Farewell to comedy legend, writer, performer and all-round icon, Mr Carl Reiner.
I don’t like to leave here. In 1977’s summer heatwave, New York City descends into violence with looting and rioting. Once-celebrated feminist author June Leigh (Naomi Watts) is afraid to leave her grandmother’s South Bronx walkup while the city burns. But it’s nothing new – she hasn’t left in years. Her groceries are delivered by Freddie (Kelvin Harrison Jr.) from the store; she’s afraid to touch the garbage piling up on the floor with the noise of insects inside; the only contact she has with people is over the telephone. She can’t write the novel she’s been threatening for a long time. She is tormented by someone ringing her doorbell several times a night. She leaves a message for her sister Margot (Jennifer Ehle) to ask for money. When Margot shows up and evinces despair at June’s living conditions we recognise something traumatic has happened and a TV recording reveals an interview she did about her novel The Patriarch that created a devastating chasm in her family. Then the lights go out … The world gives back what you give to it. A weirdly timely look at the paranoia of someone who’s afraid to leave their own home – Watts even dons a facemask when her sister does the cleanup, afraid there’s a dead body on the premises. June looks out at the world in a state of some distress. It’s initially a portrait of a paranoid individual, then it’s a glimpse at the observational lifestyle of a particularly nervy and reclusive writer, then it’s a portrait of a someone suffering trauma. The arrival of three people trigger the action and story development – Freddie from the store who wants to wash himself in her bathroom; Officer Blake (Jeremy Bobb), a creepy policeman answering her call for help a week late with designs on her; Billy (Emory Cohen) the rent boy who gratifies her need for sex and finally checks out what’s happening downstairs – are classic dramatic characters. It’s the call from her agent that makes June wake up however with a month to produce her work. The tension as we wait to see if Freddie makes that drop is stomach churning. When Watts lets go and dances to music (in a score composed by Daniel Bensi and Saunder Jurriaans) we empathise with her brief liberation from a hibernation that is clearly outside her control. Written and directed by Alistair Banks Griffin, this is strangely comforting lockdown viewing when everything is back to basic survival mode. Is that you?
Aka Heroes Without Uniforms. We’ve run into a wolfpack. Merchant Marine sailors First Mate Joe Rossi (Humphrey Bogart) and Captain Steve Jarvis (Raymond Massey) survive the sinking of SS Northern Star by German U-boat U-37 en route from Halifax. After 11 days drifting they are rescued. Steve spends time with his wife Sarah (Ruth Gordon), while Joe meets and marries singer Pearl O’Neill (Julie Bishop). At the union hall, merchant seamen, including the Northern Star survivors, spend their time waiting to be assigned to a new ship. Over a round of poker, Johnnie Pulaski (Dane Clark) jokes about getting a shore job and reveals his fear of dying at sea. The others shame him into signing along with them on another ship. Alfred “Boats” O’Hara (Alan Hale, Sr.) is tracked down by his wife, who has apparently not seen him since he was rescued. She angrily serves him with a divorce summons. O’Hara, knowing he is headed back to sea, gleefully tears it up, saying Them ‘Liberty Boats’ are sure well named! When they are charged with getting supply vessel Seawitch to Russian allies in Murmansk as part of a sea convoy and the group of ships comes under attack from U-37 again, Rossi and Jarvis are motivated by the opportunity to strike back at the Germans but now have to dodge Luftwaffe bullets too … For a sailor’s wife this war is just another storm. Tremendously exciting action adventure paying tribute to the men of the US Merchant Marine. The evocation of a group under pressure with their particular avocations and tics is expertly done and the characterisation is a model for war movies. There are all kinds of devices and diversions, from an onboard kitten and his successor; to envy of a Naval officer Cadet Ezra Parker (Dick Hogan); and the usual carping about the quality of the nosh. With a screenplay by John Howard Lawson (from a story by Guy Gilpatric) and additional dialogue by A.I. Bezzerides and W. R. Burnett you can be sure there are some riproaring lines: A trip to perdition would be like a pleasure cruise compared with what we’re going into. Wonderfully shot by Ted McCord with marvellous effects, you would never guess that this was shot on the studio lot due to wartime restrictions. Directed by Lloyd Bacon with uncredited work by Byron Haskin and Raoul Walsh. I’ve got faith – in God, President Roosevelt and the Brooklyn Dodgers – in the order of their importance!
