The Key

Tags

1950's, Bernard Lee, Carol Reed, Drama, Romance, Sophia Loren, The Key, Trevor Howard, War, William Holden

I was recently asked to take part in a blogathon set up by the trio of Virginie, Michaela and Emily. To honour the star that was William Holden, I decided to review war romance-drama The Key.

Film Title

The Key

Director

Carol Reed

Starring

• William Holden as David Ross
• Sophia Loren as Stella
• Trevor Howard as Chris Ford
• Bernard Lee as Wadlow

A wartime drama with romance and something of a gloomy aura, The Key at least holds the attention thanks to the stars and direction. No masterpiece, but compelling enough and filled with good parts.

It’s the Second World War and Canadian tug boat captain David Ross arrives in Plymouth, England. He is assigned to salvage missions that entail picking up ships that have been attacked in conflict with the enemy. It’s an extremely dangerous job as the tug boats are ill-equipped to combat any form of onslaught, leaving them open to death every time they venture out. David meets with old friend Chris Ford who is a captain. Later after a number of missions, Chris takes David back to his lodgings, drawing particular attention to the key. It is here that David meets the beautiful Stella; an Italian-Swiss woman who rarely leaves the apartment. We learn that the key to the apartment is seen as an omen as many men have lived there and perished at sea. This has left Stella lonely(especially since the death of her first love), even though she constantly has company. With the life expectancy of these men low, Chris gives David the key to the apartment in case anything should happen to him. When Chris dies, David moves into the flat. At first, he and Stella are distant with each other as he is skeptical about the seemingly cursed nature of the key. But over time, the two fall in love. But the overreaching feeling of darkness from David’s job and Stella’s past experience with men threatens to ruin what is growing between them.

Carol Reed’s direction manages to balance drama and the scenes of war very well. It’s not Oscar-winning direction but it is passable and generates interest in what will happen next. A certain ghostly quality hangs over The Key. Something quite haunting and melancholy is in the air, especially when it comes to Stella who occupies a haunting presence throughout the story. The black and white cinematography aids the dark areas of the story and the possible love that may happen. The Key is good but far from high calibre movie making, marred by the long running time and occasional dreariness that undoes many of the fine things the movie does. At least it still retains attention thanks to the evolving relationship between Stella and David. The second section raises the film up as more momentum is introduced into the narrative. We see Stella emerge from her gloom and discover that love could be on the cards for her and David become less resistant to the idea that their union could be cursed. A highly dramatic score, with a certain haunting aura heard in many instances.

William Holden excellently conveys the tired and uncertainty of a man who has experience in battle, but is still secretly terrified of the prospect. Blended with movie star charm that is never far from view, Holden is endlessly watchable in his part. Sophia Loren is quietly melancholy and haunted as the woman at the centre of things. There’s real sadness and pathos to her work that comes through in her face, which craves love and companionship but knows of the bleak realities of life that have befallen her. Loren plays this lonely character who just wants some form of togetherness with real clarity and acting opposite the great William Holden is wonderfully convincing. They share a tentative chemistry that matures along with the movie. Trevor Howard makes the most of his role with a scene stealing turn as David’s friend and the one who sets in motion the relationship with Stella. He works well with both Holden and Loren when he appears. Also watch out for Bernard Lee in a supporting part of the head of the salvage unit.

Far from flawless but filled with something unusual and with a great cast, The Key is an entertaining way to spend your time.

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Suddenly, Last Summer

Tags

1950's, Elizabeth Taylor, Joseph L. Mankiewicz, Katharine Hepburn, Melodrama, Montgomery Clift, Suddenly Last Summer

The quite wonderful Crystal asked me to take part in a blogathon that paid tribute to the iconic Elizabeth Taylor. I jumped at the chance to do so and will review Suddenly, Last Summer.

Film Title

Suddenly, Last Summer

Director

Joseph L. Mankiewicz

Starring

• Elizabeth Taylor as Catherine Holly
• Katharine Hepburn as Violet Venable
• Montgomery Clift as Dr. John Cukrowicz

A typically heated and startling play by Tennessee Williams provide the basis for this shocking and highly dramatic movie. Suddenly, Last Summer is a go to for great dialogue, taboo subjects being brought up and fine acting from a starry cast.

1937 New Orleans; Dr. John Cukrowicz is a young surgeon who works at an asylum for the insane. He is growing restless with the crumbling building and conditions not being up to scratch for his work. The answer to securing more funds and much more accessible ways of doing his work comes one day with a letter. It is from Violet Venable, a wealthy widow who offers to help fund a new wing for the hospital. That is if he meets her to discuss something she wants in return. Encountering the ageing matriarch, he learns that her son Sebastian died suspiciously on a holiday last summer. Violet has a young, beautiful niece called Catherine Holly who is institutionalised following a trip to Europe the previous summer. On that trip was when the shocking death of Sebastian occurred and Catherine suffered a breakdown. Violet wants Cukrowicz to perform a lobotomy on Catherine, as she is secretly worried that Catherine has sinister information about her son that she was utterly devoted too. In return, she would supply him with the necessary things he requires for his practice. Cukrowicz is naturally skeptical about all of this, so he decides to meet Catherine himself.  Catherine, though emotionally disturbed by her cousin’s death, is not insane and Cukrowicz comes to see that she has blocked out the painful memories of the past but not completely forgotten it. He is determined to help her reveal what occurred with Sebastian on that fateful trip abroad. Due to her hysteria and in between sedation , it makes it difficult for him to push further with his investigation. But he is not going to stop and along with a determined Catherine, both want to get to the bottom of Catherine’s fragile mind and discover just what really happened to Sebastian last summer.

