Category: film reviews

Film Review: Heaven Knows, Mr. Allison

Take two of Hollywood’s biggest stars and one of its finest directors, plonk them on a lush tropical island surrounded by rocky outcrops and rolling waves and arm them with an interesting script. What is the likely outcome? A damn fine movie, that’s what. Certainly in this case, it is.

I’m always fascinated by a film with a minimal cast. The actors involved have an even greater weight of responsibility than usual in that there’s no one else for the audience to focus on. On the other hand, there are no other performers to point the finger at if the thing tanks. For the actors, it must be both terrifying and supremely massaging to their egos. “You mean I’m in virtually every shot? Yes! That’s just what my fans will want. Of course I’ve got the talent and the screen presence to pull it off. How dare you suggest otherwise!”

Fortunately, the talent in this 1957 John Huston classic is without question. Robert Mitchum and Deborah Kerr – two gifted actors who apparently clicked immediately and went on to enjoy a lifelong friendship.

Mitchum plays US Marine, Corporal Allison who, after several days adrift in a rubber raft following a skirmish with the Japanese, finds himself washed up on an island in the South Pacific during the Second World War. A quick scout around reveals the island to be abandoned save for Sister Angela, a young nun played by Kerr, who has been there just a few days following a failed attempt to evacuate the priest already there. At first, Allison is relieved to be on the island where there is plenty of fish and fruit to eat and shelter from the tropical weather. He admits its not a bad place to wait out the war. But it isn’t long before a detachment of Japanese return to the island to set up a meteorological camp thereby forcing the Marine and the nun to hide out in a cave up in the surrounding hills.

There’s a wonderfully tense scene some time later when, sympathetic towards Sister Angela’s inability to eat the raw fish that he catches, Allison sneaks into the Japanese camp one night to steal something more palatable for her. It’s a beautifully shot and paced sequence by a master of cinematic storytelling – nothing fancy, nothing over the top, just measured excitement.

Meanwhile, the nights remind them that the war continues as flashes of naval gunfire light up the horizon. Then one day, the Japanese leave the island as quickly as they had come and the two celebrate their unexpected liberty.  Allison gets drunk on a bottle of sake left behind by a Japanese officer and foolishly declares his love for Sister Angela as well as denouncing her holy devotion as a waste of time. His natural urges rising to the surface, he can’t see why their “Garden of Paradise” situation doesn’t become fully instinctive – if you know what I mean. Sister Angela runs away from him and spends the night outside in a storm, becoming sick as a result. The following morning, Allison, full of repentance and shame, finds her with a fever at the same time the Japanese return to the island. Once again they are forced to seek refuge in the cave. Allison, feeling completely responsible for Sister Angela’s condition,  sneaks into the Japanese camp again to get blankets for her but he has to knife a solider to death when he is discovered. This alerts the detachment to an enemy presence and consequently, they begin a thorough search of the island.

To find out what happens next, I’ll encourage – nay recommend – you to watch the film yourself.

The two leads (and for ninety-five percent of the film you’ll see nobody else) are just perfectly cast and they own their time on screen. Between them, they’ve made many great movies and would go on to make two more together (The Sundowners and The Grass Is Greener – both in 1960). They’ve both given numerous wonderful performances as well over their careers and I don’t think either ever gave a better performance than they did here. Mitchum’s Marine is big and bruising, capable of dishing out death and yet kind and tender too; a simple man but a decent one; a product of a childhood he’d rather forget. Kerr’s nun is slightly naive but more uncertain, devout to her vows – of which the final one she has still to take – and yet teetering on the edge of uncertainty that she’s got what it takes to go all the way. Is she ready to forsake her womanhood for the greater calling? Both characters have chosen their paths and both have sworn oaths to tread them but will the time together on the island make a difference?

