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.

She Done Him Wrong

Tags

1930's, Cary Grant, Comedy, Crime, Gilbert Roland, Lowell Sherman, Mae West, Noah Beery, Owen Moore, Rafaela Ottiano, She Done Him Wrong

Film Title

She Done Him Wrong

Director

Lowell Sherman

Starring

• Mae West as Lady Lou
• Cary Grant as Captain Cummings
• Noah Beery as Gus Jordan
• Owen Moore as Chick Clarke
• Gilbert Roland as Serge
• Rafaela Ottiano as Rita

A big moneymaker in its day that saved Paramount from bankruptcy and announced Mae West as something of a sexual firebrand chafing at views of purity, She Done Him Wrong has quite a lot of historical value attached to it. Based on a Broadway play of West’s, the plot is a bit lacking, but the star vehicle for West is very entertaining due to her iconic personality and sense of impudent humour.

1890’s Bowery, New York; Lady Lou is a bejeweled and popular entertainer at a local saloon. She enjoys the company of many men, in particular those who can provide her with jewelry. The latest man in her life is the owner of the saloon Gus Jordan, who showers her with diamonds and luxuries as she is the star attraction. On the side however, along with two sleazy associates Serge and Rita, he is involved in seedy dealings in order to fund the flow of diamonds. Lou also catches the attentions of a young mission director named Captain Cummings, who she also takes a bit of a shine to( despite him having a secret agenda). While stringing men along, Lou must contend with her former flame Chick Clarke. He is currently in prison and is very possessive of the irrepressible Lou, and vows that if she strays he will make her sorry. Soon things start getting eventful around the saloon for all the men in Lou’s life and the woman herself, especially when Chick Clark escapes and heads straight to her. But as always, Lady Lou knows what to do in order to look after her own interests in typically sexy fashion.

Lowell Sherman’s direction is simple and straightforward, allowing the various events to play out in a quick and easy way. The plot in She Done Him Wrong is largely secondary to the sassy persona of West, though it has its moments of eventfulness as it includes crime and comedy. The biggest draw of the film is how it revels in a sense of naughtiness that caused a bit of a stir back in the day(hell the production code was introduced not long after this movie was released.) Some of it may appear take today, but the sheer amount of innuendo, ribald suggestion and rudeness is for all to witness, and for my money you can still see why this had tongues wagging and people a little shocked as parts of it still have a blue pizzazz. And we shouldn’t forget, Mae West had a writing credit for this film taken from her own play, which firmly established her as a shrewd and witty comedienne who did things her way and wouldn’t compromise. The script, especially the dialogue for the part of Lady Lou practically fizzes with saucy verve and sly wit( who can forget her classic line of ‘Why don’t you come up sometime and see me?’); making the film a brisk affair that you don’t have to deeply think about, but you can just sit back and appreciate the playful sexiness it has by the bucket load. You’re not going into the film expecting an intricate plot, you’re going in for the rollicking excitement and to view how the movie obviously caused scandal in a gleeful way upon initial release in the 30’s. One can get the feeling that too much is trying to be put into this short film and to some extent that is a little true, but this flaw is largely compensated for by the energy and bawdy humour that can cover that crack. A bit more coherence could have been put in, but one can overlook that with the help of West’s larger than life appearance and button pushing attitude. A jaunty score is the excellent thing to accompany this and includes a good few musical numbers performed by West herself.

Mae West for lack of better words, is the picture and the star attraction. Everything revolves around her outrageous attitude and forthright view on sex. And boy does Mae West know how to up the ante in what was her second film and the one that really announced her as a force of nature. The way she acts as Lady Lou is just so open and raunchy, with saucy dialogue coming from her mouth by the minute and the way she struts across the screen like a diva. It’s fun to see West sashay through the picture with a cheeky twinkle and supreme confidence in massive amounts. I must say from seeing her in this film, it isn’t difficult to see why she was so popular and controversial. Plus it has me interested to see more of her no cares in the world attitude in other movies. When you have someone as brash and scene stealing as Mae West on film, the rest of the cast somewhat pales in comparison, though some have their moments. It’s interesting to see a young Cary Grant as the slightly awkward mission captain who may not be as innocent as he appears. He displays quite a few glimpses of that debonair charisma that the world would come to love when he became a Hollywood King. Noah Beery is good enough as the benefactor, while Owen Moore is impressive as Lou’s imprisoned beau. Gilbert Roland and Rafaela Ottiano are also good enough touches to the film, if somewhat overly secondary. These roles are somewhat small as West is the real draw and driving force in She Done Him Wrong.

