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A Belated St. Paddy’s Day Post: Taking a Look at “The Quiet Man” (1952)

March 18, 2013 By 2 Comments

The-Quiet-Man-john-wayne-21939245-1000-791

Hope everyone had a joyful ♣ St. Patrick’s Day ♣ and a great weekend. Mine was spent catching up on Game of Thrones (just in time for the season 3 premier), going to the Metropolitan Museum of Art (and getting stuck in post-parade revelry).

Sunday night, however was spent tucking into that blanket known as Turner Classic Movies for at least a bit of their selection of Irish-themed films. You can imagine my (semi) pleasure when I realized I had just caught the beginning of John Ford’s homecoming of sorts, the 1952 Technicolor feature The Quiet Man starring his go-to guy, John Wayne, with Maureen O’Hara, Victor McLaglen, Mildred Natwick and the always entertaining Barry Fitzgerald rounding a solid cast.

SYNOPSIS

Sean Thornton (John Wayne) has returned from America to reclaim his Irish homestead and escape his past. Sean’s eye is caught by Mary Kate Danaher (Maureen O’Hara), a beautiful but poor maiden, and younger sister of ill-tempered “Red” Will Danaher (Victor McLaglen). The riotous relationship that forms between Sean and Mary Kate, punctuated by Will’s pugnacious attempts to keep them apart, form the main plot, with Sean’s past as the dark undercurrent. (Source: IMDB)

Now I must personally state for the record, that I grew up in a rather anti-Wayne household. Well maybe that may be a bit harsh – my dad was ambivalent at best and my mom could give a care about him. That said, as a classic film buff I (slightly) broke away from the family line and decided to see and judge for myself what I though of Mr. Wayne’s oeuvre.

The result? While I must admit that the ambivalence has translated down the generation, I do give Wayne props for his performance in the western he made with Ford four years after this film, The Searchers.

But I digress. The question of this post is What did I think of The Quiet Man?

Overall, I would say it was an enjoyable watch. The film balanced romance, comedy and drama very effectively and I cannot imagine a more sublime way of capturing the Emerald Isle than in the vibrancy of Technicolor. Honestly that was enough to pass the sniff test for me.

Now on to the acting. As I implied above, I am quite the fan of Barry Fitzgerald and love his screen presence; in this film my response is no different. Maureen O’Hara was solid as the fiery redhead who captures our hero’s heart. As for the main man himself, he does what he needs to make the performance convincing – enough so that it carried me through to the end.

It should also be noted that this film was a departure for Ford and Wayne, who, in case you didn’t know, primarily collaborated on Westerns. The Quiet Man was released by independent studio Republic Pictures, mostly known for it B-movie offerings. Due to the success of the picture, it garnered the studio its only “Best Picture” nomination in its history.

The one thing I did not see coming was the motivation for Sean Thornton’s desire to retire to a quiet, country life – packed quite a punch IMO (Note to self: the clue is in the title).

In end …

  1. Did I like it – yes and more than I anticipated.
  2. Will I be adding The Quiet Man to my video collection any time soon? Very likely not.

 

Have you seen this film? And what did you think of it? Submit in the Comments section below.

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Capra: One (Many) for the Common Man, A Retrospective

December 23, 2012 By 4 Comments

Always a fan of Mr. Capra’s work, I took great pleasure in participating in the event hosted by The Lamb. While many may easily dismiss his work as corny or saccharine, I feel, many have missed the point of his work. I find that in fact, it is a balance that falls somewhere in the middle – not overly cynical or schmaltzy. For goodness sake, he seemed acutely aware of the pitfalls and despair that are a part and parcel of the human condition (his films dealt with suicide on more than one occasion – read Meet John Doe and It’s a Wonderful Life), but ultimately, he saw the human spirit as an overwhelming force of good and one that would overcome any obstacle. Remember, in his heyday, the country was in the depths of a Great Depression and struck the right, hopeful tone that I can only imagine the everyday day would appreciate and celebrate. He also had the capacity to be completely madcap and screwball (read: Arsenic and Old Lace and, to a lesser extent, You Can’t Take it With You). The following films are four of my favorite Capra films. Note – I LOVE It’s a Wonderful Life with all my heart, but intentionally left it off this list because I wanted to shine a light on some other noteworthy Capra films.

