Octopussy (1983)

Octopussy

Englishman. Likes eggs, preferably Fabergé. Likes dice, preferably fully loaded. British MI6 agent 009 drops off a fake Fabergé jewelled egg at the British embassy in East Berlin and is later killed at Octopussy’s travelling circus. Suspicions mount when the assistant manager of the circus who happens to be exiled Afghan prince Kamal Khan (Louis Jourdan), outbids 007 James Bond (Roger Moore) for the real Fabergé piece at Sotheby’s. Bond follows Kamal to India where Bond thwarts several ingenious attacks, kidnapping by Kamal and encounters Kamal’s ally, the anti-heroine of the title (Maud Adams), an international smuggler who runs the circus as a cover for her illegal operations. It seems that Orlov (Steven Berkoff), a decidedly rank and belligerent Russian general is planning to raise enough money with the fake Fabergés to detonate a nuclear bomb in Europe and then defeat NATO forces once and for all in conventional warfare… The West is decadent and divided. The thirteenth in the series and Moore’s seventh appearance as the sexy superspy as well as the first to feature Robert Brown as M following Bernard Lee’s recent death, this is derived from a number of Ian Fleming’s stories: the title is from his 1966 short story collection and there is a scene inspired by another story, The Property of a Lady (included in 1967 and later editions of Octopussy and The Living Daylights), as well as one brief bit of characterisation lifted from Moonraker; while the events of the titular story Octopussy form a part of the title character’s background which she relates herself; but the bulk of the narrative is original, the screenplay credited to novelist George MacDonald Fraser who suggested that it be set in India, series regular Richard Maibaum & producer Michael G. Wilson. In fact Moore had intended retiring from the role but was deemed the most profitable actor for the part when the rival production Never Say Never Again with former Bond Sean Connery was up and running at the same time: James Brolin was apparently due to take over from Moore – can you imagine! The perception of this as the weakest of Moore’s particular Bond films doesn’t hold up despite its apparently problematic heroine (her MO is a bit slight) but Bond’s seduction of a woman who is his equal is particularly well observed –  in fact they both have a death to avenge. The narrative is especially prescient – to have a nuclear bomb planned for Germany, at the time the centre of Cold War fears (see the TV show Deutschland 83 for a dramatic interpretation of the time), feels utterly relevant and Moore is given great space for both humour and action, pitched at a perfect balance here and decidedly lacking in camp. It’s probably the best written of all his Bond iterations. The chases (and there are quite a few) are brilliantly mounted, including trains, planes automobiles and elephants and there’s a great homage to The Most Dangerous Game when our man is the jungle prey. The climactic aerial stunts are some of the most astonishing you’ll ever see – utterly thrilling. Legendary tennis player Vijay Amritraj has a great supporting role as Bond’s MI6 ally in India and even Q (Desmond Llewelyn) gets in on the action with a fabulous hot air balloon! Jourdan makes for a suitably insidious villain and Berkoff (almost!) has a blast as the nutty military man who makes the KGB’s Gogol (Walter Gotell) look sane. There is a terrific performance by Kristina Wayborn as Kamal’s stunning henchwoman Magda – her exit from a night with Bond has to be seen! Adams had of course appeared opposite Moore in previous Bond outing The Man With the Golden Gun as Scaramanga’s doomed mistress and she gets to flex more muscles here albeit her entrance is not until the film’s second half. Watch out for former Pan’s People dancer Cherry Gillespie as Midge, one of Octopussy’s bodyguards.  It’s wonderfully paced, with each sequence superseding the action of the previous one and the flavourful locations are beautifully captured by Alan Hume’s cinematography: this has undergone a pristine restoration. Among the very best Bonds, an episode whose influence can clearly be seen in both the Indiana Jones and Mission: Impossible franchises.  The theme song, All Time High is written by John Barry and Tim Rice and performed by Rita Coolidge. Directed by John Glen, the second of his five outings at the helm. Perfect escapism. Mr Bond is indeed a very rare breed, soon to be made extinct

 

Please Turn Over (1959)

