Broken Lance

Tags

1950's, Broken Lance, Earl Holliman, Edward Dmytryk, Hugh O'Brian, Jean Peters, Katy Jurado, Richard Widmark, Robert Wagner, Spencer Tracy, Western

For my first entry into Crystal’s Tracy and Hepburn blogathon, I covered the classic movie The African Queen yesterday to celebrate the talents of Miss Hepburn. Today. I’m going to honour the greatness of Spencer Tracy with my review of the 50’s Western, Broken Lance.

Film Title

Broken Lance

Director

Edward Dmytryk

Starring

• Spencer Tracy as Matt Devereaux
• Robert Wagner as Joe Devereaux
• Richard Widmark as Ben Devereaux
• Katy Jurado as Señora Devereaux
• Jean Peters as Barbara
• Hugh O’Brian as Mike Devereaux
• Earl Holliman as Denny Devereaux

A western with definite Shakespearean overtones to it, Broken Lance is a resounding success with its fine cast and confident direction that bring drama and emotion to the genre.

Matt Devereaux is the hardened and tough patriarch of four sons and most proudly, a cattle empire that is his life’s work. While successful with his business due to his ruthlessness and charisma, his parenting hasn’t been particularly special. For Ben, Mike and Denny, he has been a tyrant since they can remember and forced his temperament onto them. For his youngest son Joe, it is a different picture as he respects his father and is good at judgement. This doesn’t go down at all well with any of the other brothers. Further animosity is present as Joe is mixed race, owing to Matt’s marriage to the dignified Señora Devereaux, a Native American princess. Ben in particular feels resentment towards this and also the fact that his father is refusing to modernise their business in a changing world. Matt however is too old and determined to change his ways, least of all for his children who he finds largely ungrateful. Trouble brews when a nearby copper mine pollutes the water supply, leading to the death of many of Matt’s cattle. The grizzled Matt takes matters into his own hand and raids the mine. The law gets wind of this and Matt is threatened with prison for his actions. It is here that tragedy and turmoil really come out among the four brothers, leading to eventful and irrevocable changes.

Edward Dmytryk directs this highly charged Western with the right flavour for drama and character. Broken Lance is essentially a Western interpretation of King Lear, with the daughters being replaced with sons and the King being a cattle ranch owner. But the presence of that great play gives Broken Lance more of an edge in comparison with other traditional Westerns. The script, using characters and depth, is largely responsible for this and how it depicts the unfolding tragedy of the family. Plus, in a rare move for a Western of the 50’s, Broken Lance features a positive representation of Native Americans. The vast majority of depictions in Westerns is a negative one; Broken Lance rectified this by having the main Native American characters be people of virtue and right. I respected Broken Lance for taking this stance and also highlighting the prejudice faced by Native Americans. My only niggle with Broken Lance is that I wish it were longer; the film is quite short and while a fine Western, I wanted just a little bit more. That shouldn’t however take away from the excellence of the overall movie and how it has a difference to it that most Western’s do not take. It’s with the drama that Broken Lance particularly excels at and while there is action present in Broken Lance, it never descends into just another shoot out movie. A grandiose score really gets us into the events of this Western with flourishes of strings and drums.

At the centre of it all and completely dominating events is the marvellous Spencer Tracy, in full grizzled and boisterous mode. The character of aging patriarch with his own brand of justice and love for his land( at the expense of the love from three of his sons), Tracy explores the various facets of him with rich texture. On one hand, he’s a domineering man who it must be said has been harsh towards his sons in terms of wanting them to follow him. But in another breath, he’s a very charismatic man who has worked hard to make his cattle ranch a success and is thwarted by the ineptness and animosity of his three older sons. Such a great combination from an accomplished actor is the main source of vitality in this dramatic western. Robert Wagner, in a very early role, manages the decency and respect of a young man who looks up to his father, yet suffers because of it. It’s a good showing from the then young actor. The ever effective Richard Widmark( always exceptional when playing a wrong un), brings seething rage and resentment that lead him to ruin and dishonor the father he thinks has forsaken him for his entire life. There is still some humanity in there, but Widmark most succeeds at discovering the nastiness and bitterness of the part. In support, Katy Jurado beautifully captures the dignity and strength of Matthew’s second wife, who knows all about the prejudice aimed her way but rises above it with grace and humility. Sometimes just a look from her is enough to voice her inner thoughts and love, the role providing a peaceful balance to the frequent clashes between the men of the movie. Jean Peters is the pretty love interest for Wagner and sweet enough to pull it off. Hugh O’Brian and Earl Holliman are honestly not given much to do but follow their older and more resentful brother, but do the job good enough.

A character driven Western that has the right amount of drama and action to it, Broken Lance showcases great direction and acting, particularly from the legendary Spencer Tracy.

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.

