The Films of Kenneth Anger: Volume One – DVD

March 15, 2007Posted in1940s, 1950s, 1970s, Authors: Travis Mackenzie Hoover, Drama, DVD, Esoterica, Fantasy, Horror, Short Films

by Travis Mackenzie Hoover J. Hoberman once stated that the critic who forgoes the avant-garde "has as much claim to serious attention as a historian who never heard of the Civil War." If that's the case, Kenneth Anger is the avant-garde's Ulysses S. Grant. Lurking in the boho wilderness long before awareness of the New American Cinema spread, he's an influential figure not only in the underground but also in the mainstream. A young Martin Scorsese watched Anger's leather-boy opus Scorpio Rising, gasped at its radical use of popular music, and promptly swiped it for his Mean Streets, thus setting off a chain of events that would end up–somewhat unpleasantly–at the films of Tarantino. That director's incorporation of pop-cult detritus likewise has its roots in the camp underground of which Anger is a part–though our avant-gardist chose to pilfer from Crowley and Kabbalah in addition to the leftovers of pop.

The Rodgers & Hammerstein Collection (1934-1965) – DVD

March 12, 2007Posted in****/****, 1930s, 1940s, 1950s, 1960s, Authors: Walter Chaw, Best Picture (Academy Awards), Comedy, Drama, DVD, Family, Fantasy, Musical, Romance, War, Western

THE SOUND OF MUSIC (1965)
*½/**** Image B Sound B Extras B+
starring Julie Andrews, Christopher Plummer, Richard Haydn, Eleanor Parker
screenplay by Ernest Lehman
directed by Robert Wise

MustownTHE KING AND I (1956)
****/**** Image A Sound A Extras A
starring Deborah Kerr, Yul Brynner, Rita Moreno, Martin Benson
screenplay by Ernest Lehman, based on Margaret Landon’s play “Anna and the King of Siam”
directed by Walter Lang

SOUTH PACIFIC (1958)
*½/**** Image A+ (Theatrical) A (Roadshow) Sound B Extras C+
starring Rossano Brazzi, Mitzi Gaynor, John Kerr, Ray Walston
screenplay by Paul Osborn, based on Tales of the South Pacific by James A. Michener
directed by Joshua Logan

CAROUSEL (1956)
**/**** Image A Sound A Extras C
starring Gordon MacRae, Shirley Jones, Cameron Mitchell, Barbara Ruick
screenplay by Phoebe and Henry Ephron, based on the Ferenc Molnár’s play “Liliom”
directed by Henry King

LILIOM (1934)
****/**** Image B Sound B Extras B+
starring Charles Boyer, Madeleine Ozeray, Robert Arnoux, Roland Toutain
screenplay by Robert Liebmann, dialogue by Bernard Zimmer, based on the play by Franz (a.k.a. Ferenc) Molnár
directed by Fritz Lang

STATE FAIR (1945)
½*/**** Image B- Sound B- Extras A
starring Jeanne Crain, Dana Andrews, Dick Haymes, Vivian Blaine
screenplay by Oscar Hammerstein II, based on the novel by Philip Strong
directed by Walter Lang

STATE FAIR (1962)
**/**** Image A Sound A Extras C
starring Pat Boone, Bobby Darin, Pamela Tiffin, Alice Faye
screenplay by Richard Breen; adaptation by Oscar Hammerstein II, Sonya Levien, Paul Green
directed by José Ferrer

OKLAHOMA! (1955)
***/**** Image A (CinemaScope) C (Todd-AO) Sound B+ Extras B-
starring Gordon MacRae, Gloria Grahame, Shirley Jones, Gene Nelson
screenplay by Sonya Levien and William Ludwig
directed by Fred Zinnemann

