; a fabulous soundtrack, and I liked Tiana as a role model for girls (willing to work hard to make her dream come true, but also ready to take a risk, like going through the bayou as a frog).


7/3/15 North by Northwest, 1959 #55 AFI, National Film Registry

7/4/15 Rear Window 1954 #42 AFI, National Film Registry

Is it just me or does anyone else wonder why Alfred Hitchcock never won a Best Director Oscar? Or how only one of his films Rebecca (a favorite book and film) won for Best Picture? I think this is a valid question because when you look at the list of the Best 100 Films by the American Film Institute, there are only four directors on the list with four or more films, and three are deceased: Billy Wilder, Stanley Kubrick, and Hitchcock; Steven Spielberg is the only director with five films on the list. So again, I ask, how is that Hitchcock never won a Best Director Oscar? Ok, well, it's not going to happen now, but it's something to think about. North by Northwest reminded me a little of Hitchcock's The Man Who Knew Too Much with James Stewart and Doris Day, with mistaken identity, a dashing leading man and a beautiful leading lady; in North by Northwest that would be Cary Grant and Eva Marie Saint. In North by Northwest, Cary Grant is mistaken for a spy/man of intrigue and is targeted by James Mason (I can never listen to James Mason without thinking of Eddie Izzard doing James Mason as God). The movie is often identified by the great clip of Grant trying to outrun a very low flying plane. He also climbs Mount Rushmore. I really enjoyed the story and the suspense, and Grant as Roger Thornhill is so very dashing, and you think he is out of his depth, but he manages to hold his own against Mason and Martin Landau. The pacing of the movie and the action kept me interested, and I would watch it again and totally recommend it.

Can you guess what's coming next? Rear Window is another Hitchcock film that is cited as one of the greatest films ever made (obviously, it's #42 on the list), and in comparison to North by Northwest which takes you from New York City, to a sleeper car, to Chicago to South Dakota, you may experience a bit of claustrophobia but then you get to breath the fresh air of the Great Plains, Rear Window made me feel closed in and you only (or primarily) get the perspective of wheelchair-bound L.B. "Jeff" Jeffers (James Stewart). Jeffers is an internationally known photographer who is stuck in his apartment during a New York City heatwave, where he is tended to by his nurse Stella (played by Thelma Ritter) and his girlfriend, Lisa (Grace Kelly). Jeffers has very little to do but look out his apartment window and look into the lives of his neighbors; he gives them all names and makes up stories to go with what he sees, until one day, his story-telling takes a turn into reality. I think the technique to limit what the audience sees and hears to what the main character sees and hears is very interesting and a novel idea, but it was also frustrating (and as I write this, I'm thinking, perhaps that was the intention...). I just couldn't get into it, and as for the suspense, I didn't find it as suspenseful as The Man Who Knew Too Much. I have found, and previously commented, that Hitchcock often has strong women characters, but I don't think that Lisa would rate up there in the top five (I love Grace Kelly and she was wonderful when she was paired with Cary Grant in To Catch a Thief, but she was wasted here).

Lost Horizon, Cat Ballou, Suspicion and the Great Dictator

It was an eclectic movie watching weekend last week and I'm just getting around to writing about the movies. This was a break from my run at the 2014 Oscar nominees, and a nice change of pace.