Please Turn Over

I do wish Julia would go out more. In a small English town a scandal ensues after bored teenage hairdresser Jo Halliday (Julia Lockwood) secretly writes a novel called Naked Revolt, turning versions of her family, friends and neighbours into sex-mad boozers.  Her father Edward (Ted Ray) is an inoffensive accountant now believed to be an embezzler, her mother Janet (Jean Kent) is thought to be carrying on with a retired soldier turned driving instructor Willoughby (Lionel Jeffries) whom people now assume is Jo’s father.  Her fitness-obsessed aunt Gladys (June Jago) is treated as an alcoholic having an affair with the local philandering doctor Henry Manners (Leslie Phillips). Although initially surprised to see themselves written into the book, everyone begins to learn more about themselves and each other through the novel, meanwhile Angry Young Playwright Robert Hughes (Tim Seely) is interested in adapting the novel to the stage and begins a relationship with Jo …. My goodness! That’s a highly sagacious aphorism, what’s its current application? Adapted from Basil Thomas’ play Book of the Month by Norman Hudis this is the British version of Peyton Place and it’s a much more anodyne portrait of small town secrets. Directed by Gerald Thomas and produced by Peter Rogers, this is a Carry On production but more subtle than its origins would suggest with a superb British cast of familiar faces like Joan Sims, Joan Hickson and Victor Maddern. Lockwood is the daughter of star Margaret Lockwood and acquits herself very well as the knowing ingenue. It looks good thanks to the cinematography of Ted Scaife. Good fun but unfortunately the author Basil Thomas didn’t live to see this on the screen – he died in 1957 aged just 44. Those that are the most affected are always the last to know

Captain Boycott (1947)

Captain Boycott

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?

Shoot-Out at Medicine Bend (1957)

Shoot Out at Medicine Bend

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!

Above Suspicion (1943)

Above Suspicion

Her conception of foreign affairs derives directly from Hollywood. In 1939 just prior to WW2 honeymooning couple Oxford professor Richard Myles (Fred MacMurray) and his new bride, undergraduate Frances (Joan Crawford) are recruited to spy on the Nazis for British intelligence. Initially finding the mission fun the trail gets them in real danger as they try to interpret their encounters with contacts.  They then realise a fellow guest Peter Galt (Richard Ainley) at their holiday destination is actually a hitman on a mission of his own and his girlfriend has been murdered at Dachau after the Brits let them take on a job without informing them how bad the Nazis really were … Here we have an iron maiden, also known as the German Statue of Liberty. Crawford may have railed at the preposterous plot in TV’s Feud:  Bette and Joan and it would be her last film at MGM but the fact is Helen MacInnes based her excellent wartime novel on something that actually happened to herself and her husband. Crawford has several good moments – and a ‘bit’ involving what happens her ankle when she’s nervous – including when Conrad Veidt inveigles his way into their museum visit and shows her an instrument of torture which she describes as a totalitarian manicure. It’s a preview of coming attractions. She and MacMurray have chemistry and there are terrifically tense musical moments with some remarks that just skid past innuendo regarding their honeymoon. Fact is, they’ve been dumped in a really dangerous situation and now don’t they know it and the mention of concentration camps proves beyond reasonable doubt the Allies had a pretty good idea what was going on despite post-war claims. There’s an assassination that will only surprise someone who’s never watched a film. A sprightly script by Keith Winter & Melville Baker and Patricia Coleman (with uncredited work by Leonard Lee) keeps things moving quickly in Hollywood’s version of Europe, circa, whenever, and who can’t love a movie that reveals suave Basil Rathbone in Nazi regalia? Directed by Richard Thorpe but it should have been Hitchcock, as Crawford herself stated. Typical tourists – above suspicion

Appointment in Berlin (1943)

Appointment in Berlin

That’s the whole point of Secret Service – to prevent people suspecting. In 1938 disillusioned and recently disgraced RAF officer Wing Commander Keith Wilson (George Sanders) risks his life in Berlin by broadcasting pro-Nazi propaganda as a cover for counter-espionage. His broadcasts have a military code enabling British manoeuvres. He falls in love with Ilse (Marguerite Chapman) sister of a high-ranking Nazi Rudolph von Preising (Onslow Stevens) and forges links with journalist Greta van Leyden (Gale Sondergaard) who is actually a spy as well and when a message needs to be taken to Holland he’s the only one left standing … If you are going in at the deep end you may as well do it for England. In a rare tragic role, Sanders scores as the officer whose disgust at Britain’s politically neutral stance prior to WW2 leads him to become a pariah – lending him handy cover when England expects. The question of identity hovers over every scene here as Ilse’s transformation is nicely nuanced whereas Sondergaard’s situation is more extreme and her ending is well staged. There’s an amusing double act from a pair of American neutrals whose constant haranguing of supposedly treacherous Wilson adds humour to proceedings – inevitably they assist in his time of need. Nice references to Goebbels and his role in the manufacturing of truth. An interesting propaganda picture of pre-war problems and the reason why cross-border co-operation was required. Michael Hogan and Horace McCoy wrote the screenplay based on B.P. Fineman’s story.  Directed by Alfred E. Green. It’s finally happened