The talented Joseph L. Mankiewicz is the man behind the camera. He makes it a daring movie that isn’t scared to get close to taboo subject matter and high drama of a high factor. And on a stylistic level, the production design and cinematography conjure up the unusualness of this most startling tale, with many scenes tension filled and like something shocking is about to be revealed. Now I do believe that some of the subject matter covered is more alluded to than shown, probably because of the threat of censorship back in the day. But the issues that it mentions and hints at are there for us all to glean and be shocked by, which for me says that the movie still packs a punch. This is especially true in the emotions stakes, which is something that Tennessee Williams and his work often have. The stories are heated and button pushing with everything coming out in turns of torrid feeling. The Southern Gothic atmosphere and building tension are grand assets for Suddenly, Last Summer and ones it employs to bring out the melodrama of the piece to the highest order. The script isn’t afraid to push the boundaries of the time by focusing on latent homosexuality and attitudes towards mental health, ensuring that even a movie from the 50’s could tackle subjects(although a little watered down due to the powers that be) with dramatic prowess. Due to this we get some amazing monologues from characters, in particular Catherine as she has to dig into her subconscious and remember the shattering events of last summer. A flaw can be that the stage origins of the piece start to show in many instances. Yet the material and acting make up for that hiccup of not being expansive enough. And the mystery of what happened to Sebastian and whether or not Catherine will be able to put it together are brought out with the brass heavy and often very sinister score.

All the actors present get in touch with the overheated and highly dramatic stylings of the script, especially Taylor and Hepburn. Elizabeth Taylor is excellent as the traumatised and haunted Catherine, who is emotionally disturbed by the events of last summer. Taylor gets to be terrified and fearful of her own memory here, clearly tapping into the shock and horror of what the character has witnessed and just how much it has caused her to block out what really happened to her cousin. Catherine clearly knows something but it has been blocked out by her trauma. She’s many things from scared to often sensual to lucid and determined to uncover what’s being concealed. A lot is conveyed through darting eyes and body language to suggest the turmoil and terror Catherine feels, especially and most effectively in the stages in which everything comes out in the open. It’s a fine performance of shock, vulnerability, uncertainty and numerous angles from Taylor who really displays her sometimes overlooked talent here. Also fabulous is Katharine Hepburn’s sly and cracked Aunt. Hepburn’s marvellous voice and mannerisms are put to good use here; she’s like a broken piece of glass with her tremulous and fidgety switches in mood and behaviour. Aunt Violet is also very witty and acerbic, finding another side to a woman who is broken by her son’s death but intent on keeping what happened under wraps. The great Katharine Hepburn is another great entry to Suddenly, Last Summer’s strong acting bow. Montgomery Clift is the most subdued member of the cast but his sensitive doctor is still acted well. He is required to be the ears to both women’s stories and make up his own mind on what is the truth of the matter at hand. His role is not the most showy but it serves its purpose in a manner befitting the story.

A deliriously eye-opening slice of melodrama and Southern Gothic atmosphere, Suddenly, Last Summer is a very good adaptation of a Tennessee Williams play with grand acting and mystery.

The Hitch-Hiker

Tags

1950's, Edmond O'Brien, Film Noir, Frank Lovejoy, Ida Lupino, The Hitch-Hiker, Thriller, William Talman

To kick off the female filmmakers series I am doing this February, we have The Hitch-Hiker. Be sure to tune into more female directed movies this month and see if any catch your interest.

Film Title

The Hitch-Hiker

Director

Ida Lupino

Starring

• William Talman as Emmett Myers
• Frank Lovejoy as Gilbert Bowen
• Edmond O’Brien as Roy Collins

A taut and very tense noirish thriller from Ida Lupino, The Hitch-Hiker, thanks to her sure hand keeps events ticking over with a real sense of suspense and possible terror. Taking basis from a real-life serial killer and his reign of terror, The Hitch-Hiker keeps you constantly invested and intrigued as events go on.

Friends Gilbert Bowen and Roy Collins are on their way to a fishing trip in Mexico with nothing in the way of eventfulness planned. Little do they realise that their planned fishing trip is about to take a possibly deadly detour. For they come across one Emmett Myers, who they think has just broken down and needs a ride. Offering him a lift, they soon discover he is a wanted criminal who has murdered a number of people who he has hitched a ride off. At gunpoint, Myers forces Gilbert and Roy to take him into Mexico and into the desert filled areas. He is attempting to evade the authorities and wishes to get to the town of Santa Rosalia in hopes of escape. Myers constantly toys with both men, tormenting them with his disregard and hatred for humanity. Both men try to think of ways to escape from the clutches of Myers, but it proves difficult. Chief among the struggle is the fact that Myers has one eye that never closes, making it incredibly hard for Roy and Gilbert to flee. Can both men manage to not be worn down and discover a way to survive what promises to be deadly if they don’t cooperate?

