Sabrina (1954 + 1995)

Will They?/Won’t They?

***This Review Contains Spoilers***

Never again will the screen see such grace as Audrey Hepburn. Marilyn is hot, but Audrey is beautiful. However its Audrey being the goddess that she is which brings about the major flaw in Sabrina – you cannot make Audrey Hepburn look like a scrawny chauffeurs’ daughter. It doesn’t matter what she wears, Audrey can make any piece of dowdy clothing look glamorous (later in the film she even makes a lumberjack shirt look feminine). After all, in the original stage play, Sabrina Fairchild was played by the down to Earth Margaret Sullivan. Despite this, the sheer enchanting screen presence of Audrey Hepburn, as well as her childlike innocence does help to some degree, overcome this suspension of disbelief. The opening of Sabrina couldn’t be more impossibly romantic – a clear sky with a full moon, Isn’t It Romantic playing the background and a forbidden love imposed by class differences. Well that is until things take a dark U-turn and Sabrina attempts to commit suicide by locking herself in a garage with multiple car exhaust pipes emitting carbon monoxide. Even in a moment as disturbing as this, a joke is still thrown in with that one popping exhaust pipe (likewise did Sabrina’s father ever discovering that suicide note?).

Humphrey Bogart in the role of business mogul Linus Larrabee gets an opportunity to show his flair for light comedy. Bogart is such a pleasure to watch in the many witty lines he delivers, in particular the inter-office memo he sends to his brother David via a car phone. Linus Larrabee is a benevolent capitalist and not the stereotypical archetype of the evil business owner, as he brilliantly sums up in an exchange he shares with David:

“A new product has been found, something of use to the world. A new industry moves into an undeveloped area. Factories go up, machines are brought in, a harbour is dug up and you’re in business. It’s purely coincidental of course that people who’ve never seen a dime before suddenly have a dollar and barefooted kids wear shoes and have their teeth fixed and their faces washed.”

Linus evens has connections to a military general who can get him a bazooka to test against his revolutionary plastic, showing he has some Elon Musk in him. Likewise unlike as seen in many screwball comedies of the 1930’s, the servants of the Fairchild family have a perfectly amicable and respectable relationship with their masters.

David Larabee (William Holden) is the polar opposite of his brother – a 1950’s Billy Madison who lives for hedonism. Holden looks rather ghastly with his bleached hair and the ugly dressing gowns which he wears throughout the film. Sabrina has been head over heels for David since childhood but her love of the man was always forbidden due to class, well until her transformation after spending two years in Paris. David does not appear to be much longer than Linus, which is odd as it’s mentioned at one point in the film that David had kissed Sabrina when she was nine during a time they were roller skating. I never quite get what Sabrina sees in the immature David – this goes for both the original and the remake (more on that later).

At its heart, Sabrina is a story about true love vs. romantic love. Sabrina may be romantically infatuated with David, but ultimately it’s Linus of whom she is destined to be with. The age difference between Audrey and her leading men in multiple films is often a topic of conversation with the casting of a 54-year-old Bogart as a romantic love interest to a 25-year-old Hepburn not being the most obvious choice. Changing social norms since the 1950s and the feminist movement have made it anathema for a woman to rely on a man for money or status, making older man/younger woman relationships age gaps more taboo in modern times. Personally, I’ve seen enough old films with relationship age gaps that I’m more used to it plus the argument can be made that many women simply prefer an older man. At the very least the movie does acknowledge this age difference (“Here I am going off on a sailboat to make an ass out of myself with a girl of 22”). Age aside, with Bogart’s arrogance and overly masculine voice, Audrey isn’t the most obvious choice to play off him – she’s not like Lauren Bacall or Katharine Hepburn. The argument can be made that the original casting choice of Cary Grant would have been more suitable for the part. Regardless these performers are two of my favourite movie stars of all time and they are a joy to watch together so I personally can’t complain at the end of the day.

That Billy Wilder wit is as strong as ever in Sabrina (“That good, that’s bad” – I can see where a certain Simpsons joke came from), with the film also including one of the most clever and witty methods in which a film got around the censorship of the day (“What rhymes with glass?”). On a technical level, it’s also notable that Sabrina was filmed in the 4:3 aspect ratio, despite being released in late 1954, making it one of the last Hollywood productions to do so as almost all movies at this point where being shot in various widescreen formats. Coming off the heels from Sunset Boulevard, Ace In The Hole and Stalag 17, I get the impression Billy Wilder wanted to do something more pleasant and straightforward with Sabrina. I don’t consider Sabrina to be one of Wilder’s best films but I do enjoy it despite its flaws and the relationship dynamics requiring much suspension of disbelief. When a rom-com sparks an interesting debate on whom the female lead should have ended up with, to an extent it has done its job. However, unpopular opinion time, I will argue that the 1995 remake of Sabrina directed by Sydney Pollack is a superior film. 

