The Manchurian Candidate (1962)

Communists, Communists Everywhere!

***This Review Contains Spoilers***

The Manchurian Candidate is one of few films to really portray communism as a sinister force, compared to many other films which even if they don’t portray communism in a favourable light, they fail to go the whole hog. In the director’s commentary for The Manchurian Candidate, director John Frankenheimer states the film is a response to Joseph McCarthy but goes into no details regarding this or any of the political themes present in the film but rather talking about the technical aspects of the film. With all due respect to the highly talented director, this leads me to believe he is not fully aware or interested in the thematic significance of this film he directed.

From one angle it appears The Manchurian Candidate, whether intentionally or not is a validation of McCarthy and the Hollywood blacklist. The Manchurian Candidate shows communism infiltrating the higher echelons of US society, all the way up to brainwashing a candidate for the US Presidency and his wife while at the same time making anti-communists look like a bunch of paranoid loons. However, one of the major characters in the film, Senator Johnny Iselin (James Gregory) is a cartoon-like version of Joseph McCarthy – a puppet of his wife Eleanor Iselin Is of whom is secretly a communist infiltrator (as revealed in a twist near the film’s end) passing as a rabid anti-communist. Not the brightest tool in the shed, Senator Iselin keeps giving the media different numbers on how many communists are in the Defence Department and eventually settles on 57 – being the only number he can remember in a clever reference to Heinz tomato ketchup. At the end of the day, it appears The Manchurian Candidate is trying to have its cake and eat it too in taking down both communism and McCarthyism all at once.

Well in the interest of advancing an agenda one is hamstrung by the fact that the communists in the film are using methods which are science fiction as brainwashing (mind control) does not actually exist in the real world. As Jon Mixon of Slate.com sums it up:

There is no scientific proof that brainwashing (a theoretical form of mind control) exists or is even possible. The term itself is no longer used by mental health professionals (well, reputable professionals, that is), and no peer-reviewed experiments or studies have been done that demonstrate that it is even possible.

Terrorist groups, cults, religions, and others seeking to influence people often look for those experiencing personal or professional setbacks and offer them sources of comfort, financial or moral support, or (at first) a nonjudgmental audience that will listen to their problems. As the person grows closer to the group, he becomes aware that to remain in the group he has to align his public statements, words, and actions with those of group. If he doesn’t, then he is ostracized from the group or increased pressure is placed upon him to do so.

Many people don’t do this and leave the group entirely. Some remain with the group and mimic the necessary public displays, words, and actions but don’t really believe the group’s core message. A relatively small number of people do believe the message, and they make up the backbone of the organization. They aren’t “brainwashed”—they simply chose to believe that the group meets most or all of their wants and needs.

Protagonist Raymond Shaw (Laurence Harvey) does not fall under that category but really is an individual who’s mind has been put under the control of others, making The Manchurian Candidate is a borderline science fiction movie. That said, if brainwashing was real is there any reason to believe The Soviet Union of Mao’s China would have not taken advantage of it? You can decide.

It’s Angela Lansbury who steals the show as quintessential highly controlling, domineering mother Eleanor Iselin, who has a tendency to call anyone she disagrees with a communist, even when they are a Republican (rings a bell in the modern-day culture war). The movie doesn’t state if the Iselin’s are Republicans or Democrats. The regular appearance of bust and portraits of Abraham Lincoln in their home as well as people (including Mr Iselin) dressed as Honest Abe at their party may hint to them being Republicans. However, there did exist a conservative, anti-communist wing of the Democratic Party back then so their party allegiance could go either way.

Laurence Harvey is an actor with a real dignified aura to him (and in comparison to Sinatra, it’s clear who the superior actor is). Raymond Shaw is real a snob and sour puss, “not loveable” as he memorably describes himself. He even almost turns into Alan Rickman in Robin Hood Prince of Thieves when becoming drunk and ranting about Christmas with his mid-Atlantic accent. Likewise, I feel the casting of Janet Leigh as Sinatra’s love interest Eugénie Rose Chaney to be a determent to the film, not out of any wrongdoing by the actress, but for a minor part which only has a small bearing on the plot, having a major actress cast in the part comes off a waste. Angela Lansbury and even the portly, comic-looking John McGiver play roles of far greater significance yet are billed lower – an unknown actress would have been better suited to the role. The Manchurian Candidate is also one of the earliest films to feature black actors in which their race has no bearing on the plot with the desegregated military present in the film and James Edwards in the small but memorable role of Cpl. Allen Melvin.

