The Manchurian Candidate

Tags

1960's, Angela Lansbury, Frank Sinatra, James Gregory, Janet Leigh, John Frankenheimer, Laurence Harvey, The Manchurian Candidate, Thriller

Film Title

The Manchurian Candidate

Director

John Frankenheimer

Starring

• Frank Sinatra as Major Bennett Marco
• Laurence Harvey as Raymond Shaw
• Angela Lansbury as Mrs. Eleanor Iselin
• Janet Leigh as Eugenie Rose Chaney
• James Gregory as Senator John Iselin

A most unusual and highly compelling slice of Cold War paranoia and trickery, The Manchurian Candidate still holds intense power today, for its winding plot, direction and acting. With various switches in tone and much food for thought, it’s a movie that definitely burns into the brain with its intricate plot and terrifying notions.

During the Korean War, a platoon of U.S. soldiers, headed by the distant Raymond Shaw and included Captain Bennett Marco, their group is ambushed. After the war, they return to life in America, but something is amiss. For starters, Raymond is given the Medal of Honor, though we later see that he was a loner in his company and that while the men all say that “Raymond Shaw is the kindest, bravest, warmest, most wonderful human being I’ve ever known in my life”, there is something not right about it. The main person who it impacts is Marco, now a captain, who experiences a recurring nightmare of his dazed platoon being observed by Chinese and Russian agents, as a cold Raymond murders two of their members. Delving deeper, Marco comes to realise that the platoon was brainwashed while in captivity, with particular attention lavished upon Raymond. Yet while he has these parts of what looks like an elaborate Communist conspiracy, it’s getting it into some semblance of reality and reason that proves difficult for him to understand. At first not helped by Army Intelligence, when a fellow member of the squad speaks of the same thing, he receives some backing. Marco isn’t going down without a fight, as he rushes to uncover sinister machinations that continue to grow more complex. Meanwhile, Raymond’s mother Eleanor Iselin begins to use her pernicious influence to further her zealous and easily led husband John Iselin’s campaign. She is linked to something dark, but to explain it would be to spoil it. With memories eventually slotting into place, Marco knows that Raymond is unwittingly being commanded and primed to do something terrible. But can Marco put the pieces together before something truly horrifying can take place?

John Frankenheimer crafts this political thriller with a considerable amount of unusual tension, layering events through a dreamlike haze, yet still making it in the realms of reality when it comes to the underhand tactics of power angle. His off kilter approach to such dynamite material is rapid and complex, trusting the audience to pay attention and follow the labyrinthine plot at play. It’s a daring high wire act keeping all the contradicting parts of irony and terror going, but Frankenheimer is up to the task and does it with intelligence. The Manchurian Candidate is a film filled with political manipulations, dastardly ploys for power and the things people are willing to do to gain a foothold in government. While it’s all shot through the eyes of the Cold War, the atmosphere of it is still very apparent and topical today. This suggests that The Manchurian Candidate was a film ahead of its time in what it depicted and how it visualized it. And talking of visuals, the surreal touches and how it bleeds into reality are strikingly evoked. Repeating motifs of Queen of Hearts playing cards, rhyming phrases and unusual tricks are all in there to tease us. A prime example of the effectiveness of The Manchurian Candidate is the dream/flashback of Marco. In it, the camera starts turning and we witness his troops sitting and listening to what seems to be a lecture on plants given by a posh lady. As the camera continues its journey, it cunningly reveals that it is a brainwashing exercise by Communist agents. Such sly precision and the overlapping cuts between the two extremes are marvellously structured and disquieting. Much can also be said about the unnerving close-ups and deep focus, which in black and white, really stay with you. This is a movie that is genuinely unpredictable from scene to scene with its ever-changing tonality. From surreal to hard-hitting, baffling to cynically up front, The Manchurian Candidate keeps you on your toes with its intricacies and corkscrew plot. Twisting and turning away is the order of the day and with unusual and intentionally mysterious parts that are scattered in there, it is a brain teaser of the highest order. One can definitely say that this is a movie that is rewarding on repeat viewings, as you’re bound to discover something you hadn’t thought of the first time. Certain areas like the unusual scene between Marco and a mysterious woman named Eugenie where they communicate almost in code, are kept ambiguous and esoteric, ensuring your rapt attention and providing the overall feeling of a complex puzzle box that the film greatly projects. If ever there was a movie that provoked thoughts, it was The Manchurian Candidate. As for the music, it has a slowly percolating menace to it that strums away in the background and uses haunting repetition to enhance the feeling of hypnosis.

A simply marvellous cast of actors flesh out this shocking and impactful movie. Frank Sinatra leads the way, projecting a tormented yet determined manner as the crusading Major. Playing against his usual persona of cool and suave, Sinatra finds an exemplary change of pace that shows of his dramatic muscles. Often times, we are perplexed as he is in all this conspiracy and web-spinning, but his unwavering desire and desperation is what truly makes Sinatra ideal in this role. Laurence Harvey’s detached and remote demeanor fit perfectly with his character of Raymond, who is brainwashed into a remorseless killer for sinister purposes. Yet Harvey finds real moments of pathos and sympathy beneath the aloofness, contributing a tragic layer to the character. Yet it’s Angela Lansbury who is the person you remember most for her startling performance as the mother from hell. At first seeming to be just overly smothering, slowly and subtly her power crazed motives and single-minded persistence come through in chilling effect. Mrs. Eleanor Iselin is a master manipulator who pulls the strings of everyone, delivered with gusto and alarming coldness by the great Lansbury. Angela Lansbury formidably plays this woman as a shocking, monstrous and calculating harridan, insistent on getting what she wants and doing everything it takes to get it. For those who mainly think of Lansbury for her motherly and sweet roles, her performance here should make you re-asses that due to its jaw dropping impact and delicious evil. Janet Leigh appears as a most enigmatic lady, who you aren’t sure what to make of. Her scenes with Sinatra have a most unusual and eerie feeling as they raise so many questions, which is part of the beauty of it. James Gregory aces it as the buffoon and bombastic Senator, manipulated like a marionette by his wife for her own gain.

