Tag: Drama

The Mortal Storm (1940)

I Did Nazi That Coming

I try to avoid calling movies underrated or saying “Why is this not more well known?!”, otherwise, I would sound like the most malfunctioning record but as to why The Mortal Storm is not more famous goes beyond just my own personal preferences. The fact that Hollywood’s then biggest studio Metro Goldwyn Mayer would release an anti-Nazi film at a time when the US and Germany were not involved in any conflict should be a bigger deal than it is. To give some historical context, although it seems hard to believe nowadays, fascist and other Nazi-like ideas were out in the open throughout the United States during the 20’s and 30’s (heck, just look at the film Gabriel Over the White House from 1933, also released by MGM, or the public initial backlash against films with pro-interventionist sentiments such as Sergeant York or To Be Or Not To Be). Prior to the US involvement in the war, there was even uncertainty as to whether or not the US should take part in the conflict in Europe.

The Mortal Storm being overlooked is criminal. It deserves the special edition DVD treatment with documentaries behind its production. I’m sure there must be an interesting story behind the making of this film. MGM has generally been seen as a studio who played it safe, thanks in part to its conservative studio head Louis B. Mayer. So it comes as a surprise The Mortal Storm would come from this studio and they paid the price. The Mortal Storm lead to MGM films being banned in Germany. The word Nazi is never used once throughout the film, while the characters I can only assume are Jews are referred to as Non- Aryan. I wonder if this was done to prevent further controversy surrounding the film but it’s still an incredibly brave picture.

The core story is about how Nazism tore German families and friends apart due to racial and political differences. The Roths (Jewish I assume) are a happy picture postcard family one day, the next there are completely torn apart. Things go bad for the family from the moment in which it’s announced Hitler has become chancellor of Germany as the adopted, non-Jewish sons of the Roth family begin saying disturbing yet enthusiastic comments (“If peasants want to keep their cows they better have the right politics”). Likewise, the patriarch of the Roth family and the professor of the town’s local university played by Frank Morgan is treated with the highest levels of respect one day and is awarded for his contributions to the fatherland. Not long after Hitler’s rise to power his students are boycotting his class after he states that science has shown there is no difference between the blood of various races.

The Mortal Storm is a work of propaganda, not that there’s anything wrong with that. Propaganda is an art form in itself, one which tries to get an emotional reaction out of the viewer in order to convert them to one side. The Mortal Storm achieves just that. The tension during the film just builds and builds, concluding in an ending which is one huge punch to the gut.

Watching the film again in order to write this review I surprised just how engaging it was on a further viewing. There are many little touches I never noticed previously, such as when Robert Young’s character announces his engagement to Margaret Sullavan, James Stewart is the only character the room who does react with joy. I do also have to ask how Stewart, a man who would become a World War II hero and later supporter of the Vietnam war must have felt playing a character who is a pacifist.

Majority of the film is shot on sets with the use of painted backgrounds and miniatures, yet the whole thing still looks fantastic and looks more idyllic than real-world locations could. You really get a sense for this small town in the Alps. The only complaint if any I can find with the film is that opening narration which is overly bombastic.

The casting of the previously paired Shop Around the Corner stars couldn’t be more perfect. James Stewart and Margaret Sullavan play two friends who are forced to become lovers due to the impending circumstances – I can’t recall any other movies which portray a love story like this. Sullavan often portrayed characters who represented bravery; her voice is so fragile yet powerful at the same time. The cast isn’t the only tie the film shares with The Shop Around the Corner; both films represent a European society which was on the brink of destruction. The Mortal Storm shows how even an enlightened society can turn to authoritarianism.

Mister Roberts (1955)

No One Can Succeed Like Mister Roberts

***This Review Contains Spoilers***

Fonda, Cagney, Powell, Lemon. What more could you ask for? Being a huge fan of all four actors, for me personally, Mister Roberts may be the greatest accumulation of actors ever; thus I will try my best to contain my inner fanboy. Not only do all four play interesting characters but they all share such interesting relationships between each other. Fonda and Cagney share a Bugs Bunny/ Yosemite Sam-like dynamic with Cagney being a frustrated old captain (possibly with a Napoleon complex) in a position of power but with no control over the taller Fonda stepping over everything he does.

Jack Lemon’s Ensign Pulver, on the other hand, hates the Captain but out of total shock, the captain likes the Ensign. I find this dynamic particular funny as I can relate to that situation of being admired by someone you dislike. However, I also relate to the character of Mister Roberts himself in his predicament of being stuck in a rut of which he is desperate to escape from; wanting to leave the navy cargo boat and be right in the action of the Second World War. The entire film effortlessly combines tragedy and comedy with no better example of this being the final scene itself in which the film transitions from the tragedy upon the characters discovering that Mr. Roberts has been killed in action to one more final pay off from a recurring gag; one of my favourite movie endings ever.