Wings of Desire (1987)

Wings of Desire UK

Aka  Der Himmel Über Berlin / The Heaven Over Berlin / The Sky Over Berlin. Why am I me, and why not you? Why am I here, and why not there? When did time begin, and where does space end? Isn’t life under the sun just a dream? Isn’t what I see, hear, and smell just the mirage of a world before the world? Two angels, kindred spirits Damiel (Bruno Ganz) and Cassiel (Otto Sander), glide through the streets of Berlin, observing the bustling population, providing invisible rays of hope to the distressed but never interacting with them. They are only visible to children and other people who like them. When Damiel falls in love with wistful lonely trapeze artist Marion (Solveig Dommartin) whose circus has closed due to financial problems, he tires of his surveillance job and longs to experience life in the physical world. With words of wisdom from actor Peter Falk (playing himself) performing in a WW2 thriller whose cast and crew the angels are observing – he believes it might be possible for him to take human form and enter history ... We are now the times. Not only the whole town – the whole world is taking part in our decision. We two are now more than us two. We incarnate something. We’re representing the people now. And the whole place is full of those who are dreaming the same dream. We are deciding everyone’s game. I am ready. Now it’s your turn. You hold the game in your handThis beautiful benign allegory of the divided city of Berlin is of course clear to anyone familiar with the practices of the Stasi, who deployed one half of the East German population to spy on the other half:  when the Wall came down and the files were opened families and friendships were torn asunder. However a few years before that occurred, director Wim Wenders plugs into the nightmare of watching and being watched and makes it into a surreal dream in this romantic fantasy. I can’t see you but I know you’re here. It’s verging on noir with its portrait of a place riven by war and totalitarian rule, its acknowledging of the Holocaust and the overview of the Wall snaking through a post-war world. You can’t get lost. You always end up at the Wall.  A poetic film that’s so much of its time yet its yearning humanity is palpable, its message one of eternal hope. Shot in stunning monochrome by Henri Alekan, brought out of retirement and for whom the circus is named. I’m taking the plunge. Written by Peter Handke, for all the fallen angels on the outside looking in. Co-written by Wenders with additions by Richard Reitinger, loosely inspired by Rainer Maria Rilke’s poems. An exquisite city symphony that insists on the disrupting of image making, bearing witness, choosing life. With Curt Bois as Homer and Crime and the City Solution and Nick Cave and the Bad Seeds perform.  Must I give up now? If I do give up, then mankind will lose its storyteller. And if mankind once loses its storyteller, then it will lose its childhood

Havana (1990)