Rodgerssoundofmusiccapby Walter Chaw God, The Sound of Music is so freakin’ nice. Nazis are the bad guys, no controversy there; raindrops on roses and whiskers on kittens–have you no heart, man? But when I like Rodgers & Hammerstein–and I like them quite a lot, truth be wrenched–I like their ambiguity, their irony, their goddamned fatalism in the face of eternal romantic verities. Consider the animal (jungle?) heat of “Shall We Dance,” cut off like a faucet by the fascistic abortion of The King and I‘s secondary love story; or the persistence of love despite abuse and abandonment in Carousel; or the slapdash kangaroo court that justifies love in Oklahoma!. This is all so much more than the slightly shady (and ultimately redeemed) shyster of The Music Man–this is reality in the midst of the un-, sur-, hyper-reality of the musical form. Yet what The Sound of Music offers up is a military man shtupping an ex-nun with no corresponding sense of fetishistic eroticism. How is it that the two most popular adult Halloween costumes engaged in naughty Alpine sexcapades could be totally free of va-va-va-voom? It’s so relentlessly wholesome that of course it’s the most beloved artifact of its kind in the short history of the movie musical: If you’re of a certain age, the plot of the thing is almost family mythology, resurrected every holiday like a dusty corpse at a decades-long Irish wake gone tragically awry. That ain’t a grin, baby, it’s a rictus.

7 Men from Now (1956) [Special Collector’s Edition] – DVD

January 17, 2007Posted in1950s, Authors: Travis Mackenzie Hoover, DVD, Western

Seven Men from Now
***½/**** Image B+ Sound A Extras A-
starring Randolph Scott, Gail Russell, Lee Marvin, Walter Reed
screenplay by Burt Kennedy
directed by Budd Boetticher

by Travis Mackenzie Hoover Like most Budd Boetticher movies, Seven Men from Now is supremely modest. Despite my high star rating, I fear overselling its virtues–it's not a searing, world-shattering masterpiece that leaves you devastated. But for a sort of chamber western, it's lovely and uncommonly sensitive. The film doesn't dig on the adventure and violence that are the major selling points of the genre: it's about an ex-lawman's guilty torment; a failed husband's obliviousness to the trials of his wife; and a kind-of outlaw who's sort of a friend but also sort of not. There is of course a revenge plot and the occasional incursion of marauding Indians, but you barely notice them over the nuances of the characters and their various sadnesses. It's less than genius but somehow more than the action oater you know the studio wanted.

Dallas (1950) [Gary Cooper: The Signature Collection] – DVD

December 12, 2006Posted in1950s, Authors: Travis Mackenzie Hoover, DVD, Western

***/**** Image A- Sound A
starring Gary Cooper, Ruth Roman, Steve Cochran, Raymond Massey
screenplay by John Twist
directed by Stuart Heisler

by Travis Mackenzie Hoover I hate to be a stuck record, but this is the third consecutive Cooper title I've seen that is at once without serious subtext and possessed of reasonable entertainment value. I suppose historians could make something out of Coop's Southern rebel hero Blayde Hollister and his upward journey from post-Civil War guerrilla to Union lawman–I'm not qualified to judge the nuances of such a transference, though I can guarantee you that good times result. Plopping our man into the maelstrom of boomtown Dallas, the script does its best to bolster his uncomplicated man-of-the-west mystique and even hands him the girl of actual Marshal Martin Weatherby (Leif Erickson) as a going-away present. Nothing in the film is especially brilliant or resonant, but director Stuart Heisler manages the traffic to such a point that it moves in a steady stream without slowing down.

The Wreck of the Mary Deare (1959) [Gary Cooper: The Signature Collection] – DVD

December 5, 2006Posted in1950s, Adventure, Authors: Travis Mackenzie Hoover, Crime, Drama, DVD, Mystery, Thriller, UK