The plot is nothing really special, but the salty script, unmistakable Mae West and an early performance from one Cary Grant are the chief attractions in She Done Him Wrong. If you want a film to give you the essence of Mae West and her persona, She Done Him Wrong is a very good place to begin.

Suspicion

Tags

1940's, Alfred Hitchcock, Cary Grant, Cedric Hardwicke, Joan Fontaine, May Whitty, Nigel Bruce, Suspicion, Thriller

Film Title

Suspicion

Director

Alfred Hitchcock

Starring

• Joan Fontaine as Lina McLaidlaw Aysgarth
• Cary Grant as Johnnie Aysgarth
• Cedric Hardwicke as General McLaidlaw
• Nigel Bruce as Beaky
• May Whitty as Martha McLaidlaw

A suspense laden thriller from the master Alfred Hitchcock, Suspicion is only slightly let down by a studio imposed ending. Despite this, the picture has much to praise in the way of some superb acting from Cary Grant and an Oscar-winning Joan Fontaine, spine tingling music and an air of encroaching menace.

Lina McLaidlaw is the shy and sheltered daughter of a general and his wife. She lives in the English countryside and has been brought to behave like a lady. One day she meets Johnny Aysgarth, a handsome irresponsible gambler who she immediately falls in love with. Lina is desperate to escape her controlled existence and Johnnie proves to be just that. Despite the warnings of others surrounding Johnnie’s behaviour, the two of them marry after a brief courtship. After a luxurious honeymoon, Lina and Johnnie move into a lovely home. Yet this idyllic way of living starts to become clouded by Johnnie’s gambling and his various lies. After a series of strange events, a panic-stricken Lina slowly comes to believe that Johnnie plans to murder her for her money. Yet she can’t prove this, but as the tension mounts will she discover that she is right or wrong regarding Johnnie? Suspense and uncertainty abound as Hitchcock plunges Lina into a waking nightmare, slowly seeing that Johnnie may not be the ideal man that she met and may in fact be something much more sinister.

As I mentioned earlier in my review, the studio producing Suspicion changed the ending to fit in with the conventions of the time. The imposed ending does detract from the overall impact of the movie, but there’s still more than enough to enjoy in Hitchcock’s thriller. After all, any movie by Hitchcock at least at some time shows the amazing techniques and sense of unnerving tension that he brought to the movies. The camerawork is marvellous in its close-ups of the characters, especially Lina’s slowly terrified face as she wrestles with the notion that her husband has sinister designs for her. The tension filled script boasts some interesting dark humour that boosts the narrative along nicely. The score makes for a chilling listen as it echoes Lina’s mounting fears surrounding her doubt. As always, Hitchcock crafts scenes dripping with suspense that make the hairs on the back of your neck shiver. One great example is Johnnie bringing Lina a drink of milk at night, the glass seems to glow with malicious intention and Lina’s quivering face as it rests on her table transfers to the viewers mounting suspicions.

Joan Fontaine is marvellous in the role that won her an Oscar. She subtly portrays Lina’s girlish and sheltered innocence that soon gives way to mounting terror at the thought of her husband’s plans. Fontaine conveys so much emotion through her eyes that is a really a marvel to behold, we see her uncertainty, love and suspicion as events take on a mysterious air around her. Cary Grant is suave and sophisticated, yet also hints at the possible darkness that may lurk within Johnnie. Cedric Hardwicke is great as Lina’s stern father as well as May Whitty as her observant mother. Nigel Bruce portrays the likable Beaky, Johnnie’s hapless and humorous best friend with ease and charm.