Ida Lupino, who was at the time of the film’s making one of the only female directors in the business, acquits herself well with this unnerving thriller by taking a simple premise and making it gritty and appropriately grim. She taps into the shared fear of strangers and what they could possibly hide or bring to you in unexpected circumstances. As well as this, we get the uneasiness of how events that take place in The Hitch-Hiker could very well happen in real life. Being stopped by someone you don’t know in a place you are unfamiliar with is a very real terror that I’m certain everyone has thought of in their lifetime, enabling The Hitch-Hiker to be all that more successful at the taut vision it is going for. And speaking of real life, The Hitch-Hiker takes influence from a case of murders committed by Billy Cook. He was the man behind a 22 day spree of murder before he was captured and sent to the gas chamber. Knowing that this has influenced the movie itself, we watch as Lupino fashions a claustrophobic noir that instead of featuring a big city, uses the vast deserts of Mexico for its setting. Taking place in the mountainous regions and for the most part in the car that is hijacked, we feel like we’re in just as much of a jam as Gilbert and Roy find themselves in. And even though noir was often seen as a masculine genre, Ida Lupino shows herself to be just as good as her male counterparts in directing. It’s truly great to see a pioneering lady in action behind the camera. And the pace of the film, which clocks in at just 71 minutes, is economical and straight to the point of things in terms of the suspense. The climax may lack that bit of oomph, but everything else is right on the money and very taut. On the visual front, the looming surroundings and the tightness of the car provide ample opportunities for style in the noir fashion. A suitably tense score highlights the uneasiness of both men as they are nearly broke down by Myers and his evil.

Sweaty, sleazy and nasty evil is exuded by William Talman as the eponymous killer. Talman just has something sinister about him right from the first moment we clap eyes on him. This pays dividends as his performance is extremely mercurial and sly; watching him attempt to break the friendship between is genuinely creepy viewing. Frank Lovejoy and Edmond O’Brien underplay things nicely, with a realistic terror and sense of hopelessness, tinged with the possibility for both to save the day if they can. Both actors are stalwart performers who you really believe as regular Joe’s caught in a most alarming and dark situation.

A grim, dark and well-paced movie, The Hitch-Hiker displays the talents of Ida Lupino as a director to be reckoned with.

To Catch a Thief

Tags

1950's, Alfred Hitchcock, Cary Grant, Grace Kelly, Jessie Royce Landis, John Williams, Romance, Thriller, To Catch a Thief

Film Title

To Catch a Thief

Director

Alfred Hitchcock

Starring

• Cary Grant as John Robie
• Grace Kelly as Frances Stevens
• Jessie Royce Landis as Jessie Stevens
• John Williams as Hughson

A witty, scintillating romantic thriller from the iconic Alfred Hitchcock, To Catch a Thief finds the master at his most playful and arch. This lush gem of a movie is super gorgeous to look at and soars to greatness thanks to the star pairing of Cary Grant and Grace Kelly.

John Robie is a retired jewel thief who lives in a villa just off the French Riviera. Once dubbed ‘The Cat’ and the best in the field of burglary, he has now turned his back on his old stomping ground. But he’s about to be dragged into it again thanks to a spate of high-profile thefts along the coast. All the cases involved the gorgeous and very expensive jewelry of the rich and well-known. Wanted by the police and with only a handful of old contacts trusting him, he attempts to evade capture and arrest for something he hasn’t done. Thanks to an insurance man Hughson, who has the knowledge of who owns the best gems, he comes into contact with the very beautiful Frances Stevens and her flouncy mother Jessie. Frances is a seemingly icy girl with boredom to contend with, but John discovers she lusts after something thrilling and even dangerous. Both begin a flirtation that ignites her curiosity over who he really is and what to do about it. Meanwhile, John sees the opportunity to bait the real thief with jewels belonging to the wealthy widow Jessie. But it’s not as easy to prove his innocence as thief is gearing up again and the dalliance with Frances is growing deeper.

To Catch a Thief has Alfred Hitchcock in relaxed and bubbly mode; teasing the audience in just who the real thief could be and whether John and France’s will become a couple. Hitchcock is having a whale of a time with the sexy interplay and mystery of the piece; utilising his bag of exceptional tricks to marvellously entertaining effect amid gorgeous scenery and attractive stars. His elegant hands are all over To Catch a Thief and it’s all the better for us that we have the master movie maker delivering the goods with customary high quality. Some may dismiss it as lightweight Hitchcock, but even if that is the case, it’s darn entertaining. I might not put it up there as one of Hitchcock’s classics, but any Hitchcock is better than most and that is something I stand by cinematically. A cracker of a script blends elements of caper, humour, seductiveness and thriller into a pretty and polished product that presents a lighter side to Hitch. And it’s amazing how much innuendo To Catch a Thief manages to pack into its frames. From Frances asking John whether he’d like a (chicken) breast or a leg to the memorable deduction that is inter cut with fireworks wildly exploding to signify passion, this movie is definitely not short on suggested naughtiness. This cheeky approach greatly benefits the movie and is impressive, especially considering how movies back when this was released where often at the mercy of the censors. Lush cinematography that deservedly garnered an Oscar and splendidly detailed costumes are a cherry on top of a finely made cake. And of course, the sweeping and romantic music is a big plus throughout To Catch a Thief’s running time.

Cary Grant, the King of suave, is on solid and fine ground as the former jewel thief trying to clear his name. His lightness of touch and twinkle in his eyes is just right for this movie and showcase him at his most charismatic. Complimenting Grant is the gorgeous Grace Kelly, who never looked more lovely or sensual as she did here. She spars nicely and seductively with Grant, by exhibiting a kittenish and sly demeanor that is very becoming as she plays with his feelings in a bid for thrills. And you can’t miss the sizzling chemistry shared between both stars that practically radiates whenever they’re in proximity of each other. It’s the kind of sexual tension you’d want to bottle up it’s that impressively shown. Jessie Royce Landis and John Williams both lend some fine support to proceedings too.

