Planet of the Apes (1968)

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You know what they say – human see, human do.  Three astronauts (Charlton Heston, Robert Gunner and Jeff Burton) come out of hibernation to find themselves marooned on a futuristic planet following a crash landing. Apes rule and humans are slaves, two thousand and thirty-one years away from Earth. The stunned trio discovers that these highly intellectual simians can both walk upright and talk. They have even established a class system and a political structure. The astronauts suddenly find themselves part of a devalued species, trapped and imprisoned by the apes, enslaved and treated like objects of derision and work value. However they become subjects of medical interest for archaeologist Cornelius (Roddy McDowall) and Zira (Kim Hunter) but Dr Zaius (Maurice Evans) finds out and wants Taylor (Heston) castrated. When Taylor tries to escape he doesn’t  reckon on what he finds … Landmark science fiction, this was probably the first of the genre I ever saw (on TV) as a small child and it certainly was a great introduction to a kind of storytelling that is weirdly current and prescient, good on race relations and inhumanity as well as future shock. Pierre Boulle’s novel was originally adapted by Rod Serling but got a rewrite from formerly blacklisted Michael Wilson, who had done uncredited work on the screenplay for Boulle’s Bridge on the River Kwai. It’s a wildly exciting and unexpected story that retains its powerful examination of human behaviour. The final shot is jaw-dropping:  is it the greatest movie ending of them all? The original of the species. Directed by Franklin Schaffner, who was recommended by Heston, who himself would make a couple more terrific sci fis. Get your damn paws off me, you stinking apes!

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Waterloo (1970)

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I am France and France is me! Napoleon Bonaparte (Rod Steiger) is being defeated at every juncture and following an enforced period of exile on the island of Elba he escapes. With the support of Marshal Ney (Dan O’Herlihy) who defects from Louis XVIII (Orson Welles in a colourful cameo) he sees a chance to reclaim his name at Waterloo in Belgium after defeating the Prussians and where he faces the Duke of Wellington (Christopher Plummer) leading the British… The most precious quality in life is loyalty. This is a fabled war epic notable for the problematic performance by Steiger which fails to elicit the empathy that even the most ardent of his supporters (c’est moi!) requires. His competing voiceover with that of Wellington basically asks you to choose between will and grace – because he is the man under pressure and Steiger’s performance doesn’t permit you to digress from that impression. The contrast between the two military leaders is exemplified in the scene when Wellington is found dozing under a newspaper beneath a tree before battle commences on the ground of his choosing while Napoleon is pacing, sweating, dying inside. I did not usurp the crown, I found it in the gutter and picked it up with my sword.  It was the people who put it on my head This is an absolutely beautiful historical work, resplendent in its narrative and aesthetic choices but also rather smart as a quicksilver screenplay. Irish screenwriter H.A.L. Craig’s work has great clarity of construction, synoptic sequences and epigrammatic dialogue, which I can’t get enough of – there’s some brilliant byplay between Wellington and one of his Irish infantrymen, O’Connor (Donal Donnelly) especially when the man is found secreting a squealing piglet on his person:  This fellow knows how to defend a helpless position! Their irregular encounters punctuate the drama, first with humour, then with sorrow.  There’s a rousing, appropriately imperial score by Nino Rota which greatly enhances the philosophy being worked out here:  the utter futility and brutality of war. Even the poor piper gets it. And as for the unfortunate horses … Directed by Sergei Bondarchuk, who along with Vittorio Bonicelli and Mario Soldati made additions to the screenplay, and produced by Dino de Laurentiis. It’s wonderfully shot by Armando Nannuzzi whose compositions allow you to see exactly how (not) to engage the enemy. Epic. Wellington. Wellington! Why is it always Wellington?

