Hamlet

Laurence Olivier is superb in his own supreme adaptation of one of Shakespeare’s best known tragedies, one matched only by Kenneth Branagh’s 1996 ambitious treatment. Here the production is defined by its sets, lighting, acting, direction, and a clear, marvelously articulated script.

*** ½ out of ****

Welles' Bard Trilogy (Macbeth, Othello, Chimes at Midnight)

During a decades spanning period of self-imposed Hollywood exile that only saw his return to film Touch of Evil, Orson Welles crafted three Shakespearean adaptations. Having garnered a reputation, producers were often hesitant to work with him, and money was often scant. Filming on the fly over what sometimes amounted to years, these films would often suffer from sound or continuity but are as stylish and dramatically satisfying as anything the maverick director ever created.

Macbeth (1948)

Welles's 1936 stage adaptation of the Scottish play with an all black cast gained mass acclaim. Here, while sublimely starring in the lead role he creates a haunting, atmospheric aura on austere sets.

*** 1/2 out of ****

Othello (1952)

Othello is roughly cobbled together and even after a 1992 restoration, it looks very rugged. Still the camerawork is impeccable and the treatment is extremely powerful, again especially in Welles' performance

*** 1/2 out of ****

Chimes at Midnight (1965)

Chimes at Midnight is probably the best regarded of these works, and one that existed in obscurity until only recently. Depicting the friendship between Falstaff and Henry IV, the film is bold, bawdy, dramatic, laugh out loud funny, and affecting as it demonstrates Welles in full force as actor and director.

*** 1/2 out of ****

The Treasure of the Sierra Madre

Two American exiles (Humphrey Bogart and Tim Holt) living on the fringe of society in Tampico and at the whim of pernicious entrepreneurs acquaint an old but assured miner (Walter Huston) who all but guarantees the riches to be found in the Sierra Madres, where the trio would then only have to contend with avarice, madness, and bandits. John Huston's The Treasure of the Sierra Madre, which he drew off of a B. Traven novel, is an insightful take on greed and human nature, brilliantly shot and boasting many memorable sequences. Bogart is unforgettable in his paranoid, maniacal performance as Fred C. Dobbs, Holt is strong in a straight supporting role, and Walter Huston (John's father) is tremendous in an Oscar winning part.

**** out of ****

Red River

While dreaming of owning a booming cattle ranch with his cantankerous right hand man (Walter Brennan), a seasoned and insistent cowherder (John Wayne) takes in a young boy (played as an adult by Montgomery Clift) whose wagon party has been slaughtered by Indians. As time passes and the cowboy's dream has been fulfilled, he sees to drive his massive heard on an onerous trek through South Texas to get top dollar for his stock and finds opposition from his protege when his methods are viewed as no less than dictatorial. Howard Hawks' dark and ambitious western features excellent performances from Wayne (extremely brooding) and Clift and two extraordinary montage sequences in his study of commanding respect versus demanding it. The Joanne Dru character, who is tackily introduced to resolve the central conflict, does not hamper an otherwise superiorly made classic.

The Fallen Idol

A diplomat's young son has the run of the entire embassy, with only a jovial butler and his shrewish, maid wife to keep an eye on him. When the maid has a fatal accident shortly after discovering her husband's liaison with a younger woman, the boy has confused feelings towards his seemingly guilty hero during the course of the police inquest. Just before collaborating together on the singular masterpiece The Third Man, Carol Reed directed an adaptation of Graham Greene's short story The Basement Room known as The Fallen Idol, both an erudite take on childhood and a top shelf thriller that makes excellent use of point of view. The film features an excellent performance from Ralph Richardson, a nicely tuned juvenile one from Bobby Henrey, and more great high angle photography from Reed.

