September 2021 Round-Up
TOTAL FILMS SEEN IN SEPTEMBER: 35
(see the film posters at the bottom of the post, arranged in watching order)
NEW-TO-ME: 34 (26 features & 8 shorts)
REWATCHES: 1
SEEN ON THE BIG SCREEN: 2
MOST WATCHED ACTOR: Robert Mitchum (5 in total)
Deborah Kerr in Tea and Sympathy
Cannot believe we're in autumn again. It's still summery here in Barcelona but there's definitely a change of seasons noticeable and soon the days will be getting shorter and colder. I'm glad Spain is sensible enough to keep the basic Covid rules in place for now (face masks inside and a 1.5 meter safety distance) as we are entering the flu season and it's very likely that people will catch a cold and have runny noses. Not like The Netherlands, my native country, which has dropped the Covid measures. I was very happy to visit The Netherlands, though, at the beginning of September and see my family, and fortunately the Dutch weather was surprisingly warm and sunny during my entire stay.
I've seen a total of 35 films this month (including silent shorts), among them some truly great ones. I deliberately set out to explore Deborah Kerr's filmography, because of the centennial of her birth this month, and watched 8 Kerr films in total, which made her My Most Watched Actress of the Month. The films are: The Chalk Garden, Bonjour Tristesse, Tea and Sympathy, King Solomon’s Mines, The Sundowners, Vacation from Marriage, I See a Dark Stranger and Heaven Knows, Mr. Allison. I also wrote a tribute post dedicated to Miss Kerr (here).
Where Danger Lives with Robert Mitchum and face mask
After seeing Robert Mitchum in The Sundowners with Deborah Kerr I wanted to see more of him and watched another four films, making him My Most Watched Actor of the Month with 5 films in total. The other films are: Track of the Cat, Home From the Hill, Where Danger Lives and Heaven Knows, Mr. Allison.
There was some sad news too this month: Jane Powell died at the age of 92 (I wrote a post about her here). It was only fitting to spend some of my movie-watching time to some of her films and I wanted to see quite a few, but in the end I only watched two: A Date With Judy and The Female Animal.
Jane Powell in A Date with Judy (screenshot by me)
Fortunately there were trips to the Filmoteca as well. Not many, only two, but I was still happy to be able to see them on the big screen: both Let’s Make Love and Room at the Top did not disappoint. It was a pity I missed the screening of Ship of Fools with Vivien Leigh due to heavy rain.
Both Filmoteca viewings were first watches. Normally this would mean there are no rewatches (because I don't rewatch films at home, only on the big screen), but my elder sister — who was visiting at the end of August and beginning of September — wanted to see Random Harvest, so we watched it together at home (my only rewatch of the month).
Simone Signoret and Laurence Harvey in Room at the Top
Furthermore I watched 8 silent shorts in total (no silent features this month): three with Harold Lloyd (Bumping Into Broadway, The City Slicker and Next Aisle Over), two with Buster Keaton (The Cook and The Blacksmith) and three with Charlie Chaplin (By the Sea, Kid Auto Races at Venice and The New Janitor).
I watched three films with Glynis Johns (The Sundowners, Vacation From Marriage and Appointment with Venus) and there were several actors with two films watched: Ann Dvorak ('G' Men and Girls of the Road), David Niven (Bonjour Tristesse and Appointment with Venus), Beulah Bondi (Street Scene and Track of the Cat), Sylvia Sidney (Street Scene and … One Third of a Nation …), Leif Erickson (… One Third of a Nation … and Tea and Sympathy), Douglas Fairbanks Jr. (Chances and Morning Glory) and Marsha Hunt (Unholy Partners and A Letter for Evie).
Random Harvest with Ronald Colman and Greer Garson
Like I said earlier, I've seen some great films this month. My highest rated ones are Random Harvest and Heaven Knows, Mr. Allison, followed closely by Street Scene, The Sundowners and Home from the Hill. Also very enjoyable and noteworthy are The Cook, King Solomon’s Mines, Let’s Make Love, A Date with Judy, Room at the Top, The Blacksmith and I See a Dark Stranger.
My lowest rated films are Men Without Names, Bonjour Tristesse, By the Sea, Blind Alibi and The Female Animal.
My favourite screen couples of the month are: Greer Garson and Ronald Colman in Random Harvest, Deborah Kerr and Robert Mitchum in The Sundowners, Deborah Kerr and Robert Mitchum in Heaven Knows, Mr. Allison, Yves Montand and Marilyn Monroe in Let's Make Love, George Peppard and Luana Patten in Home from the Hill, and David Niven and Glynis Johns in Appointment with Venus.
Breaking the 35 watched films down in decades:
1910s - 7
1920s - 1
1930s - 7
1940s - 7
1950s - 9
1960s - 4
Happy to see that every decade is represented this month, with the 1950s coming out as the winning decade.