Aka The Iron Collar. You can’t do this to a man. Not to a man! Two drifters, cowpoke Chris Foster (Audie Murphy) and veterinarian Bert Pickett (Charles Drake) go into the border town of Adonde. Bert gets in a fight after getting drunk and punches out the local sheriff during a card game and he and Chris are put in iron collars, chained to an outlaw and famed killer, LaValle (Harold J. Stone) at a post in the town square. He is there with his gang members Foray (L.Q. Jones) and Caslon (Skip Homeier). They manage to escape but La Valle wants them to rob a bank and they try to buy their way to freedom with some stolen bonds … The man who said he could never be caught. He’s collared now. Written by Bronson Howitzer (aka Ric Hardman) and directed by western stalwart R.G. Springsteen, this is standard genre fodder, albeit with appropriately noir overtones for this monochrome affair. Murphy acquits himself well, Stone is a convincing villain, Kathleen Crowley makes for an admirably cynical kind of femme fatale with a sympathetic backstory and Lone Pine stands in for New Mexico with well mounted if small-scale action. When I call you come or I put you back on the leash!
You’re in a taxi rank, skipper! Newly married Tony Hudson (John Gregson) offers his young wife Jane (June Thorburn) a cruise on a yacht as a honeymoon trip with his rich industrialist friend Dudley Partridge (Cecil Parker) who is sailing with his family, insurance man Harry Bell (Keith Michell) and his wealthy landlubber girlfriend Ann (Elvi Hale). Jane suffers from chronic seasickness but agrees and they go on board the Turtle, a fine ketch which initially has difficulty leaving port. A lot of misadventures await – including Partridge’s niece Susie (Pauline Drewett) catching German measles, crossing paths with a counterfeit gaming chip scam when they arrive at the French port of Dinard and then dealing with a real pea-souper fog that just might scupper their return … I hate boats. Don’t you? Jack Davies, Nicholas Phipps and John Coates adapted Coates’ novel, a marital comedy involving a lot of messing about in boats while the newlyweds really navigate their relationship. Gregson’s casting tips the wink that this is a kind of reworking of the beloved Genevieve, with Kay Kendall’s role being taken by Hale; while there are more than a few riffs on the plot of Brandy for the Parson but director Wendy Toye has a light touch and the intrigue and setting give this its own particular charm. It’s nicely shot on location in Dorset, Hampshire, London and France by Reginald Wyer. Look out for Clement Freud playing a croupier. You’ll soon get used to things being wet
It is real. It’s just deceiving to the eye, that’s all. On 30 September 1975 to commemorate James Dean’s death, the former members of The Disciples of James Dean gather in the small Texas town at the Woolworth’s store where twenty years earlier they formed a fan club after Giant was filming in the nearby town of Marfa. Juanita (Sudie Bond) prepares for another day on the job and calls for Jimmy Dean by name. One of the Disciples, Sissy (Cher) comes in late after helping out at the truck stop. Another two Disciples, Stella Mae (Kathy Bates) and Edna Louise (Marta Heflin) make their way to the five-and-dime, bringing a red jacket that the club used to wear. Mona (Sandy Dennis) joins them and explains that the bus she was riding on broke down and had to be repaired. She’s worried about her son Jimmy Dean whom she has always said was fathered by the star. A window shopper, Joanne (Karen Black) driving in a Porsche sports car has arrived in McCarthy thanks to an old highway sign promoting Dean’s son at the store and there’s something about her that makes Mona think she knows her but can’t quite figure it out …Unlike apparently all of you, I have undergone a change. Ed Graczyk adapted his own play for director Robert Altman who spent the Eighties directing stage plays for the screen following the grandiose flop Popeye and he applies his usually imaginative technique to this single-set production. He uses a mottled old mirror as a means to transport the action to twenty years earlier, a device which not only brings the underlying tenets of the story to life but also functions as an uncanny reflection and a means of transmitting the distorting tricks of memory. Dean’s death (which features in a broadcast announcement in a flashback) creates a bereavement trigger, making the frenemies confront their inadequacies, deceptions and delusions. The performances are startling and true: Dennis (recreating her stage role) is her usual nervy self and plays the mother of James Dean’s son to the hilt, the (expected) revelation about the fathering stunningly revealed; Black is a joy as the person nobody can quite recognise, with more than one shocking story to tell; Cher has to confront her own demons. Bates is a ball of energy and Bond makes for a very sceptical proprietor. Worth seeing for the lively, powerhouse performances by a wonderful collection of actresses at the top of their game, treated wonderfully well by a sympathetic director. The first of five Altman films to have Canadian cinematographer Pierre Mignot as DoP. Catch the documentary Children of Giant if you can as it makes for a great companion piece. We can make them change. Jimmy Dean has shown us how