Judgment at Nuremberg

Tags

1960's, Burt Lancaster, Courtroom Drama, Judgment at Nuremberg, Judy Garland, Marlene Dietrich, Maximilian Schell, Montgomery Clift, Nuremberg, Nuremberg Trials, Richard Widmark, Spencer Tracy, Stanley Kramer

Film Title

Judgment at Nuremberg

Director

Stanley Kramer

Cast

• Spencer Tracy as Judge Dan Haywood
• Burt Lancaster as Ernst Janning
• Richard Widmark as Colonel Tad Lawson
• Marlene Dietrich as Madame Bertholt
• Maximilian Schell as Hans Rolfe
• Judy Garland as Irene Hoffman Wallner
• Montgomery Clift as Rudolph Peterson
• Werner Klemperer as Emil Hahn

Synopsis: At the end of World War II, a New England judge is sent to Nuremberg,Germany to preside over the trial of four men accused of carrying out Nazi crimes.

Judgment at Nuremberg is the riveting, shocking and powerful courtroom drama that presents a fictional account of one of the many Nuremberg trials. Stanley Kramer, who was known and sometimes decried for his so-called message movies, proved that he could direct a film with real meaning and careful handling of an extremely controversial issue with this film that was nominated for eleven Oscars. The film won two, one for Best Actor for the then unknown Schell and one for Abby Mann’s script. As director and also producer Kramer assembled a once in a lifetime cast headed by Spencer Tracy; no matter how big or small the role is in the movie each actor brings something special to the part.

What I liked most about the film was the way in which it presented a controversial issue and didn’t leave out anything important or cover it up. Whereas some courtroom dramas can drag on and become monotonous, Judgment at Nuremberg kept me glued to the screen throughout its lengthy running time.

Courageous Cameos

One of the most important things that drew me into the film was the various performances. For a movie with a starry cast it didn’t relegate anyone to the side lines but let each member give something unique to the film. In a performance that lasts for around ten minutes, a barely recognizable Judy Garland gives an emotional and heart wrenching weight to the film as Irene Hoffman, a German woman whose friendship with a Jewish man had her imprisoned and him murdered.  The moment, in which she breaks down after being intensely questioned during the proceedings, is sad to watch, one needs only to look at her eyes to see the pain it is causing her.

Montgomery Clift also gives an equally harrowing and poignant performance as Rudolph Peterson; a man considered feeble-minded who was sterilised for this reason by the Nazis. When I viewed the scene in which Clift nervously recounts what happened to him, and vehemently tries to deny that he is not feeble-minded, I was shocked and repulsed at how things such as this could have happened to people.

 Opposing Views

Another aspect of the film that I found interesting was the clear difference of the two men in charge of the proceedings, the American Colonel Lawson and the German Hans Rolfe. One of them wants every Nazi to pay for what they did while the other says that the men accused were merely following the orders given to them.  This presents an interesting point as there are no easily identifiable bad guys in the film and the proceedings that follow are enthralling because of this.  Both Widmark and Schell are outstanding as polar opposites who often verbally clash during the Trials. Marlene Dietrich is also outstanding and convincing in a role not usually associated with her; her general role was as the femme fatale or the seductive cabaret girl. But in this film she portrays a German widow whose Nazi husband was killed during another trial. I think her character is interesting as she is the flip side of what people saw at the time as the stereotype of German people and she tries to convince Judge Haywood that Germans are not all monsters. Although he doesn’t talk a lot in the film (except his two highly dramatic monologues) Burt Lancaster is amazing and barely recognizable as one of the four men accused of carrying out the atrocities. Star Trek fans should look out for William Shatner in a small early role as a captain.

Stereotypes and Identity

Nuremberg investigates the theme of national identity. At the time of the film’s release, German’s where not seen in a good light. This is why the character of Madame Bertholt is featured in the film. She is there to show that not all German’s believed in Nazism during the World War.

Identity is also apparent throughout the court proceedings, it is examined in the case of Irene’s friendship with a Jewish man that had tragic and horrific consequences. The court looks at the way in which Jew’s were treated during the Holocaust.

The horror of the Concentration Camps

The main scene that has stayed with me is when Lawson shows real footage from concentration camps as evidence in the court proceedings; it is a haunting and extremely dramatic scene that lives long in the memory.  Up until this point in time, hardly any footage from the Camps had been shown, so one can imagine the audience reaction when the film was shown in 1961.  I remember how shocked I felt when I watched this scene; it was one of those moments where something is so shocking that you must continue watching it. I thought that it was a bold and brave move to feature this footage as the Nuremberg Trials and the Holocaust where issues that needed to be addressed. The film didn’t shy away from dealing with the issue honestly and the results are fantastic and extremely realistic.

The real star though for me is Tracy, he brings a dignity to the character of Judge Haywood who the burden of the case lies on.Tracy brings his usual understated personality to the part and he is the person who is most conflicted throughout the proceedings. In the end the difficult decision falls upon his old and wise shoulders.

Judgment at Nuremberg is a fantastic courtroom drama that deserves to be better known. This film is a prime example of how a drama about a serious issue can still be enthralling and thought-provoking without being boring.