As if Mitchum or Kerr weren’t strong enough reasons to give this film a viewing, the director must surely tip the scales. From the moment John Huston sat behind the camera and gave us The Maltese Falcon in 1941, he revealed a certain brilliance and while Heaven Knows, Mr. Allison might not be his finest hour, it’s likely a film that many of his contemporaries would have wanted to helm.  It was adapted from Charles Shaw’s novel of the same name by Huston and John Lee Mahin, a prolific screenwriter who penned numerous classics between the 30s and the 60s, among them, Captains Courageous (1937) and Showboat (1951). The island of Trinidad and Tobago where the film was shot was photographed by Oswald Morris, a cinematographer who’s career would span six decades and include a long list of gems like Moby Dick (1956) and The Man Who Would Be King (1975). Naturally, the setting is stunning and one can only imagine the times had by all on location. Deborah Kerr and the writing team of Huston and Mahin were nominated for Academy Awards and there were a handful of other nominations throughout that season but the only win it garnered was for Kerr at the ’57 New York Film Critics Circle Awards. Shame that, because while Mitchum earned a BAFTA nomination, his performance generally seemed to have been overlooked. But then being the kind of guy he was, he probably didn’t give a damn anyway.

 

Film Review: Detective Story

I’ve said it before but I’ll say it again – I truly love it when I stumble across an old movie I’ve never seen before that blows my socks off. A few days ago, this 1951 Kirk Douglas crime drama did just that. Figuratively speaking, of course.

Detective Story is based on the stage play of the same name by 1934 Pulitzer Prize for Drama winner Sidney Kingsley and it’s directed by Roman Holiday and Ben-Hur legend, William Wyler.

By virtue of the story originally written for the stage, it’s a character study and in this case the character, or rather characters, are a squad room full of plain-clothed detectives at the 21st Precinct in New York City. The action takes place over the course of a working day and apart from a brief foray into the streets of the city, we remain confined within said squad room. We see the various detectives attending to their tasks – mundane police procedures included – as well as the various criminal elements that they apprehend that day. It’s all very gritty. But don’t misinterpret that as heavy going and oppressive, for it isn’t. Certainly not at the outset anyway. Yes, the tension builds to a dramatic climax, one that will take your breath away, but along the way there’s subtle humour and questions of morality too.

The main thrust of the plot involves, naturally enough, Kirk Douglas’s character – Detective James McLeod – and his wife Mary (Eleanor Parker) who just so happens to have a skeleton in her closet. McLeod is a tough, no-nonsense cop who sees the world he inhabits as black and white. You break the law, you pay the price. No leniency whatsoever. His current focus is on bringing down disgraced doctor Karl Schneider (George Macready) for having performed abortions on several women which subsequently lead to their deaths however, the more McLeod pursues the closer he gets to a truth that will turn his world upside down.

For the most part, this movie is a filmed stage play and as such there’s a degree of claustrophobia present in its viewing, perhaps even more so than if you were sitting in your theatre seat before the stage. Obviously, this sense of confinement is intentional because the film actually benefits from it. We are in a living, breathing squad room after all, and around us are all the individuals you’d expect to find there. Even when Lee Garmes’s camera lens pulls tight onto action in the foreground, the squad room’s heart still beats in the out-of-focus background. The company of actors, those playing the detectives and the criminals at least, are rarely off the set. It gives the whole thing an organic feel.

The acting – leads and support – is all round solid too. Douglas gives a towering performance as the cop who’s too unforgiving for his own good although oddly enough when it came to Oscar time, he was overlooked. Eleanor Parker got nominated, as did Lee Grant (in her big screen debut, no less) who plays a young shoplifter. There were also nominations for Best Director and Best Writing in the Screenplay category. Like Lee Grant, Joseph Wiseman, who plays a slightly unhinged burglar called Charley Gennini, was also performing for the first time in front of a movie camera. Wiseman would later go on to cinema immortality playing Dr. No, the first bad guy in a popular spy franchise. His performance here couldn’t be more different.

Like all good dramas, it’ll imprint traces of itself in your mind and you’ll be thinking about it long after the music has flourished and the credits have rolled.

 

 

Film Review: Paris When It Sizzles

You every get that feeling when all you want to do is to sit down in front of the TV and watch something that doesn’t require too much effort? Something that doesn’t ask too much of your concentration? Maybe you’ve been on your feet all day toiling and sweating and you’re physically exhausted or maybe you’ve got too much on your plate and it’s hard to focus on any one thing and all you wish is for something to take your mind of it for a little while. Either way, sometimes losing yourself in a slice of good-looking, light-hearted silliness can be just the ticket. Paris When It Sizzles is just such a slice of good-looking, light-hearted silliness.