***/**** Image A Sound A-
starring Gary Cooper, Charlton Heston, Michael Redgrave, Emlyn Williams
screenplay by Eric Ambler, based on the novel by Hammond Innes
directed by Michael Anderson

by Travis Mackenzie Hoover Here's another Coop-travaganza whose pleasures lie naked on the surface. Like Springfield Rifle, Michael Anderson's The Wreck of the Mary Deare is largely uninterested in subtextual undertow or other fodder for term papers, announcing its true intentions by casting strong, silent Cooper opposite hard man-of-action Charlton Heston–the two movie stars least likely to quietly brood or have an Achilles heel to render them even a little unsympathetic. Though Coop has a shady past to overcome, it's largely in the aid of martyring him to a system that refuses to listen; Heston, meanwhile, is possessed of the old I-have-a-hunch-to-trust-the-underdog brotherhood instinct that keeps us trusting despite overwhelming evidence to the contrary. Students of gender politics (assuming there are any left) might want to put it through the symptomatic wringer, but mostly it's a couple of cool dudes laying down the law and fighting insurmountable odds.

Springfield Rifle (1952) [Gary Cooper: The Signature Collection] – DVD

November 28, 2006Posted in1950s, Authors: Travis Mackenzie Hoover, DVD, Thriller, War, Western

***/**** Image B+ Sound A-
starring Gary Cooper, Phyllis Thaxter, David Brian, Paul Kelly
screenplay by Charles Marquis Warren & Frank Davis
directed by André De Toth

by Travis Mackenzie Hoover Springfield Rifle is a fat-free, plot-centric Gary Cooper western with a difference. While its counter-intelligence plot bears a passing resemblance to that of Henry Hathaway's docu-noir The House on 92nd Street, it's mostly about brisk movement through rough terrain as we wait for a climax in which the newly-minted Springfield rifle will prove its worth on the battlefield. There's absolutely no serious need to look for subtexts (director André De Toth keeps everything (moving quickly) on the surface), but it's a reasonably entertaining time-killer that's never exactly smart yet never exactly boring. Coming as it did on the heels of the star's High Noon, it could perhaps be considered counter-programming.

Tennessee Williams Film Collection – DVD

May 30, 2006Posted in****/****, 1950s, 1960s, 1970s, Authors: Walter Chaw, Directors: Elia Kazan, Documentary, Drama, DVD, Romance

MustownA STREETCAR NAMED DESIRE (1951)
****/**** Image A Sound A Extras A+
starring Vivien Leigh, Marlon Brando, Kim Hunter, Karl Malden
screenplay by Tennessee Williams, based on his play
directed by Elia Kazan

BABY DOLL (1956)
****/**** Image B Sound A Extras B+
starring Karl Malden, Carroll Baker, Eli Wallach, Mildred Dunnock
screenplay by Tennessee Williams
directed by Elia Kazan

MustownCAT ON A HOT TIN ROOF (1958)
****/**** Image A Sound A Extras C
starring Elizabeth Taylor, Paul Newman, Burl Ives, Jack Carson
screenplay by Richard Brooks and James Poe, based on the play by Tennessee Williams
directed by Richard Brooks

THE ROMAN SPRING OF MRS. STONE (1961)
*/**** Image A Sound A Extras C
starring Vivien Leigh, Warren Beatty, Lotte Lenya, Jill St. John
screenplay by Gavin Lambert, based on the novel by Tennessee Williams
directed by José Quintero

SWEET BIRD OF YOUTH (1962)
***/**** Image B- Sound A- Extras A
starring Paul Newman, Geraldine Page, Shirley Knight, Ed Begley
screenplay by Richard Brooks, based on the play by Tennessee Williams
directed by Richard Brooks

THE NIGHT OF THE IGUANA (1964)
****/**** Image B- Sound B- Extras A
starring Richard Burton, Ava Gardner, Deborah Kerr, Sue Lyon
screenplay by Anthony Veiller and John Huston, based on the play by Tennessee Williams
directed by John Huston

TENNESSEE WILLIAMS’ SOUTH (1973)
**½*/**** Image C Sound D
directed by Harry Rasky

