What Classics Did You See Last Week? (5 June to 11 June 2017

Highlights from my past week of nightly views at our place down here in OZ


All Highly Recommended...
Mans Castle (1933) USA, Frank Borzage

Neko to Shôzô to futari no onna , A Cat, Two Women, and One Man (1956) Japan, Shirô Toyoda

Daigo Fukuryu-Maru , Lucky Dragon No 5 (1959) Japan, Kaneto Shindô

Garazh , The Garage (1980) Soviet Union, Eldar Ryazanov

Reconstituirea (1968) Romania, Lucian Pintilie

Tajemství hradu v Karpatech ,The Mysterious Castle in the Carpathians (1981) Czechoslovakia, Oldrich Lipský

Holiday / George Cukor (1938). Cary Grant and Katharine Hepburn followed Howard Hawk’s screwball comedy “Bringing Up Baby” (which I reviewed here last week – or was it the week before) by rejoining forces under George Cukor is a completely different kind of comedy/drama that demonstrated the kind of range that both actors were developing. The rich Seton family is presided over by the tyrant of a father Edward Seton (Henry Kolker). When his second daughter, Julia (Doris Nolan) announces that she is in love with a commoner who has worked his way up in the world, the father is doubtful and tries his best to discourage her. However, when Julia’s siblings, older sister Linda (Hepburn) and her younger brother, the weak, alcoholic Ned (Lew Ayres) meet her prospective fiancé, Johnny Case (Grant) they both like him and support their sister. Johnny is something of a rebel who wants to find out who he is and why he works (sounding a lot like New Age Hippy talk about 30 years ahead of that time) and plans to make enough quick money in business to take time off – as much as he needs – to find himself. Ned (and the audience) sees at once that the sister Johnny should be hooked up with is Linda who is desperately unhappy in an idle rich life, knocking around a huge New York City mansion of cold marble. She is the self-described “black sheep” of the family. Also sensing the growing affection between Johnny and Linda are Johnny’s lifelong friends, the ordinary people, Prof. Nick Potter and his wife Susan (Edward Everett Horton and Jean Dixon) who arrive at the Seton’s New Year’s Eve party with a wonderful sense of irony intact. It is that New Year’s Eve party that is the central setting of the film, marvelously directed and acted. Grant is perfect and Kate is luminous, even lovable - as she was in "Bringing Up Baby," but different. A true enduring classic in every regard.

Air Force / Howard Hawks (1943). One of the earliest films from Hollywood to show men in combat in WWII, “Air Force” sets the tone and style and many of the tropes for many a film to come. Hawks was encouraged to make the film by five star general Henry “Hap” Arnold, an aviation pioneer and one of the first military pilots. Hawks and screen writer Dudley Nichols decided to focus on a B-17 Flying Fortress (the “Mary Ann”) bomber crew and their experiences. The biggest “name” in the cast was John Garfield who plays one of the gunners on the bomber. John Ridgely plays the pilot; Gig Young is his co-pilot. The other officers are Arthur Kennedy as the bombardier and Charles Drake as the navigator. Harry Carey (very good) is the top sergeant. Under Carey’s supervision is Garfield and George Tobias as another gunner. They are joined later by a fighter pilot who needs a lift. He is played by James Brown who boomers will remember as Lt. Rip Masters in the Rin-Tin-Tin TV series (1954-1959). The film (released in March 1943) took its first audience back in time about 15 months as seven B-17s bombers leave San Francisco on a routine flight to Honolulu in early December 1941. Minutes before beginning their landing, radio contact with the Air Force base is cut-off. They have flown into the attack on Pearl Harbor. From the Hawaiian Islands, they must make their way to Wake Island and then to the Philippines. All of the crew members are well written and given backstories. The action is plentiful and the Warner special effects crew does wonders with airplane and ship models. But for modern sensibilities, the demonizing and de-humanization of the enemy may seem excessive. There is copious use of the J-word and many expressions of what treacherous rats America is up against. The final huge battle set-piece, based on the Battle of the Coral Sea which turned back a Japanese invasion of Australia, occurs in the movie only days after Pearl Harbor and is pictured as an overwhelming American victory so is mostly fiction and deliberate rousing propaganda. Still, knowing that going in, this is an excellent film.