A gorgeous romance and thriller with oodles of style and sexy moments, To Catch a Thief presents Hitchcock at his most cheeky and in the mood to entertain. A breezy quality is very apparent, plus his numerous directorial stamps blending with sublime sights of the French Riviera.

The Seventh Voyage of Sinbad

Tags

1950's, Adventure, Alfred Brown, Fantasy, Kathryn Grant, Kerwin Mathews, Nathan Juran, Ray Harryhausen, Richard Eyer, The Seventh Voyage of Sinbad, Torin Thatcher

Film Title

The Seventh Voyage of Sinbad

Director

Nathan Juran

Starring

• Kerwin Mathews as Sinbad
• Kathryn Grant as Princess Parisa
• Torin Thatcher as Sokurah
• Richard Eyer as the Genie
• Alfred Brown as Harufa

Boasting a whole lot of excitement and the amazing stop motion skills of Ray, The Seventh Voyage of Sinbad is fun with a capital F that retains a magical quality to it that never dims. So sit down and be transported into a daring time of quests and magic that is hard to resist.

Legendary adventurer and captain Sinbad is travelling back to Baghdad when his ship is driven towards a strange island known as Colossa. Going ashore with his crew,  Sinbad encounters Sokurah, a magician fleeing from a Cyclops and grasping a magic lamp. Managing to escape the large beast through the use of the lamp and the genie inside, Sokurah comes aboard with Sinbad. He explains that he needs the lamp, which was lost when running away, but Sinbad is reluctant to return to the island. Sinbad is to be married to the beautiful Princess Parisa, who has journeyed with him on his voyage. Their marriage will unite two countries in peace and love, benefiting from the fact they are so very much in love with each other. On their return to Baghdad, things take a turn. Sokurah, angry that he’s been refused , secretly uses his magic powers to shrink Parisa to miniature height. This plays into his plans as Sinbad is desperate to regain his soon to be wife and potentially stop any violence between the two nations. Sokurah tells them that if they want to reverse her shortage of stature they must travel back to Colossa and acquire the egg of a giant bird to make a potion that will reverse the magic. What Sokurah really wants is to get his dirty hands on the magic lamp and use it for his own greed. Sailing back to Colossa with a doubtful crew, Sinbad knows that this journey isn’t going to be easy as he must battle against an array of marvellous creatures if he wants any chance of Parisa getting back to normal again and preventing any animosity between two kingdoms.

Nathan Juran contributes pleasing direction that allows events to be one entertaining adventure by being unobtrusive and letting the effects and magic take deep hold over the audience. The main thing that The Seventh Voyage of Sinbad is rightly remembered for is the quite wonderful stop motion animation of Ray Harryhausen. His personal stamp is there whenever any of the succession of beasts appears; his craftsmanship is something to be greatly admired and marveled at for the sheer dedication and thought gone into it. Harryhausen was a master of spectacle and extraordinary sights and it is for all to see in this excellent fantasy film. From the angry Cyclops to the two-headed bird known as the Roc, the mind of Harryhausen conjured up such greatness and a feeling of otherworldly possibility. At the time of release, his creations must have been revolutionary and met with amazement. The same can still be said now as without his guidance and talent, modern animation and visual advancements may not have been crafted in order to emulate some thing of his greatness. Swashbuckling adventure and fantasy are at the forefront of this flick, starting from the beginning and never letting up. This is a movie the whole family can enjoy as it has something for everyone. It provides pure escapism into a magical tale of heroic deeds and unusual creatures that is rollicking and bracing in almost every aspect. We never seem to see movies such as this anymore, but it’s probably for the best as modern movies may miss out on that special something these fantasy/adventures had. The exotic flourishes of the score from the majestic Bernard Herrmann only heighten this gloriously magical fantasy extravaganza.

Kerwin Mathews is handsome choice for Sinbad and while not the world’s greatest actor, his physicality and masculinity are extremely appropriate for the part of the legendary adventurer. Kathryn Grant is beautiful and sweet as the Princess whose plight is what brings the story into action. The two make a very attractive couple in this magical tale of heroism and danger. Torin Thatcher is made for playing villainy and he plays to that with relish. Just looking at his intense and often alarming eyes, he exudes a slimy sense of power and nastiness. In support there is the young Richard Eyer starring as the boy Genie who can grant any wish and Alfred Brown as Sinbad’s loyal friend Harufa.

The Seventh Voyage of Sinbad is good old-fashioned adventure at its height with imagination and thrills galore. For a movie that the whole family can love and for an adventurous time, you can’t go wrong with The Seventh Voyage of Sinbad.

Sea Wife

Tags

1950's, Adventure, Basil Sydney, Bob McNaught, Cy Grant, Drama, Joan Collins, Richard Burton, Sea Wife

The wonderful Gill and Cat invited me to take part in their Then and Now blogathon. I decided to review two movies, twenty years a part to fit in with the theme. As Joan Collins featured on one of the banners, it seemed only right to review two movies starring the great lady. The first up is Sea Wife.

Film Title

Sea Wife

Director

Bob McNaught

Starring

• Joan Collins as Sea Wife
• Richard Burton as Biscuit
• Basil Sydney as Bulldog
• Cy Grant as Number Four

An adventure drama from the 50’s that may not be high art and a tad disjointed, Sea Wife is nonetheless a worthwhile enough movie that holds the attention for its relatively short running time.