Tennesseestreetcarcapby Walter Chaw Marlon Brando is liquid sex in A Streetcar Named Desire, molten and mercurial. He’s said that he modeled his Stanley Kowalski after a gorilla, and the manner in which Stanley eats, wrist bent at an almost fey angle, picking at fruit and leftovers in the sweltering heat of Elia Kazan’s flophouse New Orleans, you can really see the primate in him. (Imagine a gorilla smelling a flower.) Brando’s Stanley is cunning, too: he sees through the careful artifice of his sister-in-law Blanche (Vivien Leigh, Old Hollywood), and every second he’s on screen, everything else wilts in the face of him. It’s said that Tennessee Williams used to buy front-row seats to his plays and then laugh like a loon at his rural atrocities; he’s something like the Shakespeare of sexual politics, the poet laureate of repression, and in his eyes, he’s only ever written comedies. In Kazan’s and Brando’s too, I’d hazard, as A Streetcar Named Desire elicits volumes of delighted laughter. The way that Stanley’s “acquaintances” are lined up in his mind to appraise the contents of Blanche’s suitcase. The way he invokes “Napoleonic Law” with beady-eyed fervour. And the way, finally, that he’s right about Blanche and all her hysterical machinations. The moment Stanley introduces himself to Blanche is of the shivers-causing variety (like the moment John Ford zooms up to John Wayne in Stagecoach), but my favourite parts of the film–aside from his torn-shirt “STELLA!”–are when Stanley screeches like a cat, and when he threatens violence on the jabbering Blanche by screaming, “Hey, why don’t you cut the re-bop!”

Love Me Tender (1956) [Cinema Classics Collection] – DVD

May 9, 2006Posted in1950s, Authors: Alex Jackson, Drama, DVD, Musical, Western

***/**** Image A Sound A- Extras B
starring Richard Egan, Debra Paget, Elvis Presley, Robert Middleton
screenplay by Robert Buckner
directed by Robert D. Webb

by Alex Jackson SPOILER WARNING IN EFFECT. As far as drugs go, Love Me Tender is more pot than heroin. It won’t curl your toes, but you’ll get a smooth, mellow buzz. It’s sort of the perfect film to watch on a Sunday morning on TCM while you’re eating a bowl of Cap’n Crunch. Love Me Tender doesn’t have a lot of urgency and it moves pretty slowly, yet there’s never a moment in which it’s not compulsively watchable–and at just a shade under ninety minutes, it doesn’t wear out its welcome. Director Robert D. Webb keeps the camera pretty still and shoots the outdoor scenes in long shot, the better to encapsulate the sheer enormity of the under-settled frontier. All this space lends the film a distinctly melancholy feel; there’s something lonely and isolated about the picture. But bittersweet is a flavour, too (a good one), and melancholy is the right attitude for this story and the right attitude for a film titled after Elvis Presley’s tragically romantic hit single “Love Me Tender.” This was the only film that ever killed off Elvis–and it earns the right to do so.

Wet Asphalt (1958) – DVD

April 12, 2006Posted in1950s, Authors: Walter Chaw, Drama, DVD, Thriller, West Germany, ZERO STARS

Nasser Asphalt
ZERO STARS/**** Image D+ Sound C-
starring Horst Buccholz, Martin Held, Maria Perschv, Gert Frobe
screenplay by Will Tremper
directed by Frank Wisbar

by Walter Chaw Unbearably padded with stock footage and stilted segues around the alleged intrigue of newspaper ethics, Frank Wisbar's abominable Wet Asphalt might discover contemporary relevance for the conceit that a lie about war becomes the biggest story in the world–but probably only if you're so blinded by rage that the picture's shortcomings are secondary. Directed by the obscure Frank Wisbar and starring the recalcitrant punk (Horst Buchholz) from The Magnificent Seven and One, Two, Three, the film follows the trials of a ghost-written young reporter who gets his name attached to a bit of nonsense about Germans living underground after the war. Maybe it's an offshoot of the apocryphal tales of Japanese soldiers crawling out of the Pacific bush years after VJ-Day; more likely, it's the product of a belief that cheapo genre horseshit like this would earn its investment back before people got wise and stayed away in droves. Oh, and there's also some claptrap revolving around a perfunctory love story with wallpaper Bettina (Maria Perschy), to say nothing of the sitting room moralizations with smarmy boss Cesar (Martin Held).

