The Four Feathers

A young man groomed to be an officer in the Queen’s Army fears himself to be a coward and, believing himself to be in the right, resigns just as his unit is being shipped off to fight the Khalifah in Sudan. Shamed by his friends, he must use his own means and backchannels to prove his mettle to them, his new bride, and himself.  Zoltan Korda’s The Four Feathers displays a radiant Technicolor decades ahead of its time, a fine cast of characters (including Ralph Richardson and C. Aubrey Smith), and a rousing telling of A.E.W. Mason’s story though some of it is diluted by many protracted sequences.

*** ½ out of ****

The Rules of the Game

A French aviator despairs that his true love was not present on the runway to receive him for his latest Trans Atlantic flight record. Together, along with his garrulous best friend, they attend a luxuriant weekend gathering at the girl's husband's country estate where carefree attitudes and hostilities between members of the upstairs and down lead to a tragic case of mistaken identity. Jean Renoir's The Rules of the Game is a purposeful satire and a sublime, absolutely dazzing juggling act. Brilliantly written, impossibly staged, and memorably cast (with a good role thrown in for the director himself, the film is a timely indictment of the French class system on the eve of world war.

**** out of ****

Wuthering Heights (1939 and 2012)

On the harsh and windy British Moorlands, a magnanimous estate keeper takes in a disheveled orphan who, as a stable boy, becomes the target of his son's sadism and the apple of his daughter's eye who, as time goes by, is compelled to bury these intensely intimate feelings. Wikipedia shows there have been no less than fifteen adaptations of Emily Bronte's novel (which I have yet to read), the most famous of which is William Wyler's 1939 version featuring Laurence Olivier, Merle Oberon, and David Niven, and most recently Andrea Arnold attempted to give the classic a shot in the arm with a gritty update. Watching Wyler's revered film again, I found it to be stodgy with Oberon an overwrought Cathy, Olivier only seeming comfortable when playing the civilized Heathcliffe, and Gregg Toland's Oscar winning cinematography being a highlight. Arnold's version also contains beautiful photography but her film is plodding, incohesive, and never successfully draws the viewer into the powerful story.

Ninotchka

Shortly after the Russian Revolution, three bumbling Soviet agents are dispatched to Paris to hock the crown jewels while the former owner (Ina Claire) sends an operatve of her own (Melvyn Douglas) in an attempt to retrieve them. When the Kremlin catches wind of the ongoings, they send a frigid, no nonsense beauty (Greta Garbo) to bring the jewels and the agents home and not fall prey to the duchess' seductive emissary. Ninotchka is an absolute delight, with director Ernst Lubitsch at the top of his form and working from a snappy screenplay by his protege Billy Wilder, Charles Bracket (who would go on to coscript some of Wilder's best films), and Walter Reisch. Douglas and Garbo (who is positively radiant) have dynamic chemistry in this completely charming picture.

The Adventures of Huckleberry Finn

While an anticipated film adaptation of a classic American novel is being released this week to generally unfavorable reviews, I decided to check out this version of another often filmed, beloved work. This early, 1939 filmization of The Adventures of Huckleberry Finn is a bastardized, Cliffs Notes rendition of Mark Twain's classic that omits much, and gets very little right, including entirely missing the spirit of the story. Mickey Rooney, who would seem ideal for the role, comes across as stilted, but does receive good support of Rex Ingram as Jim and William Frawley and Walter Connolly who are amusing as the Duke and the Dauphin.

Jesse James

Simple, humble Missouri country boy Jesse James (Tyrone Power) and his volatile brother Frank (Henry Fonda) are stirred to a life of crime after their poor mother (Jane Darwell) is murdered by railroad agents. After taking a wife (Nancy Kelly), Jesse's Robin Hood like actions quickly elevate him to near mythic status before being shot dead by a member of his own crew (John Carradine). Henry King's "Jesse James" is an entertaining retelling of the outlaw's life story which probably bears little to no resemblance of the real thing. Power lacks bite in the lead role and seems to be there solely for his looks, but Fonda is (unsurprisingly) astounding as his brother (he would reprise the role a year later in "The Return of Frank James"). I thought the film somewhat fizzled towards the end, but an daring, exquisitely filmed early train raid sequence also makes this well worth watching.

The Wizard of Oz

With the unnecessary prequel due out this week, which I don't even feel obligated to see, I revisited the timeless classic and again found myself mesmerized. Here's something brief I wrote about it the last time I journeyed down the Yellow Brick Road a few years back:

What is it about this movie? What makes it so timeless? How can it be so familiar and at the same time so fun and engaging? How can it be based on a book with cultural references and allusions that were outdated by the time filming began, and certainly hold no direct relevance today? Is it the basic message of the film that grabs people, but that too is so tired and sappy, but still how does it never fail to be moving? How can it be so miraculous on so many levels, but so common on so many others? How do the sets which are obviously sets sloppily merge with the backdrops which are obviously backdrops to create arguably the most recognizable and cherished film setting in history? And color had been around, but how did they make it so radiant and glorious? This is a film that defies explanation. It's not the fact that it's in color, it's that it knows it's in color, and knows it alive, and everyone who has seen it knows its a great film, and anyone would be a fool to question that.

