Category: Classic Films

Film Review: It Happened One Night

Since Hollywood began handing out gold plated statues in 1929 for the recognition of excellence in the movie industry, only three films have ever won all five major awards – the Oscar Grand Slam – Best Picture, Director, Actor, Actress and Screenplay. The most recent was in 1992 when The Silence of the Lambs swept the board and Hannibal Lecter declared to the world his penchant for fava beans and a nice chianti. Prior to that it was Milos Forman’s One Flew Over the Cuckoo’s Nest in 1976. The first time occurred forty one years earlier when It Happened One Night became the movie that helped put the then minor studio of Columbia well and truly on the map.

Frank Capra, a rising star when the silent era morphed into the ‘talkies’ directed It Happened One Night and would later go on to make such Hollywood gems as Mr. Smith Goes to Washington (1939) and It’s a Wonderful Life (1946). In total, he would win three Oscars out of six nominations for his directing and another three out of seven nominations for Outstanding Production/Best Picture.

Numerous actors were considered for the two leads before Clark Gable and Claudette Colbert signed on. Robert Montgomery and Myrna Loy were among them but rejected the parts because they didn’t feel the script wasn’t good enough. It’s said that Gable was lent to Columbia by MGM’s boss Louis B. Mayer as some form of punishment for refusing roles at his contracted studio but while this may or may not be true, it does give an air of plausibility to Gable apparently turning up for work on the first day of shooting and grumbling – ‘Let’s get this over with.’

The atmosphere on set was pretty tense as filming got under way but Gable and Capra enjoyed making the movie. However, it is said that Colbert did not. She was the sixth actress to be offered the role and reluctantly accepted the part only after Capra had agreed to double her salary to $50,000 and guarantee that she would have to work no more than four weeks. One might think that would make the pill easy to swallow but  she was reportedly difficult on set and whined about something virtually every day. When filming had wrapped, she complained to a friend, “I just finished the picture in the world.”

After opening to luke warm business and indifferent reviews, it gained a secondary movie house release, word of mouth spread and the box office receipts went through the roof. It became Columbia’s biggest hit to date and had an immediate impact on the public. One scene has Gable undressing for bed, taking off his shirt and revealing himself to be bare-chested. This was because removing his undershirt as well didn’t fit in with his humorous dialogue and so the undershirt was abandoned altogether. It apparently lead to a noticeable decline in the sales of men’s undershirts. Also because the two characters travel on a Greyhound bus for a significant part of the film, the public’s interest in bus travel increased nationwide.

Although the plot may be well-known to our modern audiences, at the time it was a story largely untapped. Spoiled heiress (Colbert) runs away from home because her father has forbidden her to marry a man he doesn’t like. She boards a bus to New York City to reunite with her husband-to-be and runs into a struggling newspaper reporter (Gable), fellow passenger and all-round charming rogue. She’s soon without the means to get to her desired destination and so he (recognising who she is) offers to help in exchange for her story. She agrees out of necessity and they form a squabbling, travelling alliance. Their adventures together leads them to fall in love but in the finest tradition of great storytelling, it’s not as straightforward as it might sound.

There’s great humour throughout this wonderful film and both leads play their parts superbly (regardless of how they felt). The scene where they first meet aboard the bus sets the standard but a hitch-hiking scene later on is possibly the highlight. Gable’s assurance that he’s an expert in thumbing a lift and Colbert’s subsequent belittling him is an absolute joy to watch. Gable’s nibbling on a carrot while rapidly talking at the beginning of this sequence is rumoured to have influenced the creation of Bugs Bunny too. The subtleties of Gable’s performance is a perfect blend of rapidly delivered wisecracking dialogue and moments of romantic tenderness but he never loses that hard-as-nails streak of downright manliness that personified him throughout his career and helped cement his status as The King of Hollywood. When he tells you to “Beat it!”, you really don’t want to hang around to find out what’ll happen if you don’t. Likewise, Colbert’s portrayal of the spoiled brat who suddenly finds herself roughing it outside of the pampered world she’s only ever known is a marvel. It’s no wonder she would soon become the highest paid actress in Hollywood and I’m sure as the box office receipts piled up, Capra would have admitted she’d been worth her hefty fee.

In 1993, It Happened One Night was selected for preservation in the United States National Film Registry by the Library of Congress as being “culturally, historically or aesthetically significant.” I think the word ‘significant’ is a good one to wrap this review up with. It is a significant film and a sublime example of a romantic comedy of its time. In cinema terms, it also epitomises the word ‘classic’.