 

You Can’t Take it With You (1938)

lionel barrymore, james stewart, jean arthur & edward arnold - you can't take it with you 1938

A perfect combination of that sentimental feeling and zany comedy I just mentioned above. Jean Arthur is a member of an eccentric/free-spirited/bohemian family led by Lionel Barrymore. She falls in love with the “boss’ son,” in the form of one Jimmy (not James) Stewart. ILC’s take: ♥♥♥♥♥ (outta 5)

 

Meet John Doe (1941)

For me this film strikes a decidedly dark tone but again from the darkness there is a beacon of light, which has been fashioned by Capra as his vision of the unrivaled American spirit. Barbara Stanwyck stars as a reporter on her way out who finds a lifeline through a story of her own creation – because of the state of the world, a dispirited “everyman” (Gary Cooper) has decided to publicly end his life.

Meet_John_Doe_1941

The overtly jingoistic message may not resonate with contemporary audiences, but stellar performances by a world-weary Cooper and a determined Stanwyck make this one worth the watch. (Available in the public domain) ILC’s take: ♥♥♥♥

 

Arsenic and Old Lace (1944)

with Boris Karloff and Cary Grant, Arsenic and Old Lace (1944)

A pure gem and an all-time personal favorite. The perfect Halloween film with so much going on that you may wonder who’s coming and who’s going – but in the end, it is well worth the ride. Cary Grant shows a true mastery of the physical comedy genre with a great supporting cast, including wonderful turns by Raymond Massey and Peter Lorre. ILC’s take: ♥♥♥♥♥

 

Mr. Smith Goes to Washington (1939)

Hollywood's Greatest Year: The Best Picture Nominees of 1939

Capra’s entry into the “Golden Year of Hollywood,” 1939. An idealistic young politician (Jimmy Stewart) arrives in town and soon realizes that the inner workings of the political system are not as principled and virtuous as he thought. I know, SHOCKER. This makes my list principally became I love political theater ILC’s take: ♥♥♥♥

 

So, that’s my take; let me know what you think in the comments below.

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Revisiting E.T.: The Extra-Terrestrial

September 26, 2012 By 14 Comments

Although all the films that I have watched as part of my ‘celebration’ of the 100th anniversary of Universal Studios, this one really has particular is one that registers quite emotionally for me. Yes yes yes, I, like most sentient beings, cried my eyes out when I first saw E.T.

Unfortunately I did not have the pleasure of seeing it in the theater. For whatever reason (maybe due to my age) my dad took one of my brothers. So for the next few years, my only connection to the movie was in my father recalling how he was moved by the impact the film had on my brother. Of course, I would never fully appreciate just what that experience was until my dad brought home the “special edition” VHS tape years later.

As for the film itself, it always amazes me that such a wonderful fairytale comes from the grown-up mind of Steven Spielberg. Or maybe it shouldn’t surprise me – this is after all a man who created CLOSE ENCOUNTERS OF THE THIRD KIND, another family favorite, and is obviously, a wonderful companion piece to E.T – the adult who is convinced that there is something out there and decides to explore (CLOSE ENCOUNTERS) and the child who stumbles upon an alien creature through happenstance and is forever transformed by the experience (E.T.).

In the case of E.T., the story of love, loss and everlasting connection is timeless and one that spans the generations.

 

As part of the 100th anniversary, E.T.: THE EXTRA-TERRESTRIAL is being released on a remastered BLU-RAY video disk (October 9th) and, in cooperation with Turner Classic Movies and Fathom Events, there will be a one night only viewing of the film in cinemas nationwide (Wednesday October 3rd).

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Revisiting “To Kill a Mockingbird” (1962)

August 9, 2012 By 5 Comments

This was originally scheduled to go out last month but alas, time apparently does not stand still while you are trying to get on with the business of your life. In any regard, this post is the latest entry in my continuing look at some the classics that Universal Studios has given the cinematic world in its landmark 100 years.

Today I will be taking a quick look at To Kill a Mockingbird, the moving adaptation of Harper Lee’s novel. Before I get into particulars, let me state for the record: I have not read the source material; I have made at least two wholehearted efforts to do so, but given my history of not completing novels, it should not be entirely surprising. Also, I have not seen the film is quite a while so my recollection of the finer details of the plot should not be heavily relied upon.

For those who have not seen this film in the 50 years since its initial release, it has become a stalwart representation of American cinema at its very best, often appearing on several “all time” lists.