The Search

In Germany following WWII, U.N. relief workers labor tirelessly to feed and house the scores of child refugees produced by the war. From one of these lots, a confused and traumatized young boy, who holds no command of any language, attempts to escape by way of a nearby river and is feared drowned. Spotted soon after on land by an Army engineer (Montgomery Clift), the young man takes the boy in and teaches him to read, as he determines the best way to handle the situation. Fred Zinneman's "The Search" was filmed on location amidst a decimated postwar Germany, which lends an air of authenticity to this noble minded film which faces the issue head on, but often comes off as a shrill and grating feature length United Way infomercial. The highlight of the film is Montgomery Clift's performance in what was his film debut, and his rapport with the young actor Ivan Jandl, which does contain genuine, heartfelt sincerity.

Johnny Belinda

A deaf and mute young woman (Jane Wyman) ekes out a joyless existence on her father's farm in Nova Scotia until a local country doctor (Lew Ayres), also alone, takes pity on her, teaching her to read and write, and falling in love with her in the process. There situation, already seen as untenable by many in the town, is aggravated further when she is raped at a community gathering. "Johnny Belinda" is a superior social drama from director Jean Negulesco, containing not a hint of false sentimentality, and featuring absolutely heartrending performances from Wyman (who won the Oscar) and Ayres. Negulesco adds to his involving, ahead of its time story with breathtaking, countryside visuals. In our time, it would be hard to picture this kind of picture other than in a cheap, made-for-TV fashion. With "Johnny Belinda", Wymen, Ayres, and Negulesco show just how authentic and deep emotions can run in this kind of story.

The Bicycle Thief

Vittorio De Sica's 1948 classic film is both resounding and simple and a prime example of Italian Neorealism, a style of film set amongst the poor and made largely with non-actors. Set in post-WW2 Rome, a destitute man finally gets a job plastering advertisements around the city, which requires him to use a bicycle. Feeling he will not be able to afford one and thus taking the job anyway, his wife pawns their reserve of bed sheets to provide enough cash for a bike, which in turn gets stolen on his first day of work. He then begins his search, with his young son it tow, to locate the thief and crucial stolen item. "The Bicycle Thief" is an ultimately sad film that makes statements on poverty and crime while leaving a lasting impression. It is a work to be seen and a lasting work of beatific simplicity.

A Foreign Affair

A Congresswoman (Jean Arthur) heads to postwar, occupied Berlin on a government probe of American corruption, and is introduced to an Army captain and fellow Iowan (John Lund), who is carrying on an affair with a sexy local chanteuse (Marlene Dietrich). After a mix-up, the singer falls onto the representative's radar who in turn gradually falls for the Captain. "A Foreign Affair" is a wonderful excursion from the inimitable Billy Wilder and the first of two of his films set in the postwar German capital, the second being the riotous "One, Two, Three". Written with often collaborator Charles Brackett, the film features the typical brand of zany and witty Wilder humor, mixed with stinging social commentary aimed at dark subjects. In the lead role, Lund does a nice job playing a somewhat thankless role giving way to the tremendous work of his female screenstars. Marlene Dietrich is sly and sultry as Lund's mistress, and Jean Arthur is impeccable as the goody goody congresswoman and slowly begins to come unwound. "A Foreign Affair" isn't one of the first titles that springs to mind when the great directors name is mentioned, but it is yet another example of his incomparable talents and wit.

State of the Union

As a hated tycoon newspaperman lays dying, he implores his daughter and successor (Angela Lansbury) to take revenge on the members of the Republican party who have slandered and betrayed him. To do this, she grooms an aircraft magnate (Spencer Tracy), with whom she's also having an affair, to take the nomination who agrees only to do so if his wife (Katharine Hepburn) will go on the campaign trail. Now, the already strained marriage begins to worsen as the candidate is forced to make compromise after compromise in his quest for the nomination. "State of the Union" is Frank Capra's excellent filmization of Howard Lindsay and Russell Crouse's play and is much more hard bitten than the hokey elements which typified his early films. Spencer Tracy and Katharine Hepburn are both wonderful, also playing slightly different roles, playing people becoming disillusioned by the political process. Angela Lansbury is also distinctive in a malevolent supporting role, as are Adolphe Menjou and Van Johnson. "State of the Union" is entertaining but also cynical and indicting, a rare and interesting hodgepodge for a political film.