Havana theatrical

Now I want a shot. One shot. At a game I could never get in before. Christmas Eve 1958. On the eve of revolution, Navy veteran and professional high-stakes gambler Jack Weil (Robert Redford) arrives in Cuba seeking to win big in poker games. Along the way, he meets and falls in love with Bobby (Lena Olin), the wife of a Communist revolutionary Arturo Duràn (an uncredited Raul Julia) and gradually becomes convinced that the anti-Batista campaign is a cause worth fighting for… Nobody should be here. Redford’s seventh collaboration with director Sydney Pollack is their final work together and is a rather uneven experience once it veers away from its inherent genre identity of romantic melodrama. Perhaps the problem is inherent in the premise linked to previous Redford characters and his meta perception as an enigma:  the lack of commitment to a cause which reeks of Casablanca.  In truth it’s a problem with the screenplay which takes too many stances too quickly. This also suffers somewhat in comparison with treatment of broadly related subject matter in The Godfather Part II with Mark Rydell making an appearance here as Meyer Lansky and that film’s outrageous sex show is in another dimension from the tame act Redford brings American tourists Diane (Betsy Brantley) and Patty (Lise Cutter) to see, the foreplay to their inevitable threesome. In fact the role of ‘Rick Blaine’ is actually split between Redford and Alan Arkin who plays Joe Volpi, Lansky’s front guy. Then Arkin gets to essay a variation on Claude Rains in the penultimate scene with Redford adopting a more straightforward heroic stance, not that that was ever in any doubt because of how the story begins. It starts out with an ill-advised voiceover by Redford and gets right into action which involves his going out on a limb for no perceptible reason to help a total stranger escape the attentions of SIM (Batista’s secret police) onboard the Cuba-bound ship, forcing the meet-cute with Olin. Olin’s character is an out of work Swedish actress who was inspired by Garbo – shouldn’t it have been Bergman?! – while her former husband, a blacklisted Hollywood screenwriter got her exiled to Mexico and then marriage to Duràn, son of a well-connected Cuban family (we’re non-torturable, he explains). There’s talk about American citizenship. A lot of talk about moving to Miami. There’s a great character – a ‘fake fairy food critic’ called Marion Chigwell (Daniel Davis) and he is – what else – a CIA spook. Somewhere here there’s a great movie but it’s badly organised and the sub-plot with the journalist friend Julio Ramos (Tony Plana) seems under-explained. There are great poker scenes with the military chief Menocal (Tomas Milian) who of course is not what he appears. After Olin’s character loses her naturalistic diffidence in the first two-thirds it shifts into a different and more convincing gear. Even if we never believe Redford is in real trouble. Despite this there is an uncannily evocative atmosphere throughout and some great lines. Pollack was an inveterate messer with scripts, perhaps that explains it. There are major compensations in Owen Roizman’s cinematography (of the Dominican Republic, where this was shot) and the dreamy production design by Terence Marsh is something of a miracle. Written by Judith Rascoe (from her original idea) and Pollack’s usual collaborator, David Rayfiel. A fascinating work for students of Hollywood stardom as Redford edged into his mid-fifties. History is overtaking us

The Longest Day (1962)

The Longest Day theatrical

Tonight. I know it’s tonight. In the days leading up to D-Day, 6th June 1944, concentrating on events on both sides of the English Channel the Allies wait for a break in the poor weather while anticipating the reaction of the Axis forces defending northern France which they plan to invade at Normandy. As Supreme Commander of Supreme Headquarters of Allied Expeditionary Force (SHAEF) Gen. Dwight Eisenhower (Henry Grace) makes the decision to go after reviewing the initial bad weather reports and the reports about the divisions within the German High Command as to where an invasion might happen and what should be their response as the Allies have made fake preparations for Operation Fortitude, to take place in a quite different landing position:  are the Germans fooled? Allied airborne troops land inland.The French Resistance react. British gliders secure Pegasus Bridge over the Caen Canal. American paratroopers launch counter-attacks at Manche in Normandy. The Resistance carries out sabotage and infiltrate the German ranks. The Wehrmacht responds ….  He’s dead. I’m crippled. You’re lost. Do you suppose it’s always like that? I mean war. Funny, intense, jaw-dropping in scale, this landmark war epic produced by D-Day veteran Darryl F. Zanuck, whose dream project this was, is a 6th June commemoration like no other, a tribute to the armed forces who launched the magnificent amphibian assault. The screenplay is by Cornelius Ryan (who did not get along with DFZ) who was adapting his 1959 non-fiction book, with additional scenes written by novelists Romain Gary and James Jones, and David Pursall & Jack Seddon. DFZ knew the difficulties of such a mammoth undertaking which included eight battle scenes and hired directors from each of the major participating countries/regions: Ken Annakin directed the British and French exteriors, with Gerd Oswald the uncredited director of the Sainte-Marie-Église parachute drop sequence; while the American exteriors were directed by Andrew Marton; and Austria’s Bernhard Wicki shot the German scenes. Zanuck himself shot some pick ups. There are cameos by the major actors of the era, some of whom actually participated in the events depicted: Irish-born Richard Todd plays Major Howard of D Company and he really was at Pegasus Bridge and is wearing his own beret from the event; Leo Genn plays Major-General Hollander of SHAEF; Kenneth More is Acting Captain Colin Maud of the Royal Navy at Juno Beach and is carrying his shillelagh; Rod Steiger plays Lt. Commander Joseph Witherow Jr., Commander of the USS Satterlee; Eddie Albert is Colonel Lloyd Thompson, ADC to General Norman Cota (Robert Mitchum) of the Fighting 29th Infantry Division; Henry Fonda plays Brigadier General Theodore Roosevelt Jr., Assistant Commander of the 4th Infantry Division. The all-star cast also includes John Wayne (replacing Charlton Heston), Robert Ryan, Edmond O’Brien, Mel Ferrer, Tom Tryon, Stuart Whitman, George Segal, Jeffrey Hunter (who’s probably got the best role), Sal Mineo, Robert Wagner; Peter Lawford, Richard Burton and Roddy McDowall (who both volunteered to appear for nothing out of boredom on the Cleopatra set in Rome), Sean Connery,  Leslie Phillips, Frank Finlay; Christian Marquand, Georges Wilson (Lambert’s dad), Bourvil, Jean-Louis Barrault, Arletty;  Paul Hartmann, Werner Hinz (as Rommel), Curd Jürgens, Walter Gotell, Peter van Eyck, Gert Fröbe, Dietmar Schönherr. An astonishing lineup in a production which does not shirk the horrors of war, the number of casualties or the overwhelming noise of terror. It’s a stunning achievement, measured and wonderfully realistically staged with the co-operation of all the forces organised by producer Frank McCarthy who worked at the US Department of War during WW2.  The key scene-sequences are the parachute drop into Sainte-Mère-Église; the advance from the Normandy beaches; the U.S. Ranger Assault Group’s assault on the Pointe du Hoc; the attack on the town of Ouistreham by Free French Forces; and the strafing of the beaches by the only two Luftwaffe pilots in the area. The vastness of the project inevitably means there are flaws:  where’s the point of view? Where are the Canadians?! But it is a majestic reconstruction made at the height of the Cold War of one of the biggest events of the twentieth century. Or, as Basil Fawlty said before he was muzzled by the BBC yesterday, Don’t Mention The War. Yeah, right. Or maybe do like Hitler did – take a sleeping pill and pretend it’s not happening. Thank God for common sense, great soldiers and DFZ, come to think of it. Spectacular.  You remember it. Remember every bit of it, ’cause we are on the eve of a day that people are going to talk about long after we are dead and gone