Forbidden Games (1952) [The Criterion Collection] – DVD

March 9, 2006Posted in1950s, Authors: Travis Mackenzie Hoover, Comedy, Drama, DVD, France, War

Jeux interdits
***/**** Image A- Sound A Extras B
starring Brigitte Fossey, Georges Poujouly, Amédée, Laurence Badie
screenplay by Jean Aurenche, Pierre Bost, François Boyer, René Clément
directed by René Clément

Forbiddengamescapby Travis Mackenzie Hoover René Clément's Forbidden Games is perhaps the best place to begin when comparing the Nouvelle Vague to its nemesis, the Tradition of Quality. As the director (and co-scenarists Pierre Bost and Georges Aurenche, regular CAHIERS DU CINEMA whipping boys) came in for abuse under Truffaut, there's no denying the film's connection to the ToQ and how that tradition represses so much of its more disturbing content. Indeed, one wonders how a movie that revolves around a WWII orphan named Paulette (Brigitte Fossey) who nicks grave markers can be this matter-of-fact and cute. Despite the astonishing morbidity of the subject matter, the film goes about it like Wally and the Beav setting barrel hoops for Lumpy Rutherford. Still, its total lack of shame is something that would be lost in the ensuing New Wave revolution, and though big claims for it are hard to make, it's remarkably fresh and open–if more than a little naïve.

The War of the Worlds (1953) [Special Collector’s Edition] – DVD

March 7, 2006Posted in1950s, Action, Authors: Walter Chaw, DVD, Sci-Fi, Thriller

***/**** Image A Sound B Extras A+
starring Gene Barry, Ann Robinson, Les Tremayne
screenplay by Barré Lyndon, based on the novel by H.G. Wells
directed by Byron Haskin

by Walter Chaw Opening with a newsreel and ending with a peculiar bit of religiosity, Byron Haskin's (really George Pal's) The War of the Worlds runs the gamut of H.G. Wells's seminal bit of seriocosmic/pseudo-scientific allegory, assaulting colonialism by dooming spoilers to strange diseases in faraway places. You could call it "God;" I think Wells would have called it "kismet." In any case, the business in-between in this The War of the Worlds was as visually dazzling for its time as Steven Spielberg's frightening and reprehensible 9/11 redux version is for ours, and it holds the same sort of micro/macro fascination of Armageddon courtesy mysterious beings raining death from above. Obviously a cold war parable, the film arguably has as its best quality its sound design, which finds through an ominous thrum of silence a rattlesnake rattle in the noise the baddies produce once they finally emerge from their smouldering crater. It was the stuff of nightmares for me when I caught it on Saturday afternoon television as a child; revisiting it for a film series and now in conjunction with the long-awaited re-release of the film on DVD, I find most interesting the fact that screeching little girl Dakota Fanning replaces the Ann Robinson character in the remake in what can only be described as a horizontal substitution.

Pickpocket (1959) [The Criterion Collection] – DVD

January 30, 2006Posted in****/****, 1950s, Authors: Walter Chaw, Drama, DVD, FFC Must-Own, France, The Criterion Collection

****/**** Image A Sound A Extras A+
starring Martin La Salle, Marika Green, Jean Pelegri, Dolly Scal
written and directed by Robert Bresson

Pickpocketcapby Walter Chaw Manny Farber described the films of Robert Bresson as “crystalline,” and it’s hard to argue with the singular idea of purity represented by that word: they’re all of gesture and implication, reduced down to the purest grist so that the powder of dramatic movements, rubbed together, might hum in miniature perfection. Diderot, Tolstoy, and especially Dostoevsky are sent to the kiln in Bresson, emerging at the end as a distillation thick with the observation that human behaviour, winnowed down, is only as mysterious as the mechanical motions of insects. When you use a term like “crystalline,” you evoke clockwork–the inner workings of music boxes, say. It’s wilfully, damnably, emotionally inscrutable, of course, and if it also calls to mind a watchmaker and his intricate art, then find another explanation for Bresson’s fascination with, and eroticizing of, the secret life of hands.