It’s a 1964 romantic comedy and it stars William Holden and Audrey Hepburn who ten years earlier had set tongues wagging by having a brief romance of their own while making the film Sabrina. Holden was married at the time, after all. However, this most delicate bloom of an actress decided to end the relationship either on account that her lover was plagued with alcoholism or that he’d undergone a vasectomy and couldn’t have children. Or both. Years later Holden apparently still carried a torch for her so one can imagine their feelings when Paramount Studios insisted on them making the film together. Fortunately for us, if there was any awkwardness between the stars, it didn’t translate to the screen.

The plot revolves around Holden’s playboy screenwriter Richard Benson (he played another screenwriter in Sunset Boulevard 1950) who hires Hepburn’s secretary Gabrielle Simpson to stay with him in his hotel room over Bastille weekend in order to type up the screenplay that he has promised to his boss, Alexander Myerheim (Noel Coward). Trouble is, even though he’s already been paid for it, he hasn’t got a clue what he’s going to write and the several possibilities he comes up with stink. But he is soon inspired by the lovely Gabrielle and comes up with the title, The Girl Who Stole the Eiffel Tower. The rest of the film flits between their growing relationship in the hotel room and the imagined film playing out as Benson narrates. The end result is of course, utterly predictable but the journey is a lot of fun and it involves inept police and international spies. It also takes a few hilarious potshots at the movie business and there are several noteworthy cameos too, particularly from an uncredited Tony Curtis.

I laughed loudest at Curtis’s antics (his comedic ability has always appealed to me – see Some Like It Hot, The Persuaders etc) particularly towards the end when he shares the screen with Holden but the truth is, while the film has some incredibly silly moments, the entire cast manages to carry the absurdity of the story in an almost pantomime-like style and for me, this ensures there are laughs to be had all the way. There are a couple of marvellous cameos too (don’t we just love cameos?), one if which is the voice of one of the greatest singers the world has ever known. Check it out. I guarantee you’ll laugh – or at the very least giggle.

The film was directed by Richard Quine whose other credits include Bell Book and Candle (1958) and How to Murder Your Wife (1965). George Axelrod, – he of The Seven Year Itch (1952) fame – adapted the screenplay from an earlier French film called Holiday for Henrietta (1952). The music is from Nelson Riddle – composer, bandleader, arranger – who worked with some of the greatest singing talents ever and the exterior shots of Paris, which make you just want to go there, come courtesy of cinematographer Charles Lang, whose credits include A Farewell to Arms (1932), Some Like It Hot (1959) and The Magnificent Seven (1960). Whether it’s a bright sunny day or a neon-lit night shot, seeing Paris on film always makes me want to jump on Eurostar.

While it might not have a place in the pantheon of romantic comedies like say, Hepburn’s Roman Holiday (1953) or Jack Lemmon’s The Apartment (1960), it is worth a look. It teems with that glamorous ’60s European chic and there are some great lines from some of Hollywood’s greatest stars. And besides, you didn’t want to be  entertained too much anyway.

 

Film Review: A Town Like Alice

I’m not sure what I was expecting when, a few days ago, I sat down to watch this film. It was one I’d heard of but never before given a viewing for whatever reason. The title suggests something domestic and perhaps slightly delicate and pretty and yet the blurb on the TV guide said it was a WW2 drama starring Virginia McKenna and Peter Finch. So after two hours of well-crafted cinema, intrigue became enlightenment and awe.

A Town Like Alice is a gripping 1956 British drama film based on the book of the same name by Nevil Shute. It tells the harrowing story of a group of women and children forced to march hundreds of miles across Malaya from village to village by the occupying Japanese forces who refuse to take responsibility for them. It is at once awful to witness the hardship and suffering the group has to endure and yet uplifting to behold the strength of the human spirit in times of woe.

The film opens with Jean Paget (played by Virginia McKenna), in a London solicitor’s office shortly after the war. The solicitor informs her that she has a large inheritance and, asked what she wants to do, Jean decides to go to Malaya to build a well in a small village. As work gets under way, she recalls her three years of living in the village and the journey she endured to get there during the war.

Flashback to 1942 and Jean is working in an office in Kuala Lumpur when the Japanese invade and take everyone prisoner. The men are sent off to labour camps and the women and children are told they must walk to a women’s camp fifty miles away. Jean being fluent in Malay, is therefore a prominent figure within the group and helps arrange the acquisition of food and medicines they require from the locals. But after an arduous march in unbearable heat and mosquito infested swamps, the women are told by the camp commanders that they are not wanted and are therefore forced to march on in search of another camp. And so their journey continues with disease and danger always close behind.

