The Big Sleep

Tags

1940's, Charles Waldron, Crime, Dorothy Malone, Elisha Cook Jr, Film Noir, Howard Hawks, Humphrey Bogart, John Ridgely, Lauren Bacall, Martha Vickers, The Big Sleep, Thriller

Film Title

The Big Sleep

Director

Howard Hawks

Starring

• Humphrey Bogart as Philip Marlowe
• Lauren Bacall as Vivian Rutledge
• John Ridgely as Eddie Mars
• Martha Vickers as Carmen Sternwood
• Charles Waldron as General Sternwood
• Dorothy Malone as Book Shop Girl
• Elisha Cook Jr. as Harry Jones

A film noir thriller at its most complex and convoluted, The Big Sleep is cryptic but endlessly entertaining stuff. With a real feel for the dark material shown by director Howard Hawks and the sultry chemistry between Humphrey Bogart and Lauren Bacall, The Big Sleep keeps you glued.

World weary and intelligent private detective Philip Marlowe is summoned to the home of the old General Sternwood. The elderly and frail man is concerned about his youngest daughter Carmen, who has a reputation for being loose. She has had compromising photos taken of herself and someone is using the sordid images to blackmail Sternwood. The person that appears to be behind the blackmailing is a man named Geiger, whose book store doubles as a crime racket. The General also wants Marlowe to locate Shawn Regan, a confidante close to the family who has disappeared strangely. While at the house, Marlowe also encounters older sister Vivian, a more cool and collected lady who knows how to flirt with him, yet keep something of a distance. Investigating further into muddy waters, he finds that the blackmailing crime racket ties with the missing Shawn Regan, though Marlowe is bewildered by how they could possibly do so. Just as he gets close, Geiger is murdered, complicating matters even more. Yet it also transpires that Vivian may also have some involvement in the sinister activities as nearby shady casino owner Eddie Mars appears to have a strange hold on her that she desperately attempts to remain hidden. Quickly, Marlowe is sucked into a seedy world of corruption and double crosses where he is desperate to find answers, as everything is spun in a web of underhand tricks and cloak and dagger activities.

Howard Hawks majestically gets the hard-boiled aura of this Raymond Chandler adaptation, coating everything in a shadowy and seedy vibe as Marlowe journeys into a corrupt underworld of suspicion and classic noir. The black and white cinematography is employed in a pretty amazing way with chiaroscuro taking precedent here and making the atmosphere tangible to the audience from the smoky opening titles. Now I must talk about the plot of The Big Sleep, as it is one mystifying and at times very confusing puzzle. This is actually far from a criticism of this film noir thriller, because it grasps the attention, gets you to pay attention and often moves at such a blistering pace, you won’t realise certain things that don’t add up. Sure everything is pretty cryptic and has you scratching your head, but oh what fun there is to be gained from this movie because of its pace and sexual tension, that are kept on high from start to end. What really brings a film like The Big Sleep to life is the scintillating screenplay, that practically bursts with repartee and innuendo that is some of the most sexual dialogue to be found in a movie from the 40’s, when the censors where usually on full patrol to eliminate anything suggestive . The script takes full advantage of the Bogart/Bacall relationship on and off-screen and serves up some double entendre laden exchanges that push the boat out on risqué (be sure to check the scene between Marlowe and Vivian in which she uses horse-riding and saddles as a reference to another physical activity.) As dark and mysterious as the film is, heck it brings new meaning to the word confounding, there is a playful spirit tone gleaned among all the dodgy dealings, blackmail and sleazy events that are usually hinted at rather than shown. Max Steiner is on score duties and transfers every ounce of tension and stunning sexiness to the viewer, matching the dark yet enticing underbelly The Big Sleep has to offer.