1/20/2014 Lost Horizon, Best Art Direction, Best Film Editing 1937

Lost Horizon is an interesting film in so many ways: it is about a 'Utopian' community in the Tibetan Himalayas, released in the years before World War II made its way across Europe, but there were hostilities in Asia as Japan was beginning to flex its muscle in war with China; the version that the public can view today is a restored version, made up of film footage as well as the soundtrack; it was directed by Frank Capra after Mr. Deeds Goes to Town and before Mr. Smith Goes to Washington, two very idealistic and 'American' films. Robert Conway (Ronald Coleman), a British diplomat, is in charge of getting British citizens out of the city of Baskul as the city falls. The plane Conway and the others escape on gets hijacked and eventually crashes in the Himalayas; strangely, they are met and rescued and taken to an idyllic compound, Shangri-La. Conway's fellow travelers include his younger brother, George; a paleontologist, Lovett (Edward Everett Horton, whose name may not sound familiar, but his face and voice will ring bells); Barnard, a conman (Thomas Mitchell who was Scarlett O'Hara's father in Gone with the Wind); and Gloria Stone, a woman of questionable background who is very ill. The group is met by the spokesman for Shangri-La, Chang (H.B. Warner who appeared in a few Capra movies) who at best answers his visitors questions with vague responses and at worst, brushes them off with a smile and nod. Conway finds a connection with Chang and greatly enjoys the peace and quiet of Shangri-La and he becomes intrigued with a young girl, Sondra, played by Jane Wyatt (Spock's mother). Even as Conway is become more enamored of the peaceful village, his brother is anxious to get back to England as are the others, but over time, all except George want to stay and become a part of the community, Lovett wants to teach and Barnard has dreams of running modern plumbing. Chang tells Conway the story of Shangri-La and how it was founded over 200 years ago by the High Lama, who was originally a priest. Conway eventually meets the High Lama and learns of the his plans to make Conway his successor. Conway is told by Chang and the High Lama that people can live to a very old age in Shangri-La because of the lifestyle and the absence of stress, greed, violence, etc.  There are parts of the movie that sound like a treatise on socialism. Capra, who has no qualms about being heavy-handed on occasion, doesn't spare us his politics here either. There were times I found it hard to take, I found George to be whiny and overacted, and perhaps I am jaded, but I thought there was a Star Trek episode that was similar to this storyline. I did like listening to Ronald Coleman speak, he had a wonderful voice. The sets that made up Shangri-La, the massive rooms and parapets were really incredible and Stephen Goosson won an Oscar for them. There are pieces of film that could not be found and restored, so they incorporated still photos. It still isn't restored to the original length of 210 minutes, and for that I have to say, thank you, 132 minutes was quite long enough. It was a good movie, but not 3 hours good. If you're a Capra aficionado or a film history buff, then you should definitely see it.

1/20/14 Suspicion, Best Actress 1941

Damn you, Alfred Hitchcock. Hitchcock really made some good movies but never won an Oscar for Best Director. He kind of sucks you in, with a little bit of comedy, then some mystery, maybe a little moody music. He had me very off-balance with Suspicion, I was so ready for something to happen, and every time I thought it would, it didn't. Joan Fontaine won the Best Actress Oscar for her role as Lina McLaidlaw, the plain daughter of fairly well-off parents, played by Sir Cedric Hardwicke and Dame May Witty. Lina is swept off her feet by the rapscallion, Johnnie Aysgarth (Cary Grant). Needless to say, Lina's parents are not overly thrilled by this relationship, even less thrilled after they get married. There are some indications that Johnnie is after Lina for her money and that is the little niggling thought that you have through the whole movie. Cary Grant is so smooth, he is fun to watch, even when he is being less than honest, you still want to like him, you can't help it. That's kind of how Lina feels. Hitchcock knows how to use tension, tightening it up with a camera angle, loosening it with a little levity, and then damned if he doesn't push you close to the edge again.I really enjoyed watching this movie. I didn't see any of the other movies for the Best Actress nominees, so I don't have any opinion on if Joan Fontaine deserved to win, but she was up against her sister, Olivia de Havilland, which I'm sure did not help their relationship. I cannot think of another year where two siblings were up against each other for the same award. 

1/21/14 Cat Ballou, Best Actor, 1965

Cat Ballou was recommended by a co-worker, not realizing that it would actually cross another movie off of the list, I was going to watch it as an interlude between my other movies. Who knew? What a happy accident. I don't think a movie like this could be made today, we're too 'sophisticated' or jaded or something, but it was fun as heck to watch. Cat Ballou stars Lee Marvin (in his Oscar-winning role) as Kid Shelleen and Tim Strawn, Jane Fonda as 'Cat' Ballou, and Nat King Cole and Stubby Kaye as type of musical Greek chorus. Well, this movie is either going to be terrible or it's going to make you laugh. I laughed. Cat Ballou was trained as a teacher and heads back home to Wolf City, Wyoming only to find her father struggling against progress and a land developer. Tim Strawn (Lee Marvin) is a hired gun who is supposed to scare off Cat's father. Nat King Cole and Stubby Kaye stroll through various scenes providing a musical narrative with a little commentary mix in. I thought they were one of the highlights of the movie. Jane Fonda plays the straight lady to the other characters around her, including an uncle/nephew cattle-rustling duo, an Indian who is practically ostracized by everyone in Wolf City except for Cat's father and Cat (Cat's father is convinced Jackson Two Bear is Jewish and one of the Lost Tribes of Israel) and to Kid Shelleen (also Lee Marvin). To combat Tim Strawn, Cat and her friends bring in Kid Shelleen, a hero in dime novels, who has a slight drinking problem. There are assorted capers that Cat and her gang go on in the attempt to hurt and impede the land developers, including a train robbery. There are elements in the movie that remind me of The Great Race with Tony Curtis, Jack Lemmon and Natalie Wood, there's a big fight that breaks out at a community dance, serious characters in comedic situations. 1965 was quite a year for actors, with Richard Burton, Laurence Olivier and Rod Steiger also all nominated for Best Actor. 

