Pandora and the Flying Dutchman

Tags

1950's, Albert Lewin, Ava Gardner, Fantasy, Harold Warrender, James Mason, Mario Cabré, Nigel Patrick, Pandora and the Flying Dutchman, Romance

The quite amazing Maddy is doing a blogathon on the cinematic icon abs beauty that was Ava Gardner. I thought I’d join and give my thoughts on Pandora and the Flying Dutchman.

Director

Albert Lewin

Starring

• Ava Gardner as Pandora Reynolds
• James Mason as Hendrik van der Zee
• Harold Warrender as Geoffrey Fielding
• Nigel Patrick as Stephen Cameron
• Mario Cabré as Juan Montalvo

A ravishing and unusual romantic fantasy, Pandora and the Flying Dutchman relies on the sheer gorgeousness of its visuals and it’s two main stars for what is one arresting movie. It may not be every taste out there, but for the cinematic lover, it’s bound to make a mark with its tragic romanticism and mythical shout outs.

In the coastal Spanish town of Esperanza in the 1930’s, men flock to the beautiful but aloof nightclub singer Pandora Reynolds. She is unmoved by attempts to woo her, even when the results are dangerous. It’s not that she’s heartless, she’s just never found anyone who has elicited a deep love within in. To others, she seems very callous( and in some cases she is and she demands her admirers perform ) but there’s more than just allure to her. It seems her attitude stems from boredom and knowing the power she has over men.She finally meets her match in Hendrik van der Zee. He is a mysterious man who mans a ship that only he sails on. Something about him captivates her like no one before, but he’s curiously distant. Geoffrey Fielding, who is a translator of text and friend of Pandora’s, surmises that is The Flying Dutchman as he’s been studying a manuscript. is doomed to sail the seas after he was condemned to immortality for murdering his wife he thought was unfaithful in the 16th Century. He can only be freed if he finds a woman who is so in love with him that she’ll sacrifice herself. Pandora is currently engaged to race car driver Stephen Cameron , but is also pursued by arrogant matador Juan Montalvo. But it’s Hendrik who most gets her attention and takes her over. Though Pandora falls deeply and unexpectedly for him, Hendrik attempts to push her away as he cares so much about her. Yet is Pandora really willing to give up everything for the man she has finally fell in love with? Let’s just say, tragedy and eventfulness take form in this romantic and mythical fantasy.

Albert Lewin crams the film with multiple mythology references and literacy allusions. This is something I’m a sucker for this kind of thing, as both subjects interest me and put them a in a stylish movie with a folklore inspired undergone, and I’m going to like it. Not every idea of comes off, but an underlying emotion and melancholy brings some of the flights of fancy back down to Earth and is a feast for the eyes and ears. There’s a poetry to the script( which is written by Lewin and story of an impossible love and the sacrifice asked to restore it and the flowery language, mixing metaphors and similes that a wordsmith would be proud of. Lewin does himself proud with this exercise in gorgeous style and heightened emotions. The biggest asset is how the camera truly is in love with Ava Gardner. She glows with an otherworldly glamour and is remarkable to admire. And the cinematography by the outstanding Jack Cardiff, with Technicolor shot through with a moody blue tinge is simply gorgeous at referencing the romantic fatalism of the two main characters .There are a few parts that stretch credulity and become to out there for its own good(along with a running time that’s a tad excessive), but by and large it is a movie that’s heady appeal isn’t wasted on colourful fans of movies deemed as oddities. It’s an exotic, dreamy film with a sheer sense of atmosphere and visual poetry that’s hard to tear yourself away from. It’s far from flawless in a number of ways, but it’s unusual nature and devastatingly splendour are hypnotic. And the score has a really unusual, tragic and lushly romantic aura that covers Pandora and the Flying Dutchman all the way through.

Ava Gardner heads proceedings as the eponymous Pandora, who’s feeling of indifference melt as she falls for The Dutchman. Gardner was a breathtaking beauty who just entranced you from the first time you saw her. That lends itself well to the role of Pandora, as men flock to her everywhere. Yet despite being such a luscious lady, she was also a very good actress. This is sometimes overlooked because of her looks, which is quite unfortunate. Here as Pandora, she exudes an enigmatic charm and a genuinely growing set of feelings that come as a surprise to her as well as us. Gardner has sheer magnetism, both because of her beauty and talent. Her work here is mysteriously masked yet slowly revealing into someone letting their often disguised feelings of love come out. Pandora may act callously and flippantly at first, but once she meets her, she’s slowly transformed into someone very different.so please check it out and marvel at her command of the camera. James Mason adds pathos and weariness as the cursed sailor who is lonely and desolate, but caught in a conundrum once Pandora enters his life. Mason and his mellifluous voice wring depth and guilt ridden anguish from the part that stands as one of many wonderful performances by a fantastic actor. Mason shares an unusual and tentative chemistry with Gardner; both striking off the other with their collective uncertainty and bewilderment at their growing attraction. it really adds to the atmosphere and mythical mood of this film. Filling out the supporting roles are Harold Warrender, who wisely acts as narrator to events, show off beholder of Pandora’s hand Nigel Patrick and strutting Mario Cabré as the matador willing to kill for the love of the eponymous lady. All are great, but it is definitely James Mason and above all Ava Gardner who you’ll remember from this picture.