Adapted for the screen by noted playwright and all around wordsmith Horton Foote, and with memorable performance by one Gregory Peck (as Atticus Finch – AWESOME name BTW), the film is seen through the eyes of his daughter Scout, played by Mary Badham and son Jem (portrayed by Phlip Alford). Atticus is a lawyer in the fictional Maycomb, Alabama, who is tasked with defending an innocent black man, Tom Robinson (Brock Peters); Tom has been accused of raping a young white woman. The ensuing trial shatters the wide-eyed naivety of Scout and Jem, who for the first time, are seeing the ugly side of humanity in the form racial prejudice and injustice.

I almost find it hard to put into words Peck’s performance in this film, mainly because I find it hard to summarize a characterization of a man whose morality is unflappable in face of all that surround him. He is a Superman for the Everyman, I guess. In fact all the players (including Robert Duvall in his film debut) resonate with an authenticity and sincerity that draw you in and keep you captivated throughout the story.

Again director Robert Mulligan proves that he was quite masterful at telling the “small-town American story” with a lovely, sentimental heart.

 

That’s me done: have you seen this film? What did you think about it?

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Revisiting “Frankenstein” (1931)

June 28, 2012 By 4 Comments

IT’S ALIVE!!!

IT’S ALIVE!!!

For my latest entry where I cover the Universal 100th series, I am going to take a look at a film where (finally!) I have read at least one of the sources upon which the story is based.  Although known primarily by its Gothic novel by Mary Shelley, the film is actually based on the stage play written by Peggy Webling. This is similar to the film (and earlier ILC entry) Dracula.

For those unfamiliar with the story, I suggest you read the story. Dr. Frankenstein (portrayed in this film by Colin Clive), is obsessed with reanimation, the recreation of life. In order to achieve this, he and his assistant Fritz (Dwight Frye) harvest body parts, all in the hope of creating life through electricity. Unbeknownst to them, one of the parts they have collected (the brain) comes from a criminally psychotic man. You can guess where this is leading …

For me the most moving and touching scene is when The Monster (Boris Karloff) is on the run and he starts playing with the little girl. In fact this scene leads into probably the most iconic scene of them all – the marching of the townspeople hell-bent on revenge tragedy involving the village girl, when the townspeople are in pursuit. It is a sequence which has remained with me all these years later.

If I were to choose between the two monster movies (Dracula or Frankenstein), I would say that this is by some measure my preferred film.

Check out this original trailer for the movie:

Along with a couple of my favorite scenes:

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Revisiting “Jaws” (1975)

May 31, 2012 By 18 Comments

I decided to save this selection from the “Universal 100th” for the time around the summer blockbuster season. For, we are told, it is the film (Jaws) that CREATED the summer blockbuster. I think this passage found in “the Wikipedia” just about sums it up as best as possible:

Generally well received by critics, Jaws became the highest-grossing film in history at the time. It won several awards for its soundtrack and editing, and it is often cited as one of the greatest films of all time … Jaws was pivotal in establishing the modern Hollywood business model, which revolves around blockbuster action and adventure pictures with simple “high-concept” premises that are released in the summer at thousands of theaters and supported by heavy advertising.

Source: Wikipedia

As for the movie itself and my reaction to it,  let’s just say it took me a while to be able to sit down and watch this one through. This film may be singlehandedly be responsible for my avoiding beaches and the like for the greater part of my childhood and team years.

From a visual perspective and when compared to present-day effects-laden spectacles, one could argue that the film’s bark is worse than its bite. But of course they are wrong; there is something happening here that is WAY beyond visual effect. The imminent threat that is mostly not there is the most frightening and affecting aspect of the film . I would even go as far as to say that you do not even need to see the shark, as evidenced by the opening sequence, where we see a young skinny dipper being pulled under water.

Based on the best-selling novel by Peter Benchley, Jaws is set in the fictional town of Amity where, after the aforementioned attack, Police Chief Brody (Roy Scheider) wants to close the beach. But seeing as it is the peak tourist season, he is forced to go along with keeping the beach open and suppressing the true nature of the attack.

After a second person is attacked and killed by a shark on the beach, Amity draws the attention of marine biologist Hooper (Richard Dreyfus) and “shark bounty hunter” Quint (Robert Shaw). And the battle of men versus beast begins …

My favorite scene? When Quint (Shaw) recounts the tale of the USS Indianapolis (a real-life WWII incident). The fact that this is actually happened adds even more dramatic tension and fear to what we see onscreen.

Based on the evidence of this film, one can easily say that in the subsequent 37 years since its initial release, we have been offered up, for the most part (there are notable exceptions, of course), increasingly inferior and lackluster blockbusters. Nothing beats the original.