In 1942, a cargo ship in Singapore is boarding people before the Japanese Army arrives. They are however soon under attack, causing everyone to evacuate the boat. One a lifeboat, four disparate people end up escaping and separated from everyone else. None of them are really referred to by their real names, instead we get to know them through the nicknames they assign each other. There is military Officer Biscuit, beautiful Sea Wife( who is secretly a nun), bigoted businessman Bulldog and black purser Number Four. Frictions and tensions quickly rise as Bulldog and his prejudiced views belittle Number Four. Also, Biscuit begins to fall in love with Sea Wife, unaware that she is really a nun and is bound by her vows to God. Following being nearly thrown overboard in a storm, near starvation and desperation, they eventually end up washed onto an island. And while they all attempt to think of ways to make it back to civilisation, events take a tragic turn.

Bob McNaught and his direction are passable and do the job, yet can feel rather labored and in need of a fixer upper. The opening stretches of Sea Wife are the best areas of the film, with the attack of the ship and the subsequent introductions to the characters ending up quite fascinating. Sea Wife, while dated, is quite surprising since good doesn’t always triumph over bad here. In most old movies, good often prevails but in Sea Wife there is a definite melancholy to it that marks it out as something different. Plus, the topic of racism is approached with depth and a sensitivity rarely seen in a 50’s movie. Yet there are definitely some parts of the overall product that could have been improved. The sentimental nature is laid on a bit too thick in stretches and I think my biggest gripe was that events, especially when concerning the latter stages, feel rushed in comparison with the parts where we get to know the characters. A tad more expansion and some more back story for all of them would have been a blessing to this film. The flashback device is pretty nifty and well employed, while lending a bit more depth than what the script often gives us. Focusing on the attempts of Biscuit to find Sea Wife after the tumultuous events on the island, it gives more nuance to the film than it really should have. The music score for the film has a real sweeping quality to it, that I really enjoyed and found beautiful to listen to.

As the eponymous character, Joan Collins is the main focal point of the film. Although known primarily for playing super bitches and glamour goddesses, it’s somewhat refreshing to see a very young Joan Collins in a serene and sincere role. There’s a real sweetness to her here and her beautiful face often speaks volumes in terms of feeling. If you’ve only ever thought of Joan Collins as the aforementioned diva, please check out Sea Wife to see another side to her. You may be surprised to see her play a nun, but it actually works. The ever intense Richard Burton is on hand too, with his customary seriousness and brooding, ideal for his part of the pining man. Basil Sydney really gets into character as the horrible racist, whose prejudices and nastiness, are rendered in full villainous form. Finally, we have Cy Grant as the abused yet useful man, who suffers at the hands of Bulldog simply because of his skin colour. It is with the cast that Sea Wife rises above its many flaws. And while their roles are not what you’d call the best written, they all make them work.

No classic of adventure by means, but still owning enough moments and good acting to tide us over, Sea Wife is an interesting movie to be sure.

Mogambo

Tags

1950's, Adventure, Ava Gardner, Clark Gable, Donald Sinden, Grace Kelly, John Ford, Mogambo, Romance

The effervescent Virginie asked me to join her blogathon on classic star Grace Kelly. With Kelly being an iconic movie star and a real life princess, how could I ever refuse? To honour the beauty and splendour of Grace Kelly, I decided to review the romantic adventure Mogambo.

Film Title

Mogambo

Director

John Ford

Starring

• Clark Gable as Victor Marswell
• Ava Gardner as Eloise ‘Honey Bear’ Kelly
• Grace Kelly as Linda Nordley
• Donald Sinden as Donald Nordley

A gorgeously photographed romance/adventure, Mogambo provides good entertainment and classic Hollywood stars to be dazzled by . And while it isn’t major league work from John Ford, its star quality and passion is still very much exciting to view.

Victor Marswell is a rugged, experienced big game hunter and safari businessman whose life is going smoothly in the wilds of Kenya. With his business booming, he can’t really ask for more. Events however take a turn with the arrival of Eloise ‘Honey Bear’ Kelly; a gorgeously outspoken and free-spirited showgirl who has been stood up by a suitor. Having to occupy the same space with Marswell until the next boat back to her planned journey, the two sparring individuals begin a sensual relationship. But Marswell is more concerned with his business and cools the relationship, much to Kelly’s consternation. Yet Kelly’s journey back is halted and run aground, meaning she has to return to Marswell. Around this time, anthropologist Donald Nordley and his posh wife Linda arrive, with wanting to observe the gorillas of the region for study. The prim Linda, who is all about manners and decorum, begins to take a liking to Marswell, seeing as her husband is more concerned with his studies. This of course arouses jealousy from Kelly, who takes it upon herself to stir things up for all involved. While Donald remains oblivious to his wife’s obvious attraction to the uncouth Marswell, a love triangle falls into place.The competition is on as both Kelly and Linda angle for the affections of Marswell amid the wild landscape.

John Ford takes us on safari with his gift for using visuals and settings to capture the attention and contribute beauty. Ford has often done this in his classic Westerns and here is no different. Mogambo may not be a masterpiece, but there’s no denying the sumptuous visual direction of the great John Ford and his keen way of making locations come to life. Animals and wide, vast sights are glimpsed in nearly every frame of this torrid take, accentuated by alive cinematography and luscious colour. Mogambo is very much a melodrama and one of feverish emotions as wild as the surroundings. This approach is well utilised for the torrid feelings that attempt to be kept under wraps, but spill over with delicious passion and fruitful events. Only later on foes the drama get a little too overwrought for its own good, thankfully the stars and scenery can make up for those cracks. Mogambo is also a very saucy movie, Granted, the sexual sizzle is mainly confined to innuendo given the time period the movie was in, Mogambo still steams things up in its own naughty way. It’s the verbal sparring of the three that brings fire and vibrancy to a sometimes sleepy film; one-liners and veiled seduction are checked off the list and explored frequently against picturesque backdrops.