A most peculiar yet haunting movie that looks sublime in Technicolor, Pandora and the Flying Dutchman is the perfect love letter to the haunting Ava Gardner and shows clearly why she was made for cinema.

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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.

Evil Under the Sun

Tags

1980's, Agatha Christie, Colin Blakely, Denis Quilley, Diana Rigg, Emily Hone, Evil Under the Sun, Guy Hamilton, James Mason, Jane Birkin, Maggie Smith, Murder Mystery, Nicholas Clay, Peter Ustinov, Roddy McDowall, Sylvia Miles

Film Title

Evil Under the Sun

Director

Guy Hamilton

Starring

• Peter Ustinov as Hercule Poirot
• Jane Birkin as Christine Redfern
• Nicholas Clay as Patrick Redfern
• Maggie Smith as Daphne Castle
• Roddy McDowall as Rex Brewster
• James Mason as Odell Gardener
• Sylvia Miles as Myra Gardener
• Denis Quilley as Kenneth Marshall
• Colin Blakely as Sir Horace Blatt
• Diana Rigg as Arlena Marshall
• Emily Hone as Linda Marshall

Based on the 1941 book by Agatha Christie, Evil Under the Sun may not be up there with Murder on the Orient Express and Death on the Nile as a spectacular rendering of a classic murder mystery, but it does have its charms along the way thanks to a game cast.

The world-renowned Belgian sleuth Hercule Poirot is contacted by one Sir Horace Blatt, an industrialist in need of his expertise. He concludes that a diamond in the man’s possession is in fact a fake, Blatt believes that his one time mistress Arlena has the real one that could be worth a huge fortune. Poirot agrees to look into the case and travels to an exclusive island resort in the Adriatic, owned by the acerbic Daphne Castle. Arlena is staying at the resort along with her new husband Kenneth and stepdaughter Linda, who she constantly belittles and berates. Also present is Patrick Redfern, a dashing young man with a roving eye, his meek and mousy wife Christine, bickering theatre managers Odell and Myra Gardener, gossip hound Rex Brewster and eventually Sir Horace Blatt himself. Arlena is a stage actress who has a habit of rubbing people up the wrong way with her bitchy behaviour and diva antics. Although married to Kenneth, she rather publicly begins an affair with the handsome Patrick. Everyone at the resort has some bone to pick with the obnoxious Arlena in one way or another. It is no surprise then to the very observant Poirot that the much hated diva eventually turns up strangled to death on one of the island’s beaches. With an array of suspects who by their own admissions had every reason to kill her, Poirot must deduce who the murderer is among them in order to solve the crime.

If Murder on the Orient Express was the classy and stately affair, and Death on the Nile was the exotic murder mystery, that makes Evil Under the Sun the lighter souffle of the bunch. Whereas the other two Poirot movies succeeded with intrigue, this one sadly falls a little flat in the thrilling mystery department. That isn’t to say it’s bad in any way, just not as memorable as the ones that came before it. Guy Hamilton has a decent go at directing this and the picture does benefit from a certain humorous edge, but after a while it becomes a bit repetitive. The island location is beautifully rendered and bathed in sun-kissed glory. The costume design is absolutely outrageous, with colours here, there and everywhere. The Cole Porter influenced score adds that dash of excitement, but other ventures in the musical department overdo the tropical setting.

What doesn’t falter in Evil Under the Sun is most of the talented cast assembled for it. Peter Ustinov, returning to the role, brings wise and eccentric charm to the part of Poirot. He is clearly having fun with the part, but brings an amount of gravity to it so it doesn’t slip into ridiculousness. Jane Birkin exudes scared vulnerability and weak-willed manners as the wronged wife Christine, who watches as her husband openly has an affair with the bitchy Arlena. Nicholas Clay is excellently virile as the muscled Adonis, most of the time seen in the most revealing pair of speedos known to man, whose dalliance with Arlena may have led to her death. Maggie Smith is an utter delight as the cynical hotel owner Daphne, whose sarcastic barbs and witty tongue make her a joy to watch. Roddy McDowall is a hoot as the gossip hungry journalist trying to unearth scandal, while James Mason and Sylvia Miles are wonderful as the constantly arguing couple. Denis Quilley, while slightly underused on occasion, is good enough as Arlena’s put-upon husband. Meanwhile, Colin Blakely injects garrulous humour to the part of Sir Horace Blatt. As the diva who eventually turns up dead, Diana Rigg has an utter blast portraying the glamorous but shallow and cutting bitch. Emily Hone is suitably angry and increasingly resentful as her stepdaughter.