Humphrey Bogart heads up things with a fine performance as the iconic detective Philip Marlowe. Bogart impressively injects the part with cynicism, a quick talking attitude and weariness from all the years on the job. You couldn’t have asked for anyone better than Bogart to essay this part, which he plays with charm, dashes of dry humour and smarts that tell him to keep looking for the outcome of a most baffling case. He is simply on point during the whole run of this movie and makes it look effortless. Lauren Bacall practically oozes confidence and enigmatic sexuality as Vivian, whose feisty encounters and suspicious behaviour form a lot of the proceedings, particularly as Marlowe finds himself falling for her. Bacall was only in her early 20’s in this film, yet she has the innate ability to project the impression of a young woman who has seen a lot, seems to be in control and is adept at being secretive. Having already showed their undeniable chemistry in To Have and Have Not, Bogart and Bacall pretty much set the screen ablaze here, as they once more trade innuendos and tantalizing dialogue that flows from their lips like vintage whiskey. You simply couldn’t have asked for a better pairing than Bogart and Bacall, as they where exceptional together, both on film and in reality. John Ridgely has enough slimy energy and enigmatic ways to keep the shady Eddie Mars memorable in the long run. Martha Vickers features as the childlike and coy sister whose extracurricular activities are the start of Marlowe’s investigation into the unknown. A stately presence is to be found in the work of Charles Waldron as the old General calling upon the skills of Marlowe to eliminate the scandal surrounding his daughter. Popping up in small but still memorable parts, there is Dorothy Malone as a coquettish book shop worker and Elisha Cook Jr. as a very tragic fall guy who comes off badly within the darkness in doomed fashion.

As mystifying and mysterious as it all is, The Big Sleep earns its status as a classic noir due to the hard-boiled style and the iconic partnership of Humphrey Bogart and Lauren Bacall.

The Mirror Has Two Faces

Tags

1990's, Barbra Streisand, Comedy, Drama, George Segal, Jeff Bridges, Lauren Bacall, Mimi Rogers, Pierce Brosnan, Romantic Comedy, The Mirror Has Two Faces

Film Title

The Mirror Has Two Faces

Director

Barbra Streisand

Starring

• Barbra Streisand as Rose Morgan
• Jeff Bridges as Gregory Larkin
• Lauren Bacall as Hannah Morgan
• Mimi Rogers as Claire Morgan
• George Segal as Henry Fine
• Pierce Brosnan as Alex

A romantic comedy-drama that has a feeling for old-fashioned films of the genre yet infused with something modern, The Mirror Has Two Faces has humour and heart to be taken from it. The middle part is slow and overindulged in a couple of missteps, but the overall package of the film, under the clear command of both director and star Barbra Streisand crafts an often touching and funny tale of relationships.

Rose Morgan is a dowdy, middle-aged professor of English Literature at Columbia University who often talks about grand romance and passion. The irony is that Rose has neither of them but really would like them, she just hasn’t had any luck in relationships. Living at home with her overbearing and vain mother Hannah is no help either as her mother is a woman who always feels the need to do her daughter down. And to top it off, Rose’s pretty sister Claire has just got married to the hunky Alex, who Rose has carried a torch for since the moment they met. Gregory Larkin also teaches at Columbia University though he is in the maths department and doesn’t quite have the ability to connect with his class that Rose does. He has come to the conclusion that he can’t function if in any sort of romantic or sexual relationship as he appears to lose his head. He puts and ad in the paper for a relationship that is intellectual rather than lustful. Through the intervention of Claire, Rose and Gregory meet and somehow hit it off. She impresses him with her self-deprecating wit and intellect, while she likes that he has taken an interest in her as no one in the past really has this much and no one quite as dashing either. After a few mix ups, the two pursue a platonic union that seems to work for both of them as it provides stimulating company and both of them can be themselves around the other. A few months into this, Gregory proposes much to the surprise of Rose, who knows that the marriage would be one without physical intimacy. Perhaps out of fear that she’ll be left on the shelf forever, Rose accepts his offer and the two marry. As time goes on, Rose begins to develop deep romantic affections for Gregory and this puts a strain on what is supposed to be a chaste meeting of minds rather than bodies. When she attempts to seduce him, Gregory rejects her as he doesn’t want sex to complicate what has become a pleasing companionship and goes on a teaching tour around Europe. Rose is then left to choose whether she should still pursue a potential reunion with Gregory or make some sort of change.