The stars are the thing and you couldn’t have asked for three more glamorous people than Clark Gable, Ava Gardner and Grace Kelly. Clark Gable, now in the later years of his career, still has the charm and panache to pull of his part. He is world-weary but immensely jaunty, especially in that grin that he employs. He wasn’t known as the King of Hollywood for no reason. The ravishing Ava Gardner is relaxed and appropriately sassy, cracking one liners with ease and wit. Her devilish appeal and devastating good looks are matched by her subtle shading of the character who is tough, sexy and unexpected. Gardner is suitably fetching and confident in her acting; obviously relishing the sizzling role given to her. Grace Kelly rounds out the central trio and at the point of major stardom, beautifully plays the repressed Linda who is not quite as innocent or lily-white as we first see her. Kelley has the right amount of ice and fire for the part( which would later lend itself well to roles in Hitchcock movies) and looks simply gorgeous throughout. Starting off prim and almost childlike, her desire emerges and her reserve thaws to show a passionate woman. It’s a nice part for Grace Kelly that compliments the work of Gable and Gardner. Donald Sinden is not given a whole lot to do, besides remain largely ignorant of what is transpiring around him.

So while overlong as a movie and often sometimes plodding, Mogambo is redeemed by the great cast and passionate approach. A glamorous adventure that is simple in story, but pretty excellent in execution with the best in the business being and in front of the camera.

Broken Lance

Tags

1950's, Broken Lance, Earl Holliman, Edward Dmytryk, Hugh O'Brian, Jean Peters, Katy Jurado, Richard Widmark, Robert Wagner, Spencer Tracy, Western

For my first entry into Crystal’s Tracy and Hepburn blogathon, I covered the classic movie The African Queen yesterday to celebrate the talents of Miss Hepburn. Today. I’m going to honour the greatness of Spencer Tracy with my review of the 50’s Western, Broken Lance.

Film Title

Broken Lance

Director

Edward Dmytryk

Starring

• Spencer Tracy as Matt Devereaux
• Robert Wagner as Joe Devereaux
• Richard Widmark as Ben Devereaux
• Katy Jurado as Señora Devereaux
• Jean Peters as Barbara
• Hugh O’Brian as Mike Devereaux
• Earl Holliman as Denny Devereaux

A western with definite Shakespearean overtones to it, Broken Lance is a resounding success with its fine cast and confident direction that bring drama and emotion to the genre.

Matt Devereaux is the hardened and tough patriarch of four sons and most proudly, a cattle empire that is his life’s work. While successful with his business due to his ruthlessness and charisma, his parenting hasn’t been particularly special. For Ben, Mike and Denny, he has been a tyrant since they can remember and forced his temperament onto them. For his youngest son Joe, it is a different picture as he respects his father and is good at judgement. This doesn’t go down at all well with any of the other brothers. Further animosity is present as Joe is mixed race, owing to Matt’s marriage to the dignified Señora Devereaux, a Native American princess. Ben in particular feels resentment towards this and also the fact that his father is refusing to modernise their business in a changing world. Matt however is too old and determined to change his ways, least of all for his children who he finds largely ungrateful. Trouble brews when a nearby copper mine pollutes the water supply, leading to the death of many of Matt’s cattle. The grizzled Matt takes matters into his own hand and raids the mine. The law gets wind of this and Matt is threatened with prison for his actions. It is here that tragedy and turmoil really come out among the four brothers, leading to eventful and irrevocable changes.

Edward Dmytryk directs this highly charged Western with the right flavour for drama and character. Broken Lance is essentially a Western interpretation of King Lear, with the daughters being replaced with sons and the King being a cattle ranch owner. But the presence of that great play gives Broken Lance more of an edge in comparison with other traditional Westerns. The script, using characters and depth, is largely responsible for this and how it depicts the unfolding tragedy of the family. Plus, in a rare move for a Western of the 50’s, Broken Lance features a positive representation of Native Americans. The vast majority of depictions in Westerns is a negative one; Broken Lance rectified this by having the main Native American characters be people of virtue and right. I respected Broken Lance for taking this stance and also highlighting the prejudice faced by Native Americans. My only niggle with Broken Lance is that I wish it were longer; the film is quite short and while a fine Western, I wanted just a little bit more. That shouldn’t however take away from the excellence of the overall movie and how it has a difference to it that most Western’s do not take. It’s with the drama that Broken Lance particularly excels at and while there is action present in Broken Lance, it never descends into just another shoot out movie. A grandiose score really gets us into the events of this Western with flourishes of strings and drums.