The Colditz Story (1955)

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Escaping’s verboten, isn’t it? Allied prisoners of war who have tried to escape from other POW camps in Germany are sent of Oflag IV-C Colditz, a castle in Saxony which is the most secure holding place for the repeat offenders. At first, the different nationalities try to initiate their own independent escape plans, but these cause friction and conflict with the French tunnel collapsing on the British one and every escape being stopped by the Germans. Eventually, Colonel Richmond (Eric Portman), the Senior British Officer, steps in and suggests co-operation between the different contingents via the appointment of a number of Escape Officers:  Pat Reid (John Mills) represents the British. An agreement is reached and co-ordinated escape plans are set in motion. But soon, these too fail via early detection by the German guards. Eventually, a spy is discovered amongst the Polish captives and, after his removal, escape plans run more smoothly.  The prisoners of Colditz are high-spirited and eager to needle the Germans. There are many escape attempts made, both planned and opportune. For example, prisoners tunnel underground, leapfrog over fences during physical training, hide in mattresses being taken out of the camp. Some of these escapes are successful, some are not. The plans are always scuppered by the exit route from the camp and what to do to make it out of Germany. Mac McGill (Christopher Rhodes) comes up with a well thought out plan to escape disguised as German officers but his excessive height will compromise him and his fellow escapees. He is devastated but accepts the Colonel’s judgement. On the eve of the escape, he makes a reckless attempt to scale a wire fence during daylight and is shot dead by German guards.  Reid is at confused as to why Mac would do such a thing right before they can carry out their plan but the escape goes ahead…  This is a classic 1950s WW2 actioner, based closely on what actually happened. The efficient screenplay by director Guy Hamilton, Ivan Foxwell and William Douglas-Holme is adapted from Pat Reid’s autobiographical book. They even stage a version of an old Flanagan and Allen routine during the crucial escape, with Ian Carmichael and Richard Wattis doing the double act while the more important work goes on beneath the proscenium. Mills is the reliable Englishman while Portman is the troublesome snob – at first. Characterisation is deftly wrought in a typically broad selection of types and not merely among the British:  this is the Allied war effort in microcosm, with violence kept to a minimum and the end credits filling in the historical facts – Airey Neave was the first to break out from this supposedly impregnable fortress in 1942 but he wasn’t the last.  It’s never as exciting as you’d like but nonetheless it’s pretty fine escapist entertainment!

Stalag 17 (1953)

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How do you expect to win the war with an army of clowns? 1944.  It’s the longest night of the year in a German POW camp housing American airmen.  Two prisoners, Manfredi and Johnson, try to escape the compound using a tunnel but are quickly discovered and shot dead. Among the men remaining in Barracks 4, suspicion grows that one of their own is a spy for the Germans. All eyes fall on cynical Sgt. Sefton (William Holden) who everybody knows frequently makes black market exchanges with the German guards for small luxuries. To protect himself from a mob of his enraged fellow inmates, Sgt. Sefton resolves to find the true traitor within their midst… Director Billy Wilder and Edwin Blum adapted the autobiographical Broadway hit by Donald Bevan and Edmund Trczinski, a canny blend of comedy and drama which asks serious questions of its players yet taints the seriousness with jokes and the high jinks with irony. Holden is superb as the entrepreneur whose go-getting attitude would be admired back home but in a POW camp it’s a different story. The men are stratified by their ethnicity and class. Rob Strauss and Harvey Lembeck repeat their stage roles as Animal and Harry, and are highly entertaining comic relief, with Don Taylor, Neville Brand and Peter Graves making up the principal roles. The Nazis are led by Otto Preminger’s rather hammily amusing Colonel von Scherbach which casts the enemy as something of a Greek chorus to the loyalties being figured out by the Americans under deadly pressure. Sefton is a model for the Scrounger played by James Garner in The Great Escape while the whole provides a template not just for the legendary Sergeant Bilko but Hogan’s Heroes on TV. Holden got a deserved Academy Award:  he stands out, yes, but in the right way. He’s not exactly Bogie in Casablanca but it helps to think of him in that shadow even if he felt he didn’t deserve recognition and many thought he should have had it for his previous work with Wilder – Sunset Blvd. He’s just swell in a film that is shrewd, bittersweet, hilarious, human and true.