Menacingly suspenseful, darkly cynical and still timely after all these years, The Manchurian Candidate is a classic piece of mounting psychological tension and political satire That triumphs, complete with supreme direction and excellent acting.

Scream of Fear

Tags

1960's, Ann Todd, Christopher Lee, Ronald Lewis, Scream of Fear, Seth Holt, Susan Strasberg, Thriller

Film Title

Scream of Fear

Director

Seth Holt

Starring

• Susan Strasberg as Penny Appleby
• Ann Todd as Jane Appleby
• Ronald Lewis as Robert
• Christopher Lee as Dr. Pierre Gerrard

An atmospheric triumph of mounting tension and shocking reveals, Scream of Fear supplies The basic idea of the plot has been done many times before, but Scream of Fear excellently plays with this formula by twisting into something unexpected and shocking. A strong thriller from Hammer indeed. If you want thrills, Scream of Fear is a guarantee to supply that need.

Penny Appleby is a pretty young woman who has been paralyzed for over ten years following an accident on a horse. She has largely lived in Switzerland, but returns to see her father( who she hasn’t seen for a long time) after a companion of hers drowns leaving her devastated. Her father now lives on the French Riviera and has married again, to a woman named Jane. Penny hasn’t met his new bride yet, but thinks Jane is fine upon arrival. The family chauffeur Robert also does his best to make her at home, while she recovers from the shocking loss of her friend. Yet Penny is also puzzled that her father has seemingly gone away from business , as she expected to reconnect with him again after so long. On her first night in the house, Penny encounters something shocking. Seeing a light on in the summer house, she ventures out to check and discovers what looks like her father’s corpse. Terrified, she exits quickly and explains her findings to Jane and Robert . Yet when Jane inspects the summer house, there is no sign of a body. She puts it down to stress and an overactive imagination, calling upon the services of the mysterious Dr Pierre Gerrard to calm the panicked Penny down. Penny is left confused yet convinced that something bad has happened to her father. After seeing his body again, before it promptly vanishes once more, Penny becomes more certain that there is a nefarious plot being undertaken to drive her mad. Penny enlists Robert to help her, mainly because he appears to be the only person who doesn’t think she’s losing her mind. But as Penny investigates, we soon find that everything is a lot different and maybe even more sinister than initially envisioned, leading to a whole host of surprises.

Seth Holt knows the exact ways to suggest something chilling and slowly reveal enough in teasing and mounting suspense. A real feeling and essence of mystery is ever-present in Scream of Fear, right from the opening to the end. As aforementioned, the basic story of someone believing others are attempting to drive the mad has been done many times, but Scream of Fear still keeps it all very riveting and startling by inserting a few tricks of its own. There really is a genuine unpredictability to Scream of Fear, so much so that even when you think you’ve got a handle on things, it completely fools you.  We are left to speculate and guess what capricious machination will befall Penny, as the plot thickens considerably. A big asset in Scream of Fear is the black and white cinematography, which is suitably ghoulish and mysterious right from the opening frames, letting you know that something deeply mysterious is at work. An effective usage of close-ups and nice angles allows the suspense to rise, with a swimming pool sequence where a nasty surprise lies at the bottom is rightfully tense and well lensed as a standout scene. Sound is a key thing in Scream of Fear, and the way its employed is pretty darn impressive. Eerie silence and seeming calm of the surroundings( specifically the outside and glimpses of cliffs and the sea on the French Riviera) that prove to be anything but are captured with. The music knows exactly when to appear and not be too intrusive, letting the mystery and thrills take the biggest stage.

The beautiful Susan Strasberg is just the right person to play the emotionally besieged Penny. She possesses a resilience and alternating vulnerability that is perfect for the part. Penny may be put in danger throughout the film, but she’s intelligent and not just a mere damsel who’s depending on everyone else to help. If anything, she refuses to let her paralysis slow her down and has adjusted to it with a deep independence. Strasberg plays Penny with a self-reliance and steadfast determination to uncover what sinister acts are being committed. Ann Todd successfully stars as the stepmother ,who appears to be a reasonable person but also remarkably shifty in the long run of things. Ronald Lewis is on hand to play the square-jawed, handsome and apparently loyal chauffeur who aids Penny in her search for the truth. Christopher Lee, although not seen as much as I’d liked, is still quite good as the mysterious doctor who is hanging around whenever strange things happen.

Unpredictable and slowly adept at building tension, as well as pulling you in, Scream of Fear is a successfully creepy and unexpectedly smart thriller that really does an impressive number on you. its nothing is as it seems angles make it a fine thriller and one that deserves more attention.

Two Women

Tags

1960's, Drama, Eleonora Brown, Foreign Language Film, Jean-Paul Belmondo, Sophia Loren, Two Women, Vittorio De Sica, World War II

Film Title

Two Women

Director

Vittorio De Sica

Starring

• Sophia Loren as Cesira
• Eleonora Brown as Rosetta
• Jean-Paul Belmondo as Michele

A harrowing account of a mother trying to protect her daughter in the dark days of World War II, Two Women is strikingly told and excellently acted. Occasionally it gets a bit meandering, but the grim power and authentically moving performance from Sophia Loren make Two Women a must see.