Filed under the 'it's a small world in films' category, the man who created Lee Marvin's nose, John Chambers, was part of the team featured in Argo. 

1/25/14 The Great Dictator, nominated for Best Picture, Best Actor, Best Writing, Original Screenplay, Best Supporting Actor, Best Original Score, 1940

This is Charlie Chaplin's first full talking movie (there was some sound in Modern Times) because he thought sound in films would be a passing phase. People are probably somewhat familiar with the movie through various clips that may get shown during montages or anthologies: Chaplin plays a dual role, Adenoid Hynkel, a dictator of fictitious Tomainia, and his doppelganger, known as A Jewish Barber. Hynkel is starting to implement his anti-Jewish laws, marking businesses with 'JEW' on their windows, harassing Jews and embarking on his campaign to rule the world. Chaplin's character, the Jewish Barber, looks a lot like the Little Tramp, except he does speak and he's a little bolder. There are actually books and articles on whether the Barber is the Tramp, and what would be the motivation for either case, that's how embedded into the social psyche Chaplin was at the time. The movie is drama-comedy, with a very serious topic being handled with comedic touches, and with Chaplin basically giving Hitler the finger and big old raspberry at the same time. The more I watch Chaplin, the more impressed I am and I want people to know what a great director and actor he was; watching him move, whether he is dancing with a globe, trying to escape soldiers, it's balletic, it's so fluid. I'm not sure I can accurately describe it, but it's amazing. If you take The Great Dictator out of it's time frame and if it's possible to watch it without thinking about the events at the time, it's a great movie, but if you watch it with an understanding of the historical, political and cinematic events, it's even more amazing. Chaplin so believed in this movie and the importance of somehow sticking it to Hitler that he funded the movie himself. This was his most successful movie. The DVD from library had a disk of special features and included a documentary from Turner Classic Movies on The Great Dictator and its place in history at the time with commentary from his son Sydney, Sidney Lumet, a gentleman from Hitler's inner circle among others. I would think this would be a great tool to use in a modern history class, the importance of cinema in history and a look at a film contemporaneous to the events at the time. Chaplin has said that if he knew about what was happening in the concentration camps and the extent of the atrocities, he would not have made the movie. Some of those being interviewed commented that he did more good for the war effort with his movie, and that laughter is often more important to survival than just being physically strong (and some of those interviewees were Jewish).

I recently finished Chaplin's autobiography and he writes extensively about The Great Dictator and his political views which got him in a lot of hot water in the United States. It took me a while to finish, but learning more about his methods and his various inspirations helped me to appreciate his films and creative genius even more. I am probably due to re-watch Chaplin starring Robert Downey Jr. 

Dashing and Debonair - Cary Grant and Grace Kelly

5/24/13 To Catch a Thief, Best Cinematography - Color, 1955

To Catch a Thief is set in the south of France and Monte Carlo. John Robie (Cary Grant) is a reformed/retired jewel thief living in France and Francie Stevens (Grace Kelly) is a wealthy American woman traveling in Europe with her mother; Francie is looking for a husband. There have been a string of jewel robberies and Robie is the prime suspect. As he sets out to prove his innocence, he meets the Stevens women under the guise of being a lumberman from Portland, Oregon. Kelly and Grant are wonderful; I had never seen a movie with either one of them before (I don't think the Flintstones episode where a Cary Grant-like character appears counts). They were both great, the dialog seemed to roll right off their tongues, very natural and they were fun to watch. Grace Kelly was just captivating; she goes on the offensive with Grant in their little flirtation, an example of a strong Hitchcock female character (Doris Day in The Man Who Knew Too Much to name one). Oh, did I mention this is an Alfred Hitchcock movie? Before I started this project, I always associated Hitchcock with really scary movies (I blame that on The Birds), but now in my later years, I see they are more about the suspense factor. I didn't think there was a lot of suspense in this, not like edge of your seat suspense, like Rebecca, but there is a little mystery. It's much more about the interplay between Grant and Kelly, and the setting of the south of France, which is beautiful. Francie's mother provides some comedic moments, and I am surprised that Jessie Royce Landie did not get a nomination for Best Supporting Actress. Both Grant and Kelly appeared in other Hitchcock movies and I am looking forward to watching. The movie did win the Oscar for Best Cinematography - Color, and I thought it was fine, but nothing that really blew me away with mood-setting techniques or anything. I totally recommend this if for nothing else than to watch Grace Kelly. She only made two more films after this and then retired to be the Princess of Monaco. The DVD had special features, including commentary about the cast from Hitchcock's daughter and granddaughter and it was interesting to learn about the affection he had for the actors (he worked several times with the main cast members).

