Edge of the City

An Army deserter (John Cassavetes) gains employment as a stevedore through use of a false name and forms a tight bond with a black coworker (Sidney Poitier) while another prejudiced longshoreman (Jack Warden) blackmails, bullies, and pushes him to the end of his rope. Martin Ritt's melodramatic Edge of the City suffers from a lack of realism it clearly strives to achieve but is assuredly directed in sharp black and white and boasts strong supporting performances from Warden and Ruby Dee as Poitier's wife.

*** out ****

The Three Faces of Eve

A downtrodden southern housewife (Joanne Woodward) begins to exhibit strange behavior at home before a second, reckless personality manifests itself followed by a third, more normalized one. With the help of a psychiatrist (Lee J. Cobb), she seeks treatment and gradually begins to eradicate the more flawed. The Three Faces of Eve, straightforward and plainly directed, seems like a phony, shallow representation of the rare psychological condition despite the ‘true story’ touting of the opening monologue and the screenplay participation of two of the real life shrinks involved in the case. That being said, Woodward is the whole show here, impressively versatile as the three distinct personalities. Cobb is strong but hardly credible as the sensitive psych doctor.

*** out of ****

Throne of Blood

A retelling of Macbeth, set in feudal Japan, as phantom visions overtake a samurai warrior (Toshiro Mifune), instructing him that he will soon be king of Spider Web's Castle, while igniting his wife's (Isuzu Yamada) ruthless ambition. Superb visuals (the spectral forest scene is a highlight) and the exceptionally controlled madness of Mifune (including his phenomenal, balletic unhingement during the dinner scene) dominate this superb Kurosawa adaptation. Yamada also bears a striking power in her performance and the finale is nothing short of breathtaking.

**** out of ****

12 Angry Men

A Puerto Rican slum kid is on trial for the murder of his father, an open and shut case as far as members of all-white mostly middle aged jury is concerned. As the restless tribunal settles into the jury room to deliberate, anxious to depart on the mercilessly hot summer day, one lone juror insists on respecting the defendant's right of due process and thoroughly examining every bit of evidence. For his feature film debut Sidney Lumet took his know how from an early career in television and, through the brilliant use of lighting, close ups, and camera angles, the benefit of a tried and tested group of veteran actors, and an enlightened, informative microcosmic treatise on the legal system by Reginald Rose, transformed a one-set story into one of the finest dramas ever put to film. Atop the fine cast (without forgetting to mention a supremely composed turn from a hostile and bigoted Lee J. Cobb) stands Henry Fonda in one of his most nobly idealistic and memorable performances.

**** out of ****

The Seventh Seal

A world weary knight (Max von Sydow) making his way home from the Crusades happens upon Death and challenges him to a chess game with the hopes of preempting and preventing the inevitable. During the course of their game, the knight ruminates on the existence of God, his impending death, and the meaning of life. Ingmar Bergman's quintessential arthouse masterpiece is a brilliant and emotionally draining discourse on human nature, pristinely shot, and replete with stunning sequence after stunning sequence including a mercy killing preceding a burning at the stake, Death slowly creeping into the frame, a troubadour's fake demise followed by his actual one, and, of course, the haunting dance of death.
**** out of *****

Sweet Smell of Success

Sidney Falco is a seedy low-rent press agent desperate to be mentioned in J.J. Hunsecker's make or break gossip column, knowing it will be his ticket to the bigtime. In order to curry the all-powerful columnist's favor, Falco plots to destroy the reputation of a respectable guitar player currently in a relationship with Hunsecker's kid sister. Following several successful comedies at Ealing Studios, which include The Man in the White Suit and The Ladykillers, Alex Mackendrick crossed the Atlantic to craft this hopelessly cynical and impeccably shot noir. The ruthless screenplay by Clifford Odets and Ernest Lehman is endlessly quotable and features witty interplay and relentless dialogue which is acted to a hilt by Tony Curtis and Burt Lancaster, as the agent and journalist respectively, who are ideal in their roles. 

Paths of Glory

In the trenches of WWI, a vain and callous general (George Macready) orders of suicidal open field which ends with the expected, disastrous results. To save face, he orders his lieutenants to offer up three soldiers to be tried for their lives in a military tribunal, where they are to be defended by one of their commanding officers (Kirk Douglas), who is sickened by the way his military is conducting itself. Paths of Glory is harrowing and impeccably made antiwar classic from Stanley Kubrick, who adapted Humphrey Cobb's novel. It features extraordinary visuals, most notably in the charge sequence, and a range of great performances from a powerful Douglas to the despicable generals Macready and Adolphe Menjou to the trio of prisoners played by Ralph Meeker, Joe Turkel, and the very affecting Timothy Carey. It's denouement comes as a swift kick to the teeth and is followed by a brilliant, anomalous sequence that still offers a glimmer of hope. With Paths of Glory, one of the first films where he had both creative control and a budget, not only is Kubrick's technical prowess evident, he made a powerful and lasting statement on courage and cowardice.

Love in the Afternoon

After eavesdropping on a conversation between her private eye father (Maurice Chevalier) and a client, who threatens the life of a notorious Lothario (Gary Cooper) who has seduced his wife, a young Parisian woman (Audrey Hepburn) rushes over to the charming American's hotel, and soon falls under the elder man's spell, much to the consternation of her father. Love in the Afternoon is a charming film with several inspired sequences and yet another reminder of what a fine auteur Billy Wilder was, working from a script written with regular collaborator I.A.L. Diamond. Hepburn and Cooper are magnetic in their roles, overcoming their considerable age gap and occasional lulls. I also didn't care much for the schmaltzy, soft-served ending.