Jerry Lewis: The “Legendary Jerry” Collection – DVD

January 27, 2006Posted in1950s, 1960s, Authors: Travis Mackenzie Hoover, Comedy, Drama, DVD, Family, Music, Romance, Sci-Fi

Jerryondvdtitleby Travis Mackenzie Hoover If you're savvy enough to read film criticism, you probably know it's supposed to be funny that the French love Jerry Lewis. We all have a big, self-satisfied laugh when we first hear that, as if anyone could take Jerry Lewis seriously. (We certainly didn't.) But the thing is, there aren't a lot of people who will admit to actually seeing one of his movies–the Lewis hate-on has become so intense that the only thing remaining of him is the joke; he's the scapegoat of anti-French resentment and anti-intellectual hostility, as if only frogs and eggheads could possibly find anything redemptive in his work. Thus a generation has shunned his films, never to know if there really is a centre to the onion, something more than mugging to the Lewis mystique.

We at FILM FREAK CENTRAL have decided to put a stop to this. Over the next ten weeks, we will be interrogating the Lewis canon (as it relates to Paramount's recently released DVD box set "Jerry Lewis: The 'Legendary Jerry' Collection") for traces of artistic merit–assuming there are some to be found. We may come up with revelations; we may come up with suggestive patterns; or we may come up with nothing whatsoever. By the end, though, we hope to have definitively answered the question of whether the French are onto something–and if we can really point fingers in a culture that conversely embraces Betty Blue. And Luc Besson. And Amélie. Originally published: November 11, 2005.

Leave It To Beaver: The Complete First Season (1957-1958) – DVD

November 21, 2005Posted in1950s, Authors: Bill Chambers, Comedy, Coming of Age, Drama, DVD, Television

Image A- Sound B+ Extras C
"Beaver Gets 'Spelled'," "Captain Jack," "The Black Eye," "The Haircut," "New Neighbors," "Brotherly Love," "Water, Anyone?," "Beaver's Crush," "The Clubhouse," "Wally's Girl Trouble," "Beaver's Short Pants," "The Perfume Salesmen," "Voodoo Magic," "Part-Time Genius," "Party Invitation," "Lumpy Rutherford," "The Paper Route," "Child Care," "The Bank Account," "Lonesome Beaver," "Cleaning Up Beaver," "The Perfect Father," "Beaver and Poncho," "The State vs. Beaver," "The Broken Window," "Train Trip," "My Brother's Girl," "Next-Door Indians," "Tenting Tonight," "Music Lesson," "New Doctor," "Beaver's Old Friend," "Wally's Job," "Beaver's Bad Day," "Boarding School," "Beaver and Henry," "Beaver Runs Away," "Beaver's Guest," "It's a Small World"

by Bill Chambers "Leave It To Beaver" was the first TV series to show a toilet. That sort of illustrates a point I want to make that while it may be an idealized portrait of the nuclear family, it's not a lie. Indeed, there's a touch of neo-realism in the show's emphasis on the bathroom, on laundry, on haircuts and making the bed. It's the only series I can think of where the characters are seen grooming themselves on a regular basis, and this almost blithe disregard for fourth-wall etiquette extends to not only frank discussions of hygiene, money, faith, and morality, but also an aesthetic that eventually supports 360º blocking. You won't, in other words, see the standard set-up of four people all sitting on the same side of the dinner table, except in the earliest episodes.