It is the Second World War and in Rome, widowed shopkeeper Cesira is struggling to cope with the constant uncertainty and bombings that terrify everyone. Her main priority is keeping her 12-year-old daughter Rosetta safe, no matter what. Having saved up some money and collected what she needs, she heads with Rosetta to the hills of her childhood, looking for sanctuary. The journey to the hills is fraught with difficulties and horror, but the two persevering women carry on. Once in the poor but a lot more sheltered regional village of her past, Cesira attempts to carve a life for her and Rosetta until the war calms down and they can return to Rome. Along the way, Cesira becomes attracted to young idealist Michele, who also harbours romance for her. Though she develops feelings for him over time, her primary concern is Rosetta and Cesira knows that her impressionable daughter has a crush on him. Times are tough due to shortage of supplies and amenities, though resourceful Cesira tries to make the best of things by foraging food and just protecting her daughter from the horrors of war as long as she possibly can. Yet just as it seems safe for Cesira and Rosetta to return to Rome with the war seemingly hitting a turning point, they encounter brutal tragedy at the hands of Moroccan soldiers.

Vittorio De Sica wisely brings his credentials as a purveyor of neo-realism out here, highlighting the stark and unforgiving fallout war can cause and especially on those left behind. None of the film is varnished or dressed up to look smooth, it is depicted with astonishing naturalness and harsh reality thanks to De Sica’s expertise. It deftly captures the way that a war can impact on people and their lives, one minute it seems calm, the next minutes it is a mass upheaval. There are those out there that will dismiss the film as overly episodic, but by and large, it’s an honest picture of the sea saw of terror and not knowing when . Two Women is not without nicer moments of people attempting to raise their spirits, but these are coupled with scenes of shock and grit that never lets us forget that this is only a temporary respite from a difficult time. Some parts do feel a bit rushed and there are parts that linger too long for their own good, yet the bigger picture and power of the piece always manages to bring it all back to something exceptionally genuine. The last half especially will emotionally devastate and shock viewers with its intensity and raw, visceral content that leaves a mark. The black and white cinematography highlights the bleakness of war and what it does to people, both emotionally and physically. If Two Women had been in colour, a lot of the impact would have dissipated. Music is employed sparingly but appropriately, allowing the main story and themes of survival to flourish but also give an emotional pull when required.

Sophia Loren is simply put powerful and forceful in the lead role; it’s no surprise she won the Academy Award for her raw and heart-rending work here. The role of Cesira is embodied so naturally and with grave, hard-working determination by Loren that you can’t tear yourself away from the screen. She excels at colouring the role with the deep maternal instinct and love, without resorting to melodrama and needless overdramatising. Sure Cesira says what she thinks and can be very feisty, but in the hands of Loren, we glimpse the little nuances of the character that complete the whole. We get many sides to the woman; the caring side, desolation and vulnerability, along with an outspoken attitude and unwavering strength that all make it a triumph of intensity and authenticity. From the first moment you see Loren cradling her daughter from harm and screaming that she wishes the war would end, you just know that the performance is going to be something special. Before this film, Sophia Loren had largely been cast in parts that were merely glamorous and weren’t ones that showcased the talent she had. She really showed off her abilities with this award collecting part, that will haunt the mind for days to come and established herself as an actress to be reckoned with. Eleonora Brown forges a realistic and convincing bond with Loren as the young innocent daughter, whose experiences leave her shell-shocked and she has to grow up quicker than expected. This tender relationship is the heart of the movie and is played magnificently. Jean-Paul Belmondo has probably the least demanding role of the central three, but nonetheless conveys the free thinking and opinionated feelings of the young idealist.

Anchored by the superb work of Sophia Loren showing her mettle and the honest direction of Vittorio De Sica , Two Women is a dark and stark evocation of the horrors endured in World War II and the power of a mother’s love.

The Thomas Crown Affair

Tags

1960's, Caper, Crime, Faye Dunaway, Jack Weston, Norman Jewison, Paul Burke, Steve McQueen, The Thomas Crown Affair

Film Title

The Thomas Crown Affair

Director

Norman Jewison

Starring

• Steve McQueen as Thomas Crown
• Faye Dunaway as Vicki Anderson
• Paul Burke as Detective Eddie Malone
• Jack Weston as Erwin Weaver

A super stylish crime caper brimming with verve and visual flourishes, The Thomas Crown Affair may occasionally lack depth but that is more than made up for in the lightness of foot and sexy but conflicted chemistry between stars Steve McQueen and Faye Dunaway.

Thomas Crown is a suave and dashing business tycoon, who boasts wealth that many would simply die for. Though he has everything he could possibly ask for, he craves adventure and is now bored with the system of riches that he is a part of. So he carefully plots a bank heist, even though he doesn’t have any need for the money. He employs five men to orchestrate this elaborate scheme, making sure that his identity is left unknown to them to avoid any trace back. The plan works and the heist is a success, with Thomas thrilled with the results. Thomas is very pleased with what he’s accomplished, knowing that his plan is pretty much airtight for the most part. Yet those who were affected by the theft are not going to be quiet and soon questions are being raised. Insurance investigator Vicki Anderson, who always gets the job done, is called in to examine this theft and piece it together. Her incentive is 10% of the and with her array of charm, allure and intelligence she manages to pinpoint Thomas as the culprit. But rather than just take him in, Vicki finds herself attracted to the beguiling and wily Thomas. Both know that the other is up to something and yet this doesn’t distract them from falling into passionate clinches with each other. It does however throw a spanner in the works for them as loyalties are severely tested and their affair is proving difficult as well as compromising. The question is, how willing is Vicki ready to look the other way because of her feelings for Thomas or how much will her personal pride and efficiency take control?