A Face in the Crowd

Beloved television star Andy Griffith died today and by coincidence I recently watched  his film debut that was miles away from his trademarked roles as the criminal defense attorney and sheriff of Mayberry. "A Face in the Crowd" tells the story of an Arkansas radio producer (Patricia Neal) visiting small town jail in search of personalities to display on her morning show of the same title. In the drunk tank, lying on the ground near his guitar, she finds the astringent, acid tongued Lonesome Rhodes who seems to be a natural fit for radio and an instant success. Soon he graduates from radio to television and leaves for New York, quickly becoming the most powerful man in television, and stopping at nothing to attain this status. Like "Network" which followed two decades later, Elia Kazan's "A Face in the Crowd" is a vitriolic condemnation of the media and the monsters it creates that was ahead of its time. Reteaming with his "On the Waterfront" screenwriter Budd Schulberg, Kazan is unrelenting in his portrayal of corruption in what is another superbly concocted film from the legendary overseer. Griffith, in a role so caustic he never sought out a similar one again, is an absolute whirlwind who is actually frightening in his morbidity at times. Neal is likewise wonderful as the woman who helped create the monster, falls in love with him, and eventually realizes that she herself must put him down. The ending is also particularly powerful. Walter Matthau is, however, oddly disappointing playing the straight man. "A Face in the Crowd" seems intimately familiar with its media settings (cameos by Mike Wallace and Walter Winchell are a real treat) and spins a scary tale, not only because of how ruthless and amoral its lead character is, but also because of how plausible it could be.

The Prince and the Showgirl

It is 1911 and London is excitedly preparing for the coronation of King George V. Among the many dignitaries that will be present at the ceremony is Grandduke Chrales, prince-regent of Carphathia, and his son who is poised to take over the throne in a matter of weeks. Considering the German allegiance of the would be heir, this poses a serious problem for the Brits who find it in their interest to keep the Grandduke happy. While entertaining him at a local play, he catches the eye of a chorus girl and the two begin an awkward and humorous dalliance. "The Prince and the Showgirl" is light and entertaining fare that was made at the peak of the careers of both its stars. Marilyn Monroe lights up the screen in her inimitable way and Laurence Olivier, who also directed, is a lot of fun playing the uptight, Transylvania-accented duke. I watched this as a curiosity for the just released "My Week with Marilyn", which is set during the filming of this movie, and it proved to be more than that. In addition to a light comedy, the film shows the two top draws from America and Britain at the time, and the wonderful onscreen chemistry the two held. 

Nights of Cabiria

A proud and fiery prostitute goes from heartache to heartache, as she travels through seedy parts of the Rome. From the opening scene where a john robs her and pushes her in a river, to an embarrassing display at a magic show, to a desperate plea to the Virgin Mother at a religious ceremony, to sad encounters with a movie star and a seemingly genuine man, Cabiria always seems to keep her spirit and maintain her dignity. "Nights of Cabiria" is the beautiful and bittersweet film from Federico Fellini. Giulietta Masina delivers of one the most accomplished performances in the history of film presenting a impassioned, hot-blooded laugh inspiring character and flawlessly transforming into a sorrowful, dejected presence at the onset of agony. Masina's performance along with the wonderful story and Fellini's wonderful black and white direction make "Nights of Cabiria" a wonderfully sad and essential film.

The Bridge on the River Kwai

Director David Lean did not know how to do anything on a small scale. His films were filmed on location and epic in scope and The Bridge on the River Kwai, his 1957 Best Picture and Best Director winning tale of madness in a Japanese prison camp, may be his grandest of all. The movie opens in the encampment in Ceylon as a new unit of British captives are led in by Col. Nicholson (Oscar winning Alec Guiness). A longtime captive played by William Holden looks on with amazement and disbelief as the colonel engages with the commander of the camp over the commander's infractions of the Geneva Convention, including having the officers perform manual labor. After the colonel perseveres after being subjected to torture, he finds it his personal duty to oversee the completion of the title bridge, which he sees as a morale booster. Meanwhile, Holden's character has escaped and been recruited by a British outfit trying to destroy an ammunitions train and the very bridge Colonel Nicholson has devoted himself and his unit to complete! The Bridge on the River Kwai is a blockbuster action picture and grand entertainment, the likes of which is scarcely scene today. It is also a wonderful study of madness embodied in the characters of Col. Nicholson, the Japanese commander, and the British officer who cares nothing except for his mission to blow up the bridge. Guiness and Holden are also pitch perfect in their roles. David Lean has crafted an expansive film that is great on many levels and still superior to the action filmmakers of today with unlimited CGI and special effects at their disposal.

An Affair to Remember

Nickie Ferrante is such a world famous bachelor that even one of the Gondoliers in Venice tells his clients that Ferrante is getting married. As he makes his way to America to see his fiance by ship he meets Terry, also engaged. The two form an immediate bond and have a great time during their fling. When they arrive at port they decide to meet again in 6 months atop the Empire State where they will both be wed. Leo McCarey remade his own Love Affair from 1939 and the result is a very fine first half of a film and a second half that is a letdown. After a while, the comedic airs dissipate and the sap settles in leading up to what proves to be an unsatisfying conclusion. Cary Grant and Deborah Kerr are terrific in this film from 1957, but elements of the story are stale and the script could have used a little updating.
**1/2