A Farewell to Arms (1957) + Francis of Assisi (1961) – DVDs

November 8, 2005Posted in1950s, 1960s, Authors: Walter Chaw, Biopic, Drama, DVD, Romance, War

A FAREWELL TO ARMS
½*/**** Image B Sound B- Extras D
starring Rock Hudson, Jennifer Jones, Vittorio De Sica, Mercedes McCambridge
screenplay by Ben Hecht, based on the novel by Ernest Hemingway
directed by Charles Vidor

FRANCIS OF ASSISI
*/**** Image B Sound B- Extras D
starring Bradford Dillman, Dolores Hart, Stuart Whitman, Pedro Armendariz
screenplay by Eugene Vale, James Forsyth and Jack Thomas
directed by Michael Curtiz

by Walter Chaw One of David O. Selznick's many attempts to shape the largely immutable mug of lady-love Jennifer Jones into the face that launched a thousand cinematic ships, the badly-fumbled Hemingway adaptation A Farewell to Arms finds Jones, about two decades past the age of her Red Cross nightingale Catherine, paired opposite the not-quite-long-in-the-tooth-but-almost Rock Hudson as her doomed love Lt. Henry. The setting is Italy during The Great War; playboy Lt. Henry falls for mad "Cat," who, as written by the legendary Ben Hecht (himself a decade removed from his best work and well on his way to becoming king of cheese epics), comes off as an entirely inappropriate nod to Blanche Dubois. Selznick served John Huston–the right man for this picture–his walking papers early on for correctly identifying the love story in Hemingway's novel as just a metaphor for the tragedy and irony of WWI's carnage, subbing Huston with second-stringer Charles Vidor, who meekly agreed to amplify the alleged love between Lt. Henry and Cat while pushing all manner of hysterical spectacle to the wings of the proscenium.

The Narrow Margin (1952) – DVD

September 5, 2005Posted in1950s, Authors: Travis Mackenzie Hoover, Crime, Drama, DVD, Thriller

***/**** Image B+ Sound A- Extras C
starring Charles McGraw, Marie Windsor, Jacqueline White, Don Beddoe
screenplay by Earl Felton
directed by Richard Fleischer

by Travis Mackenzie Hoover The Narrow Margin is the kind of minor classic that makes a few of the major ones look puny. Possessing a careful, Artful Dodger deviousness, the film pulls the rug out from under you before you even notice it was there–it refuses to waste time on speeches or showboating and simply gets down to the business of blowing your expectations right out of the water. It's also a strangely affirmative noir in its insistence on overturning surfaces to see the individual beneath the bluster, a testament to the cleverness and thoughtfulness of screenwriter Earl Felton. If Felton's efforts lean more towards chamber piece than grandiose masterwork, he's still clever enough to suck you in and unpretentious enough not to pat himself on the back for this triumph of art over budget.

Bedtime for Bonzo (1951) + I’ll Take Sweden (1965) – DVDs

June 27, 2005Posted in1950s, 1960s, Authors: Travis Mackenzie Hoover, Comedy, DVD, Family, Romance

BEDTIME FOR BONZO
**½/**** Image B Sound B+
starring Ronald Reagan, Diana Lynn, Walter Slezak, Jesse White
screenplay by Val Burton and Lou Breslow
directed by Frederick de Cordova

I'LL TAKE SWEDEN
*/**** Image A- Sound A
starring Bob Hope, Tuesday Weld, Frankie Avalon, Dina Merrill
screenplay by Nat Perrin, Bob Fisher and Arthur Marx
directed by Frederick de Cordova

by Travis Mackenzie Hoover FILM FREAK CENTRAL now heads into uncharted waters with the first auteurist assessment of one Frederick de Cordova. Yes, the man who inadvertently wedged his foot in pop history by bringing Ronald Reagan and a monkey together in Bedtime for Bonzo indeed has themes that remain consistent–at least in the fifteen years that intervened between that film and his Bob Hope vehicle, I'll Take Sweden. Both find a rigid father figure finally lightening up after aggravating bad situations with some abstract and inflexible rules. But while Bedtime for Bonzo bristles with surprise implications and rear-view Reagan desecrations, I'll Take Sweden lies dead on the screen thanks to terrible lines and unpleasant "racy" humour. Which means that whatever de Cordova's thematic uniformity, I suspect the Cinémathèque française monograph is not forthcoming.