 

 

 

 

 

The Killers – Film Review

The more I delve through the cinematic archives, the clearer it becomes that the 1940s was the decade for film noir. Like Double Indemnity two years earlier, The Killers, made in 1946, is a terrific example of the genre. Once again, I watched this classic for the first time a couple of days ago and am amazed that I’d never seen it before. I make it no secret that I’ve always been a great fan of the genre.

The Killers is the title of a short story by Ernest Hemingway and the first twelve minutes of the film which sees a pair of hit men enter a diner one evening in their search for and ambush of “Swede” Andreson is a faithful adaptation of his writing. Played by William Conrad (later of TV’s Cannon and Jake and the Fatman fame) and Charles McGraw, the two assassins open the movie with an incredible sense of menace and deadly intent. The dialogue is sharp and typical of tough guys of the era and you are immediately gripped by the tension and sense of foreboding.

Their mission is to kill Swede (Burt Lancaster) who they know comes in every evening at around 6pm for his dinner but tonight he’s late and the diner’s owner manages to convince the gun men that he won’t be coming in so late. So they leave the diner and head for Swede’s apartment. Swede’s co-worker, who was in the diner when the killers arrived, bolts out the back way and warns Swede that the men are coming for him but Swede, laying on his bed in a cold sweat of resignation, makes no attempt to escape. The killers break in his door and gun him down. Brilliant, brilliant opening.

The rest of the film (an original screenplay co-written by an uncredited John Huston) follows life insurance investigator Jim Reardon (the always excellent Edmond O’Brien) who has been assigned to locate and pay the beneficiary of Swede’s policy. As he tracks down and interviews the dead man’s friends and associates and slowly pieces together the puzzle of Swede’s life, we learn through well-constructed flashbacks that the Swede was involved in a $250,000 heist and then how he came to meet his demise the way he did.

Being a noir, the film obviously has a big cheese bad guy and a delicious femme fatale and Albert Dekker and Ava Gardner fill these roles superbly, respectively of course. Indeed, the entire cast is well put together and Lancaster, 33 years old and in his screen debut, plays his role of a pro boxer washed up through injury then falling for a mobster’s girl and mixing with the wrong crowd admirably. He has a likability and the unmistakable presence that would quickly make him a star.

The black and white cinematography, so often a defining trademark of the noir genre, doesn’t disappoint here. There are many moments of beauty where starkness, shadow and silhouette take turns to create mood and enhance the atmosphere. Sometimes it’s worth watching these films just to see what the director is doing and in this case, Robert Siodmark, a pupil of the highly influential school of German Expressionism really knew his beans.  The lighting inside Swede’s apartment when Reardon encounters “Dum Dum” looking for the loot and then later inside the Green Cat night club towards the end of the film are just perfect. Check it out and see what I mean.

All in all, a great film and a great noir. The use of flashback gives it a different feel to the usual main character narrative but it takes nothing away. Full of colourful, untrustworthy characters and intrigue, it’s definitely another one worth watching.

 

Film Review: Double Indemnity

Well, yesterday it happened to me again (and I don’t mean another bout of embarrassing public itching). I watched an amazing old movie for the first time and wondered how on earth it is I’d never seen it before. ‘Course, I’d heard of it somewhere, sometime but never felt inclined to watch it. Maybe it’s the film’s title, I don’t know. But having recently read a biography of Raymond Chandler – that wittiest and most influential of all hard-boiled crime writers – and learning that he had, in the 40s, worked as a screenwriter in Hollywood and had in fact co-written Double Indemnity, I sought it out and gave it a viewing.

Chandler is perhaps most famous for creating the character of Phillip Marlowe, the private detective that was made universally famous by Humphrey Bogart in The Big Sleep in 1946. His distinct writing style and in particular, his ability to pen incredible dialogue has been often parodied but never bettered. This “Chandleresque” touch is clearly evident in Double Indemnity as the actors deliver their lines.

The story, based on a novella of the same name by James M. Cain, begins when Walter Neff (Fred MacMurray) an insurance salesman for Pacific All Risk makes a routine house call on Phyllis Dietrichson (Barbara Stanwyck) to renew her husband’s car insurance policy. There is an instant attraction between the two and plenty of flirting takes place until she asks about taking out a life insurance policy on her husband without his knowledge. Neff understands immediately that she has murder in mind and does what any sane insurance man would do and gets the hell out of there. But later that evening, she turns up at his apartment and continues to seduce him and before long, his gullibility and lust for her vanquishes his caution and the two agree to kill her old man.