The claustrophobic intimacy of the ship, as well as the simply superb dialogue and performances, makes the dialogue-heavy scenes so engaging. Even with two directors on the project which could have spelled disaster, the film manages to come out perfectly fine rather than ending up like a Frankensteinian stitch up. The other scene which always stuck out to me was at the beginning of the film when the men are attempting to get a glimpse of women in a shower and going crazy as hell over it. Would men have the same reaction today because of the internet? Was the prospect of seeing a naked woman more thrilling back then?

Mister Roberts would be William Powell’s final film although one of Jack Lemon’s first, so I see the film as a passing of the torch between two generations of comedic actors. Originally Powell retired after appearing in How to Marry a Millionaire but decided to appear in Mister Roberts after reading the script. A much, much better choice of final film in which he shows that even in this stage of his career the man was still a master of words.

Million Dollar Baby (2004)

Milliún Dollar Leanbh

***This Review Contains Spoilers***

Million Dollar Baby is a movie I find works on different levels between first and second viewings. On my first viewing, I found the majority of the film great until the plot’s shocking and hard-to-digest turn of events in its final act – it ranked as one of my new favourite films of all time. On second viewing, however, I found Million Dollar Baby substantially even better as I was waiting in dread for the proceeding events; I mean almost literally quivering in fear knowing that dreadful scene is coming, that in which Maggie Fitzgerald (Hillary Swank) is knocked to the ground during a fight and her neck lands on the side on a stool (thanks to this motion picture I now fear the very sight of a tiny stool, scarier than anything in a horror film). Million Dollar Baby is one of the most emotionally draining films I’ve ever witnessed. It’s such a powerful experience I can’t just immediately bring myself to watch another film right away and I’ll still be thinking about it for days afterwards – a film so absorbing I don’t want it to end.

Clint Eastwood has only become a better director over time, in particular during the 2000s when he produced an impressive streak of directorial efforts with stories of unpretentious human emotion. His direction on Million Dollar Baby (as well as many of his other films) is astounding in how he makes the art of filmmaking look easy. He’s not a Martin Scorsese incorporating fancy camera and editing tricks, rather his films are presented in a simplistic and humble nature, often alongside a demure acoustic guitar score. Never has the presence of a fighter training in a darkly lit gym ever looked so immaculate as if it were a cathedral with the picture’s heavy use of shadows, stunning silhouettes alongside shots in which you only see the actor’s head (similar to those of Marlon Brandon in Apocalypse Now). Million Dollar Baby is one sweaty and grimy film, with the run-down gym known as the Hit Pit acting as a character in itself (especially since it doubles as a home for Morgan Freeman’s Scrap).

Eastwood has the ability to combine serious drama and subtle humour perfectly. As Frankie Dunn, I love his smart-alecky sense of humour such as the scenes in which he trolls a catholic priest, Father Horvak (Brían F. O’Byrne) with various theological questions for his own amusement while the banter and one-upmanship between Frankie and long-time friend Eddie “Scrap-Iron” Dupris are a real joy to watch. The gruff nasally sarcasm of Eastwood and the deep baritone voice of Freeman makes for a great combo of dry wit when they have conversations such as that regarding the holes in Scrap’s socks. However, the best comedy in Million Dollar Baby comes from the almost sitcom-like set-up involving the comic relief character of Danger Barch/Dangerous Dillard (Jay Baruchel). The very low-intelligence but well-meaning hillbilly just hangs around the gym every day without paying any membership and constantly speaks in an earnest manner about how he is going to become the boxing champion of the world while Scrap acts as his surrogate babysitter – comedy gold. Watching Million Dollar Baby again, I did get a massive laugh at the character’s introduction with his casual and innocent use of the most taboo word in the English language – a perfect summary of his character.

Surely it is an accepted fact that a voice of God narration by Morgan Freeman makes any piece of media all the more superior. Freeman’s narration is a heavenly listen to and never has exposition been so pleasurable to the ears (if only Morgan Freeman could narrate my life). Freeman is only one-third of the trio of powerhouse performers in Million Dollar Baby. Hillary Swank as Mary Margaret “Maggie” Fitzgerald has a real earnest likeability with her Infectious enthusiasm and down-to-earth manner. The relationship she shares with Frankie is a fascinating insight into what could be described as a surrogate father and daughter. Maggie often speaks of the admiration she holds for her deceased father while Frankie is estranged from his own biological daughter who refuses to speak to him – the two fill a void in their own lives. Frankie’s character arc is the classic, corny dichotomy of a grumpy old man who learns to love but with the strength of the film’s material, it never comes off as feeling cheesy. Concurrently, I would be remised if I didn’t speak of Maggie’s family (God, I hate them so much) – the ungrateful, unsupportive, hillbilly, welfare scroungers. They visit Maggie in the hospital but only in order to have her legally sign away the fortune she earned (and only after they had been there for a week visiting Woody and Mickey). They are cartoonishly evil but it does work on an emotional level as they do get my blood boiling.