NOW LET'S MOVE ON TO THE FILMS!
(read notes with caution as they might contain spoilers; ratings go from ½ to ★★★★★)
Rewatched: 01.09.2021
First film of the new month is one that I rewatched at home. My elder sister was visiting us in Barcelona and this love story appealed to her (also because I was so enthusiastic about it) and we watched it together. She liked it but since she is really into Asian series (Korean and Chinese drama) her reaction was lukewarm in comparison to how she reacts to Asian drama series. Well, I love Random Harvest and the wonderful chemistry between the leads Ronald Colman and Greer Garson and their great performances. The amnesia story might be far-fetched but the leads make it believable and we root for them to find their way back to each other again. I love the ending! And Greer Garson looks so beautiful in this film! (Film poster (1) / Photos (2): Ronald Colman and Greer Garson)
THE CHALK GARDEN (1964) ★★★
Watched: 02.09.2021
Didn't know anything about the story beforehand, except that I could be expecting something mysterious. Well, there's some suspense and drama, all accompanied by a great score composed by Malcolm Arnold, reminiscent of the Hitchcock's scores by Bernard Herrmann. Deborah Kerr is good, John Mills too, but the performance by Mills' real-life daughter Hayley Mills becomes a bit grating. Hayley is best in her emotional moments. Seen this on a plane ride, and the great print (from a downloaded Blu-ray version) added to my enjoyment. Though the story was pretty predictable, it was still a good watch. (Watched this for Deborah Kerr in celebration of the centennial of her birth this year, on the 30th of September.) (Screenshot by me: Hayley Mills and Deborah Kerr / Photos: Deborah Kerr and John Mills / Deborah Kerr and Hayley Mills)
MEN WITHOUT NAMES (1935) ★★
Watched: 04.09.2021
Gangster film from the Paramount studio starring Fred MacMurray as a G-man in one of his earliest roles. Not a bad attempt, surprisingly grim and brutal at times, but clearly lacking in excitement. I liked Lynne Overman as the other G-man and also little David Holt as Madge Evans' brother. Evans serves as MacMurray's love interest but there's not much of a romance subplot and she has little to do. (Film poster: Fred MacMurray, David Holt and Madge Evans / Photos: Fred MacMurray and Madge Evans / Fred MacMurray and Lynne Overman)
BUMPING INTO BROADWAY (1919) ★★½
Watched: 05.09.2021
Harold Lloyd short where he spends his last money on the rent for his pretty next-door neighbour Bebe Daniels who can't pay the rent herself. Now Lloyd is short on money and is being chased for his own rent. When he wins big at a gambling casino, the place is being raided by police men and another chase scene ensues. The famous coat rack hiding scene from Safety Last is used here first. For me it's the most memorable thing of this film, as I like this gag a lot. Apparently this has the first use of glasses for Harold's character, his soon-to-be trademark, so in that respect this short is rather special, with a better second half than the first. (Admittedly, I was sleepy again while watching this, so I might like it better on a rewatch.) (Photo: Harold Lloyd and Bebe Daniels / Gif: Harold Lloyd)
"G" MEN (1935) ★★★
Watched: 06.09.2021
One James Cagney gangster film that's been sitting on my watchlist for some time now. It's a formulaic and predictable film, hampered by the Hays Code, but with a good guy part for Cagney. His character is a struggling lawyer, turning G-man when his friend is gunned down by the mob. Since his education was paid for by the mob boss, joining law enforcement doesn't sit well with the gangsters. The second half of the film is definitely better than the first one, with more excitement. There's also a lot of action with noisy shoot-outs. Ann Dvorak has probably the best part, whereas Margaret Lindsay as Cagney's love interest comes off rather dull and has little to do. The romance between them is poorly drawn. Great photography by Sol Polito and solid supporting parts by Robert Armstrong, Barton MacLane and Lloyd Nolan. NOTE: This film has a strange prologue where David Brian as a senior agent shows FBI rookies an early film about the FBI and then this film starts. The introduction was added for the 1949 re-release of the film (on the FBI's 25th anniversary) and most prints include it. (Photo: Ann Dvorak and James Cagney / Gifs: James Cagney and Robert Armstrong / Ann Dvorak)
Watched: 08.09.2021
What a dull affair and so predictable. The highlight is the gorgeous location shooting at the French Riviera and beautiful Deborah Kerr clothed in Givenchy's costumes. This film really suffers from a poor script. The great Otto Preminger directed this!!?? I can't remember Françoise Sagan's novel (on which this film is based), but if I did read it in high school, it hasn't made a lasting impression. Neither will the film. (Photos: Deborah Kerr / Jean Seberg and David Niven / behind the scenes with Jean Seberg and Deborah Kerr)
STREET SCENE (1931) ★★★★
Watched: 08.09.2021