On a related note: can you believe that Steven Spielberg was only twenty-seven years young when he co-wrote and directed this feature? WOW!

Let me know your thoughts on the film below.

OTHER TRIVIA

According to filmsite.org, the plot for both the novel and the film were taken from several sources including:

  • Herman Melville’s 1851 Moby Dick, about a search for a monstrous sea creature (a great white whale) by a determined Captain Ahab
  • Ibsen’s 1882 classic play An Enemy of the People
  • the exploits of diver Peter Gimbel’s shark expedition recounted in the documentary film Blue Water, White Death (1971)
  • Peter Matthiessen’s 1971 non-fiction book Blue Meridian: The Search for the Great White Shark
  • two great 50s horror films: The Creature From the Black Lagoon (1954) and The Monster That Challenged the World (1957)
  • a real-life incident on the New Jersey shore in the summer of 1916 that claimed five lives over the course of two weeks

Source: filmsite.org

 

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Future Classic Movie: Hunger (2008)

May 24, 2012 By 11 Comments

First, I would like to thank Paula of Paula’s Cinema Club for asking me to take part in the blogathon, Future Classic Movies. Here is the Rule of Engagement:

The job is to predict at least one movie from 2000 to the present that will endure 30-40+ years into the future, much like CASABLANCA or GONE WITH THE WIND have done today. Bonus predictions could be who will be hosting on this channel and how will movies be delivered to the consumer (hologram, chip in the brain, etc.).

After much deliberation and back and forth, I have decided on Steve McQueen’s 2008 feature film debut Hunger. I have only seen it once and the experience had such an impact on me that I cannot imagine that this film will be forgotten by any and all who see it.

Simply stated this is an amazing debut for the Turner Prize winner; he handles the film with a level of confidence that you would expect in someone very experienced. For me this is a perfect example of cinema as an art form. Hunger features Michael Fassbender (in his breakthrough performance) and Liam Cunningham (The Guard).

The story is a very controversial one that centers on IRA member Bobby Sands (Fassbender), who along with his fellow imprisoned IRA members embarked on a hunger strike. This series of events would lead to Sands’ demise.

Not to diminish the political impact or significance of the events surrounding the film, but this is part of the reason that I feel the film will continue to be a source of debate in the decades to come.

As a work of cinematic art, McQueen uses very few words to tell us an emotionally charged story, often in disturbingly graphic detail, about the conditions the inmates placed themselves under. On a more esoteric level, the piece is on a statement on the lengths an individual (or group of individuals) will go to for a set of convicted beliefs. McQueen also manages to tow the fine line of not necessarily taking sides with the issue. In fact, in the film’s only dialogue – heavy scene between Sands and Liam Cunningham’s priest’s demonstrates the fine line between passion, conviction and irrational fervor.

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A Tale of Two Silents

May 20, 2012 By 7 Comments

This past week was a bit of a triumph for me. I finally caught up with a couple of classic silent films I was told are “must see.” My reaction to each piece was a personal revelation.

Let’s start with City Lights, the 1931 silent feature written, directed and starring one Charlie Chaplin.

At the time of the film’s release, silent pictures were on the wane, ushered in by 1929′s The Jazz Singer. So you can imagine how worried Chaplin was about the reception this film would receive in the public. Chaplin need not have worried.

The story of “The Tramp” and his love for the blind Flower Girl (Virginia Cherrill) was equally parts funny and enchanting. In other words, I absolutely loved it. There is something about the coordination of the physical, narrative and musical performance that pulls you in and does not let go.

Even if you are not a fan of silent film, I can guarantee that this is a great entrée into the genre.

 

Metropolis

The story of the multiple restoration efforts has become something of legend. I feel as if that these stories only added to the idea of Fritz Lang’s sci-fi extravaganza as a “lost masterpiece.” As a result, Metropolis has been on my must-watch list and now, I was going to witness the mastery first-hand.

Click here for Metropolis synopsis (source: IMDb)

 

Well, while there is no doubt that the film is visually arresting in scale, scope and ambition (there was nothing like it at the time), I found the narrative quite wanting and middling in places. This definitely was not the futuristic dystopia I was hoped to see. But I was determined – I kept on watching, hoping at once to have that “eureka” moment, where I understand what the fuss was all about. Unfortunately that moment never came for me.