Along the way, the group meets young Australian soldier, Joe Harman (Peter Finch), also a prisoner of war, who drives a truck for the Japanese. He and Jean quickly forge a friendship and often meet behind their guard’s back to share a cigarette and swap stories. It is here that he tells her about his hometown of Alice Springs and this is where the story’s title comes from. Joe is appalled by the suffering the group has to endure and helps them by stealing food and medical supplies from his Japanese captors. However, a theft of chickens is investigated and with Jean being the initial suspect, Joe confesses his guilt to save her and the rest of the group. For his troubles, he is beaten and crucified to a tree and left to die. The women are forced to march away but a while later, when their guard dies, Jean begs that the group be allowed to stay in a village where they will gladly work and become part of the community. This they do until the end of the war when they are repatriated.

Returning to the present day in the village where the well is being built, Jean learns that Joe Harman didn’t die against that tree and that he survived the war and returned to Australia. She therefore travels there to search for him. Likewise, he travels to London in search of her and after some disappointment, the two finally meet in the airport at Alice Springs. Very moving it is too.

This is where the film differs from the book because where the cinematic story ends, the novel continues to explore Jean’s new life in the Australian outback and examines all the joys and difficulties that that throws up.

The film was shot mainly at Pinewood studios although some exteriors were filmed in Malaya and Australia. It was directed by Jack Lee (arguably his best known work) and distributed by The Rank Organisation. It was the third most popular film at the British box office in 1956 and won BAFTAs for both McKenna and Finch. Give it a look and you’ll see why. Their performances are faultless. But then, the same could be said of the entire cast. The film itself was nominated too as was the screenplay. The pacing is spot on – your attention and interest in the characters never wanes – and the look of the film is frighteningly real.

All in all, an incredible tale of triumph over adversity – a great film made from a great novel.

 

Film Review: Rififi

Ah, the heist movie! Love them or loathe them, just thinking about them conjures up images of a group of misfits enduring painstaking preparation overseen by some intelligent mastermind. Of masked gunmen overpowering unsuspecting night-watchmen. Of safecracking equipment and smoke grenades. Of fast getaway cars. All the ingredients for a thrill-a-moment spectacle.

Hollywood obviously loves them. The success of remakes like Ocean’s Eleven (and its sequels), The Italian Job and The Thomas Crown Affair is proof that, for the most part, we do too. There are of course, dozens of titles worthy of viewing, both old and new, but if you want to watch one of the most influential of them all, then I recommend the 1955 French classic, Rififi.

Even though Rififi is filmed in glorious Paris, the French capital has never looked so bleak. Director Jules Dassin, argued on more than one occasion with his cameraman by insisting he didn’t want to shoot in sunshine. He wanted the overall look of the film to be grey and cold and consequently it’s about as far removed from the glitz and glamour of somewhere like Ocean’s Eleven’s setting of Las Vegas as it’s possible to get. Dassin wanted gritty realism and boy! – that’s exactly what he got. Indeed, so real is it’s actual heist scene – an incredible 30 minute segment void of any dialogue or music – that upon its release in ’55, several countries banned it on the grounds that it was akin to watching a training film for anyone wishing to commit burglary. A reviewer in the Los Angeles Times referred to it as a “master class in breaking and entering as well as filmmaking”. Burglaries mimicking the film’s scene began occurring around the world. Dassin responded to critics by claiming that the film showed how difficult it actually was to carry out a crime.

Jules Dassin was American by birth and found success as a director in the ’40s, particularly with a number of noir films. But when the communist witch hunts burned through Hollywood like wildfire he was blacklisted and consequently decided to move to Paris to continue looking for work. Nothing came his way for five years until he was offered Rififi, an adaptation of Auguste Le Breton’s novel of the same name and despite shooting on a low budget and with a no-name cast, the film revived his career.

The film follows Tony le Stéphanois (played by Jean Servais), an ageing gangster recently released from a five year prison stretch for jewel theft. Down on his luck, he meets up with two gangster friends Jo le Suédois (Carl Mohner) and Mario Ferrati (Robert Manuel) who propose to him a smash-and-grab job from a parisian jeweler’s window display. Initially Tony refuses but when he learns that his girl has hooked up with nightclub owner and rival gangster Pierre Grutter (Marcel Lupovici), he accepts the job on condition that they go for the safe inside rather than simply what is in the window. Mario suggests they bring in expert Italian safecracker César le Milanais (played by Jules Dassin under the pseudonym Perlo Vita). The four men then concoct and rehearse an intricate plan to break into the jeweler’s and disarm the (then) state-of-the-art alarm system. The heist is pulled without any major hiccup but the problems arise, as they so often do in this type of story, in the aftermath. And with that, I shall say no more about the plot. I should hate to spoil it for those who haven’t seen it.