The remake of Sabrina carries the same themes and follows the same basic plot of the original but with some notable adjustments, the most prescient of these being Sabrina’s (Julia Ormond) transformation in Paris being far more significant. At the film’s beginning, Sabrina really is a scrawny, nerdy girl with a dreadful fashion sense and very long, unkempt hair. Her time in Paris takes up a significant portion of the film (this time working as a photographer for Vogue rather than going to a cooking school) in which she gets mentored by others and comes out of her shell. Symbolically her hair gradually gets shorter over the two year period and returns to the US unrecognizable (I’m just slightly disappointed the remake doesn’t include the attempted suicide scene). Unlike the original, the Paris scenes are filmed on location and are the most distinctly 90’s portion of the film with the fashions and music (nice cover of Love’s In Need Of Love Today). So who is the better Sabrina? I know its sacrilege to outrank Audrey Hepburn, but going from the standpoint on both superior writing and more appropriate casting, Ormond’s rendition of Sabrina does have greater depth, is more believable and is portrayed with a greater sense of vulnerability.

Who was the better Linus? You’re asking me to pit two of my favourite actors of all time against each other. Harrison Ford plays the part beautifully with his trademark comic grumpiness and a real sense of loneliness, and even with the 90’s setting, Ford’s Linus remains a conservatively dressed man with his glasses, dotted bowtie and Homburg hat. The remake also features a much more resentful relationship between David and Linus. In the original, Linus is not impressed with David but doesn’t harbour much resentment, whereas in the remake the relationship is far more antagonistic (“My life makes your life possible – I resent that – So do I!”). I do wish however they could have retained the benevolent capitalist aspect of his character as Bogart portrayed. I feel like going for a tie but I know that’s a cop-out so ultimately I will have to choose Ford once again due to the superior writing and more appropriate casting – Ormond and Ford are simply a more believable romantic pair.

Lastly who was the better David? Greg Kinnear does a good job at portraying the hedonistic sleaze of David, while his turnaround towards actually doing work at the end is a very nice comic touch. Yet even the additional aspect of the antagonistic relationship, I would choose Holden on the account of simply being a more charismatic and likeable screen presence. Likewise, I do particularly enjoy John Wood as Sabrina’s father, a real charmer of an English gentleman, while Paul Giamatti gets one of his earliest screen roles but it’s just a shame he’s given nothing to do. I’d even go as far as saying that Sabrina ’95 provides a greater feast for the senses. The location filming of the North-Eastern United States (notably including Martha’s Vineyard) with the gorgeous architecture alongside the breezy John Williams score, makes the film a very relaxing watch (I also have to ask, was the film’s poster inspired by that of Billy Wilder’s Fedora?). While I hate having to outrank these classic Hollywood legends, Sabrina ‘95 is a rare remake which remains a classy affair and outperforms the original.

Black Sunday (1977)

Hey There Blimpy Boy, Flying Through The Sky So Fancy-Free!

***This Review Contains Spoilers***

Black Sunday is another addition to the “They couldn’t make that nowadays club”. Unsurprisingly in a post 9/11 world, no studio would want to touch a film about a terrorist attack at the Super Bowl, nor would any company or brand want to be associated with it. Yet in 1977, a mainstream film was released about such an attack with cooperation from the National Football League and the Goodyear Tire & Rubber Company – now I can’t look at a Good Year blimp and not think of Black Sunday. Likewise looking at the film from a political point of view, it’s highly unlikely modern, left-wing Hollywood would make a film which is pro-Zionist and features Palestinians as terrorists. The terror group in Black Sunday is the real-life Black September of whom were behind the 1972 Munich Massacre – this was the basis for the inspiration behind Black Sunday.

Black Sunday was one of several high profile underperformers to be released in 1977 including Sorcerer, Cross of Iron, New York, New York and Twilight’s Last Gleaming. These films may be able to attribute their lack of success at least in part due to the release of Star Wars. Although Black Sunday’s timing was also compromised by another film about terrorism at a football game which was released months earlier in the form of Two Minute Warning starring Charlton Heston – a poor man’s version of Black Sunday. As of writing this review in 2020, Black Sunday can be viewed in high definition online but has yet to receive a Blu-ray release in any region. I can only speculate if corporate or political reasoning has any part to play in this.

Black Sunday is led by a trio of performers at the top of their game. Marthe Keller has a sinister presence as Black September member Dahlia Iyad. The Arab Mata Hari is no more unsettling than during the sequence in a hospital in which she disguises herself as a nurse to poison Israeli agent David Kabakov (Robert Shaw) in this very Terminator-like scenario. Dahlia is married to the mentally unhinged, Vietnam veteran and former prisoner of war, Michael Lander (Bruce Dern). Lander is s divorcee who doesn’t get to see his children; the background behind Michael and Dahlia’s relationship is never revealed but is fascinating on the surface. There appears to be legitimate heartfelt feeling towards the two yet their bond is ultimately over ideology. Michael romanticizes himself and his wife’s martyrdom and in one scene basks in sheer euphoria with her after they have a successful weapons test which kills an innocent bystander – a disturbing look into the mind of a terrorist.

