The Sentinel

Tags

1970's, Arthur Kennedy, Ava Gardner, Beverly D'Angelo, Burgess Meredith, Chris Sarandon, Christopher Walken, Cristina Raines, Deborah Raffin, Eli Wallach, Horror, Jeff Goldblum, Jerry Orbach, John Carradine, José Ferrer, Martin Balsam, Michael Winner, Sylvia Miles, The Sentinel

Film Title

The Sentinel

Director

Michael Winner

Starring

• Cristina Raines as Alison Parker
• Chris Sarandon as Michael Lerman
• John Carradine as Father Halliran
• Burgess Meredith as Charles Chazen
• Ava Gardner as Miss Logan
• Deborah Raffin as Jennifer
• Arthur Kennedy as Monsignor
• Eli Wallach as Detective Gatz
• Christopher Walken as Detective Rizzo
• Martin Balsam as Professor Ruzinsky
• José Ferrer as Robed Figure
• Sylvia Miles as Gerde
• Beverly D’Angelo as Sandra
• Jeff Goldblum as Fashion Photographer
• Jerry Orbach as Director

A 70’s horror with an all-star cast, I was expecting The Sentinel to be a treat. Alas, it was a shoddy mess that descended into ludicrous and incomprehensible places. There are nary any positives in this film, which could have been something special, fur floundered into the abyss of rubbish.

Alison is a young, pretty model living in New York. Though in a relationship with slick lawyer Michael Lerman, she is reluctant to move in with him or consider engagement. She decides to find her own place to live. While seemingly living the high life, Alison has baggage in her memories that still haunt her and refuse to let go. Continuing looking for a place, she is recommended by realtor Miss Logan, a beautiful Brooklyn Heights apartment. She notices a man in the top apartment window. Miss Logan informs her that it is Father Halliran, a blind priest who seems to sit there without ever really moving. Thrilled at the scope of the place and the reasonable amount being asked for, Alison moves in. Shortly after arrival, Alison encounters some of the strange tenants of the building, starting with the peculiar and intrusive Charles Chazen. Gradually, Alison’s nights are disturbed by horrific visions of her troubled past that involved an attempted suicide and is plagued by unnerving noises from another apartment. Frightened yet very curious, Alison is then shocked to learn that only she and Father Halliran reside in the complex, with no one having previously occupied it for three years. Becoming more alarmed by events that may or may not be real, Alison crumbles completely. Somehow, she is linked to a centuries old pattern that the apartment block has which poses a deadly and potentially otherworldly trouble. Can Alison really figure out why these visions appear and what sinister designs are being made for her?

Michael Winner gets some atmosphere going at the start, but his lack of taste and frankly trying direction makes The Sentinel really drag and go into a place of boredom. He plays up the overt sensationalism and outrageous moments to an extent that they aren’t frightening or remotely chilling. The visual style is one positive point( even though it’s sadly only one such instance) finding a certain gloss and at least setting some spooky aura. This however is drowned out by the sheer implausibility and inanity  of it all, that causes The Sentinel to be a major let down. The Sentinel film that could have been something if thought had actually gone into. What we are left with is a confused and histrionic film, that doesn’t generate hardly any terror or resonance. There is one scene that is rightly celebrated for its scare factor, but apart from that, The Sentinel is laughable and deplorable. I mean, I’m game for some campy and melodramatic moments in horror, often they can be quite fun. But the overload, coupled with a dragging, not to mention hard to follow story, was too much for me to take. And there is one thing in The Sentinel that really left a bad taste in my mouth. When all hell breaks loose and the supposed fright of the movie is in swing, one manifestation of evil is depicted as people with prominent deformities. The main thing I took issue with was that the people used were actually deformed themselves. When you put a physical defect or disability on screen, it should be done with respect. Here, it equates the deformities with evil, which really didn’t lie well with me. It felt exploitative and mean-spirited, especially as the implication it made was in very poor taste. The music score is passable with some unusual passages, yet like the rest of The Sentinel, over cooks events to a laughable degree.

As aforementioned, The Sentinel has an unbelievable cast. The sad news is, hardly any of them are given anything to work with and show off their skills. Cristina Raines, in the lead of tormented model, is basically required to look frightened and pretty. She does both things well enough, but there’s nothing really meaty for her else to do. Chris Sarandon at least tries his best with putting some cocky attitude into the role of the lawyer boyfriend. John Carradine, heavily made up to look older, is pretty effective as the largely silent priest whose eerie presence hangs over the building. Burgess Meredith rocks creepy to the hilt as a pesky and very unusual neighbour, who becomes more than just a common nuisance. Ava Gardner is completely wasted as the realtor of the place, only appearing a handful of times and not equipped with much in the way of action to play. Deborah Raffin is pretty bland as Alison’s best friend, while experienced veteran actor Arthur Kennedy at least contributes some mystery as an enigmatic priest. Eli Wallach and a young Christopher Walken are seen in a thread of the story that makes no sense and wastes the obvious talents of two reliable stars. Martin Balsam and José Ferrer, two fine actors, both appear in blink and you’ll miss it roles which is extremely unfortunate. Sylvia Miles and Beverly D’Angelo certainly have the strangeness down in their parts, but not much else because the script restricts them. Bit parts are also handed to Jeff Goldblum and Jerry Orbach. The mix of old and new stars was supposed to be amazing, but they are never given any time to shine or strut their stuff.

A big mess of a movie that showed potential but quickly became farce, The Sentinel is one to avoid in the horror genre.

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.

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.