A Cure for Wellness (2016)

 

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Do you know what the cure for the human condition is? Disease. Because only then is there hope for a cure. An ambitious young executive Lockhart (Dane DeHaan) is sent to retrieve his company’s CEO Pembroke (Harry Groener) from an idyllic but mysterious “wellness center” at a remote location in the Swiss Alps. He soon suspects that the spa’s miraculous treatments are not what they seem and the head doctor Volmer (Jason Isaacs) is possessed of a curiously persuasive zeal and, rather like Hotel California, nobody seems able to leave.  Lockhart’s sighting of young Hannah (Mia Goth) drives him to return. When he begins to unravel the location’s terrifying secrets, his sanity is tested, as he finds himself diagnosed with the same curious illness that keeps all the guests here longing for the cure and his company no longer wants anything to do with him because the SEC is investigating him – and is that Pembroke’s body floating in a tank? … Part bloody horror, part satire, indebted equally to Stanley Kubrick, mad scientist B movies and Vincent Price, this has cult written all over it. Co-written by director Gore Verbinski with Justin Haythe, with his proverbial visual flourishes, this is one 141-minute long movie that despite its outward contempt for any sense of likeability, actually draws you in – if you’re not too scared of water, institutions, eels or demonic dentists. Isaacs has a whale of a time as the equivalent of a maestro conducting an orchestra who dispatches irritants with a flick of a switch or insertion of an eel. DeHaan gets paler by the scene. Wouldn’t you? The one thing you do not want to do is drink the water! A man cannot unsee the truth!

The Devil at 4 O’Clock (1961)

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I was a pretty good thief in my time. Father Matthew Doonan (Spencer Tracy), a hard-drinking eccentric priest on a South Sea island is being supplanted by a younger, virtuous replacement cleric Father Joseph Perreau (Kerwin Matthews). He recruits three reluctant convicts, Harry (Frank Sinatra) Marcel (Gregoire Aslan) and Charlie (Bernie Hamilton) from their hellhole prison to help him rescue a children’s leper colony from a Pacific island near Tahiti which is menaced by a smouldering volcano. When the Governor orders an evacuation bringing the sick children to safety on the last boat means a life-threatening trip up the mountains… A priest who’s lost his faith, a convict who wants to make good:  this morality tale has the fundaments of the disaster films which it predated by a decade. Sinatra falls for the blind Camille (Barbara Luna) and the romance underscores the issues of choice for this disparate group on a mission when action speaks much louder than empty words. Max Catto’s novel was adapted by Liam O’Brien, brother of actor Edmond and it layers in religious references with not a little wit and sympathy. Directed by Mervyn LeRoy.

Never Say Never Again (1983)