Spellbound - not so much

Spellbound, 4/6/13, Best Music, Scoring of a Dramatic or Comedy Picture, 1945

After watching The Man Who Knew Too Much and really enjoying it, I was looking forward to another Hitchcock movie in Spellbound starring Gregory Peck and Ingrid Bergman (I was especially happy it was my favorite Gregory Peck and not Gary Cooper). Spellbound is set in a psychiatric hospital where Ingrid Bergman is one of the psychiatrists and Gregory Peck plays an impostor psychiatrist (I'm really not giving anything away, this is made very clear early on in the movie). I've been surprised at how well some movies hold up over the years, and then some movies do not; in my opinion, and I know a lot of people will disagree with me, but this does not. It may be because of the advances in psychiatry and what the general public 'know' about it; it could be the strange acting of Gregory Peck when he has an 'episode' and freaks out at white linens. The wacky looks are almost like a big sign that says 'HEY, I'M ABOUT TO GO ALL WEIRD, PAY ATTENTION'. The movie was nominated for six awards, and won for the score. It was okay, it didn't grab me like other scores I've heard over the past dozens of movies I've watched; it seemed intrusive at times, playing during dialog. One of the interesting things about the movie was that it used works by Salvador Dali for the dream sequences, which were suitable surreal. I'm not sure they really added anything either, but I've always been intrigued by Dali's work, so it was cool to see it used in this way. Before I started this project, I was notorious for falling asleep during movies (I actually fell asleep in the theater watching one of the Pirates of the Caribbean movies, only to be poked awake by my little brother); but I have gotten away from that habit, until yesterday. I missed the last 30 minutes of the movie; in the past I would have just said, thank you, and turned it off (like for Horrible Bosses), but I actually watched the rest of the movie. I'm glad I did, the last 15 minutes may have been the best part. I'm sure more Hitchcock movies are on my list, and I still look forward to seeing those.

Alfred Hitchcock Presents - The Man Who Knew Too Much

The Man Who Knew Too Much, 3/31/13, Best Song, 1956

If a Hitchcock film was to win an Academy Award, I would not have guessed it would be for Best Song, but that's what happened. Que Sera, Sera sung by the incredible Doris Day, won for Best Song from The Man Who Knew Too Much which also starred James Stewart. The movie is a suspense filled story that starts in Marrakesh, Morocco and ends in London, England. Stewart and Day play the McKennas a couple traveling with their young son through Europe and North Africa. They meet up with a mystery man who involves them in his international caper. To tell you much more risks ruining the story and the drama. I will say Doris Day is wonderful as the former stage performer/singer. She holds her own with James Stewart and the other actors, some of whom were veterans of the British stage and screen.

The movie holds up today; I mean, it's obviously from a different time period, you'd be hard pressed to find tourists today wearing suits and hats anywhere, but other than that, I really think a lot of people will enjoy it, if you haven't seen. I typically don't seek out Hitchcock movies, but because of this task ahead of me, I'm experiencing a lot of things I normally would not, and for the most part, I'm pleased. There is some humor, interesting views of Morocco, drama and suspense and an interesting use of music (it almost takes on the role of a character). I recommend watching the special features on the DVD, particularly the making of the movie; I would have liked to see an interview with Day about her role, but that was not to be. Que sera, sera. The movie is a rarity today, with no swearing and no significant violence. As for the song, I was thinking as I was watching how far we've come in 56 years, with a song like Que sera, sera to Skyfall (not saying one is better than the other, just really different). Que sera is actually performed by Day during the movie and does play a part in the story (you'll have to watch to find out what).

It's been a movie filled weekend, and I think my brain is tired, so I apologize if this is a little lackluster, because the movie certainly was not. I have Spellbound, another Hitchcock movie still in the hopper for this week (or next weekend). (insert profile of Alfred Hitchcock here).