Neff, being a hotshot insurance man, knows all the tricks of the business and comes up with a foolproof plan to get rid of Mr Dietrichson in such an unlikely way that it will trigger the “double indemnity” clause of the policy thereby making Pacific All Risk liable to pay Phyllis twice the policy amount of $50,000. The plan (which I won’t divulge so as not to spoil the film for those of you who haven’t seen it) goes off pretty smoothly and before you know it, the mourning Mrs Dietrichson is preparing to get her blood-stained hands on the dough.

But Neff’s friend and colleague at Pacific All Risk, Barton Keyes (Edward G. Robinson, who plays a claims investigator) begins to smell a rat and although the head of the company believes the death to be suicide and is willing to settle the claim, Keyes persuades him otherwise by quoting a bunch of statistics on the probability of suicide. There are further complications for Neff when he becomes friendly with the victims daughter who believes Phyllis is responsible for her father’s death and…under the masterful direction of Billy Wilder the tension grows and grows.

As a film noir, it really is one of the finest American examples and clearly set the standard for those of the genre that would follow. The dialogue is a thing of beauty (typical Chandler), the acting is faultless – particularly Edward G. Robinson who in my opinion steals every scene he’s in – and the black and white cinematography is superb. The way they used light and shadow and silhouettes in those days was simply genius. It was nominated for seven Oscars but bizarrely failed to win any but in recent years it has been recognised in all manner of the American Film Institute’s 100 Years…100 something or other categories.

Stanwyck plays her femme fatale with controlled coolness and MacMurray is ideally cast as the charming yet somewhat weak willed louse. It’s interesting to note they were both playing against type in these roles and equally interesting that they were also the two highest paid stars in Hollywood around the time of filming. Robinson is always value for money and despite being third on the bill, he received the same pay as the two leads. To watch the scene where he’s spouting statistics is to watch a true pro at work. Sublime stuff. And if you don’t blink, you’ll even see Raymond Chandler in a one-off cameo (and the only known film footage of him in existence), sitting in a chair as Neff walks by on his way from Keyes’ office.

The film noir genre is probably something that I’ll come back to soon because there are a great many movies worth writing about and watching but for now, if you’re in a mind to watch just one, watch this one. You won’t be disappointed.

Film Review: Went The Day Well?

Summon up an image of a quintessential picturesque English village and it’s quite likely you’ll get somewhere close to Bramley End, the fictitious setting for this 1942 WWII drama. Surrounded by rolling countryside, bees hum in untended hedgerows and butterflies flutter by in the warm spring sunshine. Narrow country lanes connect Bramley End to the neighbouring village of Upton Ferrars nearly seven miles away. There are picture-postcard cottages aplenty, their windows and front doors half obscured by climbing roses and honeysuckle and a church at the heart of the village and the church is our first stop as the film’s opening titles end. It’s here that a friendly pipe-smoking local welcomes us with a “Good day to you,” and leads us to the unusual memorial that we have no doubt come to see. It’s unusual because it has the names of German soldiers written on it. German names in an English graveyard? How bizarre. The local then proceeds to tell us how such a thing came about.

Saturday morning on a sunny Whitsun weekend in 1942 and a group of lorries filled with British soldiers rolls into the village. Apparently on an exercise of some sort for three days, they ask the villages for billeting for sixty men who, once the arrangements are made, settle into various houses around the village as well as the village hall. The villagers see it all as frightfully exciting and welcome them gladly but it doesn’t take long for them to discover that the soldiers are actually Nazis forming the vanguard of a German invasion of England. With their cover now blown, the Germans round up the villagers and lock them in the church while the children are held captive in the local manor house and supervised by the kind matronly lady of the manor. An attempt by those locked in the church to escape and get word to the neighbouring village is thwarted by a traitor among them, the village squire (played by Leslie Banks) who is revealed to be collaborating with the Nazis.

That night at the manor, a plucky young lad named George shins down a drainpipe after lights out and escapes into the woods to get help from Upton while at the same time, a group of extremely stiff upper lips finally manage to overpower their Nazi guards at the church. There follows numerous gun-butts to Nazi heads, a lot of gunfire and plenty of heroics from the stoic and defiant locals and just as their bullets are running out, a force of nearby British soldiers arrives to bring an end to proceedings. Oh, and as for the traitor….well, you’ll just have to see for yourself.  All in all, a nicely shot little film from Ealing Studios with a cast packed full of familiar faces, some that you’ve never seen so young – if you thought Thora Hird was born a bespectacled granny then check this out; it was her first major role and she was a 31year old sweetheart.