Taking the director’s seat, Barbra Streisand shows of yet more of her talent by giving perceptive and inviting direction to The Mirror Has Two Faces. She covers themes of self-worth and beauty in it, and while during the middle section where Rose has a makeover she jeopardizes some of what she’s been getting across, she brings it all back together for a lovely home stretch as Rose and Gregory have to acknowledge their feelings. Having starred herself in many romantic comedies in the past, the genre has obviously rubbed off on her and the result is a film constructed with attention and care for the genre it is in. Some will dismiss the film as a vanity project and simply just The Streisand Show, but dig deeper and there’s genuine emotion to be found there as well as a crackling script of funny characters. Streisand shows her confidence behind the camera as well as in front and makes the procedure both humorous and delightful. The Mirror Has Two Faces succeeds due to its throwback nature and moments that bring to mind 50’s romantic comedies. Scenes like the awkward meeting of the two are her attempt at a seduction have a feeling of yesteryear to them, but also benefit from modern values too. The film loses steam in the middle section and gets a bit bogged down in an abundance of gloss, at least it regains footing near the end and doesn’t do too much damage to a well-crafted flick. A lush sweeping score harks from Marvin Hamlisch harks back to the glory days of the romance picture with strings and woodwind as the perfect backdrop for this throwback picture.

As well as sitting in the director’s chair(and doing a fine job in that department), Barbra Streisand also contributes an amusing yet sympathetic performance as the lovelorn Rose, entering into a platonic marriage yet secretly desiring grand passion. Streisand breathes life into a woman who has a low self-esteem yet a good sense of humour that hides insecurity. Exuding kooky mannerisms and an articulate mind, Barbra Streisand marvellously makes Rose a character to root for and be charmed by along the way. Jeff Bridges provides superb humour as the somewhat bumbling and talkative Gregory, who believes that his theory of a union without the complication of sexual feelings or romance will work, but is challenged when Rose wants more than just companionship. Bridges has a real knack for laughs that is apparent here and by giving the part fastidious tendencies as well as awkwardness, he is a joy to watch. It must be said that the way that Streisand and Bridges bounce off each other is quite something and has that snap that old romantic comedies of the 40’s and 50’s had. Lauren Bacall flat-out steals The Mirror Has Two Faces however, with a sharp turn as Rose’s disagreeable and looks obsessed mother Hannah. With acerbic drawl, Bacall marvellously plays this matriarchal diva as something of a vain Medusa with all the best lines and withering put downs. Yet I have to give credit to Bacall for also injecting touches of vulnerability to the part that show that Hannah is not as bitchy or as harsh as her exterior would suggest. It’s a true supporting turn that is great to behold whenever Bacall takes the screen. Mimi Rogers is fine as the foxy glamour puss sister, while although only seen briefly, George Segal is a hoot as a friend of Gregory’s with a roving eye. The only person to not really make an impact is Pierce Brosnan as Rose’s brother-in-law, though the blame can’t be put at the door of Brosnan because the character is lazily written.

Its main message can get jumbled amid the gloss and the latter stages could have had some trimming to make them slightly tighter, yet The Mirror Has Two Faces brims with such beaming love, awkward romance and surprisingly moving moments that it’s flaws can be passed over because of how well it all turns out. And the well assembled cast and illustrious director/star of Barbra Streisand are even more reason to seek this film out.

Misery

Tags

1990's, Frances Sternhagen, James Caan, Kathy Bates, Lauren Bacall, Misery, Psychological Thriller, Richard Farnsworth, Rob Reiner, Stephen King

Film Title

Misery

Director

Rob Reiner

Starring

• James Caan as Paul Sheldon
• Kathy Bates as Annie Wilkes
• Richard Farnsworth as Buster
• Frances Sternhagen as Virginia
• Lauren Bacall as Marcia Sindell

A sterling and very unsettling adaptation of the Stephen King novel, Misery, as directed by the versatile Rob Reiner, gains great suspense and uneasiness from confident direction, a sinister score and an Oscar-winning performance from Kathy Bates.