Have been meaning to see this for a while and now I finally did. My expectations were high and I'm glad the film lived up to them. The opening sequence is great and I love the depiction of everyday life in a common street on a hot summer's day. The film suffers a bit from being too stagy but there's a great music score by an uncredited Alfred Newman and beautiful photography by George Barnes (and an uncredited Gregg Toland). There are also some great tracking shots. I love Beulah Bondi's performance in particular but also Sylvia Sidney never disappoints. She somehow always mesmerises, with her distinctive voice and the sad expression in her eyes. Her love interest William Collier Jr. reminded me a bit of a young George Brent and I liked their romance. The ending was good, even though I prefer happy ones. Recommended! (Photos: Estelle Taylor and Beulah Bondi / Sylvia Sidney and William Collier Jr. / Sylvia Sidney)
... ONE THIRD OF A NATION ... (1939) ★★★
Watched: 09.09.2021
Another Sylvia Sidney film. The beginning is weak but it becomes more compelling once it gets going. I thought the casting of Leif Erickson as the male lead was a big flaw and I kept picturing someone like Henry Fonda in his role. This social drama — focusing on poor housing conditions — could have been better and it's tonally uneven (Erickson's sunny demeanour doesn't help) with a light romance shoehorned in. A very young Sidney Lumet (yes, the future director) as Sylvia's little brother is surprisingly good and I liked his scenes with the apartment building talking to him. There are also some pretty grim scenes with bodies laid out on the sidewalk after the fire and also a shocking image of a body in flames jumping from a burning building. (Photos: Sylvia Sidney and Leif Erickson / Sidney Lumet)
THE COOK (1918) ★★★½
Watched: 10.09.2021
This is foremost a Roscoe 'Fatty' Arbuckle short film where Buster Keaton plays second fiddle to Arbuckle. I had never seen Arbuckle in a film before, and though he is fun, I would not seek out a film just for him. It's Buster I watched this for and he looked so beautiful as the flirty waiter. There's little plot here but great visuals and a lot of slapstick, some of it a bit too silly. Loved seeing Buster dance like an Egyptian, and that moment where he's almost being decapitated by Arbuckle's big cook's knife had me gasping. Probably the most memorable moment is the spaghetti scene with Buster cutting spaghetti with scissors and eating the Italian dish out of a cup. I also like the scene with Arbuckle and the dog fishing on the beach and catching a big fish. (Gif: Buster Keaton / Photos: Buster Keaton and Roscoe 'Fatty' Arbuckle / Buster Keaton and Alice Lake)
TEA AND SYMPATHY (1956) ★★★
Watched: 11.09.2021
Laura Reynolds: "Years from now when you talk about this — and you will — be kind."
Watched this for Deborah Kerr. It's one of those films that wasn't particularly high on my watchlist and the long running time of two hours couldn't tempt me either to prioritise it, but in search of a Kerr film to watch I was swayed by the high ratings and good reviews, something that surprised me as I didn't know this film was regarded as one of the more acclaimed titles in her filmography. Based on a stage play and with the three leads (Deborah Kerr, John Kerr and Leif Erickson) reprising their roles from the play, this film very much betrays its origins with its staginess. I had high hopes for this soap-opera/melodrama depicting closeted homosexuality and attacking toxic masculinity, but I found it ultimately disappointing. I didn't think much of John Kerr (not related to Deborah, by the way) and never felt his struggle. Apparently the play deals with the homosexuality openly but due to the Hays Code and censorship this was substituted with a forbidden romance between the two Kerrs (it's actually not really a romance or an affair, but the tension and attraction is felt throughout the film; I was surprised there was little attention being paid to the age difference). With a subject matter ahead of its time, this could have been stronger and maybe a director like Douglas Sirk would have handled it better. Deborah Kerr gives a good performance but it was something I was already expecting from her. She looked beautiful in those vibrant colours, with that red flaming hair. The colour palette of this film is great, reminiscent of those Sirk melodramas, and the great John Alton again proves he's a master painter of shadows and light. That forest scene near the end is beautifully lit and looks pure magical. I also liked the melodious score by Adolph Deutsch. Some reviewers don't like the ending but I got a bit teary-eyed when John Kerr read Deborah's letter addressed to him: "Both of you were, in a sense, crying out to be saved from what you thought you wanted. I answered your cry. It was the easier one to answer." (referring to John Kerr and Leif Erickson) (Photos (3): Deborah Kerr and John Kerr)
BY THE SEA (1915) ★★
Watched: 12.09.2021
Underwhelming Charlie Chaplin short. I kind of liked the gag with the hats on a string, handy for a windy day, then becoming entangled. But it's all a bit silly and too much slapstick, and not really memorable. Apparently this short features the first banana peel gag on screen. (Photo: Charlie Chaplin and Edna Purviance)
KING SOLOMON'S MINES (1950) ★★★½
Watched: 13.09.2021