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Through Michael, Black Sunday also comments on the treatment of Vietnam veterans back home. In one scene Michael is not treated with respect by the rude receptionist at the Veterans Administration Hospital and made to wait amongst a crowded waiting area before seeing a psychiatrist. Yet during the film, he is still seen wearing his military uniform and taking pride in the medals he earned even though he plans to commit terror against the United States. When he flies the blimp prior to the execution of the terror plot, you can see the pain on his face as the Star-Spangled Banner is sung at the stadium.

Rounding out this trio is Robert Shaw as the total mad lad Major David Kabakov – an Israeli counter-terrorist agent and all-round unethical badass. A Dirty Harry type who play by the FBI’s rules (“In your own operational circle in Israel, I understand behind your own back they call you The Final Solution. A man who takes things to their ultimate conclusion and beyond ”). At the beginning of Black Sunday, Kabakov had the opportunity to kill Dahlia but allows her to live. Why doesn’t he kill Dahlia when he had the chance just 15 minutes into the movie? Well aside from the fact that the movie would have ended, Kabakov comes to regret this action and reject the notion of seeing both sides of the question (“The trouble is, Dave, you’ve come to see both sides of the question”). Also notice that he has a concentration camp tattoo on his arm which can be seen as he sits in the hospital bed – Kabakov being a Holocaust survivor goes unmentioned throughout the film.

The Long Beach boat chase and the Miami chase sequence are an appetizer to what comes later (despite some dubious sped up shots during the boat chase). Once the film reaches its final act on the Super Bowl date of January 9th, the final 40 minutes of Black Sunday is some of the most exhilarating action I’ve ever seen in a movie. Featuring chases on foot, car and then by helicopter, the phrase “Edge of your seat” doesn’t do it justice. The film’s advertising including the poser and the trailer (which is classic trailer fashion summarizes the entire plot of the film) focuses on the end of the film as the blimp reaches the audience at the football stadium, leaving the viewer to wonder how we get to that point and what happens next? The film never actually outlines the planned terror plot until we actually see it in action.

So how did the studio receive permission from Good Year to use their blimps and logo in the film? Director John Frankenheimer had already established good relationship with Good Year head Robert Lane as a result of working with the company in Frankenheimer’s previous film Grand Prix (1966). Lane granted Frankenheimer use of Goodyear’s blimps on four conditions: the film had to make clear that the villainous pilot did not work directly for Goodyear, but for a contractor; the final explosion could not come out of the word Goodyear on the blimp’s side as well as the blimp itself not being part of any violence, for example, nobody was to be churned up in its propellers. Lastly, the Good Year logo could not appear on the film’s poster or on any other such marketing materials, hence why the poster and home video releases the blimp simply has the words “Super Bowl” imprinted on its side.

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The grand spectacle of a finale during the Super Bowl X on January 18th, 1976 at the Miami Orange Bowl with the production returning to the same location film additional scenes on January 29th (I wonder how people present reacted to seeing Robert Shaw running about like a madman?). You get a real incoming sense of dread as the large crowds congregate and people are having a good time amongst the appearance of NFL players, coaches, sports announcers and CBS news crews.  Likewise, the President who appears at the Super Bowl in two brief shots resembles then POTUS Jimmy Carter. Carter was sworn into office on January 20th 1977, which means the earliest date if the movie’s timeline would be late 1977 to early 1978 at the earliest (the film indicates it takes place after January 1974). If the film takes place during the 1977 Superbowl then the President should resemble Gerald Ford during his last days in office but it’s only politics geeks like myself who get caught up over this sort of thing.

The score by John Williams is not one of his standout works as there’s no incentive to listen to it after watching the film, although it does succeed in creating suspense and you can hear shades of Star Wars from time to time. Likewise, the editing holds onto certain shots for just long enough not to notice imperfections in the special effects. My only minor criticism would be the very cheesy explosion shot once the blimp finally explodes.

Watching Black Sunday for the first time I was legitimately wondering if the blimp and its attached weapon would cause mass death and destruction and if Kabakov would live or will we get a Hollywood ending in which the day is saved – in the end, we get a bit of both. It’s clear some people are injured and killed once the blimp reaches the stadium but Kabakov being the chad he is, gets that thing away from the crowd and to a safe distance which it explodes, in a manner in which I can’t help but notice parallels the climax of The Dark Knight Rises. Some films once they end leave you that exhilarated, you’re dying to just tell someone about it – Black Sunday is one such film.