Paul Sheldon is a successful author, most famous for his romance novels containing the character of Misery Chastain. Yet after writing so many books about the character, Paul has grown restless and wants to try other things in the more serious genres. He has just finished writing the manuscript for a new novel of a different vein while in the retreat of a Colorado lodge and plans to journey back to his New York home. As he drives though a fierce blizzard halts these plans and he crashes his car violently off the road knocking him unconscious. Trapped in his car as the blizzard rages on, Paul is rescued by Annie Wilkes, a former nurse who takes him to her house and tends to his injuries. When he wakes up, the seemingly friendly Annie makes him as comfortable as possible, while telling him that she is his number one fan. Annie is a homely and lonely woman who is slightly odd but spears to be relatively harmless in Paul’s eyes and he’s extremely grateful to her for saving his life. Annie promises that once the phone lines are back up,and working and the road is safe, she’ll take him to a hospital. Yet things turn very creepy very fast once Annie reads Paul’s latest Misery novel and finds out her favourite character has been killed off. Flying off the handle she shows her true frightening colours. She then reveals that she never called the hospital, so no one knows where Paul is and many presume him to be dead. Still bedridden and now completely terrified, he is for forced to comply with her demands of writing a new novel bringing the character of Misery back to life. Frightened for his life, he begins writing, all the while planning some form of escape from the disturbed Annie, who never wants to let Paul go and is so intensely obsessed by him and his work, that she will resort to the most brutal tactics to make sure he completes the novel she is forcing him to write. Meanwhile, the local Sherrif Buster, an old, seasoned pro begins searching for the missing Paul, convinced that he isn’t dead as everyone else seems to believe. Before, writing was just a way of making a living for Paul, but now in the desperate situation of prisoner under the obsessed and deranged eye of Annie, he is writing to save his very life.

The ever versatile Rob Reiner shoes flair for the psychological thriller genre buy focusing on events with the confined setting of Annie’s house, that becomes claustrophobic once her mania comes out. Reiner taps into the fear of entrapment and fanatical devotion that both palpably leap from the screen and increase the terror. Tension and chills are provided through zooming close-ups, particularly of a fearful Paul and a crazed Annie. These are used most effectively in the iconic scene of Annie hobbling Paul after finding out he has tried to escape, just thinking about that scene gives me chills. Just as entertaining as watching the terrified Paul attempting to escape is the battle of wills between him and Annie. He tries to reason with her, but is ultimately forced to give in to her demands for fear of his life. Annie basically becomes the role of a disapproving and demanding(plus very menacing) editor of Paul’s work, adding to a gleefully dark undercurrent of Misery. There are some impressive jolts of black humour and irony thrown into the mix that give Misery yet more of a twisted scope to work within and coil around with mounting intensity. While the film is filled with shots of snowy hills and landscapes almost from the off, the suspense-building score from Marc Shaiman lets the audience now that we are not in for a cosy ride with strings and brass mixing to chilling effect as Paul becomes at the mercy of the unhinged and devoted Annie.

James Caan, who from the roles I’ve seen him in often plays the hell raiser of the menacing type, flips it here successfully portraying the imprisoned Paul. He convincingly conveys the feelings of entrapment and terror that soon arise when Annie’s niceness vanishes. The main draw of the film is the super impressive and award-winning performance from Kathy Bates as the psychopathic Annie Wilkes. Essaying the mood swings of the character, from calm and homely nurse to enraged torturer who will stop at nothing to keep Paul with her, Bates registers on every level so well it is frightening to behold. There is simply no other actress who could have played the part of Annie with the creepy intensity of Kathy Bates and the Oscar she won for the role was well-merited indeed. Richard Farnsworth breathes intelligence and humour into the part of the searching sheriff who won’t give up and his performance is complimented by that of Frances Sternhagen as his sarcastic but helpful wife. Lauren Bacall appears in a small but memorable role as the concerned publisher of Paul’s work.

A chilling psychological thriller of shocks and squirms, Misery will have you most uncomfortable by the end due to the creepy factor that is built throughout it and the excellent work of the cast, in particular an unforgettable Kathy Bates as the devoted but extremely dangerous number one fan.

To Have and Have Not

Tags

1940's, Adventure, Hoagy Carmichael, Howard Hawks, Humphrey Bogart, Lauren Bacall, Marcel Dalio, Romance, Thriller, To Have and Have Not, Walter Brennan

Film Title

To Have and Have Not

Director

Howard Hawks

Starring

• Humphrey Bogart as Harry Morgan
• Lauren Bacall as Marie ‘Slim’ Browning
• Walter Brennan as Eddie
• Hoagy Carmichael as Cricket
• Marcel Dalio as Gerard

An exciting romantic adventure thriller from the Golden Age of Hollywood and loosely based on(but heavily rewritten here) the novel by Ernest Hemingway, To Have and Have Not still has a whole lot to enjoy within it. Chief among these is the excellent direction from the legendary Howard Hawks and the sizzling chemistry between Humphrey Bogart and a debuting Lauren Bacall, that would lead to sparks flying off the screen as well as on.