Frankenheimer directed some of the most visually striking black & white films ever made with Lionel Lindon providing the cinematography for The Manchurian Candidate. Those dreams sequences are a master class in editing and set design (not to mention the unease that comes from having a gun directly pointed at the audience). Also observe how the murder of Mr Gaines (Lloyd Corrigan), is very similar to the murder of Eldon Tyrell in Blade Runner. The scenes from both movies take place at night in the victim’s bedroom as they are lying in bed reading. Both are wearing a robe, have a chessboard, statues of animals and candles next to their beds and both are about to be murdered. I can only guess this scene really stood out for Ridley Scott.

The Manchurian Candidate is fascinating if imperfect political thriller. One has to suspend their disbelief when watching the film, no more so than when Shaw just happens to be in a bar when the bartender in a conversation with patrons just happens to say the trigger phrase “play a little solitaire” – a remarkable coincidence to say the least. The film’s climax is the blueprint for the political, conspiracy thriller in which a sniper plans to take out a candidate in a convention arena amongst all the electioneering apparel and giant posters and the candidates, and all this one year before the untimely demise of JFK.

The Conversation (1974)

HF 1

I Always Feel Like, Somebody’s Watching Me 

The Conversation revolves around just that, a conversation between a man and a woman which is secretly recorded in San Francisco’s Union Square by Harry Caul (Gene Hackman) and his team as a paid job for a private interest. Watching The Conversation decades after the fact, it’s surprising to see that such long-range microphones which can record conversations from afar and even in crowded places existed, let alone were commercially available in 1974, while it’s also of great interest to watch the process depicted in the film of editing together the audio from different sources without the aid of a computer screen. It goes without saying that in a post 9/11, post Edward Snowden world, The Conversation is more scarily relevant than ever.

Harry Caul (Gene Hackman) is the personification of a paranoid man in one of the most effective portrays of a crisis of conscience in film. If you’re in the business of spying on people, it’s difficult to believe people are not spying on you, even to the point that the man can’t even bear one of his neighbours delivering him a present on his birthday. Unlike an Edward Snowden, Harry Caul does not work for the government but the movie hints that he has been hired by them before. Harry’s assistant Stan (John Cazale) even speculates the tapes Harry is editing could be for the Justice Department or the Internal Revenue. However, the most “out there” moment in the film comes when Harry’s associate Bernie (Allen Garfield) states:  “Twelve years ago, I recorded every phone call made by the presidential nominee of a major political party…I’m not saying I elected the President of the United States, but you can draw your own conclusions.” Francis Ford Coppola had been writing The Conversation since the late 1960’s however it’s not determined whether the Watergate scandal had any influence on the film’s development, but you can draw your own conclusions.

Perhaps the most unsettling section in The Conversation is the surveillance convention – a convention where the subterranean world of wiretappers come together to showcase their Orwellian recording technology with the pomp and flair of any business expo. As Martin Stett (a certain young Harrison Ford) sinisterly sums it up, “It’s a convention of wiretappers, ah excuse me, surveillance and security technicians”.

Ah yes, let’s talk about the young Harrison Ford in the supporting role of Martin Stett. Perhaps I may be biased being a huge Harrison Ford fan but he leaves a huge impression in this small but significant part in which he does have a surprising amount of screen time for this early stage in his career. According to Coppola on the director’s commentary track, the character was Ford’s own creation. Originally no more than a cameo, the character’s role was expanded as much as possible when Ford fleshed it out, turning the character into an implied homosexual with his campy checkered tie and sweater, in an implied relationship with the company director played by Robert Duvall. Martin Stett is like a predecessor to the 1980’s yuppie and is one scary looking dude when he lingers in the background – even his voice over the phone is unsettling. I’m unable to discover whether or not more footage of Ford ended up on the cutting room floor. However included on the Blu-ray release of The Conversation is an early screen test from 1972 in which a young and dashing Ford plays the role of Mark, which a part which would eventually be portrayed by Frederic Forrest.