Norman Jewison has that cinematic touch and eye for visual impact that this film and needs and forms the backbone of it with a deft clockwork like precision. The use of split screen pushes the movie along with free abandon and lively verve, that keeps the attention for a very long time. The leads play off each other in a game of questioning the other but being extremely attracted at the same time. indecision and allure, along with the potential of possible courtship, despite them being on opposite sides of the law is what makes the core of The Thomas Crown Affair lively and sexy. The best example of this is the almost wordless chess scene where the two eye each other up and gradually tease the other in a game of minds and bodies. Everything is left to the imagination as they embrace and the camera spins, proving that you don’t need copious nudity to be erotic and can be very naughty by suggestion. Though the story is not exactly what you would call thought-provoking, the quick pace and sizzle of things keeps you involved and along for the entertaining ride. The main selling point of The Thomas Crown Affair is the glamour and intrigue it has. The lifestyle of Thomas is enviable and through bright and very colourful moments of polo matches, it’s a fine life that we view for this man who has everything. A brimming score of skittish rhythms and languid romantic strings is simply gorgeous to listen to. The greatest instance of music in The Thomas Crown Affair is Windmills of Your Mind ,which is a hauntingly romantic and apt song that describes the way that Thomas is constantly on the move and a million steps ahead of everyone. The song won an Academy Award and I can see why, it really contributes to the aura of the film and is utilized gorgeously throughout.

In the title role, Steve McQueen is the suave, epitome of cool and collected. His Cheshire Cat smile and smooth demeanor belie a boredom and restlessness with life( even though he has almost everything a man could dream for). As nonchalant as the character seems, McQueen quietly displays the vast intellect and forward thinking that is often not realized by those around him until it is often too late. The best word for McQueen’s portrayal is cool, he is a man who many guys would kill to be and many women would love to be near. Faye Dunaway is the dogged but ultimately torn foil to McQueen’s charms, her unease at her own feelings for Thomas making most of the drama. Dunaway, while being extremely seductive in the part, brings forth the required determination and inner conflict out in varying degrees of nuance. As I previously noted, the rapport between McQueen and Dunaway is excellent and the Sparks are most definitely there, even as personal feelings come into question and stands must be taken that could jeopardize and further heat between the red-hot duo. Paul Burke does good work as the detective on the case, as does Jack Weston playing the getaway driver in the heist set up by Thomas.

Stylish and intricately done, The Thomas Crown Affair has oodles of appeal through its 60’s atmosphere and scintillating partnership of the main leads that essentially bring out more to the film than the story might suffer to some.

Blow-Up

Tags

1960's, Blow-Up, David Hemmings, Drama, Jane Birkin, Michelangelo Antonioni, Mystery, Sarah Miles, Vanessa Redgrave

Film Title

Blow-Up

Director

Michelangelo Antonioni

Starring

• David Hemmings as Thomas
• Vanessa Redgrave as Jane
• Sarah Miles as Patricia
• Jane Birkin as The Blonde

An adroit movie that really gets the brain working with its examination of images and a different picture of Swinging London, Blow-Up is a confounding puzzle that registers on many levels and calls for attention. This is largely down to the sense of mystery and intelligent probing that is present, especially from the masterful camera of Michelangelo Antonioni.

Thomas is a dismayed, cool and bored fashion photographer whose view of Swinging London is coloured with nihilism and gloominess. He wishes to find something full of life to shoot, instead of the blank-faced and dead-eyed models he photographs on a daily basis. While his life is one of seeming glamour and everything you could ask for, the void of emptiness is becoming prominent and larger. Between fashion shoots, he photographs more realistic situations, such as men in the mines for a book he plans on publishing eventually. One day while in the park, searching for an image to complete his book, he happens across an intimate moment between an older man and a young, attractive girl. He snaps a few shots of them, before being harangued by the woman named Jane, who desperately wants the photos he has taken. When she comes to visit later on, he gives her the wrong film after she attempts to seduce him nervously as a way to acquire the photos. When he enlarges the photos he took in the park, upon closer inspection it appears that there is a man holding a gun and also a dead body in the background. Slowly, he becomes obsessed with what he may have captured on film and strangely comes to life again. The biggest question is has Thomas really discovered a murder? Or is it that he just wants something arresting to photograph and has fabricated this?

Michelangelo Antonioni is the master behind the camera who casts a deep spell on you with this ambiguous and provocative film. His depiction of life in the Swinging 60’s is anything but fun and games, instead heading in the direction of disillusionment and isolation. This is that sort of movie that will send your brain in multiple directions, thanks to the thematic value and layers of possibility that lie housed in it. The very essence of imagery and how accountable our eyes can be is fascinatingly brought to vivid life, leaving a good amount of room for uncertainty. The whole impact of Blow-Up takes in photography and vision well and also has something of an existential undercurrent that is evinced gradually. The ennui of Thomas’s life presents many interpretations regarding whether what he sees in the images is actually there or someone a thing he has projected himself. Yet like all the best film makers, Michelangelo Antonioni skilfully plays his cards close to his chest and leaves it up to the audience to question what is actually occurring. Anybody searching for clear answers and big reveals will not find them as Blow-Up is purposefully maddening and ambiguous, which is the biggest strength of the picture overall. The very fact that you can’t be quite sure if what Thomas captures is real or illusory is exciting yet deeply insightful at presenting an outsider’s perspective of the 60’s and how for some it wasn’t the bright time often depicted in media. Although it has colour aplenty scattered in various frames and the iconic fashions of the era( as well as liberated sexuality), Blow-Up is more concerned with showing the dissatisfaction with the world, especially in a time of change. Alienation seeps into Blow-Up, and it becomes understandable why Thomas would want something of life to photograph, which ironically comes when he thinks he’s uncovered a murder. There are so many parts to Blow-Up that really engage the mind and I am sure will be fascinating and provide more insight on other viewings. To some modern viewers, Blow-Up will seem meandering, but it’s deliberate pacing is in fact key to the film in capturing the boredom that the not always likable Thomas feels and how he springs to life when he believes he has discovered something. In the end, the whole mystery aspect of Blow-Up takes on a different tone with the feeling of not being able to trust what you see playing heavily on the uneasiness. The mod soundtrack strikes the counterbalance of action and liveliness with the feeling of being listless and something darker being under everything that is seen as fantastic at the time.