Million Dollar Baby is one of the rare instances of a film to feature the Irish language (also known as Gaelic) as Frankie attempts to learn the little-known language throughout the film and gives Maggie her own Gaelic slogan “Mo cuishle”. You don’t get any street cred for being an Anglo-Saxon, but you do for being Irish, although the Fitzgerald dynasty themselves were from Anglo-Norman origins they were described in the Annals of the Four Masters as having become “More Irish than the Irish themselves”. As Scrap says in his narration “Seems there are Irish people everywhere, or people who want to be”.

The final act of Million Dollar Baby, in which Maggie has become paralysed following her injury regarding the stool is the most controversial aspect of the picture. Million Dollar Baby was made during the Terry Shivo controversy and one could look on at the picture as an example of an Oscar bait film trying to capatilizing on the current thing. However, I don’t find its inclusion as part of the film’s story to be contrived or tacked on. Alongside abortion and the death penalty as some of the most difficult moral questions, assisted suicide is a topic of which Million Dollar Baby is ambiguous enough that I wasn’t left with the impression that the film was taking sides. The film does present a condemnation of assisted suicide from a religious point of view in which Father Horvak informs Frankie that “If you do this thing you’ll be lost, you will never find yourself again”. Likewise, the closest the film makes (albeit indirectly) to an argument in favour of Maggie’s life being ended is the monologue given by Scrap in which he speaks of how Maggie got her shot and can leave the world thinking “I think I did alright”. Regardless, watching Maggie in a paralysed state after her life-threatening injury is difficult to watch as she receives bed sores, one of which results in her leg being amputated.

Million Dollar Baby does raise the thought-provoking question of how much quality of life one can still lead when in a condition like that of Maggie? Evidently, for Frankie, it was one not worth living as he turns off her breathing machine and gives Maggie a shot of adrenaline (following Maggie’s own failed suicide attempt through blood loss from biting her tongue). It is left to the viewer’s imagination to picture his subsequent arrest by the police, however, the film does hint that Frankie could have taken his own life as he is seen putting two syringes into his bag beforehand (it’s up to you my good viewer to decide). To go back to Scrap’s words of “I think I did alright”, it does leave me as a viewer with a gratitude to be alive. I know it’s easy to throw around the “M” word, but in this instance, I will use it. Million Dollar Baby is nothing short of a masterpiece and Clint Eastwood’s finest hour as a director.

Men In White (1934)

Medical Melodrama

***This Review Contains Spoilers***

Initially I was skeptical at weather Clark Gable would make a convincing doctor but not only does he pull it off (even if he is the most gorgeous doctor ever *swoons) Men In White has to be my favourite performance I’ve seen him deliver portraying the young, idealistic and dignified Dr. George Ferguson; 60 years before George Clooney in ER. Men In White is a perfect showcase of what Gable is capable off while Myrna Loy, although not dominating the film as much still shares a mature romance with Gable, who must make difficult decisions between his profession and his love life. Rest assured I got the satisfactory amount of swooning I would expect from a pairing of these two.

I cannot stress enough just how astounding Men In White looks. This is without a doubt most stunning black & white film I’ve seen from the 1930’s. Every scene is light so immaculately with multi-layered and angled shots plus the widespread use of shadows giving the film shades of noir. Even the classic noir shot of the shadows created by blind shutters onto one’s face to show they have become imprisoned in life is present. Likewise, the art deco design of the hospital itself would likely not be practical in real life but it sure as hell looks good; needless to say the removal of eyes from the screen is easier said than done. The film’s set designer was Cedric Gibbons, a regular at MGM who helped create the distinctive look of their films in the 1930’s and surely Men In White is one of his greatest achievements.

Movies like this where common in the 1930’s, glorifying those who held jobs central to society (Tiger Shark, Night Flight, Slim). Call them propaganda but they were effective and informative. Although I don’t have any major interest in medicine or healthcare (despite both my parents being nurses) Men In White gives a real sense of awe and wonder to medical world such as when Dr. McCabe (Henry B. Walthall) the elder doctor who gives a rousing speech at the beginning of the film on all the medical advances in his lifetime (anesthesia, sterilization, surgery, x-ray) and the figures behind them. We’ve come much further since 1934, certainly when it comes to the etiquette of the doctors on display. In one scene a doctor hits on a nurse in the open for everyone else to hear while other doctors have no problem openly talking about their sex lives (“Being in love kills your sex life”). There is even one scene in which a doctor is running through the public area of the hospital wearing only a towel! If that happened today it would be all over the tabloids.