This adventure film was fun and is better than I thought it would be. Shot entirely on location, it's one of the few films from that period to treat the African people with respect. The first scene introducing Stewart Granger as Allan Quartermain (a safari guide) in the company of some white guy shooting an elephant for fun had me brace myself for things to come but it was evident from almost the beginning that Granger disapproved of these activities and that he respected the African people, even spoke their language. I liked his character and Granger is suited for the role and plays him well. Deborah Kerr plays the female lead and as can be expected she faints, screams and falls down on their jungle trip, but she doesn't give in and perseveres and fortunately isn't as insufferable as Grace Kelly in Mogambo. The romance is predictable but it doesn't take center stage. They do their share of bickering, sharing only one kiss, and I liked how underplayed the romance was and how they observed each other without the other noticing. In its genre this film is well made and what really stands out is the Oscar-winning cinematography by Robert Surtees. The depiction of the jungle, the tribes, the desert, the caves with the burning torches, the green hills, the variety of animals, the exhilarating stampede, and Kerr's red hair is simply breathtaking. Also with Richard Carlson as Kerr's brother but he doesn't have much to do. (Photos: Deborah Kerr / Deborah Kerr and Stewart Granger / Hugo Haas, Richard Carlson, Deborah Kerr and Stewart Granger)
THE CITY SLICKER (1918) ★★½
Watched: 15.09.2021
Short Harold Lloyd silent of only 12 minutes where he plays an overconfident city boy responding to an ad asking for help to revamp a hotel. It's an enjoyable watch but nothing really special. What stood out was Lloyd's athleticism, and the room with the gadgets was nice too. Not much time is spent on Lloyd's romance with Bebe Daniels, but the runtime didn't really allow it. (Photo: Harold Lloyd and Bebe Daniels)
LET'S MAKE LOVE (1960) ★★★½
Watched: 15.09.2021
What a very nice surprise this was! I had so much fun. I had no expectations and had no idea what this was about. The film was showing at the Filmoteca on the big screen and it's one of Marilyn Monroe's lesser known films, so reason enough to go out and see this. Yves Montand plays a millionaire who is being ridiculed in a musical play. His PR man (Tony Randall) advises him to attend one of the rehearsals to see what it's all about. Montand gets mistaken for one of the actors impersonating him. He falls for Marilyn and decides to stay on. This was funny, at times véry funny, and I was laughing out loud on more than one occasion and the audience was very responsive too. I hadn't expected to like Montand so much. He really has a flair for comedy and I liked his facial expressions, also the way he looked at Marilyn. I loved Marilyn's character, she was so sweet and helpful. I also liked the scene where she suggested to Montand to take another job since he spoke so many languages. The cameos of Milton Berle, Bing Crosby and Gene Kelly, making appearances to teach Montand respectively how to do comedy, to sing and dance, were unexpected and funny as well. With nice musical numbers (the iconic My Heart Belongs to Daddy and Specialization), a great leading couple, an engaging and well-told story, this is going to rank among my favourite Marilyn films from now on. (Gif by me: Yves Montand and Marilyn Monroe / Photos: Marilyn Monroe and Yves Montand / behind the scenes with Gene Kelly, Marilyn Monroe and Yves Montand)
Watched: 16.09.2021
Harold Lloyd short with Bebe Daniels again as his leading lady. It's enjoyable, with the revolving door gag being the funniest. Also Lloyd standing in the window pretending to be a mannequin and the gag with the bathtub is pretty funny. Nothing revolutionary but good for a couple of laughs. (Photo: Harold Lloyd and Bebe Daniels)
CHANCES (1931) ★★★
Watched: 16.09.2021
WWI love triangle story with two brothers (Douglas Fairbanks Jr. and Anthony Bushell) falling for the same girl (Rose Hobart). The story is a familiar one and predictable but Fairbanks Jr. and Bushell make believable brothers and the film has some poignant moments. Being an early talkie, the dialogue comes off stilted but the battle scenes are well-staged (especially the scene with the soldiers riding on horseback) and there's great camerawork and cinematography by Ernest Haller. (Photos: Anthony Bushell and Douglas Fairbanks Jr. / Douglas Fairbanks Jr. and Rose Hobart)
MORNING GLORY (1933) ★★★
Watched: 18.09.2021