As the alienated and uncomfortable Thomas, David Hemmings is fantastic casting. He possesses a certain hollow-eyed melancholy and is sometimes hard to gauge, which figures in well as to whether or not the character is simply projecting his thoughts into reality. The character isn’t always the nicest or easiest person to relate to, but Hemmings grabs the attention with the listless angst becoming something bordering on possible madness as the movie progresses. A young Vanessa Redgrave makes a mark in only a couple of scenes; portraying the attractive woman in the photographs. There is an awkwardness and fretfulness to her, mixed with a strange sexuality that only heightens the picture’s idea of reality and perception. Sarah Miles appears as the neighbour of Thomas, who he obviously likes but never acts upon it. Jane Birkin features in a small but memorable part of a giggling girl who with a friend has an interesting photo shoot with Thomas.

A strange and abstract film that is one that will imprint many images on the mind and call for many watches, Blow-Up is a provocative and unusual film which deconstructs many ideas and gets you to question the validity of what you see.

Butch Cassidy and the Sundance Kid

Tags

1960's, Buddy Film, Butch Cassidy and the Sundance Kid, George Roy Hill, Katharine Ross, Paul Newman, Robert Redford, Western

Film Title

Butch Cassidy and the Sundance Kid

Director

George Roy Hill

Starring

• Paul Newman as Butch Cassidy
• Robert Redford as the Sundance Kid
• Katharine Ross as Etta Place

Exciting, engaging and entertaining are the three words that spring to mind when I think of Butch Cassidy and the Sundance Kid. Featuring two affable main characters and loosely based on true events, it is damn near impossible to not be swept up in the funny and irreverent western.

It is the time of the Wild West and outlaws Butch Cassidy and the Sundance Kid belong to the notorious Hole in the Wall Gang. The gang go about robbing banks, thanks to the charisma of Butch and the precise aim with a gun from Sundance when needed. Everything is going pretty amazing for them thanks to the combined skill set of both men in their line of work. Yet the law soon catches up with both of them after a spectacularly explosive hold up and a posse is dispatched to find them, causing our charismatic twosome to flee. Wherever the duo seem to run too, whether it be through the desert, canyons or over rivers, the seemingly tireless posse continues to be hot on their trail. Finally, the outlaws, along with Sundance’s schoolteacher lover Etta Place, flee to Bolivia in search of respite from being chased and of course new opportunities of making money. They go about conducting more successful robberies, but the idyll is shattered when it appears that justice is not going to let go of either of them.

It is obvious almost from the start of Butch Cassidy and the Sundance Kid that director George Roy Hill is having the time of his life displaying a confidence and intrinsic cheekiness in his mounting of this engrossing film. He utilizes experimental touches that are very jaunty and set the film’s tone as firmly tongue in cheek, in stark contrast to a lot of westerns that are very bloody and brutal. Take the opening for example; bathed in sepia, we are introduced to our main characters by way of a silent movie style montage that is bracingly amusing and informs you of all you need to know about the titular outlaws. A crackerjack script(that garnered an Oscar win) has a laugh a minute, particularly in the exchanges between Butch and Sundance that crackle with humour as they get themselves into precarious situations constantly. There are just so many memorable moments that abound in this film that it’s difficult to choose only a few to talk about, but I’ll give it a go. The aforementioned opening is sublime as well as a newspaper and photograph clipping detail of Butch, Sundance and Etta’s interlude throughout various cities. The jump off a gorge, despite the fact Sundance can’t swim is a stand out moment and of course Butch riding without a care in the world on a bicycle with Etta to the strains of ‘Raindrops Keep Falling On My Head’. And who can forget that final freeze frame that immortalizes both characters? Credit must be given highly for introducing us to two of the most charismatic characters to grace the screen. Criminals they may be, but boy are they an affable and amusing duo together on their journey of outrunning the encroaching law. While it has a lot of humour in it, an impending tragedy percolates away in there, bringing with it notes of bittersweetness as death lurks for the outlaws at almost every stop. Butch Cassidy and the Sundance Kid is as much a buddy movie as it is a western, as while it adheres to the conventions of a western, the focus is squarely on the main characters more than many westerns and it has a lot more laughs in it, followed by approaching sadness. Beautiful scenery is bountiful and you can’t help but marvel at the various shots of mountains, rivers and hills that are to be found here. There are minor things that time hasn’t been kind to, but I could count these on one hand which shows how it still makes a damn fine impact and experience for any viewer. A nice and skittish score is the ideal representation of how spirited this film is, while not forgetting the eventual feeling of tragedy that will befall our amusing duo.

A simply sublime cast is on hand to give this western a golden boost, in particular the perfect pairing of Paul Newman and Robert Redford as the somewhat opposite desperadoes whose bond is nonetheless strong. Butch is the talkative one with the big ideas, while Sundance is the laconic and more grave individual. Their differences and similarities fit together perfectly, and have us rooting for this dynamic duo. Paul Newman is bright-eyed and full of roguish adventure as Butch, who always has a scheme or plan even in the most dire circumstances. Robert Redford makes Sundance a quiet and collected man with a deadly shot, who is the more serious-minded and cool half of the team. It is impossible to talk about this film without mentioning how Paul Newman and Robert Redford share an unbeatable chemistry, that makes the quips of both characters register with conviction and easy humour. The film would simply have not been the same without both of these actors complimenting the other in an uncannily excellent and amiable fashion. Katharine Ross plays the other important role of Etta, the schoolteacher in love with Sundance along for the ride. Ross is pleasing and softly spoken, yet very assertive when it is called for. Her role in the story is the less of the three as Butch and Sundance take up the majority, but Ross ensures that she holds her own in the part.

An enjoyable experience, the evergreen delights of Butch Cassidy and the Sundance Kid remain for all to view in a film coloured with laughs and eventual tragedy.