Men In White paints a picture of just how demanding a job being a doctor is, working round the clock; Dr. Ferguson works 16-18 hours a day for $20 a week (in 1934 or course). His finance Laura (Myrna Loy) has a selfish streak to her, getting frustrated with Ferguson when he’s only doing his job and one which is detrimental to saving the lives of others. Additionally Jean Hersholt (Hollywood’s great Dane and an actor who has that look of great intellect) as Ferguson’s mentor pressure’s George to put greater priority to his career than his love life. The film’s ending isn’t so predictable having me question whether or not George and Laura will still be together come the end.

Men In White also showcases corruption which can exist within hospitals when a superior doctor knowingly gives a child too much insulin, only for Dr. Ferguson to interfere even if it puts his job on the line. Once the child recovers from the insulin overdose, the superior doctor takes the credit – douche. The child, however, thanks and hugs Dr. Ferguson at the end of the film in what I feel is the movie’s most inspiring moment. Gable isn’t playing a brute here like he often does but rather someone who can project a level of warmth especially with his interaction with his child patient.

The scene in which Dr. Ferguson and the English nurse Barbara Den (Elizabeth Allen) are bonding over their loneliness and then start kissing is a breathtaking sequence. This leads to the most daring aspect of Men In White, the inclusion of abortion in the film’s plot. When I first watched the film I didn’t catch on that the big surgery scene itself was the result of a failed back alley abortion as the film’s hints are very subtle; it’s all in the undertones of the movie. That’s one reason why Men In White is worth re-watching; distinguishing what’s being said and shown versus what is really going on. If anything this is much more fun and satisfying having the movie simply spell everything out to the viewer.

When it is discovered Nurse Den attempted to get an abortion it is simply alluded to that she has a condition worse than a ruptured appendix and before the surgery itself Dr. Ferguson is questioned, “who is the man?”. It’s not made clear if the child being terminated is the result of the affair between Ferguson and Den, however, before their fling she is seen feeling unwell. Although I can’t comment of how accurate a depiction Men In White is of the medical profession I was still amazed at the level of detail in the movie from the terminology to the wide range of instruments used. One particular moment which stood out to me was the rigorously high level of sanitization the staff must go through prior to surgery. The film has an economic length of only 73 minutes but packs so much content. I’d happily become ill just to go to this hospital.

Manhattan Melodrama (1934)

Melodrama’s so much fun, in black and white for everyone to see.

***This Review Contains Spoilers***

A gangster movie starring Clark Gable, William Powell and Myrna Loy, thankfully I was not disappointed. Watching these three titans of classic Hollywood in action (and sadly the only picture in which Gable and Powell appeared together), Manhattan Melodrama not only had me enthralled from beginning to end, it’s hypnotizingly good. Gangsters, dames, urbanites, class and sophistication, this movie encompasses elements of 1930’s cinema which I’m a sucker for – and yes, the film has the word melodrama in the title, something that would never happen in contemporary cinema.

The Angels With Dirty Faces style plot allows for poignant social commentary, with Powell as a district attorney trying to avoid corruption and not allowing his personal feelings to affect his decisions. William Powell’s performance as Jim Wade is the best I’ve seen him deliver; just listen to the emotional plea he gives during the movie’s courtroom scene. His character is essentially a fantasy, an elected member of government who’s entirely honest. When Wade goes against his ethics and engages in cronyism he tells the truth to the public and resigns from office rather than trying to desperately cling onto power. There’s doubt Powell had a real knack for playing lawyers and elected members of office.

Not to undo Gable as Blackie Gallagher, the manner in which he acts during the film’s final third is simply heartbreaking as he constantly jokes around despite being sentenced to the electric chair in the film’s finale. The ending of this movie just kills me as Wade’s friend since childhood is sentenced to death; it’s near the top of my list of all time tear-jerking scenes, pure cinematic tragedy. The lights of prison even dim as the switch is pulled, the ever classic cliché. In real life that doesn’t actually happen but in the film it is the final tug of the heartstrings. Also, it seems hard to believe now that Mickey Rooney would play a child version of Clark Gable but in 1934 audiences couldn’t have seen what he would turn out to be as an adult.