Being a film about sound itself, The Conversation couldn’t be a more ideal match for the editing and sound design talents of the great Walter Murch. Like his work in Apocalypse Now, the sound effects are as memorable as the music, particularly that audio distortion noise that repeats during the film’s titular conversation. Likewise, the eerie, ragtime-esque music score courtesy of David Shire shows what you can do with just a piano – the ideal accompaniment to the gritty 70’s look amongst the film’s oppressive yet striking architecture and a slightly drab-looking winter San Francisco (The Conversation is one of those film’s set during Christmas which has no bearing on the holiday). Even the camera acts as an eavesdropper with the film’s use of voyeuristic shots.

“We know that you know, Mr. Caul. For your own sake, don’t get involved any further. We’ll be listening to you.”

The Harrison Ford Blogathon Has Arrvied!

200221-call-of-the-wild-harrison-ford-se-127p_b18ac5f0954be19ec1e0364df6427b96.fit-760w

The Harrison Ford Blogathon has arrived! A big thank you to everyone who took part. We look forward to reading your entries. Please check back over the next three days as I will be updating the blogathon as participants post their entries.

Please be sure to leave comments on the participant’s blogs. I’m sure they will enjoy the feedback!

 

The Entries (In Alphabetical Order):

Silver Screenings: American Graffiti (1973)

Sat In Your Lap: The Conversation (1974)

Dubsisism: The Conversation (1974)

The Midnite Drive-In: Cowboys & Aliens (2011)

Hamlette’s Soliloquy: The Fugitive (1993)

Movies Meet Their Match: Raiders of the Lost Ark (1981)

coffee, classics & craziness: Regarding Henry (1991)

movierob: A Time For Killing (1967), The Mosquito Coast (1986) & Crossing Over (2009)

johnrieber: Working Girl (1988)

The Last Flight (1931)

Party Animals

The Last Flight is one of the more unique movies to come out of 1930’s Hollywood (possibly in part due to the film being directed by German newcomer to Hollywood, William Dieterle). It didn’t hold my attention on first viewing with its surprising plotless structure but the odd nature of the movie made me want to give it another try. The Hemingway like Lost Generation film follows a group of Great War veterans leading a shallow and hopeless existence as they spend their nights drinking and partying in Paris while making no attempt to properly readjust to civilian life (“Well there they go, out to face life, and their whole training was in preparation for death”) – A tale which would be repeated throughout cinema with various wars.

The film is entirely driven by the rapport between the characters and the listlessness that covers their lives. Along the way, they met a metaphorical representation of their damaged states in the form of Niki (Helen Chandler). The first scene with this character really confused me on first viewing as it sounds like she’s saying she is holding a man’s “tea” rather than his “teeth”. Why the men would get so excited over this? It’s not clear if Nikki is a ditsy dame, constantly inebriated or just nuts. She doesn’t mind just standing and holding the teeth of a stranger who wants to go out back and fight and even keeps turtles in a hotel bathroom.

I do love the exquisite Paris nightlife circa 1919 as presented in the film with the suits and the drinks, you really get a sense of the all the good (if pathetic on a deeper level) times they have (even if it’s never explained how they fund their drinking adventures). Allow me to express my inner grumpy old man when compared to modern nightlife.

Richard Barthelmess gave some of the most memorable performances of the pre-code era, having the ability to convey the look of a damaged man as seen in the role of Cary Lockwood, the most sensible one of the ecliptic group. Likewise, there’s also Frink (Walter Byron) and his sexual misconduct (“He is a member of the wandering hands society and has a grouping good time”), in which the men are shockingly tolerant of his behaviour as they call him out and criticise his actions but never expelling him from the group. Even after an attempted rape on a train the men only tell him to apologise and to never get out of line again.

The Last Flight reuses footage at the beginning from Barthelmess’ previous war film, The Dawn Patrol; both are based on stories from John Monk Sanders and make for a great double feature. – The Last Flight is a film for a patient viewer but one which holds many nihilistic rewards.

Teacher’s Pet (1958)

I’m Learnding!

***This Review Contains Spoilers***

Teacher’s Pet showcases that even by the late 1950s, Clark Gable still had a gift for comedy. His timing, facial gestures and body movements are all spot on (likewise the cartoon drawing of Gable in the opening credits is the spitting image of Gomez Adams). It’s clear by this stage in his life Hollywood had gotten the better of him and he wasn’t the sex symbol he once was but the animal magnetism is still there (despite what appears to have a missing tooth or a large gap between his teeth). Teacher’s Pet is one of the few worthwhile endeavors of Gable’s later days in which he plays working-class hero Jim Gannon; editor for a large city newspaper. Gannon is a man who never went to high school and has a dislike of colleges (says he can’t even stand the smell of chalk) and a distrust of intellectuals. Gannon believes the only way to be trained for the world of journalism is through practical, hands-on experience and not in the classroom.