Known for being the film for which Katharine Hepburn won her first Oscar. This pre-code (with evident stage roots) starts promising and I liked Hepburn's quirky character, fast-talking and self-obsessed, living in a fantasy world when it concerns the theater and her place in it. I like Hepburn this young and she's photographed beautifully. Her male co-stars (Douglas Fairbanks Jr., Adolphe Menjou and C. Aubrey Smith) all give solid support, with Fairbanks Jr.'s sensitive and natural performance as the playwright in love with Hepburn standing out. I love Fairbanks Jr., the way he looks and sounds, and for me he's the best thing here. I think the film is tonally uneven, it feels like there are parts missing and a lot of the action takes place off-screen. It's predictable how Hepburn gets her big break at the end, but it's strange that her great performance was not shown, and we see her immediate after the play has ended. The anti-climactic ending feels rushed. Though Hepburn's performance is good (yet I liked her better when she was fast-talking and being goofy than when she was reciting Shakespeare), I've seen her play better. This film doesn't even come close to Stage Door, that other film concerning the theater, also starring Hepburn and Adolphe Menjou. Too bad this was ultimately disappointing, and I guess I would have liked this so much better if the romance between Hepburn and Fairbanks Jr. had been better developed. (Photos: Douglas Fairbanks Jr. and Katharine Hepburn / Katharine Hepburn / Katharine Hepburn and C. Aubrey Smith)
Watched: 19.09.2021
Watched this for Jane Powell, in memory of her recent passing, and though it's her vehicle, playing the lead and getting second-billed after Wallace Beery, this is really a showcase for beautiful and young Elizabeth Taylor. Taylor has by far the most interesting character, being spoilt and behaving a bit bratty. Yet we find out soon enough that beneath her coolish exterior hides a girl longing for a normal family life (her father Leon Ames doesn't bother with his children, because he's too busy with his work, and Liz is envious of Powell whose father Beery always comes home after work). When Taylor shows her vulnerable side, she's wonderful. I loved the two different households of The Fosters and The Pringles and the wholesome family feel of this musical. Also the songs made me happy plus Carmen Miranda's positive energy and the vibrant Technicolor. Robert Stack and Scotty Beckett play the love interests of Powell and Taylor, and Beckett and Powell are cute together. I got a bit emotional with the musical finale of It's a Most Unusual Day, sung by Powell, realising she's no longer with us and how these musicals really belong to a bygone era. Fortunately we can come back to them and enjoy them whenever we want. (Gif: Jane Powell / Publicity still: Robert Stack, Jane Powell, Elizabeth Taylor and Scotty Beckett / Gif: Elizabeth Taylor)
UNHOLY PARTNERS (1941) ★★½
Watched: 19.09.2021
Watched this for Marsha Hunt and Laraine Day. This gangster film from the MGM studio is entertaining but clearly lacks the grittiness Warner Bros films have. Edward G. Robinson and Edward Arnold play their roles well, as partners running a tabloid newspaper (reporting the news before it happens), Robinson being the newspaper man and Arnold the gangster/gambler providing the money. Hunt and Day don't have that much to do (playing the love interests of respectively William T. Orr and Robinson) but I was still happy with their given screen time. I like the scene with Hunt and Orr where he is about to leave the room and keeps coming back, and I also loved Hunt singing After You've Gone. Set right after WWI, this film doesn't really take an attempt to capture the period in which the story is set. The costumes and sets look contemporary instead of from the 1920s. Strong point is the wonderful noirish cinematography by George Barnes (DP of Rebecca and Spellbound). The scene where Robinson goes out to meet Arnold at some gambling place at the film's beginning comes to mind immediately. I loved the low-angle shot turning into a crane shot when Robinson is climbing the stairs with one of Arnold's cohorts, only the sounds of their footsteps hitting the steps audible. Too bad the ending wasn't satisfying. (Photos: William T. Orr and Marsha Hunt / Edward G. Robinson and Laraine Day / Edward Arnold, Edward G. Robinson, William T. Orr and Marsha Hunt)
A LETTER FOR EVIE (1946) ★★★
Watched: 20.09.2021
Marsha Hunt (I watched this for her) works at a uniform shirt factory and slips a letter into one of the pockets of a size sixteen-and-a-half shirt of an anonymous soldier hoping to strike up a correspondence and to find love. Womaniser John Carroll is the soldier who finds the letter in his shirt but he isn't interested and throws the letter away. His buddy Hume Cronyn picks it up and starts the correspondence. A tale of mistaken identity ensues and I enjoyed most of it. Carroll doesn't have a very appealing character and it's clear from the start that we're here to root for the sensitive and sweet Cronyn. Apart from the scene where he feigns being drunk and behaves strangely, almost wrecking Hunt's apartment and harrassing Pamela Britton, I liked Cronyn, far better than Carroll whose role comes off rather poorly. The happy ending with Cronyn and Hunt is pretty sweet. Also with Spring Byington in a small part as Cronyn's mother. (Photos: Marsha Hunt and Hume Cronyn / Hume Cronyn, Marsha Hunt and John Carroll / Marsha Hunt and Hume Cronyn)
THE SUNDOWNERS (1960) ★★★★
Watched: 21.09.2021