At the centre of it all and completely dominating events is the marvellous Spencer Tracy, in full grizzled and boisterous mode. The character of aging patriarch with his own brand of justice and love for his land( at the expense of the love from three of his sons), Tracy explores the various facets of him with rich texture. On one hand, he’s a domineering man who it must be said has been harsh towards his sons in terms of wanting them to follow him. But in another breath, he’s a very charismatic man who has worked hard to make his cattle ranch a success and is thwarted by the ineptness and animosity of his three older sons. Such a great combination from an accomplished actor is the main source of vitality in this dramatic western. Robert Wagner, in a very early role, manages the decency and respect of a young man who looks up to his father, yet suffers because of it. It’s a good showing from the then young actor. The ever effective Richard Widmark( always exceptional when playing a wrong un), brings seething rage and resentment that lead him to ruin and dishonor the father he thinks has forsaken him for his entire life. There is still some humanity in there, but Widmark most succeeds at discovering the nastiness and bitterness of the part. In support, Katy Jurado beautifully captures the dignity and strength of Matthew’s second wife, who knows all about the prejudice aimed her way but rises above it with grace and humility. Sometimes just a look from her is enough to voice her inner thoughts and love, the role providing a peaceful balance to the frequent clashes between the men of the movie. Jean Peters is the pretty love interest for Wagner and sweet enough to pull it off. Hugh O’Brian and Earl Holliman are honestly not given much to do but follow their older and more resentful brother, but do the job good enough.

A character driven Western that has the right amount of drama and action to it, Broken Lance showcases great direction and acting, particularly from the legendary Spencer Tracy.

The African Queen

Tags

1950's, Adventure, Humphrey Bogart, John Huston, Katharine Hepburn, Robert Morley

The sensational Crystal is hosting a blogathon dedicated to the talents of icons Spencer Tracy and Katharine Hepburn. I was more than happy to join in and celebrate the fineness of these two stars. For my celebration of Miss Hepburn, I decided to review the excellent adventure that is The African Queen. The next review for Spencer Tracy will be of Broken Lance.

Film Title

The African Queen

Director

John Huston

Starring

• Humphrey Bogart as Charlie Allnut
• Katharine Hepburn as Rose Sayer
• Robert Morley as Reverend Samuel Sayer

Filmed largely on location in well documented circumstances and benefiting from the direction John Huston and pairing of Humphrey Bogart and Katharine Hepburn, The African Queen is high adventure that remains evergreen and always exciting.

It is 1914 in German East Africa and prim spinster Rose Sayer is along with her Reverend brother Samuel working as missionaries with a local village. With the First World War occurring at this point, uncertainty rises and escalates when the Germans set upon the village and burn it down. An injured Samuel submits to fever and quickly dies, leaving Rose devastated. Hope comes in the unlikely form of gin-swigging and uncouth tramp steamer owner Charlie Allnut; who delivers supplies to many villages and has met Rose before. Taking pity on her, he takes her aboard his steamer, known as The African Queen. Immediately, the two clash over a difference of opinion and anything they can. Rose is a well-bred, respectable lady who doesn’t take kindly to Charlie’s man about the world behaviour, while Charlie finds his lay about lifestyle challenged by a woman he considers prissy and obstinate. As they continue down the river, their bickering temporarily stops as Rose unusually suggests helping the War effort. Knowing that a German patrol ship blocks any path or form of attack later down the river, Rose suggests fashioning some of Charlie’s supplies into an array of combatants in order to sink the ship. Charlie thinks the idea is ridiculous at first, but getting to know Rose, agrees to her terms. Thus resumes the sniping and arguments as their journey to adventure is fraught with hot weather, dangerous tides and animals. Over this time of surviving the river, Charlie and Rose begin to fall in love, after much reluctance to acknowledge such feelings.

John Huston is the captain of this movie and his maverick spirit is never far from view. Choosing to shoot largely on location in Africa posed difficulties, but his sense of fun and blend of adventure, romance and humour is ideally pitched and depicted to such a loving degree. The initial set up is well done, but The African Queen truly gets going once both Rose and Charlie are on the eponymous boat and the oil-water dynamic sets in. Observing them clash due to different upbringings and divides is what gives The African Queen its playful spirit that no amount of time can diminish. Their impulsive plan to thwart the Germans is daring and the stuff of a Boy’s Own Adventure; ranking it for me as definite must see movie for anyone who hasn’t yet had the pleasure of viewing this classic. We have so many memorable moments to entertain here including riding through the rapids, Rose applying a multitude of salt to Charlie’s leech infested body and the overall journey down the river are just some of the highlights from this gloriously engaging adventure. There’s nary a dull moment as the script and energy keep things bubbling at a nice, exciting temperature. The African Queen is practically a roller coaster on water, with every turn bringing with it gorgeous views, multiple dangers and romance for our two principal characters. The location shooting, which has been extremely well documented for its tribulations, that ultimately added with the flavour of the film, make it adventure and fun of the highest denomination. A grand but always puckish score is the great accompaniment for Rose and Charlie down the river.

Humphrey Bogart collected an Oscar for his winning portrayal of a rough and ready but dissolutely charming captain. With his cheeky grin and gruffness being offset by the fact that he’s really a decent guy underneath it all, Bogart makes the role his own. Katharine Hepburn is equally as excellent with a blend of uptight primness and burgeoning spiritedness that is most accomplished. Hepburn is sharp, strong yet vulnerable and full of life, a mix that she inhabits with vigor. Watching as Rose emerges from her refined nature to becoming a lively heroine of resilience is a great thing and completely down to the greatness of Katharine Hepburn and her talent. And watching the chemistry between the two as they bristle and bicker, before coming to love the other is just another string in the movie’s impressive bow. It’s a shame these two stars didn’t make any other movies together as their chalk and cheese personalities would have been well served if given the chance. Robert Morley appears briefly as Rose’s brother, whose death fills her with a desire to help the War effort in her own way.