The year is 1940 and it is wartime. In the island of Martinique, which is now controlled by Vichy, cynical Harry Morgan is the owner of a fishing boat which he charters to tourists in return for money. Along with his right-hand man Eddie, a bumbling, alcohol-guzzling but genial man, Harry has no interest in politics or the tense situation that is occurring around him. That is until he is approached by Gerard who is one of the Free French and comes to him with a proposition. He asks that Harry help secretly transport two members of the French Resistance onto the island. In the beginning and thinking more of his own neck, Harry refuses to help because of the implications it could have. Yet while mulling it over, he encounters the sultry Marie Browning, who he refers to as Slim. An attractive traveler and pickpocket, Slim wants to return to America but doesn’t have the sufficient funds. Quickly attracted to the sensual young woman, tired of seeing people pushed around and in need of money himself after being owed a large sum, Harry accepts the offer of Gerard in helping the Resistance members get on the island. What follows is a dangerous adventure, tinged with romance and thrills as Harry knows that him being caught could end in very dire circumstances as the authorities on the island are investigating everywhere.

Iconic director Howard Hawks is at the peak of his powers here, directing To Have and Have Not with brilliant flourishes of excitement and tense adventure. The movie itself crosses genres, but with Hawks behind the camera, all the elements slip together nicely and compliment each other. He keeps your attention and there may be the odd lull here and there, but due to his sterling handling of the film, and in particular the undeniably sexy romance, To Have and Have Not is nothing short of a success. Which brings me on to the script that emphasizes the growing attraction between Slim and Harry and peppers it with memorable moments of sparky dialogue. Double entendres and sly innuendo form the core of their courtship and the chemistry between Bogart and Bacall is palpable from the very first moment they meet and Slim inquires “Anybody got a match?” It’s such a classy but sensual side that it adds to the film and not forgetting probably the most iconic scene in the movie. In it Slim seductively tells Harry( who she playfully refers to as Steve), that if he needs anything he just needs to whistle. This is followed by the classic line “You know how to whistle, don’t you Steve? You just put your lips together and blow”. And it’s not hard to see why the line has become so iconic, because of its playful sexual undertones and husky delivery. Even today with more sexually explicit movies about, the sizzling chemistry and passion between both the characters and the actors is still hot stuff. A suitably jazzy score has the right amount of adventure to it and features some wonderful songs too, sung with charm and deep-voiced sensuality by Lauren Bacall.

The talented cast is what really brings life and character to this already exceptional movie. Humphrey Bogart is excellent with his portrayal of the initially reluctant Harry, who is more concerned about himself in the beginning, but eventually joins the fight. Bogart invests Harry with a wise guy charm, tough strength and resourcefulness that you can’t imagine anyone else in the part. And in her movie debut, a 19-year-old Lauren Bacall announces herself as a major talent. With her large eyes, curled hair and husky voice, Bacall is a marvel to watch. Playing Slim with a smart but sensual core, she exudes star quality and threatens to set the screen a flame with her stunning presence. As previously mentioned, she has genuine sparks with Bogart that really add to the experience of the movie. Walter Brennan exhibits kind-hearted but none too bright antics as the character of frequent drinking partner Eddie, who is the main sidekick of Harry. Singer Hoagy Carmichael shows of his immense talent as the main man in the band of the hotel that Harry and Slim frequent. Marcel Dalio does a good job as a member of the Resistance who asks the cynical Harry for help thus drawing him into a dangerous plot.

Brimming with wit, romance and adventure of the highest, To Have and Have Not is a classic picture that is iconic for a lot of many excellent reasons.

 

 

How to Marry a Millionaire

Tags

1950's, Alex D'Arcy, Betty Grable, Cameron Mitchell, Comedy, David Wayne, Fred Clark, How to Marry a Millionaire, Jean Negulesco, Lauren Bacall, Marilyn Monroe, Romantic Comedy, Rory Calhoun, William Powell

Film Title

How to Marry a Millionaire

Director

Jean Negulesco

Starring

• Betty Grable as Loco Dempsey
• Marilyn Monroe as Pola Debevoise
• Lauren Bacall as Schatze Page
• David Wayne as Freddie Denmark
• Rory Calhoun as Eben
• Cameron Mitchell as Tom Brookman
• Alex D’Arcy as J. Stewart Merrill
• Fred Clark as Waldo Brewster
• William Powell as J. D. Hanley

Delightfully frothy and immensely witty, How to Marry a Millionaire has glamour, laughs and star power all courtesy of old Hollywood at its best and most gloriously colourful.