In the late 1950s, the majority of American newspapers still employed old school journalists and editors. However, a new post-war idea sprang up to help professionalize the news industry (among other fields) by requiring would-be journalists to get a university diploma in order to get hired as a news reporter; a field which had been traditionally more working class. This conflict between these differing world views is at the heart of Teacher’s Pet in which Gannon pretends to be a newcomer to the profession in the journalism class of Dr. Erica Stone (Doris Day).

Stone is a representation of what we would now identify as the typical university-educated liberal with her butch haircut and concern for social issues (“Was it because he’s the member of a minority group, struggling to solve the complex problem of assimilation? Did society at large create the climate for this tragedy?). She doesn’t look highly upon Gannon’s breed of journalist, describing them as the “unpressed gentlemen of the press”, and a dying race. Teacher’s Pet certainly saw the writing on the wall, as today journalism is seen as a profession of the university-educated class. It appears the movie is going to take a corny best of both world’s view for its conclusion until Jim decides at the end that he can’t change his perspective.

Part of what makes Teacher’s Pet entertaining is Jim’s epic, what we would refer to in the early 21st century as trolling in which Jim pretends to be a journalism newcomer to show Dr. Stone and her class to show “what a phony-baloney the whole thing is” (and yes this guy must have a lot of free time outside of work). He acts a pathetic nuisance to the class, only to then write an article to Dr. Stone’s amazement which includes the key ingredients of any news story;  who, what, where, when and why?

The cast of Teacher’s Pet also includes Mamie Van Doran as a second rate Marilyn Monroe. She primarily starred in juvenile delinquency B movies in the late 1950s and even sings a number in Teacher’s Pet which reflects this. Likewise, the always memorable Charles Lane plays a member of Jim’s staff roll at the paper, portraying less of a sourpuss this time round. Many viewers appear to comment that Gable is too old to be a journalism prodigy, however, I believe his old age is central to the character; just like how Gannon represents a different age of journalism, Gable represents a different age of Hollywood to that of Doris Day. The first half of Teacher’s Pet moves along at a brisk pace, although I find the film’s second half doesn’t flow quite as good, particularly when it pulls the dreaded lair revealed cliché. It slows down proceedings, leaving Teacher’s Pet a good if not quite great comic outing, but a prophetic one at that.

Announcing The Harrison Ford Blogathon!

Indy

-For this blogathon please write about any film or TV show starring Harrison Ford or any topic related to the man himself. You must choose, but choose wisely!

-Entries don’t have to be just written blog posts. Videos, podcasts or whatever medium you desire for your entry will be accepted.

-No more than two duplicates of any film or TV show will be allowed.

-Add your Twitter handle so I can promote your post.

-You cannot post previously published material.

-To participate please comment along with the URL and name of your blog, and the subject you wish to cover of course. Or if you desire you can email the same details to me via mmallon4@gmail.com.

-Once your topic is approved please take one of the banners below and add it to your blog.

-A full list of the entries will be posted on a separate page which will be active once the blogathon date arrives.

Date: February 27th – 29th, 2020. Please submit your entries on these dates. I look forward to you joining in February!

HF 1

HF 2

HF3

The Roster:

Sat In Your Lap: The Conversation (1974)

Silver Screenings: American Graffiti (1973)

movierob: A Time For Killing (1967), The Mosquito Coast (1986) & Crossing Over (2009)

johnrieber: Working Girl (1988)

Dubsisism: The Conversation (1974)

Hamlette’s Soliloquy: The Fugitive (1993)

The Midnite Drive-In: Cowboys & Aliens (2011)

coffee, classics & craziness: Regarding Henry (1991)

Movies Meet Their Match: Raiders of the Lost Ark (1981)

The Seven Year Itch (1955)

SEX! Now That I Have Your Attention, Read My Review

***This Review Contains Spoilers***

The Seven Year Itch is often dismissed as a lesser Billy Wilder effort yet the film is far more than just the iconic image of Marilyn Monroe’s skirt blowing up over a subway (an image which doesn’t even appear in the film). There’s always an ongoing debate over just how talented certain stars are who were better known for their status as icons rather than their acting ability (Greta Garbo, John Wayne, Arnold Schwarzenegger and yes, Marilyn Monroe). The Seven Year Itch is the ideal showcase for how gifted a comedienne Monroe was while also having the allure of the likes of Harlow or Garbo.