This Fred Zinnemann film, set in the Australian Outback, has been on my watchlist for some time and I finally decided to watch it now despite its long running time of over two hours. It's slow-paced and has little plot, but it gets under your skin as you get to know and love the characters. Deborah Kerr and Robert Mitchum play a married couple with a teenage son (Michael Anderson Jr.) and are sheep drovers on the move. The conflict in this film comes from the disagreement between Kerr and Mitchum about whether to keep moving (Mitchum in favour) or settling down (Kerr). It's remarkable that there are no unlikeable or bad characters here, everyone gets along with each other (in that respect it reminded me a bit of Howard Hawks' Hatari). I thought maybe Kerr wouldn't get along with Dina Merrill but they became friends right away. With great nature shots of kangaroos, koala bears and lots of sheep (I loved the sheep shearing), this film is great to look at, courtesy of DP Jack Hildyard. I also loved the score by Dimitri Tiomkin. Yet the main reason to love this is Deborah Kerr's performance and character. She looks beautiful and natural, and has great chemistry with Mitchum. I love how their love for one another is depicted (e.g. Kerr looking for Mitchum when he's lost in the forest fire; Mitchum just wanting to spend a moment with his wife before going to work or looking forward to an evening out with her and getting disappointed when the date is off). But one of Kerr's best scenes is when she watches a girl sitting on a train at the station, putting on her makeup, and she's so aware of her own disheveled appearance and her wandering lifestyle, and we see her in a moment of quiet heartbreak. The ending is a bit disappointing as I had not expected Kerr to give in, but it still made sense, considering how much she loved her husband and put him first above everything and everyone. (Photos: Robert Mitchum and Deborah Kerr (2) / Deborah Kerr, Peter Ustinov and Robert Mitchum)
ROOM AT THE TOP (1959) ★★★½
Watched: 22.09.2021
Seen on the big screen at the Filmoteca as part of the Signoret/Montand special. It's not really a movie I would have sought out if it hadn't been for the cinema screening, but I did want to see a Simone Signoret film. I had never seen her in a film before, yet a long time ago I read her autobiography Nostalgia Isn't What It Used to Be and totally loved it. Well, fortunately this film turned out to be an enjoyable affair and Laurence Harvey wasn't as unappealing as I thought he would be (what's with his hair, though?!). Still, this is really Signoret's film. She looks beautiful, and I love her hair and her eyes. Her performance is very natural and I can understand why she won the Oscar for Best Actress. Heather Sears is the weak link here. Her character is so uninteresting (her scenes with Harvey were pretty horrible with some badly scripted lines) and I wasn't impressed with her performance. The cinematography by Freddie Francis is great, though, and I loved the outdoor shots with the children. (Screenshots by me: Simone Signoret and Laurence Harvey / Simone Signoret / Simone Signoret and Laurence Harvey)
HEAVEN KNOWS, MR. ALLISON (1957) ★★★★½
Watched: 23.09.2021
Didn't expect to love this as much as I did. I like both lead actors, Deborah Kerr and Robert Mitchum, and have enjoyed them in The Sundowners. They have a very natural chemistry, also evident in this John Huston film. I loved every minute of this, in fact not a minute is wasted. Even the moments when Kerr and Mitchum are not together are compelling, filled with suspense as Mitchum is stealing food and blankets from the Japs for Kerr. Action and suspenseful scenes aside, the main draw of this film is of course the warm relationship between nun Kerr (not having completed her final vows yet) and Marine Mitchum (they both look very good, by the way) and it's totally believable why these well-drawn characters fall for each other. They're both very lovable. I don't usually think of Kerr as being cute but she comes close to being cute here. I will admit, being a romantic at heart, that I had wished for a happy romantic ending (Mitchum was so sweet and vulnerable in the scene where he expresses his feelings), but the ending provided was of course the better one and it was nice for a change that Hollywood didn't resort to the usual gimmick. Highly recommended! (Screenshots by me (3): Deborah Kerr and Robert Mitchum)
TRACK OF THE CAT (1954) ★★½
Watched: 23.09.2021
What a strange film! William A. Wellman directs an ensemble cast in a tale where a dysfunctional family is under the spell of a black panther/'painter' who kills their livestock. Robert Mitchum has an unlikeable part as one of the siblings. The film felt very stagy and talky, almost like a Tennessee Williams play. I think the best performances are given by Teresa Wright and Beulah Bondi. Especially Bondi is convincing as the unkind and religious mother and has a good scene at the bedside of her deceased son William Hopper (son of Hollywood columnist Hedda Hopper). Bondi looks great, by the way, almost like a witch. The alcoholic father, played by Philip Tonge, was plain annoying, his almost comical role was out of place. There's some beautiful imagery (cinematography by William H. Clothier) in colourless colours (Wellman wanted to make a black-and-white film in colour) with Mitchum's red coat sticking out. The nature scenes covered in snow are gorgeous and