Breakfast at Tiffany’s

Tags

1960's, Audrey Hepburn, Blake Edwards, Breakfast at Tiffany's, Buddy Ebsen, Drama, George Peppard, Martin Balsam, Mickey Rooney, Patricia Neal, Romance

Film Title

Breakfast at Tiffany’s

Director

Blake Edwards

Starring

• Audrey Hepburn as Holly Golightly
• George Peppard as Paul Varjak
• Patricia Neal as 2-E
• Buddy Ebsen as Doc
• Martin Balsam as O.J. Berman
• Mickey Rooney as Mr Yunioshi

An iconic romantic drama that boasts many memorable images that have burned themselves into pop culture forever, Breakfast at Tiffany’s is simply gorgeous and delightfully made.

The film centres around the beautiful Holly Golightly, a New York City party girl who enjoys the gifts from the many men in her circle. She is something of a kooky young lady with strange mannerisms, that are nonetheless charming. One day in her apartment block, struggling writer Paul Varjak moves in and by chance bumps into the wild Holly. He soon becomes entranced yet bewildered by the young lady who lives below. She throws huge parties that are pouring with energy and drink, yet underneath Holly appears to be a very different person. She puts across that she is an independent girl who desires to be free from constraints, but at the same time you can tell that she is really searching for something more. The money she gets from men is something to help her with her life, but she would love someday to discover her true self. Paul observes Holly from a distance, as he is something of a kept men of an older women he nicknames 2-E. Slowly, he falls for Holly though she is often at odds with how he is feeling. Will Holly ever let the mask slide and discover happiness that doesn’t come from money?

Director Blake Edwards hits all the right notes of comedy, romance and drama here. He stylishly crafts the slightly unusual tale with a deep heart that is wistful as it is observant of the two principal characters. It is a gorgeous love letter to New York City, which makes the place positively sparkle from beginning to end. The film is loosely based on a novel by Truman Capote and from what I’ve heard toned down from the source material. Now I haven’t read the book so I can’t really judge, but I found Breakfast at Tiffany’s a lovely film. Due to censorship of the time, various parts of the story were glossed over. The biggest one is what Holly does for a living( of which I’m told in the book she is a call girl). As shown in the film, she seems to be a girl who enjoys the company of men and having a good time. Yet watching through modern eyes, there are areas where sometimes it gives an insight into Holly’s professional life. The same goes for Paul, who appears to be something of a gigolo himself. I found these parts of the movie interesting as while it is toned down and done subtly, you can get parts of the film that reference these things quietly and not in your face. The movie neatly balances romance and laughs throughout it. Yet many may be surprised by the percolating tone of melancholy that runs through it, mostly in the shape of the conflicted Holly. And if you’re talking about a film of iconic moments, Breakfast at Tiffany’s is practically overflowing with them. There is the opening where Holly observes Tiffany’s from outside in a beautiful black dress and sunglasses, that still influences fashion today no doubt. Then we have Holly crooning ‘Moon River’ on her fire escape as a bewitched Paul watches. And I can’t forget that lovely rain-soaked kiss that occurs and is romance at its most glorious. One of the most successful parts of the film is the score from Henry Mancini, that hits the notes of romanticism and wistful sadness perfectly, including the aforementioned ‘Moon River’. All of these elements fuse together to craft an entertaining and magical experience that has remained evergreen.

This film ultimately belongs to Audrey Hepburn, who is enchanting as the wild and kooky Holly. She displays the zest for life of an extrovert perfectly, showing a disarming and amusing young lady. But the biggest achievement of Hepburn’s performance is how well she shades the character. Holly is a somewhat complex character of contradictions and Hepburn marvellously gets all the sides across. She’s funny, witty yet underneath it melancholy and searching for meaning. It’s a wonderfully constructed performance from a luminous Audrey Hepburn, who never looked lovelier than she did here. George Peppard sensitively plays the curious Paul, who is enchanted by Holly yet frustrated by her outlook on life and men in general. The two share a somewhat unusual chemistry that begins as friendly and then moves into love as Paul discovers the extent of his feelings for the kooky Holly. In supporting roles, Patricia Neal is cynical and sexy as Paul’s benefactor and Buddy Ebsen has the required sadness for playing someone from Holly’s past. And Martin Balsam is a smooth and perceptive presence as Holly’s agent, who sums her up perfectly with the line “She’s a phony, but she’s a real phony”. The only flaw that can be found in Breakfast at Tiffany’s is Mickey Rooney portraying Holly’s Japanese landlord. Not only is the role racist and very offensive by today’s standards, it is supposed to be funny in the film but is cringe inducing and grotesque to watch.

Directed with style, laced with humour and pathos, as well as a superbly radiant Audrey Hepburn, Breakfast at Tiffany’s is a classic for a reason. They simply don’t make them like they used to and this is one of those films that retains a magical glamour.

It Started in Naples

Tags

1960's, Clark Gable, It Started in Naples, Marietto, Melville Shavelson, Romantic Comedy, Sophia Loren, Vittorio De Sica

Film Title

It Started in Naples

Director

Melville Shavelson

Starring

• Clark Gable as Michael Hamilton
• Sophia Loren as Lucia Curcio
• Vittorio De Sica as Mario Vitale
• Marietto as Nando

A somewhat mixed romantic comedy, It Started in Naples is thankfully enlivened by the star pairing of Clark Gable and Sophia Loren as well as an amiable enough story and the lovely scenery of Italy.