Not only did Rififi revive its director’s career but it also found success in America, making Dassin the first artist to come back from the Hollywood blacklist. The film was praised by audiences and critics alike and won several awards during the ’55-’56 season. It also quickly became a hugely influential marker for many heist films that followed. If you’ve never seen it, give it a look and see what all the fuss is about. I promise you won’t be disappointed.

 

Classic TV Review: The Professionals

It was sad to read that Lewis Collins had died a few days ago (Nov 27) aged 67 following a five year battle with cancer. He was an underrated actor whose career was blighted by his being typecast as the tough guy, the character type that, ironically, made him a household name in the late ’70s. I’m talking, of course, about Bodie of CI5.

I wasn’t yet a teenager when The Professionals and its high octane opening titles exploded onto our TV screens late in 1977 and quickly became must-see action drama. I forget the time it aired – probably 8pm – but it was a show my parents allowed me to watch (bed straight after) and I just lapped up the fast-paced cocktail of car chases, gun fights and punch-ups. Of the three main characters, Bodie was my favourite – hard as nails and yet suave and well-dressed. I remember one Christmas getting an annual as well as a Corgi model of Bodie’s silver Ford Capri 3.0S complete with three tiny figures posing dramatically inside the box.

For those in the dark about the show, CI5 is a fictional law enforcement agency tasked with stopping all kinds of terrorism and threats to the UK. It is made up of highly capable individuals – the elite of the elite, if you will – and the man in charge is Cowley (Gordon Jackson). His two best men are Doyle (Martin Shaw) and Bodie (Lewis Collins). They are obedient to their superior but aren’t afraid of breaking the rules (as well as the law) if it brings results. Their partnership and friendship is symbiotic and with Cowley giving the orders, they are a great team. To complement the show’s action there are humorous moments between the leads and there is also detail in the police procedures although not as much as in many of today’s crime shows.

The show was created by Brian Clemens who was in part responsible for numerous classic TV shows of the ’60 and ’70s including The Avengers, The Persuaders!, The Protectors and The New Avengers. A total of 57 episodes over five seasons of The Professionals were aired between ’77 and ’83 however, the final episode of season one – Klansmen – was never transmitted on terrestrial TV in the UK because of its racial content.

I’ve caught an episode or two of the show over the years and yes, it filled me with a warm nostalgia but this morning, I happened upon an episode on ITV4 being shown as a tribute to Lewis Collins. This time, poignancy made me pay an even greater level of attention to the screen than normal. The episode was the fourth of season one – Killer with a Long Arm. It is about a Greek sniper who travels over from the continent with a mission to assassinate a Greek Royal at the Wimbledon Tennis Championships in order to make a political statement. The pacing of the story is excellent and the tension builds nicely all the way to the rooftop climax. The plot is believable (with the possible exception of the zoom on the sniper rifle scope) and the writing intelligent. There is mention of forensics and the overall, the action is minimal. I seem to remember some episodes being a lot more gung-ho but maybe these came later when the writers may have struggled for ideas. There are some humorous moments too between Bodie and Doyle and so to put it in a nutshell, it is a terrific episode of an exciting show.

Lewis Collins still commands my attention when he’s on screen. He has great presence and his natural manner, which can change from charming and friendly to threatening and brutal in a second, is totally captivating. His onscreen chemistry with Martin Shaw is great too, which probably helped make the show the success it was and one would assume they had an absolute blast while filming. The two actors had previously shared the screen playing villains in a 1977 episode of The New Avengers and creator Brian Clemens, who had already got Martin Shaw on board as Doyle, brought in Lewis Collins on the strength of this previous pairing. I haven’t watched it but apparently Collins’ character in that New Avengers episode (Obsession) signs off with the comment to Shaw’s character, “Maybe we should work together again. We’re a good team.”

Indeed they were. Lewis Collins may have passed away and I’m sure our hearts go out to the loved ones that survive him but the character for which we all recognise and love him, will live on for as long as humans watch TV.