the funeral scene in particular is beautifully shot, but the set of the homestead looks very fake. Since I didn't really care about any of the characters, this could have used some stronger drama to make it more compelling. But Mitchum disappears into the wilderness in pursuit of the panther for a great part of the movie and doesn't get to interact with his family anymore, only talking to himself. If he would have gotten the opportunity to bully and harass his family a little more, it would have made the film more interesting. As it is, his character even gets a bit of sympathy from the viewer as he shows some emotions during his alone-time. I found the Indian character a bit weird (layered with makeup), and it's disappointing we never get to see the cat. Ultimately there wasn't enough to like here so I don't think I'll be seeing this again. (Screenshots by me: Teresa Wright, Diana Lynn and Beulah Bondi / Robert Mitchum and William Hopper / Robert Mitchum)
HOME FROM THE HILL (1960) ★★★★
Watched: 24.09.2021Watched this for Robert Mitchum. I was dreading the long runtime of two-and-a-half hours but had high hopes for this film, directed by Vincente Minnelli, considering the good ratings and reviews online. My rating steadily went up as the film progressed because the second part is notably better than the first part with the drama heightening, even culminating in a full-fledged melodrama. The first part was rather slow-paced with scenes dragging (the hunting scenes and focusing on how George Hamilton should become a man). Robert Mitchum and Eleanor Parker deliver solid performances with some good dramatic moments, but Mitchum's character is not very likeable and for some reason Parker doesn't elicit much sympathy either. George Hamilton (as their son) is an unexciting actor, I just don't like him very much. Anthony Perkins would have been better for the part. My favourite person and character hands down was George Peppard. He was such a sweet guy, also how he treated Luana Patten. I was so happy she ended up with him instead of stupid Hamilton and I loved their scenes together. Peppard also looked very good. With great cinematography by Milton Krasner (the nature scenes are beautiful) and a sweeping music score by Bronislau Kaper, this film became totally compelling and ultimately very rewarding. The ending is perfect and I even shed a tear or two. (Screenshots by me: Eleanor Parker and Robert Mitchum / George Peppard and Luana Patten / Eleanor Parker)
GIRLS OF THE ROAD (1940) ★★★
Watched: 24.09.2021
Watched this for Ann Dvorak, I love her! This is a social commentary on the dire circumstances under which women hobos lived during the Depression. Dvorak plays the governor's daughter who wants to experience first-hand what girl hobos go through day by day. Not as gritty as for instance William A. Wellman's Wild Boys of the Road but still a decent depiction of life on the road with some nice performances by the female leads. The ending is a bit too optimistic, though. I love feisty Helen Mack and the fashion and to see all women wearing pants (despite looking too fashionable while being on the road). (Photos: Lola Lane, Ann Dvorak and Helen Mack / Don Beddoe, Ann Dvorak and Helen Mack / Ann Dvorak and Helen Mack)
THE BLACKSMITH (1922) ★★★½
Watched: 25.09.2021
Pleasantly surprised with this Buster Keaton short as I had been disappointed with other silent shorts that I recently watched. This is very enjoyable and there's not too much silly slapstick. The gags are funny. I loved the giant magnet gag, the sequence with the horseshoe fitting, the horse saddle shock absorber, the scene where Buster holds up a car with a kid's balloon, and even though the wrecking of the white posh car went a bit too far, it made for a nice gag. I loved the ending with the toy train. And Buster is so beautiful! (Photo: Buster Keaton and Virginia Fox / Screenshots by me (2): Buster Keaton / horseshoe fitting)
Watched: 25.09.2021
A bit disappointing, but still an engaging watch about a mousy husband and mousy wife who go through changes while both serving in the navy, and after years of separation they don't want to go back to their old life and marriage. They've both changed emotionally and physically, and seeing their spouse in a different light they fall in love all over again. Good performances by Robert Donat and Deborah Kerr, as can be expected, but Glynis Johns steals the show as Kerr's perky friend. Need to check out more of her films because I absolutely love her. (Photos: Robert Donat and Deborah Kerr / on the set with Deborah Kerr and Glynis Johns)
APPOINTMENT WITH VENUS (1951) ★★★
Watched: 26.09.2021
Watched this for Glynis Johns after having seen her in The Sundowners and Vacation From Marriage and I was reminded again how much I like her. This is a WWII comedy drama with an unusual story premise, namely rescuing a pedigreed cow named Venus from the Nazis and from being shipped to Germany. David Niven and Glynis Johns are tasked with this job and they make a likely and charming romantic combination. There are funny moments, for instance the plot element of the painting of the cow, as well as some fine black-and-white cinematography by Ernest Steward and beautiful location shooting on Sark, Channel Islands. And I liked young Kenneth More in the role of an obstinate artist. (Photos: David Niven and Glynis Johns / on the set with David Niven and Glynis Johns and cow, Sark, Channel Islands / David Niven and Glynis Johns)