The Seven Year Itch is surely the most entertaining on-screen representation of repressed sexual urges. I’m sure many men can relate to Richard Sherman (Tom Ewell) regardless of their age and the male fantasy of being alone with Marilyn Monroe. In one scene the movie displays a classic case of expectation vs reality in which Sherman imagines a melodramatic scene in which himself and a sultry Monroe wearing a tiger dress play classical music on a piano. This is soon followed by reality in which the two un-romantically play chopsticks on the piano.

Tom Ewell spends much of the film interacting with himself. His self monologuing is entertaining listening and helps carry the film in a part which could come off as creepy but Ewell avoids it from doing so – Ewell is charismatically dull if that makes sense. It’s a shame Ewell never had more notable roles, he would have fit right at home in comedies which would have starred the likes Jack Lemmon or Walter Matthau (of whom originally screen-tested for Ewell’s role).

Movies like this with a summery feel are great viewing any time of the year, to go along with the summer mood or the enlighten the dull winter, especially with the sultry music score courtesy of Alfred Newman. The Seven Year Itch also sees the advent of the intricate title sequence (by none other than Saul Bass), a step up from a stationary title of the movie and a list of cast names which had been seen in cinema up until that point. There is even a scene early in the film in which Sherman goes to a vegetarian restaurant, orders soy food and a waitress rants about how “if there was no clothes there would be no sickness and no war” – crazy leftists circa 1955.

The Seven Year Itch was limited by the Hays Code yet it’s still interesting to see how far they could go within these confines with lines such as “when it’s hot like this I keep my undies in the icebox”. At the end of the day you can censor and restrict all you want but you can’t stop someone from exuding natural sexuality. I’m sure moralists were outraged at the time yet the story is about a man overcoming his adulterous urges, avoiding temptation and remaining faithful to his wife, refusing to become a summer bachelor while his wife and son are away for the season.

Gone With The Wind (1939)

The Great American Movie

***This Review Contains Spoilers***

GWTW

The Great American Movie

So it’s about time I finally got around to reviewing the big cheese itself, the towering achievement of American cinema, those four glorious syllables – Gone With The Wind.

Gone With the Wind testament to how much filmmaking had changed in just 10 years from the beginning to the talkie period. From the astounding cinematic shots such as the long take of the bodies of fallen soldiers lying in the streets of Atlanta to those red Technicolor skies which I could stare at all day and huge matte paintings which are hard to distinguish from real sets – it’s a world to get lost in (I can even ignore the very clear continuity error at the beginning of the film when it goes from dusk back to early evening to dusk again). Even those opening titles themselves are breathtaking, let alone for a time when opening titles where a basic on-screen title card.

Gone With the Wind is a film with a fascinating history as it’s backdrop. The pink elephant in the room however for many modern viewers is the troublesome historical image of the American South both pre and post-antebellum, whether just or unjust. The emphasis on the Wilkes family marrying their cousins doesn’t help things but the real but the real point of contention is the dreaded “R” word, racism. To dismiss Gone With the Wind as a racist film is such a reductive argument, especially when certain commentators liken it to The Birth of a Nation, a film which shows black members of the House of Representatives eating fried chicken. To actually watch Gone With the Wind and study it closely, the way the film examines the racial issues is more 3 dimensional than popular critique contends.