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They don’t make ’em like they used to. An aging James Bond (Sean Connery) makes a mistake during a routine training mission which leads M (Edward Fox) to believe that the legendary MI6 spy is past his prime. M indefinitely suspends Bond from active duty. He’s sent off to a fat farm where he witnesses SPECTRE member Fatima Blush (Barbara Carrera) administering a sadistic beating to a fellow patient whose eye she then scans. She and her terrorist colleagues including pilot Jack Petachi (Gavan O’Herlihy) successfully steal two nuclear warheads from the U.S. military for criminal mastermind Blofeld (Max Von Sydow). M must reinstate Bond, as he is the only agent who can beat SPECTRE at their own game. He follows Petachi’s sister Domino (Kim Basinger) with her lover and SPECTRE agent Maximillian Largo (Klaus Maria Brandauer) to the Bahamas and then befriends her at a spa in Nice by posing as a masseur. At a charity event in a casino Bond beats Largo at a video game where the competitors receive electric shocks of increasing intensity. Bond informs Domino Largo’s had her brother killed … There’s an incredible motorbike chase when Blush captures Bond and a really good stunt involving horses in a wild escape from the tower at the top of a temple in North Africa but this isn’t handled as well as you’d like and some of the shooting looks a little rackety:  inexperienced producer Jack Schwartzman had underestimated production costs and wound up having to dig into his own funds. (He was married to actress Talia Shire who has a credit on the film – their son is actor Jason;  his other son John is the film’s cinematographer).  With Rowan Atkinson adding comic relief as the local Foreign Office rep,  Von Sydow as the cat-stroking mad genius and Brandauer giving his best tongue in cheek as the neurotic foe, this is not in the vein of the original Bonds. It’s a remake of Thunderball which was the subject of litigation from producer Kevin McClory who co-wrote the original story with Ivar Bryce and Ian Fleming who then based his novel on the resulting screenplay co-written with Jack Whittingham before any of the films were ever made. (This is covered in Robert Sellers’ book The Battle for Bond). It thereby sideswiped the ‘official’ Broccoli machine by bringing the original Bond back – in the form of a much older Connery in a re-run of his fourth Bond outing which had been massively profitable. Pamela Salem is Moneypenny and is given very little to do;  while Bernie Casey turns up as Felix Leiter. With nice quips about age and fitness (as you’d expect from witty screenwriter Lorenzo Semple Jr. but there were uncredited additions by comic partnership Dick Clement and Ian La Frenais), good scene-setting, glorious women and terrific underwater photography by the legendary marine DoP Ricou Browning, this is the very essence of a self-deprecating late entry – particularly in the wake of Roger Moore’s forays and he wasn’t even done yet: Octopussy came out after this. Fun but not particularly memorable, even if we’re all in on the joke.

The Ten Commandments (1956)

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It is not by a sword that He will deliver His people but by the staff of a shepherd! When Rameses I of Egypt orders the killing of all firstborn Hebrew babies the baby Moses (Fraser Heston) is put in a basket on the Nile and is found in the bulrushes and taken in by the pharaoh’s daughter. Moses (Charlton Heston) grows up to lead armies, drive slaves and live a life of luxury, falling for the princess Nefretiri (Anne Baxter). But when he discovers his Hebrew heritage and God’s expectations of him it brings him into conflict with his ‘brother’ Rameses II (Yul Brynner). He dedicates himself to liberating his people from captivity and – with the aid of plagues and divine intervention – leads them out of Egypt and across the Red Sea. A greater challenge comes in the form of the golden calf idol which drives believers to sin.  It takes a visitation by God on Mount Sinai for Moses’ mission to prevail. Cecil B. DeMille liked this story so much he made it twice, once in the silent era and then again with even more spectacular visual effects three decades later. And what a vision this is: the building of the pyramids,  the burning bush, the Voice of God, the parting of the Red Sea…  Heston is in his element (and some very flattering short skirts) as the man whose amazing physical and spiritual transformation from slave owner to man of God leads the Israelites to their destiny.  Adapted from a number of sources by the rather intimidated scribes Aeneas MacKenzie, Jesse L. Lasky Jr., Jack Gariss and Frederic M. Frank:  Dorothy Clarke Wilson’s Prince of Egypt; Pillar of Fire by J. H. Ingraham; On Eagle’s Wings by A. E. Southon;  and the Book of Exodus. There were many other historical documents sourced for narrative clarity (to fill in those pesky gaps).  With a soundtrack by Elmer Bernstein and cinematography by Loyal Griggs this still holds the attention with its cunning juxtaposition of sex and death, crime and punishment, cruelty and retribution, mothers and sons. Truly a Biblical experience, filmed on location in Egypt and Sinai. DeMille’s final film, this is magnificently hokey and splendidly spectacular. Where the holiday season begins. One of the longest films ever made for the shortest day of the year. Let my people go!