So all in all, Evil Under the Sun isn’t the best adaptation of an Agatha Christie novel to hit the screen. But it has its positives that make it good entertainment for a matinee screening.

The Boys from Brazil

Tags

1970's, Franklin J. Schaffner, Gregory Peck, James Mason, Laurence Olivier, Lilli Palmer, Steve Guttenberg, The Boys from Brazil, Thriller, Uta Hagen

Film Title

The Boys from Brazil

Director

Franklin J. Schaffner

Starring

• Gregory Peck as Dr. Josef Mengele
• Laurence Olivier as Ezra Lieberman
• James Mason as Eduard Seibert
• Lilli Palmer as Esther Lieberman
• Uta Hagen as Frieda Maloney
• Steve Guttenberg as Barry Kohler

Taut, creepy and intriguing, Franklin J. Scahffner’s adaptation of Ira Levin’s novel The Boys from Brazil is filled with haunting suspense and excellent performances.

In Paraguay, a young and curious Jewish boy named Barry Kohler has stumbled upon secret meetings of former Nazi criminals. He is in contact with Ezra Lieberman, an aging Nazi Hunter who is all but retired and living in Vienna. Lieberman is skeptical of the young boy’s findings and warns him to flee. Still curious, Kohler observes none other than Dr. Josef Mengele, the infamous Nazi doctor order his followers to kill over the next two years 94 65-year-old men in various countries around the world. Unfortunately for Kohler, he is discovered and promptly killed. Before his untimely demise, he at least manages to contact Lieberman who is now convinced something isn’t right. Although obviously failing physically and feeling the effects of advancing age, Lieberman is determined to stop the plan of Mengele and takes it upon himself to discover more. Visiting widows of some of the deceased men, he notes a startling resemblance with all of their adopted sons, who all have piercing blue eyes and jet black hair. Meanwhile, Mengele realizes that Lieberman is tailing him and sets out himself to finish the job. With time ticking away, Lieberman unearths the full nature of Mengele’s horrifying plan: he has taken tissue samples from Hitler prior to his death and managed to harvest them, creating human clones of the man and trying to replicate his upbringing down to the finest detail in order to begin the Third Reich again. Now locked in a battle of wills and intellect, Lieberman and Mengele face off as the aging Nazi Hunter tries to put a stop to the potentially devastating plan.

Franklin J. Schaffner crafts a tense and slickly paced atmosphere of mounting paranoia as Lieberman makes it his duty to put an end to the twisted plot posed to the world by Mengele. The pace may be electric, but it makes the characters more interesting and the various twists all the more thrilling. On occasion, the scientific jargon can become a little confusing and you may find yourself lost, but The Boys From Brazil is so well-constructed it can be forgiven for its lapses. The backdrop of history provides a terrific crux for the narrative and the theme of cloning has a certain ring of controversial topicality in this time of ever-growing scientific power and discovery. We also get a thrilling and disturbing game of cat and mouse that builds to a violent crescendo as Lieberman tracks Mengele and the two try to defeat one another. The Boys from Brazil certainly presents an intriguing albeit horrifying what if? theme that is hard to shake off once you’ve watched this film. It may bring in elements of science fiction but regardless of this, you’re left pondering what would happen if any of the events portrayed where to actually happen. Jerry Goldsmith is on hand to provide a grand but slickly menacing score, filled with marauding brass and pounding drums to increase and accentuate the thrilling and supremely tense atmosphere.

In a convincing departure from the usually respectable and upstanding characters he played, Gregory Peck exudes menace and madness as Mengele, who sets in motion a terrifying plan. Laurence Olivier excellently imbues the role of Lieberman with a tired quality but also the determination and wit to fight against the bizarre plot posed to him and the world. When Peck and Olivier finally lock horns late into the film, it is one electrifying encounter that can’t be underestimated in terms of its effectiveness as the battle between them becomes physical and well as mental. James Mason makes an impression as the loyal accomplice to Mengele, who increasingly begins to doubt his plan as the net closes in on his friend. Lilli Palmer is used well enough as Lieberman’s concerned sister Esther, while Uta Hagen makes the most of her one scene as a former Concentration Camp guard in on the scheme by giving her character a reticence and creepy demeanor. A young Steve Guttenberg portrays the curious Barry Kohler, whose stumbling onto the plot leads to his demise.

Thrilling, disturbing and at times quite frightening, the outlandish plot given gravity by Peck and Olivier make The Boys from Brazil a haunting film of bizarre suspense and strange paranoia.