A Southern Yankee

A maladroit, idiotic Missourian hotel clerk desperately wants to be useful towards the Union cause and constantly nags the residing Northern soldiers in his place of work. When he accidentally unhands a notorious Southern spy whose identity is scarcely known, his wish finally comes true. Now, posing as the Rebel spy, the cowardly bellboy must go behind enemy lines to relay a crucial message to another infiltrator. "A Southern Yankee" is another riotous laugh-a-minute vehicle for Red Skelton, a hilarious comedian who sadly has gone forgotten by recent generations. Skelton's one liners are consistently funny and the gags I was pleased to discover, but not totally surprised due to their quality, were developed by the legendary Buster Keaton. "A Southern Yankee" is an entertaining, and even occasionally brilliant romp.

I Remember Mama

A recently published author remembers with fondness her upbringing in early 20th century San Francisco, and especially her magnanimous mother and the assembly of her immigrant Swedish family. "I Remember Mama" is a loving family tale from master director George Stevens who recounts the era of his childhood with insight, warmness, directorial tact, and humor. From the Kathryn Forbes novel Mama's Bank Account, the film is a series of vignettes centered on the wonderful portrayal by Irene Dunne and a series of supporting performances, most notably from Oskar Homolka playing the bullying and boisterous Uncle Chris. Though certainly there are several excellent modern family films, the sheer mention of the genre is often met with eye rolling and shudders. A  picture like "I Remember Mama" is a reminder that family oriented movies can be earnest and funny, and if not exacting to our own childhoods, then at least capturing the essence of our own upbringing.

Bud Abbott and Lou Costello Meet Frankenstein

Cargo delivery men Bud and Lou receive a long distance call from Lawrence Talbot but before he can tell the nitwits not to open the two recently delivered crates, the full moon rises and he is transformed into a werewolf. The duo deliver the crates to the house of horrors, open them, and unleash Dracula and Frankenstein's monster. Now with the aid of a beautiful doctor who has captured Lou's heart, Dracula aims to place his "pliable" brain into the monster. "Abbott and Costello Meet Frankenstein" is a film with a funny premise that should have been funnier than it is. Many of the gags are uninspired and Costello's constant quipping and mugging grow tiresome. What makes this film worthwhile is the monsters, with Bela Lugosi and Lon Chaney reprising their famed roles.

Oliver Twist

A sickly pregnant woman runs through the rainy moors to the gates of a workhouse where she delivers her child the dies. Oliver Twist, the name given by the cruel, bulging orphanage overseer, begins a life of mistreatment as he is sent from the workhouse to work for a coffin maker whom he escapes from to make for the streets of London and to be taken in by a band of pickpockets. Following the success of "Great Expectations", David Lean decided to adapt another Dickens' classic, achieving the same dark and wondrous results. "Oliver Twist" is an impeccably directed, beautifully gloomy rendering of the story of the young waif. For me, my introduction to the story came with Carol Reed's wonderful musical "Oliver!", which is much lighter in tone. Lean's version is more dire than I even realized (ashamedly, I haven't read the book), and pretty shocking considering the time it was released. John Howard Davies is ideal as Oliver, bringing all the needed qualities of the beset upon orphan and the adult cast is incredible, led by the inimitable Alec Guinness in a twisted comic performance as gang leader Fagin which drew controversy for resembling Jewish stereotypes. Robert Newton is vicious as the contemptible Bill Sykes, Kay Walsh is incredible as his fiery and magnanimous girlfriend Nancy, and Henry Stephenson is great as the warmhearted Mr. Brownlow. David Lean was a master craftsman of the cinema, crafting gorgeous, incredibly realized masterpieces like this before leaving Britain for Hollywood to direct some of the grandest epics in history. Working big or small, he realized that storytelling was essential, and with "Oliver Twist" he again does literary great Charles Dickens justice.