Michael Hamilton is a respected Philadelphia lawyer who travels to Naples after being informed of his estranged brother’s death in a boating accident. Michael is an upright man who has no time for any other culture and wants business to be taken care of quickly. Naturally this doesn’t happen for him on his arrival. What he also discovers thanks to Mario Vitale, an Italian lawyer who knew his brother, informs Michael that his brother had an illegitimate child named Nando who is currently being raised by his Aunt Lucia Curcio. Journeying to the beautiful nearby island of Capri, he finds that Lucia is an uninhibited and beautiful woman of modest means who gets by from dancing at a local nightclub. Young Nando is a charming ragamuffin who smokes, skips school and stays up late, much to the shock of Michael who doesn’t think this environment that Lucia provides is beneficial for the child. Michael finds himself growing fond of Nando and thinking that the young boy should be in a place of some opportunity instead of what he considers squalor, decides to fight for custody for the young boy, with the intention of bringing the boy back to America. But Lucia has other ideas and uses her considerable assets in an attempt to remain with custody of Nando. So while both Michael and Lucia play tug of war to gain custody of the impish Nando, they both find romantic feelings growing between them, due in no small part thanks to lawyer Vitale who meddles in their unspoken emotions and brings them out amusingly.

Melville Shavelson competently directs this light film with knowledge for both romance and comedy. He may take a little too long with exposition, but once the romance and comedy aspects are present his direction is free and easy, helped by a dose of irony. It Started in Naples mainly suffers somewhat from a by the numbers story and the fact that it runs too long. From the beginning, we can see where the plot is going and it makes the film both predictable yet somehow enjoyable. The film is essentially a one-joke movie of Michael experiencing a culture clash that leads to romance with Lucia, but at least the other spots of humour have a warm and pleasing quality. Overall with It Started in Naples, the positives outweigh the negatives as the energy of the film is sustained by the direction and glamorous romantic pairing of Loren and Gable. And deserving a special mention are the luscious visuals that fill the settings of Naples and Capri with shiny exuberance and colours of romance. It paints a breathtaking picture of these places that seriously have you wanting to book a flight there as soon as possible. A lively music score is utilized to great effect here, including a couple of songs. The highlight of these is a cheeky and sexy number performed by Lucia in a nightclub that represents one of the best and most energetic parts of the movie.

In one of his last roles before his death, Clark Gable still shows his considerable authority and charm that made him an iconic star. He brings out Michael’s cynical and intolerant attitudes that are eventually worm down by the surroundings. Despite the character being an uptight individual, Gable showcases that roguish charm that we all know and love. He wasn’t known as ‘The King’ for nothing. Providing a comical and sexy foil is Sophia Loren in a delightful performance as the earthy and voluptuous Lucia. Fun-loving, sensual and scheming on occasion, Loren displays her skills with comedy here and is stunning to watch, as well as boasting one of the most infectious laughs you’re ever likely to here. And despite the obvious age gap between the stars, they do have a wonderful chemistry with each other that can be felt. Vittorio De Sica emerges as a real scene-stealer here as the skirt-chasing lawyer who isn’t exactly the best person to be representing Michael but whose in turn leads to romantic feelings blossoming for them outside of court. The youthful presence of Marietto is charming when he’s playing Nando, who thinks he’s a lot older than he is but his childlike actions betray this sense of maturity he believes he has making him an engaging child.

It could have been a better film than how it turned out, but It Started in Naples has enough humour and chemistry( plus the beautiful backdrop of Italy) to make it a pleasantly light film to watch. It has its share of flaws, but a serene charm shines through the mixed proceedings that will surely leave with you with a smile on your face.

Lady in a Cage

Tags

1960's, Ann Sothern, James Caan, Jeff Corey, Jennifer Billingsley, Lady in a Cage, Olivia de Havilland, Rafael Campos, Thriller, Walter E. Grauman

Film Title

Lady in a Cage

Director

Walter E. Grauman

Starring

• Olivia de Havilland as Mrs. Hilyard
• James Caan as Randall
• Jeff Corey as George
• Ann Sothern as Sade
• Jennifer Billingsley as Elaine
• Rafael Campos as Essie

Stark and highly suspenseful, Lady in a Cage is a surprisingly lurid and at times brutal thriller from the 60’s. Parts of it reek of being dated and melodramatic, but I was still surprised by how effective and shocking this movie was at keeping me on edge like all good thrillers.

Mrs. Hilyard, a wealthy widow is recuperating after breaking her hip. To get around her house better, she has had an elevator installed to help her get between the two main floors. With her son away, who she often mollycoddles a lot, Mrs. Hilyard attempts to find something to take her mind off being alone. But when she uses the elevator, which at times resembles a cage, a power failure causes it to stop midway and she is left trapped. She tries to call for help but no one seems to come. That is until the homeless alcoholic stumbles into her home and instead of helping her because of his addiction, steals some of her belongings. He proceeds to visit his only real friend, the weary prostitute Sade. Both are desperate for money so they return to the house to see what else they can hawk for cash. The duo gains the attention of a violent troika of teenage hoodlums; savagely brutal leader Randall, lecherous Essie and violence loving Elaine. The teenagers cotton on to the idea of money and riches and follow George and Sade to the house. Meanwhile, Mrs. Hilyard is slowly beginning to crumble in fear and things get a whole lot worse when Randall and his posse arrive and indulge in games of violence and torment with her, and Sade. Can this civilised and well-bred woman manage to survive the ensuing brutality around her and free herself from the eponymous cage?

Walter E. Grauman coats Lady in a Cage in a bleak and unforgiving light, that makes the events that transpire even more horrifying. Themes of indifference and cruelty are explored with a lot of dramatic impact generated. The fact that when Mrs rings for help no one seems to notice taps into society’s culture of being to busy to notice important things and it is presented against the backdrop of savagery that soon invades her house. The stark and at times harsh black and white cinematography is used to terrifying effect as it brings more darkness to the film, despite the events all taking place over a sunny day. Now it must be stated that Lady in a Cage despite holding up well in various areas, does have parts that have dated badly. The main instance is the inner monologue of Mrs Hilyard, which seems like a good idea but eventually becomes more than a little repetitive. In other instances some of the film gets a bit histrionic, but thankfully due to some of the content that is still shocking today it succeeds above these two flawed elements. A shifting score of tempo and volume ushers in uneasy feelings for the characters and audience.