Watched: 27.09.2021
Rather tepid B-mystery starring Richard Dix and Whitney Bourne. Dix plays a sculptor faking blindness in order to get his hands on some incriminating letters his sister desperately wants. My viewing experience suffered from my sleepiness and lack of concentration, but I don't think I would have liked it better had I paid full attention. The best thing about this film is the dog (Ace the Wonder Dog) and his friendship with Dix. (Photo: Richard Dix and Whitney Bourne)
KID AUTO RACES AT VENICE (1914) ★★★
Watched: 29.09.2021
Not much is happening in this Chaplin short of 7 minutes other than the Tramp (his first appearance on screen) disrupting the filming of a kids auto race while posing for the camera, but I really enjoyed it. Despite the repetitive nature of the gag, it's funny to see the Tramp walk in and out of the frame and getting pushed away by the officials and camera crew. Apparently there was a real-life race going on (with the spectators unaware of being part of Chaplin's short, at the time not knowing who Chaplin was since he wasn't famous yet) and this was all improvised. Nothing really special, except maybe for its historical significance, but I'd watch it again. (Photos (2): Charlie Chaplin)
I SEE A DARK STRANGER (1946) ★★★½
Watched: 29.09.2021
Watched this for Deborah Kerr. She plays a rather naive girl wanting to join the IRA but then finds herself working as a spy for the Nazis. I liked Kerr's quirky character, but her thick Irish accent is a bit overdone. The film itself is entertaining and at times witty, a mix of comedy, romance story and spy thriller. Too bad the romance between Kerr and Trevor Howard isn't developed better, I would have liked to see more of them together because they make a nice couple. Kerr reminded me a bit of Maureen O'Hara, something to do with her feistiness and probably also with the Irish accent. There's a Hitchcockian scene on the train (the script is written by Sidney Gilliat and Frank Launder who also wrote the script for Hitchcock's The Lady Vanishes) and I liked it very much. There's some great photography by Wilkie Cooper, especially the scene set in the tunnel. The film does have tonal issues and one of the final scenes in the bathroom was too comical and took away from the suspense. (Photos: Deborah Kerr / Deborah Kerr and Trevor Howard / Deborah Kerr)
WHERE DANGER LIVES (1950) ★★½
Watched: 30.09.2021
Watched this for Robert Mitchum. This noir suffers from a couple of things: the femme fatale is being played by an unappealing lead actress, Faith Domergue, she's the biggest flaw of this film and has no charisma whatsoever; an unconvincing whirlwind romance between Mitchum and Domergue; too little screen time for Claude Rains; Mitchum not being believable as a doctor and I had my doubts about how he explained the workings of his concussion. Still there was some suspense and nice visuals courtesy of DP Nicholas Musuraca. Also with Maureen O'Sullivan as Mitchum's other love interest. Her screen time is limited and with her face covered with a surgical mask most of the time her role is pretty thankless. Director John Farrow, her then-husband, probably has something to do with her having screen time at all. (Photos: Robert Mitchum and Faith Domergue / Robert Mitchum, Faith Domergue and Claude Rains / Robert Mitchum and Faith Domergue)
Watched: 30.09.2021
Chaplin short with him playing a janitor. There are no laugh-out-loud funny scenes nor much slapstick, but it's still entertaining and tells an actual story. The best scene is when Chaplin saves the day rescuing the secretary from an assault by her manager (she catches him stealing money from the safe). (Photo: Charlie Chaplin and Peggy Page)
THE FEMALE ANIMAL (1958) ★★
Watched: 30.09.2021
Wanted to see one more Jane Powell film this month and chose this one because it had the shortest runtime. I knew not to expect anything from this but I figured it would be nice to see Powell in a non-musical role. Well, it's not very good indeed, the characters are poorly drawn and there are no remarkable performances (Hedy Lamarr even has some pretty bad moments). George Nader as the hunky studio extra, showing a lot of skin and muscles, couldn't make my heart beat faster either. Still, it somehow wasn't too bad to get through and some parts were mildly enjoyable. The best thing this film has to offer is the great cinematography by Russell Metty and the interior design of the beach house. I want to live there! That couch! Also the melodious score by Hans J. Salter was easy on the ears. Jan Sterling could have used more screen time, though. (Film poster: Jane Powell, Hedy Lamarr, George Nader and Jan Sterling / Photos: Jane Powell, Hedy Lamarr and George Nader / Jane Powell and George Nader)
So much for this round-up! Coming October is spooky Halloween month and I will dedicate it to watching horror films. Very happy that the Filmoteca will be screening King Kong.