Star Wars: Episode VIII – The Last Jedi (2017)

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This is not going to go the way you think. The showdown between the rebels and the First Order led by Snoke (Andy Serkis) is underway. Rey (Daisy Ridley) goes to Ahch-To to find out from Luke (Mark Hamill) what happened between him and Kylo Ren/Ben Solo (Adam Driver) and recruit him. Princess Leia (Carrie Fisher) is injured in combat so someone has to take over the bridge and it’s not going to be Poe (Oscar Isaac) because he just ordered a bombing that will cost them too much. Finn (John Boyega) and a new character Rose (Kelly Marie Tran) figure out they need to get a code to break into the Order’s ability to track the fleet. Luke teaches Rey to tap into her powers but it’s Kylo Ren who gets into her head …How did anyone get the idea to hire Rian Johnson to both write and direct this difficult second album? The guy who made Brick (not as good as Veronica Mars) and Looper (entirely predictable from the tricksy go)? Whoever they are, they deserve a raise. This takes all the series’ tropes, turns them around, gives them a shake and never quits from the get-go which commences at a gallop. Maybe you’ll quibble about the turn to the dark side (and particularly the changes to Luke’s character) but there’s a traditional inevitability about this Freudian epic which Johnson plays on in order to clear the path for new people. You’ll laugh, you’ll cry, you’ll cheer – especially when one ogre dies and an old-timer reappears. Time to let old things go. Wildly exciting. Oh my goodness! When’s the next show?! RIP Princess Carrie.

The Master of Ballantrae (1953)

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A delightful sanctuary, monsieur. A safe haven for buccaneers! 1745 Scotland. At the Durrisdeer estate Jamie Durie (Errol Flynn), his younger brother Henry (Anthony Steel) and their father Lord Durrisdeer (Felix Aylmer) hear about the Jacobite rising. Their advisor MacKellar (Mervyn Johns) recommends that one son side with the rebels, the other with King George II, thus preserving the estate no matter who wins. Jamie wins to fight in the uprising in a coin toss above the objections of his fiancee Lady Alison (Beatrice Campbell). The rebels are crushed at Culloden and Jamie teams up with Colonel Francis Burke (Roger Livesey) a characterful Irish adventuring type and they manage to get back to Durrisdeer where they intend securing money and passage to France. Jamie’s mistress Jessie (Yvonne Furneaux) betrays him to the British out of jealousy over his relationship with Alison:  he is shot by Major Clarendon (Ralph Truman) and falls into the sea. Henry becomes the heir because Jamie is presumed dead – but instead he’s wounded and takes off with Burke on a ship bound for the West Indies. There they are betrayed by Captain McCauley (Moultrie Kelsall) and captured by pirates led by Captain Arnaud (Jacques Berthier) a man for whom execution is a spectator sport. Jamie goes into partnership with him and when they arrive at Tortugas Bay, they see a rich Spanish galleon captured by fellow buccaneer Captain Mendoza (Charles Goldner). Arnaud agrees to Jamie’s idea that they steal the ship. But then he turns on Jamie who kills him in a duel and takes command. They sail for Scotland and Jamie returns to the family estate with pirate treasure, only to arrive in a middle of a party celebrating Henry’s engagement – to Alison! He confronts his brother, despite the presence of British officers. A fight breaks out, in which Henry tries to aid Jamie. The unequal fight ends with Jamie and Burke condemned to death. Jessie helps them escape, at the cost of her own life. Henry also assists them. Jamie tells his brother of the location of some treasure which Henry can then use to pay off Jamie’s gambling debts. Alison decides to go with Jamie to an uncertain future and she, Burke and Jamie all ride off together. This Robert Louis Stevenson adaptation isn’t a major pirate film or actioner but it has lots of good things about it – even if the wonderfully charismatic and handsome Flynn was clearly showing signs of premature ageing despite Jack Cardiff’s lovely photography. Livesey (of all people!) has the lion’s share of the fun dialogue as the rambunctious Irishman in a movie that has pretty much everything – dancing, swashbuckling, pirates, Indians, politics, romance and betrayal. What more do you want?! Oh, it’s got a tragic sacrifice by a beautiful woman and a wonderfully jaunty score by William Alwyn. And just relish those fabulous pirate scenes shot in Palermo, standing in for the West Indies. Adapted by Herb Meadow and Harold Medford and directed by William Keighley, whose fourth and final film with Flynn this was and in fact it marked his retirement from the movies.