FUN FACT: Howard Hawks ran into author William Faulkner on the Warner lot and talked him into writing a death scene for one of the major characters. He wrote a good one, too. Reportedly, with the money Hawks paid him, the southern novelist had indoor plumbing installed at his Mississippi home.

Limonádový Joe Aneb Konská Opera (Lemonade Joe) / Oldrich Lipský (1964). You probably won’t find the name of Oldrich Lipský among the list of names of major directors of the Czech New Wave, maybe because he started earlier than the usual names like Miloš Forman, Jaromil Jireš, or Jiří Menzel, possibly because he started earlier than the New Wave newcomers. (You can find another of his films in manfromplanetx's post, above.) However, “Lemonade Joe” stands firmly within the aesthetic mode of the New Wave, especially with the absurdist humor. (My understanding is that the Czech word “limonádový” doesn’t mean “lemonade” even though it is translated that way in the title and dialog subtitles. Its true translation, I have been told, is the generic “soda pop.” Modern online translators offer “gooey, smaltzy, and sloppy” as translations but these meanings are clearly not the intention in this film.) Anyhoo, “Lemonade Joe” is a spoof of Hollywood westerns, but not an “Airplane” style spoof nor of “Carry On Cowboy.” This western takes a decidedly surreal turn. All the stereotypes and tropes are there – the hero all in white, the virginal heroine, the evil saloon owner, and the dance hall girl looking for redemption – but their story is told with strange editing tricks, crazy camera angles, and events that defy gravity and reality. Still something of a cult film in today’s Czech Republic but, I believe, not well-known elsewhere in the world.

My Cousin Rachel / Roger Michell (2017). Philip’s voiceover opens the film: “Who’s to blame?” he asks. “Did she? Or didn’t she?” Philip Ashley, orphaned as a child in 18th century England, was taken in and protected by his adult cousin Ambrose, a bachelor. They lived a bachelor existence for 20 years until Ambrose got old and ill. Doctors recommended that Ambrose leave England for the warmth of Italy. Philip takes care of the property and looks forward to receiving letters from Ambrose. Surprisingly, one of the letters reveals that Ambrose has finally married. He has met an English woman named Rachel and can’t live without her. Other letters come and the tone begins to change. Ambrose thinks Rachel now hates him and wants him dead. A final note says, “She has done for me.” When word comes of Ambrose’s death, Philip sets out for vengeance. Just missing her in Italy, he returns to his property only to learn that she is coming to him. When they finally meet, he can’t believe that the lovely, gracious, vulnerable woman he sees could possibly be a murderer. This begins a story of doubt and suspicion. The modern tradition of British historical drama from Merchant-Ivory to Jane Austen to Downton Abbey offer picturesque homes for the rich, sumptuous costumes, and magnificent scenery. These are all present in spades in this film so will satisfy all fans of this genre. Although there are certainly other actors in the film – mainly Iain Glen as Nick, Philip’s trustee until he turns 25, and Holliday Grainger as Louise, Nick’s daughter who Everybody thinks is destined to be Philip’s wife – what we have is basically a two-character drama. Sam Calflin (one of JLaw’s two boyfriends in “The Hunger Games” but frankly I don’t remember what he looked like in those films) gives a possible star-making turn as Philip. As Rachel there is yet another award worthy performance from Rachel Weisz who is magnificence itself. This new film is highly recommended just for her wonderful lead performance. This is based on a 1951 novel by Daphne du Maurier (“Rebecca”). It was filmed in 1952 with Olivia de Havilland and Richard Burton (I have only watched a few short scenes from this production.)