The Red Shoes

While attending the ballet which was composed by his professor, a young composer notices his own work being used and writes an angry letter to the company's impresario. Trying to retrieve the letter the next morning, the impressed impresario offers him a job while at the same time extending an opportunity to an ambitious young dancer. As the troupe travels from London first to Paris and then to Monte Carlo, the lead dancer becomes engaged, and the furious impresario names the plucky new dancer as the lead in his adaptation of Hans Christian Andersen's The Red Shoes, which the young composer will write the score to. Soon, these three intense personalities become interlocked, and the young dancer must chose between her love of the composer and her passion for dance. Like most of the work, Michael Powell and Emeric Pressburger's "The Red Shoes" is an almost impossibly beautiful Technicolor composition. Featuring an astounding extending performance of the title play that transcends the stage, fantasy and reality blend in a work of pure imagination. All comes together in an incredible tragic sequence in the end. Moira Shearer is absolutely riveting as the young dancer and Anton Walbrook is just as fine as the demanding leader of the dance company. The movie is also highly influential and Darren Aronofsky owes more then a little bit to it for the success of his "Black Swan". "The Red Shoes" is a beautiful film that is a high demonstration for the expressiveness of film.

Berlin Express

In Paris just following the end of World War II, as a German doctor discusses his Berlin peace plan at a conference, some kids in a park near the Eiffel Tower take home a pigeon that has been shot down. Inside the shell extracted from the pigeon, they find a message in German which is reported to authorities. We learn that the message refers to a Nazi attack on an express train from Paris to Berlin where the target is the German doctor. When the bomb goes off and the doctor is killed, the only witnesses are his sultry European secretary, an American, a Brit, a Frenchmen, and a Russian, all of whom are untrusting of each other. Now the group is thrust into political intrigue which becomes even more dangerous when it is realized that the man killed was really a decoy and the doctor's life is in even more imminent danger. "Berlin Express" was one of the first movies filmed in postwar Europe and contains stark and remarkable footage of the dilapidated, bombed out cities of Frankfurt and Berlin. Director Jacques Tourneur keeps a steady hand on the camera and the movie itself is harsh containing several violently brutal scenes. There is a major flaw with the movie which is its narration that plays largely throughout the film. I think the idea was to give the film a more realist feel but the result was to make a lot of the movie play like a "News of the World" reel. Also Robert Ryan isn't very effective at all as a leading man. "Berlin Express" is a well made political thriller and with a few changes in the script, it could have been a great one.

Fort Apache

Lieutenant Colonel Owen Thursday is grumbling in his stagecoach en route to his new detail in a remote fort in the American southwest. He has a stellar war record and once held the rank of General. Now the stubborn and regimented cavalry man has been placed in charge of a rinky dink operation and when he arrives with his wide eyed daughter in tow it is everything he expected: a nothing happening locale occupied by disheveled and unorganized officers. Immediately he begins to whip his detail into shape, ignoring his underling's opinions who may have a better knowledge of the land and the local Indian population. However, when tensions begin to flare between his men and the Apache tribe, it goes beyond rubbing his men the wrong way and he may in fact be putting his company in jeopardy. Directed by  legendary director John Ford in his beloved Monument Valley, Utah, it was the first film of his cavalry trilogy (followed by She Wore a Yellow Ribbon and Rio Grande). Loosely based on General Custer's Last Stand, it is a surprisingly sympathetic towards Native Americans, especially for a 1948 Western. Additionally it is a thoroughly entertaining film, laced with humor in addition to its battle scenes. Aside from a portrait of a martinet and the implications of his decisions, at its core this is a portrait of life on a military post. All facets of this all encompassing film are handled wonderfully. It is also delightful to watch Henry Fonda (as Colonel Thursday) and John Wayne (his second in command), arguably to of the greatest stars of the 20th century play, play against type and do it so well. Fort Apache isn't a typical Western and through its comedic sensibilities, action sequences, and sensitivity it should hold an appeal to all.