Broken Lance (1954) – DVD

June 5, 2005Posted in1950s, Adventure, Authors: Walter Chaw, DVD, Western

***/**** Image A+ Sound B+
starring Spencer Tracy, Robert Wagner, Jean Peters, Richard Widmark
screenplay by Richard Murphy, based on the novel by by Philip Yordan
directed by Edward Dmytryk

by Walter Chaw Released the same year as his better-known The Caine Mutiny, disgraced director Edward Dmytryk's melancholic Broken Lance completes a double-pronged apologia for naming names before the HUAC. With the former film, Dmytryk sees himself possessed by madness; with the latter, he sees himself at the mercy of a world obsessed with rituals emptied of their meaning–and all the things he loves betrayed by his dogged fidelity to an older code of ethics. Though Broken Lance is often compared to "King Lear", it's more accurate to call it a run at the kind of end-of-the-trail film that would crop up a lot more in the western genre during the 1960s (The Man Who Shot Liberty Valance, Ride the High Country, Cimarron, and so on). But the film is the death knell for one man's–Dmytryk's–idealism, and what's fascinating is the extent to which the passing of a single man's hope registers in nearly the same key as the passing of the Old West as a genre. The saga of masculinity as it's embedded in the western clarifies itself with just this one, small, eloquent example.

Lullaby of Broadway (1951) + Calamity Jane (1953) – DVDs

May 16, 2005Posted in1950s, Authors: Travis Mackenzie Hoover, Comedy, DVD, Musical, Romance, Western

LULLABY OF BROADWAY
*½/**** Image A Sound A
starring Doris Day, Gene Nelson, S.Z. Sakall, Billy DeWolfe
screenplay by Earl Baldwin
directed by David Butler

CALAMITY JANE
**½/**** Image A- Sound A
starring Doris Day, Howard Keel, Allyn McLerie, Philip Carey
screenplay by James O'Hanlon
directed by David Butler

by Travis Mackenzie Hoover There's a pseudo-indie movie whose title escapes me that thought it would get an easy laugh by having a pretentious film theory major call her paper "Doris Day as Feminist Warrior." The joke was bad not because it was too exaggerated–as it happens, it wasn't much of an exaggeration at all. Doris Day was such a cottage industry for '90s pop-cult studies that she was (distantly) second only to Madonna as an item for rescue and reclamation, making such a title not only plausible but also inevitable. It's easy to see why: while the "legendary" screen goddesses stood around waiting to be claimed by the hero, Day was going ahead with a career or obliviously transgressing some other gender rule–not enough to topple Hollywood patriarchy, but enough to give clear-eyed individuals fugitive moments of pleasure.

Panic in the Streets (1950) – DVD

March 21, 2005Posted in1950s, Authors: Travis Mackenzie Hoover, Crime, Directors: Elia Kazan, Drama, DVD, Thriller

***/**** Image A- Sound B+ Extras A-
starring Richard Widmark, Paul Douglas, Barbara Bel Geddes, Jack Palance
screenplay by Richard Murphy
directed by Elia Kazan

by Travis Mackenzie Hoover Did Elia Kazan really direct Panic in the Streets? Nothing in his grandstanding filmography–not the staring-at-particle-board virtue of Gentleman's Agreement, not the prosaic rationalizing of On the Waterfront, not the great but still morally show-offy A Streetcar Named Desire–describes the scene, evokes the mood, or gets to the point quicker than this marginalized but delicious 1950 semi-noir. For once, Kazan isn't telling you how to sympathize, opting instead to show you the issue and let you draw your own conclusions. The result is speedy, gripping, and affecting like nothing in his turgid oeuvre, and makes the people stick with you longer than the pasteboard symbols in Kazan's other films.