Loco Dempsey, Pola Debevoise and Schatze Page are three New York models with not a lot of money. Fortunately, the cynical Schatze has a plan to solve this. With the other two, she rents a penthouse apartment( which unbeknownst to them is owned by Freddie Denmark, who is avoiding revenue by living abroad after he was caught in some dodgy deal) , and plans to find a rich man for each of them to marry, with help from the apartment and the beautiful charms of themselves. This plan soon becomes very complicated and full of mishaps for the three girls. Schatze catches the attentions of a widowed businessman named J. D. Hanley, while also being pursued by the charming Tom Brookman, who she mistakenly believes is of little wealth but is in fact very well off. The scatterbrained Loco finds company with grumpy louse Waldo Brewster, who whisks her to a lodge that is far from prosperous despite her misconception that it will be luxurious. Around this time, she falls for Eben, a handsome ranger who despite not having any real money, she can’t help but love. The sweet but near-sighted Pola, who refuses to wear glasses in front of men, becomes acquainted with Freddie Denmark, although she doesn’t realise this for a long time because of her refusal to wear spectacles. All three ladies soon find that while they may want money, love may also be an option too if they let it play out and focus on the man rather than his bank account.

Director Jean Negulesco gives vivacious life to this comic tale with colour at every corner and comic mishaps present throughout the scheme to marry rich men. He is aided by a witty script, that cackles with one-liners and a nice rapport between the central trio of gold diggers. This was one of the first movies to use CinemaScope and this is highlighted by an orchestra sequence that just brings sparky energy to what will follow shortly. Costume design is stunningly beautiful and of the highest standard there is in Hollywood glamour. How to Marry a Millionaire may have the odd snag here and there with some of it a little outdated and slow, but overall it’s a delightful fill of breezy quality and amusing wit. A lively and very brisk musical score compliments the many mishaps that occur with a mischievous charm and glee.

The three main actresses in this film are fine in their roles and boast an excellent rapport with one another. Betty Grable brings eager charms but clueless wide-eyed gazes to the part of Loco, who has habit of finding men at the supermarket. The beautiful Marilyn Monroe is pitch perfect as the sweet, dreamy and fawning Pola, whose self-consciousness about wearing glasses leads to many a comedic moment when she almost walks into walls or people. But the scene stealer of How to Marry a Millionaire is Lauren Bacall. With her dry and acerbic delivery and clearly the brains behind the scheme, Bacall is having fun as the opportunistic Schatze and brings a ton of personality to her. Like I said earlier, the three women have a great chemistry around each other as they put their plan into motion, but find unexpected results occur. The men of the picture are suitably good, with Cameron Mitchell and William Powell standing out, but it’s the colourful ladies that you will remember after the film ends.

Witty, vibrant and full of laughs, How to Marry a Millionaire is an excellent showcase for the female talent involved that will no doubt make you want to watch it again.

 

Murder on the Orient Express

Tags

1970's, Agatha Christie, Albert Finney, Anthony Perkins, Colin Blakely, Denis Quilley, Ingrid Bergman, Jacqueline Bisset, Jean-Pierre Cassel, John Gielgud, Lauren Bacall, Martin Balsam, Michael York, Murder Mystery, Murder on the Orient Express, Rachel Roberts, Richard Widmark, Sean Connery, Sidney Lumet, Vanessa Redgrave, Wendy Hiller

Film Title

Murder on the Orient Express

Director

Sidney Lumet

Cast

• Albert Finney as Hercule Poirot
• Lauren Bacall as Mrs. Hubbard
• Martin Balsam as Bianchi
• Ingrid Bergman as Greta Ohlsson
• Jacqueline Bisset as Countess Andrenyi
• Michael York as Count Andrenyi
• Jean-Pierre Cassel as Pierre Michel
• Sean Connery as Colonel Arbuthnott
• John Gielgud as Beddoes
• Wendy Hiller as Princess Dragomiroff
• Anthony Perkins as Hector McQueen
• Vanessa Redgrave as Mary Debenham
• Rachel Roberts as Hildegarde Schmidt
• Richard Widmark as Ratchett
• Denis Quilley as Antonio Foscarelli
• Colin Blakely as Hardman

Surely one of the best adaptations of an Agatha Christie novel, Murder on the Orient Express is a splendid, stylish and sensational murder mystery boasting what has to be one of the most star-studded casts ever assembled on film. Elegantly directed by Sidney Lumet and with a sumptuous recreation of the elite of the 30’s in costume and decor, Murder on the Orient Express is not to be missed for fans of movies that are often referred to as ‘films they just don’t just make like this anymore’.