Gone With the Wind is told from the point of view of slave owners who don’t see anything wrong with owning slaves (nor is it ever made clear if the plantation owners start paying their former slaves following the end of the war). The slave owners are a product of their time which the movie doesn’t pass judgment on. Only one line of dialogue in the film deals with the question of morality when it comes to slavery in which Ashley responds to Scarlett’s use of prisoners for labour which implies Ashley sees nothing wrong with slavery providing the slaves are treated well;

“Scarlett, I will not make money out of the enforced labour and misery of others”

“You won’t so particular about owning slaves”

“That was different; we didn’t treat them that way

I find by far the most interesting aspect the portrayal of race in Gone With The Wind is the stark contrast between the black carpetbaggers (northerners who came to the south following the war who were perceived to be exploiting the local populace) and the recently freed slaves who are still childlike, dim-witted and happy to help out their masters of whom they are dependent on. The first black carpetbagger seen in the film features a sharply dressed, liberated northern black man traveling with a white accomplish but more significantly, in a scene not long after this Mammy (Hattie McDaniel) sneers at a pair of African-American carpetbaggers who are wearing fancy suits, smoking cigars and laughing. Mammy, who just had to beg for money along with Scarlett, sneers at this black men having the time of their lives. While the phrase is not used in the movie, these individuals would be referred to in many quarters as “Uncle Toms”, perceived sellouts to their black brethren. The appearance of independent, well to do black men from the North goes against the narrative of Gone With The Wind being a racist film. I’m not qualified to comment on the historical accuracy of Gone With the Wind or how well it portrayed the time and place it depicts but there’s too much nuance within the film’s depiction to simply shout “wasis!” rather than having a more productive conversation or what the film did or did not do right. To quote the late, great Roger Ebert, “A politically correct “GWTW” would not be worth making, and might largely be a lie.”

The film’s opening prologue and the scenic shots of Tara could be seen as Confederate propaganda with its Utopian presentation of a world alongside the opening prologue which reads;

“There was a land of Cavaliers and Cotton Fields called the Old South. Here in this pretty world, Gallantry took its last bow. Here was the last ever to be seen of Knights and their Ladies Fair, of Master and of Slave. Look for it only in books, for it is no more than a dream remembered, a Civilization gone with the wind.”

Yet if there’s any authorial or filmmaking intent to propagate Confederate lost cause mythology (historical revisionism that the Confederacy’s cause during the civil war was a just and heroic one) is countered by much of the film’s content. There’s no explicit condemnation of slavery or the confederacy but does the movie have to do this? The biggest Uncle Tom in Gone With The Wind in Scarlet O’Hara herself for doing business with the northern carpetbaggers in order to save Tara and rise above poverty. What makes Scarlett O’Hara a character I can empathize with? By many accounts, I shouldn’t as she’s bratty, entitled and manipulative, yet you can’t help but admire her desire to survive and make better of herself despite what onlookers might say (her gumption as Margret Mitchell describes it). Scarlet is shown to have little interest in the southern cause (as does Rhett Butler). This is memorably symbolized in the shot in which war has just been announced as everyone runs frantically through the foyer of Twelve Oaks and Scarlett angrily walks by them as if they aren’t even there. Really the one cause Scarlett is dedicated to is that set of her family of Irish immigrants who came to America and accomplished the American Dream of owning land (“Land is the only thing in the world worth working for, worth fighting for, worth dying for”).

Gone With The Wind is one of few films in which every character, no matter how minor is significant in their own way, with Star Wars or The Ten Commandments being one of few other films which achieve this. Now if only I could do without Prissy (Butterfly McQueen), one of the most cowardly, unlikeable characters ever – and that nails on chalkboard voice! Thankfully Scarlett gives her a good slap.

Then there’s my boy, Rhett Butler; the cinematc embodiment alongside Han Solo and Indiana Jones of masculinity and individualism (and what an introductory shot!). Men want to be him and women want to be with him. A man out for himself and a realist doesn’t really believe in the Confederate cause and is by far the most self-aware character in the film. In a defining scene Rhett points out how the south isn’t equipped for war while the other southern gentlemen are blinded by illusions of grandeur and he’s not afraid to call them out on it, while remaining a gentleman the whole time and removes himself from the meeting after the other gentlemen feel insulted by his comments. Even when Rhett joins the Confederate Army near the end of the war as he describes himself as having a weakness for lost causes, he’s still self-aware of how foolish his actions are. Just before Rhett leaves Scarlet at the carriage after escaping from Atlanta, the film treats us to what I consider the greatest kiss in film history with its layers on intensity; melodramatic dialogue, sweeping music, and the blood-red sky.

Rhett’s actions do however lead to one scene which gets many viewers in a tussle; Rhett’s drunken marital rape of Scarlett after she refuses to have sex with him. Not to mention Scarlett is seen the following the morning have enjoyed the experience! I don’t believe however the film at all rewards or gratifies Rhett for his actions and subtlety condemns it. Not only does Rhett show remorse for his actions the following morning, but the rape is also the final act which leads to the destruction of a marriage which was already on shaky ground.