Does there exist an actress who doesn’t have great chemistry with Clark Gable or even any actor for that matter? Manhattan Melodrama is the first of fourteen screen pairings of Powell and Loy, and their first scene together couldn’t be more perfect, in which she falls into his lap in the back seat of a car as she starts to deliver exposition in the most adorable manner.

MGM is not generally associated with the gangster genre. Manhattan Melodrama doesn’t have the grit of Warner Gangster films but works in its own style of MGM’s glossy high production values and ranks as one of the best gangster films I’ve seen from the 1930’s. The movie seems to be more famous for being the last movie seen by gangster John Dillinger, who was shot by federal agents as he exited a Chicago movie theater. His reason for going to see the movie, apparently he was a Myrna Loy fan. The love of Loy killed John Dillinger, I guess I can’t blame him.

A Majority of One (1961)

Love’s Struggle Throughout the Ages

Should an actors’ race limit the roles they can portray on the basis that they are not of that race? Isn’t this essentially a racist argument and an ethno-nationalist one at that? To state that a white actor playing a non-white character is offensive is then one is stating they are offended on the basis of race – this is racist. To state a white actor playing a non-white character is offensive to a culture is to say that culture is tied to race. – This is essentially the argument the alt-right makes. If culture is what matters and race is irrelevant then an actor playing a character of another race should also be irrelevant. There is also the double standard at play in which for a non-white actor to be cast in a role or as a character originally conceived as white it will be viewed as forward-thinking and progressive; for a white actor to be cast in a non-white role then it is considered racist? The only question that should matter is does an actor of one race convincingly play a character of another race? I could write a whole article on this but as I’ve addressed the crux of the matter, let’s talk about A Majority of One.

I’ve never seen another love story like A Majority of One. A story of two elderly individuals who are worlds apart having to overcome their prejudice, as well as being one of the few films in existence about love at old age. These imperfect and flawed characters feel so real and human and while two and a half hours may seem overlong, I believe this time is justified. – I wish more films could have the level of honest storytelling on display here.

Many reviewers can’t buy into Alec Guinness in the role of Japanese businessman Mr. Koichi Asano, but not this viewer – I thought Guinness was marvelous. His character is flawed, he’s not the stereotypical wise old Asian man who is full of otherworldly knowledge which he easily could have been; he makes mistakes and doesn’t have the answers to everything. Unlike many Asian characters in Hollywood films before, he doesn’t talk in broken English or exhibit any other commonly seen Asian stereotypes. Compared to Japanese stereotypes seen in World War II propaganda films 20 years earlier, A Majority of One was certainly a sign of progress.

Rosalind Russell plays a potentially unlikable bigoted character as Bertha Jacoby but she manages to make the role endearing with her lovable nature and witty comebacks. I didn’t see her character as an exaggerated stereotype. I’ve seen far more exaggerated representations of Jews in other films (do I even need to list examples?). Her character has led an ingrown life in Brooklyn, however, the movie shows the younger generation of her daughter and son in law holding more progressive views and are less conservative than their elders, and more argumentative at that. The film also has the greatness that is Eddie (Marc Marno). A whiny little brat but in a funny way who is comically Japanese but not in a disrespectful way, such as when he insists on watching sumo wrestling in the middle of a family crisis. – I love this guy.

A Majority of One highlights westernised trends in Japan such as Alec Guinness wearing a western flat cap to the popularity of American music and Hollywood movies (and Robert Taylor in particular) in Japan, while still acknowledging the anti American sentiment which exists in Japan (“Many people in my country hate the Americans unreasonably because of the war”). This scene in which Asano attempts to bond with Jacoby after their awkward first encounter shows the lack of logic in hating a country based on the actions of its government. Jacoby tells Asano that her son died in battle “All because you [Japan] and Mr. Hitler wanted to rule the world” and Asano responds “My wife and I did not so wish Mrs. Jacoby…what most of us wished for was a happy and peaceful existence”. – The government is not the people.

JFK (1991)

JFK, Blown Away, What Else Do I Have To Say?

I’m aware in modern times conspiracy theories have become detrimental in discovering the actual truth (largely thanks to the internet) but I can’t deny that I just love this sort of stuff. JFK requires your utmost attention and at a runtime of three hours, it feels like the movie leaves no stone upturned (pardon the pun) in its examination and deconstruction of the Kennedy assassination. Admittedly the first time I watched JFK I didn’t understand much of what is discussed in the film. It’s a lot to digest in a single viewing but there are more intriguing theories here than an entire season of Ancient Aliens (minus the bad haircuts and awkward line delivery); but I can happily watch JFK multiple times to further understand it and eat up every single word of dialogue. I doubt we will ever need another film made about the Kennedy assassination; what highly talented filmmaker could be more passionate about the subject matter? I also highly recommend watching the director’s cut for even more conspiracy goodness to evoke the paranoia in you.