Europa (1991)

Europa theatrical

Aka Zentropa. I thought the war was over. Just after World War II Leopold Kessler (Jean-Marc Barr), an American of German descent takes a job on the Zentropa train line in US-occupied Germany to help the country rebuild. He becomes a sleeping-car conductor under the tutelage of his drunken uncle (Ernst-Hugo Järegård). He falls under the spell of the mysterious Katharina Hartmann (Barbara Sukowa) daughter of Zentropa railway magnate Max (Jørgen Reenberg) whose friendship with US Colonel Harris (Eddie Constantine) has raised hackles. Her gay brother Lawrence (Udo Kier) is the family embarrassment because like Leopold he didn’t serve his country. Leopold inadvertently becomes embroiled with a pro-Nazi fascist organisation known as the Werewolves who are conspiring to overthrow the state. Simultaneously being used by the US Army, Leopold finds neutrality an impossible position … I understand unemployment in Germany a lot better now. It costs too much to work here. Danish auteur Lars von Trier made this great train thriller long before he became a trying controversialist down the Dogma 95 rabbit hole. It plugs into that febrile post-war atmosphere which we already know from films of the late 40s like Berlin Express as well as sensational character-driven pre-war comedy thrillers like The Lady Vanishes. It’s the final part of the director’s first trilogy (following The Element of Crime and The Epidemic) and it gained a lot of kudos upon release, particularly for its visual style, principally shot in black and white with rear projections in colour (photographed by Henning Bendtsen, Edward Klosinski and Jean-Paul Meurisse) lending an eerie aspect to what is already an innovative production, shifting tone as surely as it shifts pigments. The hypnotic (literally) narration by Max von Sydow lulls you into submission like the mesmerising shuffle of the carriages along the tracks; while the charm of the leading man on his journey which is physical, emotional and political, all at once, carries you through a sensitive yet experimental scenario.The miraculous editing achievement is by Hervé Schneid. It feels like a new kind of film is being born, reformulating the grammar of the language with its surrealist nods and noir references. A cult item from the casting of Kier and Constantine alone, with Sukowa’s role harking back to her Fassbinder films, this is a classic of modern European cinema. Written by von Trier (who appears as a Jew) & Niels Vørsel with a shooting script by von Trier & Tómas Gislason. You have carried out your orders. Now relax