I simply can’t understand a man like that. In 1880s Ireland Charles Stewart Parnell (Robert Donat) makes a rousing speech against the villainous property thefts by the British in Ireland but urges passive resistance, shunning rather than killing landlords. In a Mayo village, British landowner Captain Charles Boycott (Cecil Parker) dispossesses the townspeople who are being charged extortionate rents as his tenants and uses police and army to evict them, leaving them without hope. But when a passionate farmer Hugh Davin (Stewart Granger) creates an organised and nonviolent rebellion against the oppressor and falls in love with a beautiful newcomer Ann Killain (Kathleen Ryan) he proves that the Irish people are willing to fight for their rights ... You can’t make British soldiers fight for what any fool can see is an unjust cause. Wolfgang Wilhelm’s screenplay makes light work of the systematic property rout and starving of Irish citizens described in Philip Rooney’s source novel, weaving a skein of complicity, action and politics that rings true. Co-written by director Frank Launder, with additional dialogue by Paul Vincent Carroll and Patrick Campbell, the location shooting (with Westmeath standing in for Mayo) adding immeasurably to this history lesson about the infamous land agent who entered the lexicon because of the campaign of ostracising that brought him recognition. The cast is a Who’s Who of the British and Irish acting contingent of the era including the genial Noel Purcell playing Daniel McGinty a teacher who is also a crafty agitator, Mervyn Johns as a sneaky property dealer, Alastair Sim as a Catholic priest, Father McKeogh, and Maurice Denham as Lieutenant Colonel Strickland who is inclined to attribute Boycott’s conduct to a kind of personal pig-headed eccentricity rather than Anglo rule. Granger has a good role and is up to the witty and lively construction of this typical Launder and Gilliat production. William Alwyn’s spirited score captures the mood of the rebellion very well. Can you count pain – suffering – hunger – wretchedness?
Where would this town be without Mr John Rooney? In 1931 Michael Sullivan (Tom Hanks) is a hitman and enforcer for Irish-American mob boss John Rooney (Paul Newman) in the Rock Island area. His son Michael Jr. (Tyler Hoechlin) hides in the car one night after the wake for one of Rooney’s henchmen and sees his Connor Rooney (Daniel Craig) administer a shot in the head to the dead man’s brother Finn (Ciarán Hinds) who talked too much at the event; while he understands for the first time what his father does for a living when he witnesses the bloodshed. Rooney sends Connor to kill Michael and the boy but Connor instead kills his wife Annie (Jennifer Jason Leigh) and other son Peter (Liam Aiken) in cold blood and Michael goes on the run with Michael Jr in an attempt to gain revenge for his family’s murder. He finds that he has no friends and no protection and is advised by Mafia man Frank Nitti (Stanley Tucci) to give up. He reckons without a freelance corpse photographer Maguire (Jude Law) following him and thinks that by uncovering Connor’s theft that Rooney will accept him as the son he never had … A man of honour always pays his debts and keeps his word. I like this far better now that years have passed, Newman is gone and what I originally thought of as directorial heavy-handedness is more readily recognisable as a comfort with the excessive expressionistic qualities of the source material. Hanks’ doughy face with its deep-set eyes seems peculiarly unsuited for this kind of role but paradoxically lends the performance an unexpected quality. His six-week road trip with his son gives him an opportunity to impart lessons and learn about the boy for the first time. He makes us know that Michael Jr is not to follow him into this deadly business. His scenes with Newman are marvellous – a kind of trading off in acting styles, one legend passing on lessons to the next, borne out in the storytelling. What Michael doesn’t know is that blood means more than sympathy, no matter the horrors involved in being part of the Rooney family. Of course Connor would betray his father; and of course his father knows. It’s a hard thing to watch Michael learn the truth. Loyalty sucks. This is a gallery of masculine roles – Craig as the ever-smiling psychotic son, Law as the rotten-toothed shooter masquerading as the photographer of death – a correlative of the film’s own morbidity; Hoechlin as the boy learning at his father’s elbow as the guns go off. Hinds impresses in those early scenes, quietly seething then mouthing off at his brother’s wake, a crime which will not go unpunished. Dylan Baker’s accountant Alexander Rance has a decidedly old-fashioned homosexual taint of prissiness. This is a linear story of fathers and sons, cause and effect, crime, punishment and revenge in an Oedipal setting dictated by the rules of inevitability that can be traced to Greek tragedy. There are no surprises but the pleasures of the production design by Dennis Gassner, the cinematography by Conrad Hall (who earned a posthumous Academy Award) and the performances make this worth a re-viewing. Screenplay by David Self from the graphic novel by Max Allan Collins and Richard Piers Rayner. Natural law. Sons are put on this earth to trouble their fathers