Suspense, romance and skill combine to craft this marvellous thriller. Suspicion may be let down by the ending but the film is far from unwatchable. It may not be Hitchcock’s best work, but it is far from his worst with its splendid performances and tension filled suspense.

Houseboat

Tags

1950's, Cary Grant, Charles Herbert, Harry Guardino, Houseboat, Martha Hyer, Melville Shavelson, Mimi Gibson, Paul Petersen, Romantic Comedy, Sophia Loren

Film Title

Houseboat

Director

Melville Shavelson

Starring

• Cary Grant as Tom Winters
• Sophia Loren as Cinzia Zaccardi
• Martha Hyer as Carolyn Gibson
• Paul Petersen as David Winters
• Charles Herbert as Robert Winters
• Mimi Gibson as Elizabeth Winters
• Harry Guardino as Angelo Donatello

At first glance, Houseboat appears to be the same old romantic comedy you’ve seen a million times. But in the hands of Melville Shavelson and benefiting from the star pairing of Cary Grant and Sophia Loren, it emerges as a delightful and warm romantic comedy drama. If this doesn’t put a smile on your face, I don’t know what will.

Tom Winters, a worker at the US State Department, has been estranged from his three young children and wife for many years. He returns from Europe to the news that his wife has died. Although his children; David, Robert and Elizabeth want to stay in the country with the wealthy Aunt Carolyn, Tom takes them to live with him in Washington DC. He finds assuming the position of being a real father a hard job as the children resent him for not being there for them. One day after attending a concert, young Robert runs away. He is later found by Cinzia Zaccardi, an Italian woman and daughter of a prominent conductor. She is trying to escape the cloistered world of her father’s touring and the people he surrounds himself with. Robert immediately takes a shine to Cinzia and she brings him home to Tom. After meeting his children, Cinzia has a positive effect on the youngsters, who insist she become their maid. She eventually agrees to this and Tom takes them to live in an old country house owned by Aunt Carolyn. Unfortunately the house is ruined when the driver, the wolfish Angelo, flirts a little too much with Cinzia and the moving house is wrecked by a train. Angelo, out of kindness, offers them his old houseboat, which is in need of repair to say the least. After moving in, we witness and Cinzia’s warm presence helps the children eventually come to terms with their long-absent father and how she eventually falls for her employer. So prepare for comical mishaps before the Tom and Cinzia realise their feelings for each other, reconciliations and how the presence of one person can influence a whole household.

Although clichéd and a little sentimental, Houseboat still manages to entertain in a comical and touching way. Part of this is down to the script that presents the characters and the influence each has on the other, especially the children as they come around to the idea of Tom as their father. Melville Shavelson employs gorgeous Technicolor to highlight the brightening of lives and the kind of romantic feelings that only Old Hollywood can supply. The musical adds to the feelings of a growing relationship, especially when Cinzia and Tom dance and you can see as they gaze into each other’s eyes that they truly care for one another. The glamorous pairing of Cary Grant and Sophia also helps lift the film from the usual romantic comedy route. Their interactions and undeniable chemistry are especially palpable, as we see them eventually warm to one another after searching for answers.

Cary Grant embodies the debonair personality of Tom, yet also lets us to glimpse his fear and eventual love of responsibility for his children. Sophia Loren provides vivacious beauty and kindness as Cinzia, but shows how this young woman will not back down from her opinions as Tom realises how much good she has done with his offspring. The child actors all provide pugnacious yet adorable performances as their lives are changed and they come to see the good in their father after missing him for so long. Charles Herbert is a particular stand out as the lonely, harmonica loving Robert, who begins to warm to his family as a result of Cinzia. Martha Hyer plays the small role of Aunt Carolyn, who has always carried a torch for Tom and tries to undermine the growing affection between him and the loving Cinzia. Stealing all of the scenes he is in is Harry Guardino as the strutting, skirt-chasing handyman Angelo. His scene when he is supposed to take Cinzia dancing and he refuses because he feels she is a threat to his bachelor status is quite hysterical in its execution.