Olivia de Havilland is excellently cast as the trapped woman of the title. Through her performance, we as the audience share her suffering and turmoil as her civilised world is torn apart and she must fight to survive the carnage. Sympathetic, desperate( as evidenced by the fact that Mrs Hilyard makes her own conversation to alleviate her panic) and traumatised, yet still holding on, de Havilland is oh so marvellous in the part and she displays such tangible emotions that we can’t help but want her to live through the terrifying plight she endures. In his first really substantial film role, James Caan is disgustingly evil as the leader of the gang who delight in terror. He really strikes fear into the heart of this film and many of the shocking events unfold as a result of his character’s cruelty. Jeff Corey and Ann Sothern manage to make their characters, who are in essence thieves sympathetic, because they may break into the house but their violence and means are nothing as vicious as the trio of demented teenagers. And speaking of the horrid teenage hoodlums, Jennifer Billingsley and Rafael Campos as the loyal followers in the gang are equally as creepy and filled with disturbed menace.

A thriller film that isn’t afraid to be shocking and disquieting, Lady in a Cage showcases talented acting and dark subject matter in a highly compelling and difficult way. Archaic as some of it is, one can’t deny the power of the film and what it taps into. Who knew a movie from such a long time ago could still retain a brutal impact?

Age of Consent

Tags

1960's, Age of Consent, Drama, Helen Mirren, Jack MacGowran, James Mason, Michael Powell, Neva Carr Glyn

Film Title

Age of Consent

Director

Michael Powell

Starring

• James Mason as Bradley Morahan
• Helen Mirren as Cora Ryan
• Jack MacGowran as Nat Kelly
• Neva Carr Glyn as Ma Ryan

One of the last movies made by the great visionary director Michael Powell, Age of Consent may not be his finest work but it has a lot to recommend and it is far from a disaster. It just could have done with some tweaks here and there along the way.

Bradley Morahan is a jaded artist who of late has found inspiration hard to come by. Disillusioned with his life in New York, he decides to return to his native Australia, so he can find something to get his creative mind going again. He ventures to a tropical island on The Great Barrier Reef were he sets up in a shack, that is mainly quiet and seems ideal for him to regain a sense of purpose once more. While on the island he encounters Cora Ryan; a highly spirited young girl who sells fish that she catches and occasionally steals as a way to get money. Cora is kept under the watchful eye of her alcohol swigging old crone of a grandmother who tries to keep the girl on a tight leash and constantly insists on observing whatever she does. Something about the wild and striking Cora catches Bradley off guard and as he gets to know her, he begins to feel a sense of protection and care for her. Cora herself wants to escape the island and head for Brisbane, which is why she has been saving whatever money she can. Knowing that she wants to escape and earn money enough to do so, Bradley asks the young girl to pose for paintings for him. It seems that Cora has given Bradley his inspiration back and she continues to pose for him, often in the nude. Yet Ma Ryan is constantly on the look out for something to catch Cora out on anything and Bradley’s nuisance of a friend Nat Kelly arrives to disturb him. In the midst of this, a gentle friendship begins between Bradley and Cora, yet as Cora is growing into a young and very beautiful woman, she begins to feel a sense of love towards Bradley that she can’t quite explain as she has never known someone take such an interest in her before that felt genuine.

Michael Powell was a master at creating stunning visuals and with Age of Consent it is very much on show. Using the Great Barrier Reef as a backdrop, he shows the natural beauty of the place and how it combined with the youthful Cora give some inspiration back to Bradley. Age of Consent does deal with themes of blooming sexuality in the case of Cora, but it doesn’t feel salacious which is what it could have become with someone else directing. Instead, Powell conjures a lyrical beauty to the themes and examines Cora’s transformation with erotic strokes that are still very classy and non-exploitative. A particularly striking scene of erotic nature that is given beauty is when Cora is swimming underwater in the nude and Bradley paints. It may sound quite perverse, but the way the scene is shot is anything but that, focusing more on the tranquil beauty of the place and Cora’s ever-growing sensuality as she slowly swims among the colourful coral. Just like the relationship between Bradley and Cora that could have been made into some sleazy story, Powell keeps the characters strictly as artist and muse rather than him being the older man making a move on an impressionable girl. Where Age of Consent falls down is in the pacing and addition of comedy that really ruins parts of the film. The pace is meandering for the most part, but is thankfully given the occasional jolt of electricity it needs. It’s the comedy sub-plots involving Nat Kelly and his skirt-chasing antics that really do damage to the film. The comedy is just so needless and undoes some of the work that has been crafted very well before. Thankfully, there is a lush score that distracts from said antics and brings us back to the main story of the artist getting his mojo back and a young girl approaching womanhood.

James Mason is typically excellent in this film, giving us a jaded man who becomes more relaxed once he gets his inspiration back again. Mason is reliably good in this part. Yet it is a young Helen Mirren, in one of her first movies who really catches the eye here. As the young girl slowly blossoming into a beautiful young woman and beginning to realize it, Helen Mirren invests Cora with a youthful innocence, wild temperament and blooming sexuality. As the film progresses, Cora begins to see that she is turning into a young woman yet doesn’t quite know how to feel about it. In the hands of Mirren, the character really becomes something else and not just the bombshell beach babe that she could have been made into in the hands of another actress. It is with this role that Mirren became noticed as it provided hints at the talents of her and the sense of sexuality she could bring to the screen. Jack MacGowran can be sometimes amusing in his role, but the part becomes really aggravating after a while because of the way the character is written as a jester and nothing else. Neva Carr Glyn plays the role of the shrieking old harridan very well, making Cora’s grandmother a really nasty piece of work who it is understandable that you’d want to get away from as soon as possible.

So though it is wildly uneven in tone and often filled with some needless sub-plots, the vision of Michael Powell, the tranquil beauty of the setting and the earthy appeal of a young Helen Mirren ensure that Age of Consent is far more substantial than it could have been.