You mean there was a book first? Flashback, part 3

I don't think it will be a surprise to anyone that the following movies were books first, but I thought it was a different way to collect movies that I have already watched but not reviewed. I have some other ideas for future flashbacks, but I'm still working on those. I pretty much come down on the side that you should read the books and watch the movies (I have actually read all of the books below), it's a win-win.

      The Good Earth, Best Actress, Best Cinematography 1937 I read The Good Earth by Pearl Buck in seventh grade in conjunction with a social studies section on China. It was then I began my fascination with China. I think we saw the movie then too, but I didn’t pay too much attention (shocking in 7th grade, I know), so I wasn’t sure what to think when I watched it again, if I was going to like it or what. It did take a little while to get into the movie, but after the first 45 minutes or so, I was all in, following the lives of Wang Lung and O-Lan (played by Oscar winner Luise Rainer), especially rooting for O-Lan, and being forever grateful I wasn’t a female in China. The story takes place over many years and the family experiences famine, revolution, locusts, and through it O-Lan is the rock of the family. Buck spent many years in China and I think if you are interested in pre-Revolution China, the book and the movie are a good introduction. Be patient with the movie, but I believe you’ll be rewarded in the end.

     Rebecca, Best Picture, Best Cinematography, B&W 1940 I read the book by Daphne du Maurier in eighth grade and I have read it a couple of times since. The book is atmospheric and suspenseful and I think it still holds up today. The movie is just as atmospheric and was directed by the king of suspense, Alfred Hitchcock. Judith Anderson as Mrs. Danvers scared the crap out of me when I saw it for the first time. There is no blood, no dead bodies popping up, little to no profanity, just the memory of Rebecca haunting Manderley and Max De Winter (Laurence Olivier) and his new bride (Joan Fontaine). I think the movie being in black and white just adds to the feeling of dread and mystery, color film would almost make it less eerie. You can watch the movie without reading the book, but I would encourage doing both.

      The Picture of Dorian Gray, Best Cinematography, B&W 1945 I love Oscar Wilde, his plays are full of acerbic, biting wit and social satire with moments that make you laugh out loud, and The Picture of Dorian Gray is not exactly like that. The book was a relatively fast read and I thought very disturbing in parts; in this case I think my imagination was creepier than the film. There is an element of evil that lurks in Dorian Gray who essentially sells his soul to stop aging. I liked the movie, but I think I would recommend the book more, let your imagination do the work.

      Exodus, Best Original Score, 1960 I have read most of Leon Uris’s novels, and many of them have been turned into films. Even when he is focusing on one event, like the establishment of the state of Israel in 1948, Uris goes back many years in history, sometimes decades, sometimes a century. I like how he tells a story and creates his characters; I have finished his books and actually believed they were real. That happened to me with Exodus and Ari, Dov and Jordana. The book is so sprawling that it’s impossible to capture all of it in a movie, even when it runs over three hours. The film was directed by Otto Preminger, and has an incredible cast, including Paul Newman, Eva Marie Saint, Sal Mineo and others. It tells the story of the state of Israel from the time of the British Palatinate to statehood, and the desire and need of survivors of the Holocaust to have country of their own. It’s never a black and white issue and it still isn’t. I hate to do this, but I would recommend reading the book (and the others by Uris) and watching the movie. They are both worth it.

     To Kill a Mockingbird, Best Actor, Best Art Direction, B&W, Best Adapted Screenplay, 1962 This is one of my favorite books and movies of all time, reading the book in seventh grade, I wasn’t that much older than Scout and Jem. Harper Lee gives a portrayal of life in the South during the Jim Crow period that shows the innocence of Jem and Scout, but also shows them being tainted by the reality of the racial and economic inequality of the time. They are fortunate that they have Atticus to shield them when possible and to demonstrate that it is possible to do the right thing, even when it can be dangerous and frightening. Woven into this is the story of Boo Radley, which is sad and sweet because he is misunderstood, and yet still has an innate goodness. There is a lot of bias and prejudice in the story, and that’s what Scout experiences, with Tom Robinson and Walter Cunningham. Atticus Finch, in the book and the movie, is an ideal: patient, calm, generous and righteous, and portrayed by Gregory Peck, who won for Best Actor, he sets the standard for movie and real fathers. I read the book first and then saw the movie, and both have their merits. The book leaves more to the reader’s imagination and there are always bits that don’t make it to the screen; the movie gives the characters voices and mannerisms that capture the Southern imprint that is so much a part of the story, including the Ewells and Tom Robinson and Dill, the young friend of Jem and Scout. Harper Lee never wrote another book, so you should read this one and then watch the movie.