Hercule Poirot, the famous Belgian detective is travelling aboard the eponymous train from Istanbul to Paris, then he will travel to England to attend important business. The train is unusually crowded but the eccentric Poirot has managed to find a cabin by way of his friend Bianchi, who is also travelling on the same journey. Poirot is approached by a secretive businessman named Ratchett, who offers him a large sum of money if he can find out who has been sending him threatening letters. The detective has no interest in the case and turns it down. The next morning, Ratchett is found dead, stabbed a dozen times in his bed. It is then up to Poirot to investigate the case as the train has been caught in a snow drift somewhere in the Balkan Regions on the night of the murder. He is surrounded by a rich array of suspects including; the loquacious and obnoxious Mrs. Hubbard, the simple-minded Swedish missionary Greta Ohlsson, the icy and glamorous Count and Countess Andrenyi, the quiet conductor on the train Pierre Michel, Colonel Arbuthnott, an officer in the British Indian Army, the buttoned up valet of the deceased, Beddoes, the ageing Russian royal Princess Dragomiroff, Hildegarde Schmidt, her personal maid, Hector McQueen, the secretary to the deceased, Mary Debenham, a teacher and paramour of Colonel Arbuthnott, Foscarelli, an Italian-American car salesman and Hardman, a secretive agent for a detective service. As he investigates, Poirot deduces that Ratchett was really a gangster, who played his part in the notorious kidnapping and murder of Daisy Armstrong, a prominent aviator’s daughter, many years before. Through interrogation and the exercise of his ‘little grey cells’ Poirot tries to figure out this bizarre case filled with secrecy and enshrouded with shocks and red herrings. So sit back and enjoy as the detective makes his way through the case in which nothing is as it seems.

Sidney Lumet keeps the atmosphere of the time and gradual deducing of the crime through employing a brisk pace to the film and making exceptional use of the camera. Nowhere is this more apparent than in Poirot’s excellent denouement in which he paces up and down the carriage and recounts his findings. The way the camera captures the faces of the guests, filled with anxiety, astonishment and shock as they silently listen, is quite masterful as the complex case is laid bare in front of them. The opening sequence in which the history of the Armstrong Case is shown whilst intercut with newspapers clippings, is another highlight of lighting and atmosphere, getting the film off to a suspenseful and haunting start. The magnificent score exudes suspense and glamour and is a great attribute to the film.

The star-studded cast is almost certainly the biggest draw in the film, even if some actors are underused in the process.  Albert Finney is particularly eccentric and witty as Poirot, stealing the show as he delves into one of the most complex cases in his illustrious career. Lauren Bacall is acerbically funny as the chatty Mrs. Hubbard, her fussy outbursts masking her quiet intelligence. Martin Balsam has some great scenes with Albert Finney as the panicking Bianchi, who is the one who entrusts the case with Poirot. In a small but well-played part that won her an Oscar, Ingrid Bergman is luminous and touching as the missionary with poor command of English. Jacqueline Bisset and Michael York are icily impressive as the wealthy count and his beautiful bride. Jean-Pierre Cassel exudes a quiet intensity and shyness as the conductor Pierre, who is still a suspect despite helping out in the case. John Gielgud relishes the witty lines as the buttoned-up and knowledgable butler Beddoes. Wendy Hiller shines as the evasive member Russian royalty, along with Rachel Roberts as the terse German maid. Vanessa Redgrave glows in her role of the English teacher who doesn’t take kindly to Poirot’s questioning about her relationship with the colonel. In the brief but important role of Ratchett, Richard Widmark is sly and disagreeable even though he knows it’s only a matter of time before something happens to him. On the underused side, unfortunately is  Sean Connery who has nothing much to do in the film except vehemently disagree with Poirot. Anthony Perkins could have been used better, instead of him turning in another variation on Norman Bates. Denis Quilley and Colin Blakely are also not used to any real effect.