The African Queen is fine movie making and a deserved classic that has lost none of its original charm or fun factor. If you haven’t seen it, I implore you to do so for its adventure and pairing of Bogart and Hepburn.

Carry On Teacher

Tags

1950's, Carry On Movies, Carry On Teacher, Charles Hawtrey, Comedy, Gerald Thomas, Hattie Jacques, Joan Sims, Kenneth Connor, Kenneth Williams, Leslie Phillips, Richard O'Sullivan, Rosalind Knight, Ted Ray

Film Title

Carry On Teacher

Director

Gerald Thomas

Starring

• Ted Ray as Mr William Wakefield
• Kenneth Connor as Mr Gregory Adams
• Joan Sims as Miss Sarah Allcock
• Leslie Phillips as Mr Alistair Grigg
• Kenneth Williams as Mr Edwin Milton
• Charles Hawtrey as Mr Michael Bean
• Hattie Jacques as Miss Grace Short
• Rosalind Knight as Miss Felicity Wheeler
• Richard O’Sullivan as Robin Stevens

The third Carry On movie, Teacher is probably the one most kid friendly due to the setting but loaded with good humour and a surprisingly moving payoff.

The setting is Maudlin Street School, where the headmaster is a fair, honest man named William Wakefield. Beloved by the students because of his fair attitude and not wanting to use the cane as punishment, he is well liked and respected by the staff as well. Though while respected, there is some contention about whether more discipline should be introduced, given how naughty the children behave. But after 20 years at the school, Wakefield decides he wants to leave and accept another headmaster post elsewhere. The teachers; bumbling science master Gregory Adams, chirpy gym instructor Sarah Allcock, snide English literature professor Edwin Milton, tough math mistress Grace Short and fussy music maestro Michael Bean, all decide to be as in control as possible when they are told of his plans, though they are worried about what will come next .Coinciding with Wakefield deciding to apply for another post, there is to be a visit from the review his credentials and command within the school by Ministry of Education Inspector Felicity Wheeler and child psychiatrist Alistair Grigg. However, the children of the school have overheard Wakefield’s plans and not wanting to lose their adored headmaster, set about devising a systematic scheme to ensure he won’t be leaving. The children, headed by ringleader and noted troublemaker Robin Stevens, decide this visit is the perfect time to sabotage any chance of considering or being considered for another post. The pranks and tricks come fast as the students do whatever they can in the hope that stays as their headmaster. Lady-killer Alistair becomes infatuated with Miss Allcock and she reciprocates, while Wakefield has Gregory woo the terse Felicity in the hope it will further his move. It’s left to Wakefield to decide whether to leave the school or stay where he is so obviously wanted.

Gerald Thomas is on sprightly form in this third film, clearly enjoying the mischief and outrageous plans the children execute throughout the movie. There is a laugh a minute feel to Carry On Teacher, especially as you wonder just how far and inventive the next prank will be. The various tricks employed by the kids, involving spiking tea with alcohol, itching powder and anything to ensure that will not leave are comedy of the highest order . It all culminates in a pretty hysterical scene that takes place during the school’s production of Romeo and Juliet. While I earlier mentioned it was the most kid friendly Carry on film, Teacher still has smattering of innuendo and saucy lines to entertain everyone. From the tearing of Allcock’s shorts in gym to a discussion in English where the pupils purposely ask awkward questions regarding what happens on a wedding night, there’s no shortage of naughtiness, though with still a certain innocence involved . And while the clowning antics and pranks are all fine fun, it’s what is behind them that really makes Carry On Teacher special. The children may be trying to sabotage his perfect record but it’s for a good reason as opposed to just nastiness. Through pranks and various other schemes, it’s all to keep Wakefield as their headmaster. Alongside the humour of it all, there is something very touching to be gleaned from the proceedings. I think that was what made Teacher so far my favourite of the Carry On films; it had what I expected, and then some. The familiar lively score you’d expect from one if these movies is here, along with priceless sound effects that accompany the main slapstick action.

Ted Ray is fine in the lead, making the headteacher someone you can instantly warm to from the first time we meet him. You can see why the students would want him to stay on, because he is fair but not a pushover. Ray though shows that be just as crafty as the children and isn’t above a little fun to do it either. Kenneth Connor, who is fast becoming one of my favourite stars of the franchise, exudes bumbling enthusiasm and comic anxiety here. Pratfalls and mishaps are the name of the game with Connor, and he does them with great aplomb. Joan Sims, who is simply delightful, manages to be both upstanding and flirty almost at the same time, particularly when acting alongside Leslie Phillips. Speaking of Phillips, he is right at home essaying a familiar role of charmer and smooth talker of the bunch. Ding Dong indeed, as he’d say. The fun pair of Kenneth Williams and Charles Hawtrey appear as pompous teachers in their respective fields, who are almost always squabbling with each other, something both actors seem to have a ball with doing. The truly make a good duo of comedy and back and forth. Hattie Jacques, with fine comic timing and beady eyes, plays the stern teacher who most favours using punishment as discipline, though she is frequently overruled by everyone else in her views. Rosalind Knight has the haughty, disapproving attitude to pull off her inspector role, that thaws when met with bumbling Kenneth Connor. As the main instigator of pranks, Richard O’Sullivan is suitably mischievous but has his heart in the right place in what he executes.

Carry On Teacher has all the laughs you’d expect from a Carry On, but also boasts a gentle wistfulness and emotion that is surprising but welcome. So far, Carry On Teacher is my favourite.