Of Mice and Men

In the heart of the Great Depression, kindly, but worn out George and his feeble minded charge Lenny escape their latest fiasco and head to the Salinas River Valley to work on the farm of a wealthy rancher. Along with the rancher's vile, temperamental son and his bored and fetching wife, George and Lenny play out their doomed tragedy of shattered dreams in this early adaptation of John Steinbeck's vintage novella. Lewis Milestone's black and white treatment is outstanding and his film contains much of the power of the book, while stars Burgess Meredith and Lon Chaney, Jr. are both outstanding in their roles. Like Gary Sinise's equally excellent 1992 treatment, this predecessor is a moving, gut wrenching tragedy worked from Steinbeck's can't miss story.

Young Mr. Lincoln

An aimless Abraham Lincoln leaves his log cabin in Kentucky and moves to Springfield, Illinois where he picks up the practice of law, and wins over the townspeople with his hayseed sensibilities, but still doesn't see his purpose himself. Not until he takes on the case of two men wrongly accused of murder is he able to see he life's ambition. "Young Mr. Lincoln" was the first of many sensational teamings between screen icons John Ford and Henry Fonda. With Lamar Trotti's fanciful, Oscar nominated screenplay, Ford adds depth and grace with his directorial vision, most notably in the rousing trial sequence. Fonda not only bears an unexpectedly uncanny resemblance to the great leader, but also delivers one of his finest, most nuanced performances of his career. "Young Mr. Lincoln" is a humorous, well-realized and favors slice-of-life storytelling over the politicization or revelatory elements you might expect from this kind of picture.

Gunga Din

In colonial India, a trio of British soldiers (Victor McLaglen, Cary Grant, and Douglas Fairbanks, Jr.) constantly carouse and create headaches for their superior officers. When Fairbanks decides to leave the army when his term is up and marry his sweetheart, Grant and McLaglen scheme to keep him in service. Soon though, the men stumble upon the temple of a religious cult who seeks world ruin and are captured by the evil dogs. Now their only hope lies with the courageous native water boy Gunga Din who is barred from military service but makes the ultimate sacrifice for God and country. "Gun Din" is grand old entertainment from RKO studios, legendary director George Stevens, and the classic but scant poem by Rudyard Kipling. It is the finest form of entertainment in that it succeeds in more than one arena. For example, the first half of the picture features riotous gags and pratfalls with the stars mucking about and the second half features rousing actions sequences, those of which must have surely inspired the Indiana Jones films. "Gunga Din" is a classic feature that offers wide ranging entertainment surely to please those all across the spectrum.

The Women

A clique of high society women catches wind of an affair being had by the husband of one of their own (Norma Shearer) and a bitchy perfume counter girl (Joan Crawford), thanks to the mouth of a gabby socialite (Rosalind Russell). As the gossip spreads like wildfire, the good girl's marriage is crushed and while getting a divorce in Reno she decides to get her old man back. George Cukor's "The Women" uniquely features an all-girl cast and is an entertaining blend of soapy melodrama and light farcical comedy. Crawford is wonderful in a tailor fitted role, Russell an absolute hoot as the vain gossip queen, and Shearer does her best with a thankless role. Some of this material is stodgy and sluggish, but it is definitely worth a look, especially for the scenes involving Crawford and Russell.

The Roaring Twenties

In a foxhole on the western front, three doughboys meet and go there divergent paths back home in the big city. Eddie (James Cagney) has a rough go of finding work and stumbles into the bootlegging business. Straightlaced Lloyd (Jeffrey Lynn) starts a law practice and heartless George (Humphrey Bogart) falls back in as a sailor and climbs his way to the top of the rumrunning rackets. Raoul Walsh's "The Roaring Twenties", from a story by Mark Hellinger, is one of the more affectionate gangster pictures that Warner Brothers put out during the era. Cagney is magnetic in a more affable role than his earlier "The Public Enemy" and Humphrey Bogart is in fine form as the ruthless bootlegger who briefly teams up with Cagney. I also liked the work of Gladys George as speakeasy matron Panama Smith as well as Frank McHugh as Cagney's cabbie pal from back home. "The Roaring Twenties", though still condemning of the gangster lifestyle, is lighter and one of the more enjoyable genre pictures of the time.

The Adventures of Sherlock Holmes

The jury returns with a verdict and the foreman regretfully informs the court that they were unable to find Professor Moriarty guilty of murder, a second before Sherlock Holmes rushes in with the condemnatory evidence. Following his release, Moriarty embarks on a master plan to rob the Crown Jewels and throw Holmes and Watson off of the scent. "The Adventures of Sherlock Holmes" was the second in the series featuring Basil Rathbone and Nigel Bruce as Holmes and Watson and while it is not quite as fun as "The Hound of the Baskervilles", it is still highly enjoyable fare. Rathbone and Bruce project the same removed bemusement and George Zucco as Moriarty makes a thoughtful villain. Ida Lupino contributes nice work as well as a young woman caught up in Moriarty's trap. These early entries from the works of Sir Arthur Conan Doyle work best because they are played as lighter fare. They also act as a throwback to an older more innocent era of film, and also magnify what is wrong with the newer reboot by Guy Ritchie and what will most likely be wrong with the upcoming sequel.