ANOTHER LOOK-SEE TO REFRESH MY MEMORY OR JUST BECAUSE

The Kennel Murder Case / Michael Curtiz (1933). Instead of the frenetic editing, flashing lights, and pounding noise that passes for excitement in modern movies, an earlier era sometimes leaned on a rapid fire delivery of dialog. This particular whodunit is a case in point. They manage to dash through a full-length movie in about 75 minutes. Michael Curtiz keeps things zipping along so you don’t stop to ask too many questions and William Powell is at his smoothest as Philo Vance, amateur detective. One thing bothered me this time around: except for the servants in the rich victim’s household, all of the major male characters (including Powell) had dark complexations, dark hair, and the exact same mustache, making them look very much alike. Another thing was how they pronounced “suspect.” Today, if you say, “I suspect something,” you would pronounce it sus-PECT. If the police, on the other hand, had you in custody, you would be a SUS-pect. In this early sound feature, all the characters, again including Powell, said sus-PECT for the SUS-pects, as in “I think we should release all of the sus-PECTS.” That’s for all you language mavens out there.

Les Diaboliques (The Devils) / Henri-Georges Clouzot (1955). So I’m the only person on the planet who can say that he doesn’t like “Les Diaboliques” and haven’t since my first and, until this week, only viewing from back in the dark ‘80s. My reasons all revolve around the surprise ending so they are going under the spoiler tag. For those who haven’t seen this film, thanks for joining us. In the U.S. of A., the film is well-known for its influence on Alfred Hitchcock, an influence which is often overstated. It is true that “Vertigo” is based on a novel by the same writers as the novel that Les Diaboliques was based on. He screened the film several times during preproduction for “Vertigo.” However, its influence probably applies more to “Psycho.” Hitch screened LB for his writers and staff and stated publicly that the French film was behind his decision to shoot “Psycho” in black and white. Here is as much as I can say about the story: Christina (Véra Clouzot, wife of the director) owns a small private school for boys. Her husband, Michel (Paul Meurisse) acts as the principal. He hates the school, is cruel to Christina, and is carrying on an open affair with Nicole, (Simone Signoret). In spite of this, Christina and Nicole have bonded in their disgust of Michel and begin to plot his death. ‘Nuff said. The film certainly does have its scary and creepy moments, I’ll give it that. I’ll also give my respect to director Henri-Georges Clouzot for his “Wages of Fear” and “Le Corbeau” (The Raven). My love for these films makes it hurt that I DISlike Les Diaboliques so much.

The Smiling Lieutenant (1931) Maurice Chevalier, Claudette Colbert, Miriam Hopkins

Starts out very promising with some extremely cute and charming songs filled with good-natured innuendo, Maurice Chevalier and Claudette Colbert make a great on-screen couple, Chevalier is just fun to watch and follow around. The heavy white-face makeup carried over from the silents, is noticeable. Unfortunately the film completely stalls in the middle and runs out of ideas and fills the rest in with a little pre-code 'Jazz up your Lingerie' and a pat ending but it is probably what audiences came to expect-so it delivered. Definitely worth the time if your fascinated by pre-code pictures and a young betty-boop faced Colbert and an ending reveal of Miriam Hopkins in a see-through negligee-so I can't be too upset, was really great in parts though but not complete enough to rate beyond a 7.

In this cheerful 1931 musical from director Ernst Lubitsch, Maurice Chevalier squares off against Claudette Colbert and Miriam Hopkins in a dazzling battle of wits. When a sexually repressed princess (Hopkins) has eyes for Chevalier's lusty Viennese lieutenant, sparks fly and songs swell. The female stars of this randy musical steal their scenes with aplomb in numbers such as the delightful "Jazz Up Your Lingerie."

The Big Steal (1949) Hugh Marlowe, Robert Mitchum, Jane Greer, William Bendix, Patric Knowles

This is a really entertaining little Film-Noir that deftly mixes comedy with some really effective and exciting action, like the great car chase through the mountain roads of Mexico. Robert Mitchum and Jane Greer are a high-octane chemistry kit and every scene with them is a pleasure to watch. Hits on all cylinders- definitely one of those must-see noirs. I enjoyed it enough to give it a solid 9.

An army lieutenant accused of robbery pursues the real thief on a frantic chase through Mexico aided by the thief's fiancée. Mitchum sets out to clear his name in a crime he didn't commit, with help from the guilty man's girl (Jane Greer).