Leslie Howard’s Ashley Wilkes who is in many ways the counterpoint of Rhett Butler as the tender, effeminate, proud southerner (with a transatlantic accent, go figure). Ashley is a romantic who is crippled by his nostalgia for the old south. Ashley spends most of the film listlessly adrift through the harsher realities of the reconstruction era. Unlike Scarlett, he has no goals or ambitions for the future. All he can do is remember the elegance of his life as it once was and wish that he could return to those old days.

Rounding out the film’s four main cast members is Olivia de Havilland in her undersung performance as Melanie Wilkes, crossing the line of being saintly without ever being sickly. Did she know about Scarlett and Ashley or not? Was she really a saint, or just naive, or perhaps exceptionally wise? Scarlet is the sister Melanie always wanted with each of them possessing qualities the other lacked, especially during their bond over joint survival during and after the war. Scarlett saved Melanie’s life and Melanie kept her cool under fire in a way that earned Scarlett’s private (though reluctant) admiration. She also did not hesitate to do hard work she never would have had to touch before the war. She was, therefore, more valuable to the family’s survival than Scarlett’s two sisters. The speculative question of whether Melanie knew about Scarlett’s obsession with Ashley. Perhaps Melanie knew she could trust Ashley while seeing that Rhett was the right man for Scarlett by trying to promote their relationship.

Strange Interlude (1932)

The Original Peep Show

Strange Interlude is a movie for the patient viewer. I had difficulty getting through it on first viewing but due to my amour of Clark Gable and a soft spot for old mental illness melodramas with stories of bad blood and insanity passed through genes (scientific validity?) plus that creaky charm you get from pre-code films, on rewatching I did find new appreciation for Strange Interlude. The original 1928 play by Eugene O’Neil was a staggering 6 hours long; the film condenses that to below two hours whether for better or worse. – I struggle myself to imagine watching a 6-hour version of this story.

The plot of Strange Interlude requires a bit of setting up but after Nina (Norma Shearer) marries the naive Sam (Alexander Kirkland) then the ball gets rolling and the tension escalates when she is told by Sam’s mother (May Robson) that mental illness runs in her family and father’s a child with Dr. Ned Darrell (Clark Gable) without her husband’s knowledge. Also thrown into what makes a love square plot is the nihilistic, miserable excuse for a human being in the form of Charlie (Ralph Morgan). It’s some quality melodrama full of classic hallmarks including a house by the sea with crashing waves, a pleasing New England aesthetic and some fine fashions by Adrian. One area where the production does go wrong is with the overdone aging makeup on the four main cast members, turning them geriatric in 10 years – At least Gable’s drawn on mustache looks legit.

Granted I am a Gable die hard but I will passionately argue why the man is underrated as an actor. The role of Dr. Ned Darrell is one of his finest acting achievements; in particular when he interacts with his biological, spoiled brat of a child who doesn’t know he is his real father. Norma Shearer likewise shows shades of a Garbo-esque drama queen, verging on over the top without crossing into laughable territory.

The unique selling point of Strange Interlude is the voice-overs in which the viewer can hear the character’s thoughts in an attempt to replicate the original play’s use of soliloquy – a technique in which characters speak their inner thoughts to the audience. This experiment is clearly a product of filmmakers trying to adapt to the early days of sound and the opening title explains the technique to the audience and even the first line delivered in this manner alludes to it (“Queer things, thoughts, our true selves, spoken words are just a mask, to disguise them”). It is necessary, however? – I can’t say is. The body language of the actors and the cinematic form allow for this sort of information to be conveyed to the audience which Strange Interlude does anyway any many cases. None the less it doesn’t ruin the film by means and is at least a commendable experiment.

Rocky Balboa (2006)

Can’t Teach An Old Dog New Tricks?