JFK is one of those movies which makes you most appreciate the art of editing, incorporating many layers of time and reels of stock footage; no scene during the movie’s three hours is edited in a standard fashion. The editing help make the film’s exposition exciting; a character may be describing an event as the scene cuts to just that in an obscured or dreamlike manner. The Mr. X sequence with Donald Sutherland is a perfect example of how to pull of engrossing exposition; plus is there a more classic cold war, spy movie type scene than meeting a suited man in the park to receive classified information. Likewise, John Williams’ theme for JFK evokes my inner patriotic American, even if I’m not American. The militaristic and at other times conspiratorial nature of the score helps make the movie as compelling as it is. The black & white scenes such as those featuring the military feel reminiscent of Seven Days In May with shades throughout of the John Frankenheimer style. I’m sure Stone must have also taken some pointers from the first movie about the Kennedy assassination, 1973’s Executive Action.

JFK continues the tradition of films such as The Longest Day in which a large ensemble cast of familiar faces and great screen presences to help guide us through the story. It’s amazing seeing different generations of actors doing some of the best work their careers and utilizing their screen personas to full effect even if many of them are only on screen for short spaces of time. Some of the figures in the story strike me as too bizarre to have been real-life people, especially David Ferrie and Claw Shaw.

I’ve always been in defense of Kevin Costner against criticisms of being a dull actor. Granted his career did go downhill in mid 90’s and has never fully recovered but in his heyday of the late 1980’s/early 90’s he was such a hot streak of films. Casting him in the role of Jim Garrison couldn’t be more perfect as Costner is much like a modern-day classic movie actor in the vein of everymen like James Stewart, Henry Fonda or Gary Cooper. He’s been most commonly compared to Cooper (the courtroom section of the film is reminiscent of Cooper’s role in The Fountainhead) although with his southern demeanor I would compare him to being a modern-day Henry Fonda. I would defy anyone to call Costner a bad actor after watching the film’s courtroom scene. Talking almost non-stop for 40 minutes and never losing my attention while exuding a stern, emotional and towards the end of the speech, a fragile voice; with his final conclusion bringing a tear to my eye.

I find Jim Garrison’s family life interesting itself, mostly from the relationship with his wife. What does he see in her? She does not support his endeavors, despite his noble cause and unlike her husband, she is susceptible to believing what the media tells her. Here is a man who spends the movie questioning and fighting the system yet has a wife with a conformist personality. I can’t say for certain what they were like in real life but the in film I grew to dislike her character.

JFK  draws no conclusions, it doesn’t prove who assassinated Kennedy and allows the viewer to make up their own mind. Stone may be often criticized for his use of a dramatist’s license but as I say with many films based on historical events; this can make for a more compelling story. Even if there are untruths present, the film can act as a gateway to wanting to discover the real story. The movie did leave me a feeling of (good) anger and is one of the films I can credit with helping to influence the way I think.

“Dedicated to the young in whose the spirit the search for truth marches on.”

Jack Frost (1998)

He’s Snowboarding On His Flesh

When I was a kid, nothing got me and my friends more hyped up in anticipation than snow. Yep – the glorious white stuff. To us, there were few other activities as fun as playing in the snow. One major problem, however; I grew up in a country in which we only get about 3-4 days a year of significant snowfall in which it would actually settle on the ground. So when there was a significant level of snowfall, we would make the utmost use of it. Snowball fights, sledding, snow angels and of course, making a snowman.

Snowmen were a subject of my childhood fascination. Why? They just have a certain magical appeal. Whenever I would see one in someone else’s garden, I would always have to point it out, “Look, a snowman!” So when my friends and I heard about the movie Jack Frost, in which a snowman comes to life, we were psyched to see it. Although there already existed the 1982 animated short The Snowman which had a similar premise, I believe Jack Frost appealed to us more for several reasons:
-It was a movie more of our generation.
-It was live action and the snowman looks just like a real snowman we could have created ourselves.
-But most importantly, the movie was called Jack Frost. When I was younger, whenever there was a frosty night, we would always say that Jack Frost is out tonight.

So one weekend myself and one of my friends rented Jack Frost on video and we thought it was an absolute blast. However even at that age we thought there were some stupid moments, such as when Charlie is hanging over a wall of snow and he’s supposed to be in danger, yet the drop itself is tiny; or during the sledge chase sequence when two kids just happen to have a snowball the size of a boulder on standby to stop Charlie and Jack. However, the one aspect of the film we found to be the most unbelievable was in how Charlie had not got over his father’s death one year on. The reason for this is that a friend of ours had recently lost his father to an illness, yet was back in school one week later, acting as he normally would. To us, Charlie isolating himself from his friends due to his father’s death one year on seemed far-fetched. In retrospect, however, this view was short-sighted.