But what marks this film out as truly interesting is its propaganda quality. Bearing in mind it was made when the Second World War still had two years to go, the introduction that the pipe-wielding local gives us at the start of the movie is a post-war one. He speaks of the newspapers calling the event at the village “The Battle at Bramley End” but that nothing was said of it until after the war was over and “old Hilter got what was coming to him.” One can only guess the impact such a film would have had on its audience, particularly one that knew all too well that the only thing separating them from occupied Europe was a narrow strip of water. Hitler’s planned invasion of the UK “Operation Sea Lion” may have been indefinitely postponed by 1942 (due in part to the Germans not having air superiority over the channel) but to a war-weary British public, the threat must have still been real and constantly in the backs of their minds. What this film did was to show the audience that even if such a thing were to happen and Nazis did land on British soil, with cool heads, brave heart and plucky British spirit, the Germans wouldn’t stand a chance. Simply put, evil would never triumph over good and the Nazis were the personification of evil.

Based on a short story entitled “The Lieutenant Died Last” by the English author Graham Greene, Went the Day Well? was directed by Brazilian born Alberto Cavalcanti who would go on to make a handful of films for Ealing Studios in the 40s most notably, “Champagne Charlie” and “Nicholas Nickleby”. The film’s reputation has grown significantly with the passing of time and in 2005 it was named as one of the “100 Greatest War Films” in a Channel 4 poll in the UK. In 2010, the British Film Institute National Archive released a restored version of the film and it was met with critical acclaim.  I think Tom Huddleston of Time Out London summed it up perfectly by writing that it was “jawdroppingly subversive. Cavalcanti establishes, with loving care and the occasional wry wink, the ultimate bucolic English scene, then takes an almost sadistic delight in tearing it to bloody shreds in an orgy of shockingly blunt, matter-of-fact violence.”

Went The Day Well? is a great little film and a window into a time and a place that has long gone and yet to watch it and to understand its message is to truly find respect for the men, women and children that lived through those dark years of Nazi terror. A classic in every sense.

 

 

The Invaders – Classic Sci-Fi TV

“The Invaders. Alien beings from a dying planet. Their destination, the Earth. Their purpose, to make it their world. David Vincent has seen them. For him, it began one lost night on a lonely country road, looking for a shortcut that he never found…”

So begins, what is for me, unarguably the most atmospheric opening title sequence to any TV show ever made.

I remember watching this show when I was a kid during school holidays and its depiction of one man’s crusade against an alien invasion absolutely fascinated me.  Watching it again today thrills me no less, and possibly even more because now I can appreciate it for its subtext, the general processes that went in to filming it and of course, the nostalgia – perfectly tailored slim-fitting suits (fashionable once again) and gas-guzzling cars with chewing gum suspension and Batmobile-like rear fins over chrome bumpers so deep and wide you could stretch out and sleep on them. Having been made almost half a century ago, there are certain things about the show that are a little simple but overall it holds up very well for a contemporary audience, particularly if one bears in mind the era in which it was made.

Roy Thinnes plays architect David Vincent, who one night witnesses the landing of a flying saucer and subsequently learns of an alien plot to take over the world. However, when he attempts to convince the authorities of his discovery he is not believed and is considered to be a bit of a crackpot. Thereafter, every episode begins with Vincent turning up at random locations around the U.S. with the belief that the weird or unexplained occurrence he has learned of in the area is alien in nature and therefore worthy of investigation in the hope that he can get his hands on some proof to back up his wild claim. Sadly for him, obtaining that proof is not as easy as he would like because the aliens are a resourceful bunch and experts at disappearing without a trace. More often than not, Vincent winds up at the end of each episode back at square one, no closer to being able to show the world the truth. Although, giving the man credit, he usually manages to scupper whatever plans the aliens were up to.

The reasons this show worked so well were numerous, not least because of the central concept of one man, a hero figure, fighting against a seemingly invisible force in order to save mankind. Many of the greatest stories ever told have that saviour figure at their core. Then there was the element of paranoia rooted deep within the American psyche at the time thanks to the “Red-Scare” a decade earlier and the lingering fear that communists were infiltrating every level of society with the intention of influencing and undermining the American way of life. Invasion of the Body Snatchers made in 1956 clearly reflected this obsession and was a definite precedent for The Invaders. But then, the same concern is still relevant today as we are all uncomfortably aware of the difficultly in trying to recognise a deadly enemy with a few pounds of Semtex strapped around their waist when they look, dress and talk just like the rest of us.