Are you proud of your life? In World War 2 London, fire wardens Josephine ‘Jody’ Norris (Olivia de Havilland) and Lord Desham (Roland Culver) keep a lonely vigil. When Jody saves Desham’s life, they become better acquainted. With a bit of coaxing, the ageing spinster tells the story of her life, leading to a flashback of her life in upstate New York town where is the daughter of pharmacist Dan (Griff Barnett) and she is proposed to by both Alex Piersen (Philip Terry) and travelling salesman Mac Tilton (Bill Goodwin) but she turns them both down. A disappointed Alex marries Corinne (Mary Anderson). When handsome US Army Air Service fighter pilot Captain Bart Cosgrove (John Lund) flies in to promote a bond drive, he and Jody quickly fall in love, though they have only one night together. Months later she gives birth to his son in a New York hospital and her plans to adopt the baby by stealth go wrong when Corinne’s newborn dies and she and Alex take in the child, known as Griggsy. Bart has died in the war and then Jody’s father dies and she has to sell up. She starts up a cosmetics business in NYC under cover of Mac’s former bootlegging enterprise and reveals to Corinne she’s been propping up Alex’ failing business and will continue to do so but she wants the baby – her son – however the boy misses his ‘mother’ … You sin – you pay for it all the rest of your life. A morality tale that doesn’t moralise – that’s quite a feat to pull off but master producer and screenwriter Charles Brackett (with Jacques Théry) does it. This miracle of straightforward storytelling never falls into the trap of over-sentimentality and is helped enormously by a performance of grace notes and toughness by de Havilland, who won an Academy Award for her role as the unwed mother who through the worst of ironies loses access to her own baby when a finely executed plan goes wrong. Her ascent through the business world is born of necessity and grim ambition to retrieve her son – and the scene when she has to admit there’s more to parenting than giving birth is one of the finest of the actress’ career. Just bringing a child into the world doesn’t make you a mother … it’s being there … it’s all the things I’ve missed. The subject of illegitmacy is handled without fuss and de Havilland is surrounded by fine performances, acting like a sorbet to her rich playing of a woman whose coldness is pierced by the thoughts of her lost son: Culver is excellent as the no-nonsense English aristo who engineers a reconciliation; Anderson is fine as the flip rival who gains the upper hand while knowing her husband still loves his childhood sweetheart; and Lund scores in his debut in the double role as the flyer chancing his arm at a one-night stand and then as his own clueless son twenty years later, wanting nothing more than a night with his fiancée. A refreshing take on that strand of stories known as the Independent Woman sub-genre. Directed by Mitchell Leisen. I’m a problem mother
Aka The Marshal of Independence. Thee has to talk like them and don’t forget it. Captain Buck Devlin (Randolph Scott)and cavalry troopers Sergeant John Maitland James Garner) and Private Wilbur Clegg (Gordon Jones) all recently mustered out of the army, head to Devlin’s brother’s homestead to settle down and arrive just in time to drive off an Indian attack but just too late to save his brother. Faulty ammunition cost him his life. The three men set out for Medicine Bend to find out who sold the ammunition. The community also gives them all their funds to buy badly needed supplies. On the way however, they are robbed of everything – the money, their horses, even their uniforms. Fortunately, they happen upon a local church (who have also been robbed), and are given spare clothing. Devlin decides it would be a good idea to pretend to be Brethren while in town. They quickly connect the robbers, and later the defective ammunition, to Ep Clark (James Craig). Clark controls the mayor and the sheriff, and has his gang attack wagon trains of pioneers heading west and forces other local traders out of business. The men are up against it in their pursuit of the ruthless town boss … I prefer sour ‘bosom.’ It’s more refined. Directed by Richard Bare and amusingly written by John Tucker Battle and D.D. Beauchamp, this is standard western fare but it’s more fun than most with our leads gussied up as Quakers sorting out the decent wheat from the villainous chaff and doing the Robin Hood act. Probably the only film you’ll ever see where that peaceable bunch do the necessary to end violence and it is of course interesting to watch Scott fulfill his contract at Warner Brothers while independently making classics of the genre under his own banner elsewhere. Garner says of the experience in his memoir, “It was always fun working with Dick Bare, and Randy Scott was an old pro, but the movie isn’t worth a damn. I was under contract, so I had to do what they put in front of me.” Angie Dickinson has a nice role as the storekeeper’s niece who is of course Scott’s love interest while Dani Crayne sings Kiss Me Quick in the saloon earning Garner’s attention. The title tells you all about how it ends. Get his partner. Give ’em a fair trial. Then hang ’em!