The Hound of the Baskervilles

On a manor on the English moors, Sir Charles Baskerville is killed by a rabid dog and an old legend is resurrected regarding a curse in the family. Fearing for the only Baskerville heir's safety, he hires the services of Sherlock Holmes to investigate the case. Instead of taking on the case himself, Holmes sends Dr. Watson to the manor to investigate, being too busy with his own affairs to take part. Yet, Holmes may not be as far away as he leads on. "The Hound of the Baskervilles" is one of Sir Arthur Conan Doyle's most often filmed story and was the first featuring Basil Rathbone and Nigel Bruce as the famed detective and his dear sidekick, both considered the foremost film actors to play the part. This adaptation of the story is thoroughly enjoyable fare blending light comedy with a good mystery. Not being a Holmes aficionado, I liked the way Holmes and Watson play off each other, Holmes acting bemused and Watson always serious. The moors add a nice aura and are a good setting for a film such as this one. The mystery unfolds in an intriguing fashion while we are given some light moments as well. "The Hound of the Baskervilles" is a fine adaptation of the beloved Doyle novel, at least for someone who is not versed in them.

Destry Rides Again

In the lawless town of Bottleneck, the sheriff is murdered by a land baron when he tries to correct a rigged card game. When the baron along with the crooked judge appoint the town drunk as the new sheriff, things don't play out just as they planned. The town drunk knows the score, gets his act together, and deputizes Tom Destry, the son of the great lawman he once worked under. However, Destry is not what he expected, and is a peaceful type who doesn't believe in the use of firearms. Soon though, the new deputy wins over the faith of the town and heart of a fiery dancer as he sets his sights on the evil land baron. Directed by George Marshall, Destry Rides Again is magnificent entertainment. It is a send up of the Western genre, with all the characters painted in broad strokes. Released in the same year as Mr. Smith Goes to Washington, Jimmy Stewart gives another endearing performance again portraying a fish out of water type. Marlene Dietrich is wonderfully scandalous in a role that had to be the inspiration for Madeline Kahn's Lili Von Shtupp in Blazing Saddles. Also Charles Winninger is a hoot as the town drunk/sheriff. Destry Rides Again is wonderful and hilarious entertainment that simultaneously manages to mock the Western and fit comfortably in its boots.

Stagecoach

In a small Arizona town, the sheriff, a sickly pregnant woman, a nervous preacher, an embezzling banker, a drunken doctor, a beautiful whore, a notorious gambler, and the gregarious driver board a stagecoach to catch a ride to a nearby settlement, despite warnings that Geronimo has been encouraging Apache attacks. On their way they pick up a strapping young outlaw named The Ringo Kid and ward off Indian attacks while they get to know each other. Blending humor, drama, romance, and adventure, director John Ford took the Grand Hotel formula, applied it to the Western, and set the bar for what would be one of the most sturdy genres for the next thirty years. Stagecoach is also the film that made John Wayne a star, and his entrance as The Ringo Kid with the quick cut and then closeup is one of the most famous entrances in motion picture history. From top to bottom, Stagecoach is a downright entertaining film replete with laughs and exciting action sequences. The extended Apache attack sequence is a wonder for its time (any time for that matter), and as The Duke climbs on the roof of the coach to pick off charging Indians, shoots one of them off the carriage's horses, then jumps onto them to take the reins, we sit back and regard in amazement. Stagecoach launched the career of John Wayne as well as the Western, the two of which may be one in the same. On top of being important and influential, it is simply a rousing all encompassing entertainment.

Gone with the Wind

Producer David O. Selznick and director Victor Fleming's adaptation of Margaret Mitchell's novel about a selfish young girl in the fading of The South was a massive undertaking resulting in a lavish film of epic proportions. Despite its four hour, Gone with the Wind never ceases to be thoroughly entertaining and is one of the finest examples of storytelling on film. Viven Leigh stars as Scarlett O'Hara who lives on the plantation of Tara. When she hears that her beau Ashley Wilkes (Leslie Howard) is marrying Melanie (Olivia de Havilland), she throws herself at him at a party and throws a temper tantrum, all of which is overheard by the scoundrel Rhett Butler (Clark Gable). As the South engages in The Civil War, falls, and Atlanta is burned, we see Scarlett and Rhett's tumultuous relationship take wing during these events. Gone with the Wind is a lavishly beautiful film, shot in Technicolor at a time when few films were. The acting is wonderful all around as well. Vivien Leigh won an Oscar for her wonderful portrayal as the self-centered Scarlett and Clark Gable is absolutely delightful as the devilish Rhett. Hattie McDaniel became the first African American to win an Oscar in her performance as Scarlett's servant and Olivia de Havilland is delightful as the saintly Melanie. Gone with the Wind is a wonderful film on so many levels and a prime example of cinematic entertainment.