Illegal (1955) Edward G. Robinson, DeForest Kelley, Nina Foch, Hugh Marlowe, Jayne Mansfield

Edward G. Robinson tries his best and almost delivers an academy-award winning performance out of a standardized B-lot script. The movie is on par with Jayne Mansfield, very well put together until it opens it's dialogue and there is a total disconnect between the effort and the results. Even dedicated E.G.R fans like myself should spend the time finding a much better picture-but in my own defense it was a double billing w/ 'The Big Steal' . Just rates a 4, by the end I was just totally bored with the obvious routine.

A remake of The Mouthpiece, this film tells the story of a district attorney with a conscience. When he discovers that a man he's sent to the electric chair was innocent, he takes to the bottle. His assistants encourage him to get off the booze but then Robinson retires as district attorney and becomes a defense attorney who then agrees to help a mob boss get his buddy out of a jam.

Gosford Park(2001) Director: Robert Altman /Cast: Geraldine Somerville, Trent Ford, Camilla Rutherford, Alan Bates, Tom Hollander, Kristin Scott Thomas, Emily Watson, Ryan Phillippe, Jeremy Northam, Kelly Macdonald, Maggie Smith, Clive Owen, Helen Mirren, Derek Jacobi, Michael Gambon, Charles Dance, Bob Balaban

The huge and talented cast really add up to make this one a classic period piece and the film has a first-rate production to evoke the ending of the Edwardian lifestyle among the wealthy in England. The upstair/downstair dynamic is fascinating and the story and script are not over-sensationalized-this may make this film too slow for some viewers but to this one it was exactly what I expected from a 'Masterpiece Theater' style production because it created an atmosphere that only added to it's realism, maybe a little light on the mystery but it does end the party with a satisfying completion. Overall just a good example of high quality film-making and there is much to admire -thank you again Mr. Altman. 8/9

A weekend hunting party at the home of Sir William McCordle turns into a murder mystery when the host is found dead. This witty whodunit follows the subsequent investigation from the perspectives of the guests and their servants. Examining the lives of upstairs guest and downstairs servants at a party in 1932 in a country house in England as they investigate a murder involving one of them.

The Adjustment Bureau(2011) Anthony Ruivivar, Michael Kelly, John Slattery, Terence Stamp, Anthony Mackie, Emily Blunt, Matt Damon

Follows the typical formula of a Hollywood compromise, not intelligent enough to be a really good science fiction film nor dramatic enough to be a good romance, mainly seems to be a vehicle to show-case some very clever CGI. It is admittedly entertaining enough but it ultimately feels shallow and cobbled together and not even close to as exciting an action movie like 'Jumper' which is a favorite. One of those films that you give the time to take you somewhere special and it just drops you off at the roadside diner for an overcooked cheeseburger. It's fairly harmless and of course I never expected it to do justice to the original story by Philip K. Dick that it is based on- but still good enough as a night's diversion if you have nothing better to watch- 6.

An action thriller about a man (Matt Damon) who decides to fight the powerful Adjustment Bureau, risking his political future to be with the only woman he's ever loved (Emily Blunt).

Really, I don’t think I gave a very good review at all of The Kennel Murder Case; I just wrote about a few new impressions I had while watching it. You have hinted at what I should have spent at least a couple of sentences on: the complex puzzle, the fair-play with the audience, William Powell’s grace and charm (a dress rehearsal for The Thin Man which came the very next year – except that Philo Vance is always sober), a 27-year-old Mary Astor, and a large cast having themselves a good time.

I like very much what you wrote about Horton and Dixon and how their “Holiday” characters reminded you of friends. I loved it that they actually played real people instead of just “quirky” movie characters; it made them more relatable – and funnier.

No classics last week.

Pulp Fiction 8/10.
Office Space 7/10.
Mrs Doubtfire 7/10.

10 episodes are lost or wiped out, and 11 episodes have survived from the black and white seasons, but oddly it's pilot showed under the banner serial Armchair Theatre has survived (A Magnum for Schneider).
Don't lose hope, episodes sometimes can pop up from the most unlikely places.

Library of Congress found a couple of years ago many thought lost episodes of different British TV-series, from the black and white era. Some boxes had been placed wrong.