Regardless we could only look on in envy at just how much snow this fictional picture perfect postcard town of Medford, Colorado had. In my home country when it did snow our teachers wouldn’t even let us go outside to play in it. Yet in Jack Frost, the kids are able to go into the snow and have trench warfare battle snowball fights. Plus they don’t even wear school uniforms?! You can imagine the jealousy us kids had for our Yankee counterparts.

Several years later, I saw Jack Frost again on TV one weekend and the following Monday in school, it seems half the class also watched it and were all raving about how much we loved it; discussing our favourite moments, talking about the scenes we found to be the funniest. Even my teacher had watched it over the weekend and called it – and I quote – “a wonderful film”.

Now years later with the advent of the internet, I find out that Jack Frost is considered a terrible film and the critics trashed it. However, when watching it again after all these years it still strikes a chord with me as a pool of happy, nostalgic memories coming flooding back. But what I can I take from the film and examine now with an adult perspective?

One of the biggest criticisms I hear against the movie is that the snowman is creepy. Even Roger Ebert criticised the design with its anorexic looking twigs for arms. Well, it’s all in the eye of the beholder I guess. I also liked the design of the snowman as I think not only does he look cute but looks just like a snowman the average kid would make. The snowman was originally designed for George Clooney and I can see Clooney’s face within it. Apparently, the casting change to Michael Keaton caused major problems for the film’s SFX team. Watching my late 90’s DVD copy of Jack Frost, the CGI doesn’t look half bad. Although if I was to ever watch the film on an HD transfer perhaps it might not look as good.

Jack Frost belongs to that breed of film which was everywhere in the ’90s in which a workaholic father can’t make time for his kids. As drawn out as this cliché was in the 90s, it does raise the question – should you even have children if you’re going to dedicate yourself to a lifelong career or venture? Jack Frost does go a step further with this examination of fatherlessness with the character of Rory whom as the movie states, never saw his old man and resents it (“It sucks, it sucks big time”). Any coincidence his character is a delinquent. The father-son relationship in Jack Frost does tug at my heartstrings and yes, that ending kills me.

Many aspects of Jack Frost scream this is a late 90’s movie from those early CGI credits to the film’s emphasises on extreme sports such as hockey and snowboarding. Even the antagonist is named Rory Buck – might as well be called 90’s Mc 90’serson. Even the radio presenter at the beginning of the film states: “we got more music coming from the 70’s and 90’s. No 80’s I promise” (Boo!).

Viewing Jack Frost from a more mature perspective I am forced to suspend my disbelief at my many aspects of the film’s plot. So for starters, does the afterlife exist within the universe of Jack Frost? Where was Jack for the entire year before he came back as a snowman? Was he in purgatory? How did he suddenly find out how to change back to his human self then leave? What’s the deal with the magic harmonica? Does God himself exist in this universe?

Then there’s that whole snowboarding sequence. It’s a blast to watch even though I have to refrain from questioning how illogical it is. I already thought the conveniently placed snow boulders where stupid as a kid but I also notice how snowboards and snowbikes are all conveniently placed. But more importantly, the kids do notice that Charlie is sledding with a sentient snowman? Also, have you considered that he’s essentially snowboarding on his flesh? But who cares, this sequence is a ton of fun and Hey Now Now by Swirl 360 is a tune. That money shot of Jack Frost snowboarding in mid-air brings a smile to my face.

Rock on Jack Frost! Snow dad is better than no dad!

Holiday (1938)

Is This Where the Club Meets?

Holiday is my favourite Cary Grant film and my favourite of Cary Grant & Katharine Hepburn’s partnership. Between this, Bringing Up Baby and The Philadelphia Story it’s almost like having to choose my favourite child; yes all three are that good but ultimately Holiday is the most beloved of my offspring. I find Kate & Cary to be one of the five greatest instances of chemistry I’ve seen between an actor and actress (my other selections being Astaire & Rogers, Powell & Loy, Stewart & Sullivan and Fonda & Stanwyck), even preferring them to the longer running Tracy-Hepburn partnership.

However, the two stars aren’t actually romantically engaged throughout Holiday, with Johnny Case (Grant) preparing to get married to Julia Seaton (Doris Nolan), the sister of Linda Seaton (Hepburn). This dynamic in which Linda is more passionate about her sister’s relationship than Julia herself and the obvious feelings she has for Johnny is a much more interesting and complex dynamic than the more standard romance. Linda is far more interesting than her comparably dull sister. The whole time I’m thinking to myself Kate & Cary are beyond perfect for each other in this coming together of two intellectuals.  – I simply don’t want to see them being involved with anyone else.