Warm, witty and cosy, Houseboat may be formulaic but when you’ve got chemistry like Grant and Loren, superb writing and stunning music, who really cares?

The Pride and the Passion

Tags

1950's, Adventure, Cary Grant, Frank Sinatra, Sophia Loren, Stanley Kramer, The Pride and the Passion, Theodore Bikel, War

Film Title

The Pride and the Passion

Director

Stanley Kramer

Starring

• Cary Grant as Capt. Anthony Trumbull
• Frank Sinatra as Miguel
• Sophia Loren as Juana
• Theodore Bikel as General Jouvet

Much castigated in its day, The Pride and the Passion still holds up as a thrilling war/adventure film with an eye-catching cast and top-notch production values. Yes it has its flaws but one can’t help but be swept under the epic spell the film casts under the direction of Stanley Kramer.

1810, Napoleon’s forces have invaded Spain. A large cannon belonging to the Spanish has been abandoned in the countryside and the French army are searching for it. Captain Anthony Trumbull, of the Royal Navy and Spain’s ally in fighting Napoleon’s forces arrives in Spain to ensure that the cannon is handed to British forces. Expecting to meet another Captain, Anthony is met with Miguel, the leader of a guerrilla band. The two men take an instant dislike to each other. Trumbull wants Miguel to help him shift the large cannon to British forces, Miguel agrees only if the Captain helps make the arduous journey to Avila, which is now occupied by the French with the intent on charging it. Trumbull reluctantly agrees with Miguel and they set off on the long, agonizing journey with the guerrilla band and Juana, Miguel’s seductive lover. Together the band endures harsh weather, enemy attack and pain to ensure the cannon arrives at its destination. Conflict also arises between Miguel and Anthony as Juana begins to fall for the British captain. Prepare for exciting and thrilling viewing as The Pride and the Passion takes you on the perilous journey as the band moves the enormous cannon ever close to Avila.

I think I’ll get the flaws of the film out the way first, as I do believe that the positives outweigh the negatives in this film. Firstly, the film does run for a bit longer than it should, perhaps if it had focused solely on the journey it may have resolved quicker. Also, the main villain a French army commander played by Theodore Bikel is supposed to be threatening but we see so little of him that his presence is rather wasted within the framework of the film. If he had been featured more and given a better story, his character may have been more interesting than he is in the final product.

Now onto the positives of the picture. The cast is the major draw of this, especially the central trio. Cary Grant, although it isn’t his best role, manages to inject his law-abiding and buttoned-up character with a charm and wit, that is present in many of his scenes with Frank Sinatra. Much of the criticism of the film centred on Sinatra’s Spanish accent, which although not perfect is quite convincing and not as bad as people make out. Sinatra manages to capture a dynamic and hot-headed edge within his character of Miguel, who although he despises the Captain, he eventually comes to respect him. This conflict is neatly executed as we watch two different men accustomed to different ways eventually realise that they’re not actually that different. Sophia Loren adds sex appeal to her character Juana, and she has sizzling chemistry with both Sinatra and Grant. She is also able to show the deep-seated pain within her character, the reasons why she is risking her life in this daring mission and how she is torn between Miguel and the captain. Perhaps the biggest star of the picture is the production values which are second to none. The luscious cinematography captures the natural beauty of Spain’s countryside and the danger as it is invaded. Many scenes linger in the memory; the raising of the cannon, Juana’s sensual flamenco dance, the perilous journey through enemy quarters and the final battle at Avila. The adventurous music score is unbeatable at conveying the many perils that face the characters as they near Avila. Although not known for directing adventure movies, Stanley Kramer certainly acquits himself well with The Pride and the Passion.

Tense, dramatic and thrilling, The Pride and the Passion may not be the best epic to emerge from Hollywood, but it is certainly worth a look because of its credentials and excellent cast.