The Invaders was a finely put together show with excellent production values thanks to producer Quinn Martin who was at the time, already a big noise in television. Much of the filming was done on location which injected a measure of realism into the show too and the writing was gritty and generally dark in nature. There were no happy endings to this show; at best an episode would end with a mild sense of accomplishment and relief – yes, a single battle won but let’s not forget the main war continues.

Thinnes as Vincent was perfectly cast as the lonely hero and never failed to convince me of the nightmare world he inhabited. He was certainly a capable actor in the action scenes and although he made Vincent likeable, he portrayed him as a man carrying the burden of not being able to trust anyone, of harbouring utter hatred for the invader for destroying the life that he had had and essentially forcing him into a life on the road to continually pursue or be pursued. The show also had plenty of guest stars to keep things interesting and the acting was generally top-notch.

The wonderfully evocative theme tune composed by Dominic Frontiere (a regular of Quinn Martin productions) together with the opening titles that allows us to see aliens aboard a space ship heading towards Earth while a deep, leaden voice narrates the introduction are incredibly atmospheric and have been etched on my memory forever. Seriously, if you’re a sci-fi fan who enjoys shows like the X-Files and Dark Skies but you’ve never seen The Invaders, then I highly recommend you check it out. It only ran for two seasons and a mere 43 episodes were aired between January ’67 and March ’68 but it’s gritty, intelligent science fiction and well worth viewing.

 

Film Review: School For Scoundrels

For me, the fact that this film stars Terry-Thomas makes it worth watching. Throw in the wonderful talents of Alistair Sim and Ian Carmichael and you have three of the biggest stars from Britain’s golden age of cinema. Terry-Thomas has always fascinated me, even when I was a child. Whether he was oozing villainous charm dressed and manicured as a perfect cad while fawning over some young lovely or blustering dastardliness as his suave persona fell apart when events turned against him he was and still is wonderfully entertaining. I wouldn’t be at all surprised if the definition of the word “Dastardly” in any reputable dictionary said something about a Terry-Thomas character being up to his neck in some plan or other. In fact, the cartoon character Dick Dastardly from the Wacky Races kids TV show was essentially a caricature of Terry-Thomas.

The plot of the film is fairly simple. Ian Carmichael plays Henry Palfrey, a mild-mannered young man and ineffectual businessman who considers himself a failure. Everyone from his employees to his tennis club pals seem to take little notice of him and so he enrols in the “School of Lifemanship” run by Dr. Potter (Alistair Sim) who explains to his class of new students that “Lifemanship is the science of being one up on your opponents at all times. It is the art of making him feel that somewhere, somehow he has become less than you – less desirable, less worthy, less blessed.”

After the good doctor surmises that a woman must be involved when interviewing Palfrey, we see Palfrey recount in flashback how he came to meet the lovely April Smith (Janette Scott) by bumping into her getting off a bus and how his carefully planned dinner date was ruined by Raymond Delauney (Terry-Thomas). There’s a wonderful scene where Palfrey arrives with his charming date at the restaurant only to be refused entry by the maître d’ (a brilliantly snobbish turn by the marvellous John Le Mesurier) because of some mix up with the name of the booking. Unfortunately for Palfrey, before he acts on April’s advice that they go elsewhere to eat, Delauney saunters into the restaurant and, being a casual acquaintance of Palfrey through the tennis club, invites him and (more importantly) his date to join him at his table. Delauney then proceeds to spend the entire evening seducing April and in a perfect example of one-upmanship, reduces Palfrey’s fragile ego even further by getting him to foot the bill. Palfrey then makes several further puny attempts to impress his new girlfriend, including buying a car and trying to prove his tennis prowess against Delauney but fails on both accounts miserably.

Then the flashback ends and we concentrate on Palfrey’s time at the school and how quickly he picks up the art of gaining the upper hand in any given situation. The film then follows him using his newly-acquired skills as he gets his own back on pretty much everyone who had looked down on him earlier. Hilarity ensues as we see how easily he trumps Delauney’s caddish behaviour by becoming an even bigger and more skilful cad himself. However, it’s not all plain sailing for him and…at which point I’ll say no more.

School for Scoundrels is definitely worth checking out as it’s one of those charming black and white comedies that Britain made so well in the ’50s and ’60s. There’s also a wonderful sense of nostalgia to be enjoyed when seeing parts of London as they were half a century ago, when roads were clearer, trees were more abundant and social etiquette was still bordering on formal. That and three of the finest comic talents from the era. Absolutely one to be enjoyed. One final word of caution though: don’t suppose for a minute that the 2006 Hollywood remake starring Billy Bob Thornton will be in the same league.