Let me clarify: the film is not bad, but rather I did not respond to it in the way I really wanted to. This somewhat (but not intentional) contrarian view on Metropolis left me wondering … did anyone have the same reaction after seeing it?

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Noël Coward/David Lean’s “Blithe Spirit” (1945)

May 14, 2012 By 4 Comments

Kay Hammond as Elvira

For the past couple of weeks I have been going on a bit about the Noël Coward celebration taking place in NYC and the Film Society of Lincoln Center’s Coward on Film programming series to go along with it. This past Saturday, I had the pleasure of catching a double feature of Brief Encounter and the subject of this post, the highbrow comedy Blithe Spirit.

This was the third of four collaborations between Coward and renowned director David Lean and based on Coward’s long running West End play (ran for nearly 2000 performances – longer than the whole of WWII)!

This screening was especially exciting because the audience was treated to a newly restored 35mm print of the film (in vibrant Technicolor, no less). This guaranteed that seeing it on the big screen would not disappoint. Thank you BFI (British Film Institute).

In terms of plot, the BFI  (website) offers this very succinct and on point synopsis:

A harmless séance at the home of novelist Charles Condomine (Rex Harrison) and his wife Ruth (Constance Cummings) summons up the ghost of Charles’ glamorous first wife Elvira (Kay Hammond in a reprisal of her stage role).

With respect to the end product, Coward himself thought the film was a largely inferior product to the stage play. In fact he used words which are not suitable for this website to describe it.

For my part, there were enough moments that had me cracking up, most notably …

  • The interaction of Charles, Ruth and Elvira in their scenes. I can only imagine how wonderfully this translated on the stage.
  • The scene in which Charles and Ruth are arguing and the subject of past relationships comes up - ”If you’re trying to compile an inventory of my sex life, I feel it only fair to warn you that you’ve omitted several episodes. I shall consult my diary and give you a complete list after lunch.”  This was line was excised from the American release of the film (deemed too risqué). Source: Wikipedia
  • The revelation of the cause of Elvira’s death – I was floored!
  • Madame Arcati’s absent-mindedness and incompetence at 1) not realizing what she has unleashed and 2) her several failed attempts at trying to make it right. Rutherford does scatter-brained very well.

One thing that absolutely DID NOT work to for me was the desired affect was the ghastly ghostly makeup – the ethereal, ectoplasmic other-worldliness that was the goal was completely lost in the Technicolor haze. Instead of Statue of Liberty oxidized green, maybe they should have gone for a white or off white.

Another issue of concern is David Lean’s direction. Granted, this film was quite early in his career (well before the grand, sweeping epics that would become his trademark), but it is clear that his comfort zone is in the realm of drama, not comedy. In fact, Rex Harrison allegedly was not happy with how Lean handled the production.

In the end I was able to overlook these issues because the writing and acting worked well.

 

A BIT OF TRIVIA: Ironically, according to Coward scholar and introducer of the film, curator Brad Rosenstein, Margaret Rutherford  (Madame Arcati) did not  ”get” the humor of the play or film. This is ironic because she delivers a great share of the laughs in the film.

 

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Revisiting “Dracula”

April 25, 2012 By 16 Comments

The latest installment in my continuing series celebrating Universal Studio’s 100th Anniversary.

Poor Bela Lugosi. When asked to transfer his stage success the silver screen by starring in Tod Browning’s  Dracula (apparently he was NOT even the first choice), little did he know that this would be the role that would define his career (and life).

While not the first filmed version of Bram Stoker’s ‘undead’ (most notable in my mind the nightmarish Nosferatu), it is the Dracula imprinted on our collective memory. Lugosi’s portrayal of the Count is that of a haunting, seductive bloodsucking nightwalker.

Today’s cinemagoers will probably not be convinced by the stagey nature of the film and its performances, but that does not make it any more impactful. First of all it should be noted that while this is based on Stoker’s source material, the direct text, etc. is taken from the aforementioned stage play Dracula. Second and most importantly, I imagine what also terrified audiences at the time was down to the cadence of Lugosi’s delivery and the deliberate pacing of his movements. As a child I remember mimicking him, walking around saying, “I vaunt to suck your blood!” It has been a while now so I am not even sure those exact words are even uttered in the film.

One element that I never fully resolved myself was the fact that while many of the characters are wearing contemporary clothes, they traverse the landscape in horse-drawn carriages. It is possible that automobiles have not reach Carpathian Mountains; anyone have a clue?

In 2000, Dracula was selected for preservation in the National Film Registry. (Source: Wikipedia)

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