Despite the wasting of certain actors talents and the pace lulling at various points, Murder on the Orient is none the less a distinguished and thrilling adaptation of Agatha Christie’s murder mystery, presided over by the excellent direction of Sidney Lumet.

Written on the Wind

Tags

1950's, Dorothy Malone, Douglas Sirk, Lauren Bacall, Melodrama, Robert Stack, Rock Hudson, Written on the Wind

Film Title

Written on the Wind

Director

Douglas Sirk

Cast

• Rock Hudson as Mitch Wayne
• Lauren Bacall as Lucy Moore Hadley
• Robert Stack as Kyle Hadley
• Dorothy Malone as Marylee Hadley
• Robert Keith as Jasper Hadley

Douglas Sirk creates a withering indictment on the hollow lifestyles of the rich and a critical look at family in 1950’s America in the magnificent melodrama Written on the Wind. Douglas Sirk, often thought of as the king of melodramas, draws excellent performances from his cast whilst binding this story of a perverse and deeply messed up family in the trappings of a lurid soap opera that helps sow the seed for shows such as Dallas and Dynasty. But rather than turning the material into overheated tosh, in Sirk’s hands the film becomes a scathing and ironic satire with hidden depths on the nature of familial ties and the ways in which they sever.

The story concerns the lives of four characters caught in a paranoid web of anger, frustration and deceit. Mitch Wayne is a well-meaning worker for Jasper Hadley, a prosperous oil baron from Texas. He looks up to the man as he has been friends with his kids since childhood. Kyle Hadley, the insecure and alcoholic son of Jasper, is Mitch’s best friend and longtime confidante. Problems arise in their friendship when Kyle impulsively marries the intelligent and hard-working secretary Lucy Moore after a brief courtship. Since Mitch first met Lucy, he has carried an earnest longing for her, but out of respect for his friend has never acted upon his feelings. Rounding out the quintet is Kyle’s sister Marylee; a manipulative, frustrated nymphomaniac who will stop at nothing to sink her talons into Mitch even if it means driving a wedge between her brother and his long-standing best friend. Prepare for electric arguments, sexual frustration and the plaguing of inner demons as the four characters each bring out unforseen and tragic circumstances in each other in this frothy melodrama from Douglas Sirk that burns with a luminous intensity and critically views the trappings of being rich but unhappy.

The first thing that should be praised in Written on the Wind is the visual palette. Sirk’s longtime cinematographer Russell Metty bathes the scenes in a gaudy and vulgar brightness to highlight the pains that lie just beneath the material surface of the Hadley family. The costume design is perfectly chosen, especially in the trashy and flashy outfits sported by the bitchy Marylee as she weasels her way around her longstanding object of desire Mitch. The music is stunningly scored, capturing the dramatic resentment and intensity that will eventually implode the relationships of the quintet. Assembling a talented cast, Sirk lets them create convincing portraits of rich anguish, especially the supporting players. As the well-meaning Mitch who eventually begins to see his friendship sour with Kyle, Rock Hudson creates an earnest character who silently burns with a secret love for a women he knows he can’t have. Lauren Bacall is ideally cast as Lucy, who becomes a steadying influence on her husband as he descends into the depths of alcoholism but who ultimately can’t save him from the tormented feelings he holds inside. As the wayward playboy and tormented son of Hadley, Robert Stack boils with barely concealed rage as he becomes paranoid that his family and friends are turning against him. The real showstopper of the piece is Dorothy Malone in an Oscar-winning performance; who creates an indelible portrait of a scheming bitch burnt by rejection who sets in motion a series of tragic events. Whether flaunting her body by the lake, attempting to seduce Mitch at a family party or sending her old father to his grave with her feral ways, Malone imbues Marylee with a deliciously venomous streak and boundless seductive energy that radiates off the screen with a malicious glee. In a brief but memorable role, Robert Keith shows us the effects that his wayward children have had on him and created a weariness around him.

The story may sound like the same thing you’ve seen a million times on prime time soaps, but don’t let that put you off seeing Written on the Wind as it becomes a magnificently scintillating masterwork from Douglas Sirk. Even if the plotline doesn’t interest you one bit, the full-blooded performances, devilishly crafted screenplay and exceptional mood and setting may entice you into watching this scathing look at the frailties of the rich and resentment and tightly coiled emotions that eventually amount to shocking circumstances.