I feel Cary Grant has never looked more youthful than he does in Holiday and even gets a rare opportunity to show off his acrobatic skills, with Hepburn even getting in on the action. I’ll also take this opportunity to mention that man sure could wear clothes like no other. The discussions Kate & Cary engage on what their characters want to do with their lives are so deep and profound. The difficulty of finding their place in life, the obstacles of trying to live it and not wanting to miss out on an ever-changing world full of ideologies and ideas, all while trying to get by with an optimistic attitude despite the imperfections in their life. It’s hard to take it all in on and decipher in a single viewing, which makes Holiday one of my most life-affirming movies.

Katharine Hepburn, on the other hand, had the opportunity in her career to play roles which reflected her real-life personality as a non-conformist oddball. In Holiday she is the black sheep in a wealthy, business-driven family. Linda is a character who comes up with what her family describes as “little ideas” which they outright dismiss. Her “little idea” of throwing an engagement party for Julia in their childhood playroom (a playroom which looks so much fun! You could almost set the entire movie in there) on New Year’s Eve is one of the most powerful and harrowing moments I’ve seen in any film. The feeling of being an outsider and a lonely at that (I know I’ve been there before) has never been captured more effectively on celluloid than it has when Cary Grant and Katharine Hepburn are dancing alone in the playroom and welcome in the New Year. I do make it an aim during a future new year’s eve to watch Holiday with the film synchronized with real time so I can introduce the new year at the exact same time the character’s in the movie do so.

The Harder They Fall (1956)

The Pen Is Mightier Than The Sword

***This Review Contains Spoilers***

It’s unique to see Humphrey Bogart in a more contemporary, neo-realist 1950’s film in the form of The Harder They Fall. From the Saul Bass-inspired opening credits which help set up the plot (rather than just a series of static title cards) to the punchy music score, I imagine if Bogart lived longer and stared in movies for at least a few more years they would have been aesthetically in a similar vein to The Harder They Fall.

The Harder They Fall deals with corruption and fixing in boxing and how promoters exploit athletes regardless of their health or well being, providing an in-depth look at corruption in boxing as to who pulls the strings and how. The fight scenes themselves don’t suffer from the dilemma of old boxing films having dodgy looking bouts with sped-up footage or obviously fake punches, partially due to the fact that the fights within the film are staged and of poor quality fight tactics. Likewise, the grime and sweatiness of boxing arenas and training gyms never fail as effective subjects to capture on film, especially in black and white. Also, what’s the deal with that bus with the cardboard cutouts attached to it? It’s almost like a character in itself.

More so than any other Bogart film do we see such a striking generational clash with Bogart coming from the old school style of theatrical acting and Rod Steiger from the Marlon Brandon, method school style of acting. However, I’ve always found Bogart to be a very adaptable actor and he is able to seamlessly play of Steiger despite their acting styles being worlds apart. Bogart’s role as washed up columnist, Eddie Willis is one of the most interesting heroic performances of his career which combines Bogart’s trademarks of both world-weary cynicism but also, a sense of righteous morality as he deals with his moral and ethical conscience throughout the film. Eddie can draw up fake publicity for the not so talented, big lug Toro Moreno (Mike Lane), writing articles stating he is the heavyweight champion of South America, undefeated in 39 fights and largely get away with it – that’s the pre-internet world for you (“Nobody reads these west coast papers in the east”).

Eddie may take part in the world of boxing corruption but he never fully believes in what he is doing and tries to make the outfit as unscrupulous as possible. Not to mention he is the only person in the racket who genuinely cares about the gargantuan Toro, whereas the rest of the men couldn’t care less about him. Rod Steiger on the other hand as corrupt sports promoter Nick Benko is an impulsive, brash character who has no moral or ethical conscience – you have to ask does he actually believe in what he is doing is justified in his mind. Steiger chews the scenery throughout the film in a very shouty, loud-mouthed performance which has shades of DeNiro or Pacino coming through.

I had a sense of melancholy during the movie’s closing shots knowing this was the last time Bogart appeared on screen. Bogart was in poor health during the film’s production, suffering from lung cancer (although ironically it doesn’t stop him from lighting up during the movie). In the film’s conclusion, The Harder They Fall celebrates the power of writing as a force to fight wrong and enforce positive social change – proving once again the pen is mightier than the sword, or should I say boxing glove. In the powerful final shot, Eddie begins typing an article on boxing corruption and reformation for the sport, an aspiring sight for any budding non-fiction writers.

“The boxing business must rid itself of the evil influence of racketeers and crooked managers, even if it takes an Act of Congress to do it.”