***This Review Contains Spoilers***

Rocky Balboa really does feel like meeting up with an old friend. The character himself is just as honest and done to Earth as ever, showing Stallone understands his own creation better than anyone else. So how do we make a Rocky film emotionally engaging right off the bat 16 years after the last movie? Have it revealed that Adrian died at some unspecified point (before 1995 at least) and that he is emotionally distant from his son along with a sprinkle of nostalgia in showing that he still has pet turtles (so are they the same turtles from the first movie?). Rocky Balboa doesn’t draw too heavily on little nods to the previous movies but a few are there. Rocky revisiting his old haunts really puts his journey in retrospect as he looks back on the ghosts of the past. More drastically, however, Rocky Balboa breaks the series tradition and has no recap of the final fight from the previous movie, setting itself up as its own separate beast.

In Rocky Balboa, the titular character is doing well for himself at least in terms of his standing in the community and even operates a restaurant named after his late wife. The real difficulty Rocky currently has in his life is the strained relationship with his son Robert (Milo Ventimiglia). Robert is ultimately a bit of a snob who is more intellectual than his father and works in a modern, geometric building (the Cira Centre); a world where the street weary Rocky doesn’t belong. Robert is clearly bothered by his father and doesn’t want to live in his shadow and only get ahead because of his last name. There is even a reference to the father-son relationship in Rocky V when Rocky uses the phrase “Home Team” to his son. See Stallone, even you can’t deny it exists (he actually gave the film a rating of “0” on a British talk show)

Like previous films in the series, Rocky Balboa draws comparisons to Stallone’s own life. The scene in which Rocky tries to convince the boxing commission to grant him a license feels just like Stallone trying to pitch the movie itself to a group of Hollywood executives; it’s true that Stallone didn’t have an easy time making Rocky VI. Even the reactions within the movie to the fight’s announcement echo the reaction to the movie’s announcement (“Rocky the President has labeled you a Balboasaurus”). I appreciate films about old age as they are few and far between (excluding Lifetime movies). – You can’t teach an old dog new tricks? Nonsense!

One of the weakest aspects of Rocky Balboa in my book is the largely forgettable opponent Mason ‘The Line’ Dixon. He is not over the top like Rocky’s previous foes and has no definable personality, memorable lines and has an RBF throughout the entire film. A more subdue villain could be interesting if done right but the script makes no attempt to do so. Honestly, his managers are far more interesting as a group of cynical, greedy boxing promoters. Although my biggest gripe with Rocky Balboa is the film’s visual appearance. The cinematography is way too overexposed and there is way too much blue in the colour scheme; I had to adjust my eyes in order to get used to it. – I will say Creed is far more visually asserting movie.

Burt Young makes Paulie grouchy and grumpy as ever and gives his best performance as the character, well in a deleted scene that is in which Paulie breaks down after losing his job after 31 years and speaks of how much he misses his sister. This has me screaming, “why wasn’t this left in the film?!” I get scenes have to be sacrificed for pacing but could they have not squeezed this scene in there? Oh well, that’s all part of filmmaking. Bringing back the character of Marie on the other hand, a one scene character from the first film is one of the best aspects of Rocky Balboa. I actually was fortunate enough to not know this going into the film and her reveal was a huge gasp moment. Likewise, the relationship between Rocky and Marie’s stepson named, well Steps presents an endearing generational difference. Rocky Balboa carries on what simply makes the Rocky films superb – great characters. Plus as with the rest of the series, there are many inspirational lines which I can add to my Rocky lexicon (“It ain’t about how hard you hit, it’s about how hard you get hit”). Even Duke’s “hurting bombs” monologue may be his greatest line ever, and that’s saying a lot.

The final fight in Rocky Balboa (which itself was inspired by a 1994 bout between a 45-year-old George Forman and a 26-year-old Michael Moorer) comes about because of a computer fight on ESPN. A “what if” scenario in which a computer determines who would win a fight between two contenders from different time periods; the premise sounds ridiculous on paper but surprisingly it actually works. The fight is by far the most realistic in the series up until that point. Thankfully the strive for realism doesn’t make the fight any less exciting than previous Rocky bouts. The fight is presented like it’s the real thing; it’s live on HBO, stats appear on the screen, its shot in HD and Michael Buffer is the presenter. The fight does transition from the live broadcast to a traditional movie presentation with some effective use of colouring in the black & white shots

Rocky Balboa is not my favourite film the series but how many franchises can say the 6th installment was this good. Where it certainly does succeed is in leaving the viewer with that uplifting Rocky feeling. In the final shot, Rocky visits Adrian’s grave and walks into the background disappearing into thin air, implying he’s passed on, or so we thought…