Pem-3 Reviews

Kiss Me Kate (1953)

An MGM Musical Worthy of a Night on Broadway

[10/10 · 5 September 1999]

One of the very best of MGM's 1950s musicals, which is saying

something since that studio was `Top of the Musical Heap' back

then, this version of `The Taming of the Shrew' is an ebullient

extravaganza. What makes it different from many other MGM

productions is how close it sticks to Cole Porter's Broadway

original. This is clearly a film about that play, but with such

wonderful color, music, design, photography and production

values that it has none of the usual shortcomings of a static

`stage` film. There are, of course, subplots about the lives of

the musical performers, but these are totally secondary to

Porter's comedy, which is almost all his brilliant (and

occasionally risqué) archetype. Even so, the subplots provide

some high musical moments, including the Grayson-Hall duet, `So

in Love,' and Ann Miller's amazing `Too Darn Hot' -- which

should win an award for 'Best Living Room Tap Dance Sequence

EVER.' Kathryn Grayson is a gorgeous (also gorgeous-sounding,) and

convincing Kate; Howard Keel (occasionally a bit stuffy in other

MGM musicals) is a perfect Petruchio, so much so that when I

think of 'The Shrew' I can imagine no better interpreters of the

two characters. (I liked the Burton-Taylor film version, too,

but it can't come close to the rich comedic texture of `Kate,'

which I'm sure the Bard would have applauded, despite, or rather

because of, all the noisy singing and dancing which enhances

instead of detracting from the original.) Also, the movie has a

wonderful -- and not at all dated -- element of vaudeville,

exemplified in numbers such as the Miller-Rall rooftop dance to

`Why Can't You Behave,' and the unbelievably terrific `Brush Up

Your Shakespeare' performed by, of all people, Keenan Wynn and

James Whitmore, as Runyonesque gangsters. `Kate' even has the

first screen appearance, as dancer AND choreographer, of the 26

year old Bob Fosse, who plays Hortensio throughout, but is most

brilliant at the end, in the last couples sequence of `From This

Moment On.' That's him in the orange and yellow-panelled vest

with a terrific Carol Haney as his partner. Finally, the movie

has the strange distinction of being one of the few musicals

ever shot in `3D,' but all the stuff thrown at the screen can't

change the fact that t

Night and the City (1950)

An Unknown Materpiece!

[10/10 · 15 February 1999]

This Jules Dassin film noir is really BLACK, and the casting and

acting are superb, as is the ambience (which the 1992 remake

doesn't have.) Widmark gives one of his best performances as

the anxious Fabian, and Googie Withers is terrifically

believable (and sexy) as the desperately unsatisfied wife of

nightclub-owner Sullivan. The movie has a real SLEAZINESS that

reflects the depressing post-WWII atmosphere of London -- this

is the story's reason for being -- these folks want OUT, and we

can fully understand why. "Night and the City" was apparently

another victim of Hollywood's shameful "non- marketing" of

really fine 40s and 50s British films -- co-produced by American

studios -- but dropped into U.S. theatres with no visible

promotion of either stars or stories because they weren't made

on U.

The Man Between (1953)

"The Third Man's" Cousin is Unforgettable

[10/10 · 11 January 1999]

Carol Reed's lesser-known "sequel" to his "The Third Man" is a

classic retrospective on the divided city of Berlin in the early days of the Cold War. It is a sequel in atmosphere not story, and is less gimmicky and more human than the film from Vienna.

But the same fear and betrayal are palpable in the air, as Ivo Kerr, a shop-soiled but decent dealer with both sides is compelled by his fondness for a naive English school teacher to pass through the Brandenburg Gate "just one more time." The ending, as expected, is not happy, but that final image in the snow will never be forgotten.

The Wicker Man (1973)

Brilliant Mystery Imagines a Druid Island

[10/10 · 13 November 1998]

This beautiful thriller is not really a horror film, although there are some frightening things in it. It is a brilliant invention of an "alternative universe" in modern time on one lonely Scottish isle, where the residents have reverted to the religion and customs of Ancient Britain. Beautifully plotted, directed and acted as a "murder mystery," it has a stodgy but sympathetic police sergeant as its hero and a tremendous cast of quirky eccentrics, the island's residents, who out-maneuver him at every turn. The locale, Summerisle, is lovingly created down to the last detail, including quite a bit of delicious pseudo-folk music by a group called "Lodestone" (aka "Magnet") and some fine humorous touches. One of the best British productions of the 1970s, it should not be missed. This is not a children's film, so see the 95 to 98 minute version which is much the best edit. Though it contains suggestive language and disturbing ideas, there is no real violence or sex that would be offensive to a thoughtful adult. The original (85 mins.) release destructively cut 10 minutes, partly from the heart of the story, presumably to outguess the censor. Those cuts can not be justified even by the "tighter" standards of the 1960s, which produced much more salacious and violent stuff, particularly in the "spy" genre.

Goodbye Again (1961)

Ingrid's Performance Adorns Landmark Feminist Soap

[12 September 1998]

For better or worse, the book on which this film is based, Francoise Sagan's highly-touted French best seller, "Aimez-vous Brahms?" was a key document in the early 60's feminist awakening, depicting as it does a horrendous case study of gallic male chauvinism toward an intelligent and faithful woman. Despite the obvious soapiness of the plot, Bergman makes the movie version credible. Her soulful eyes and sad little smile enhance a lovable portrayal of the heroine Paula. Few other actresses of the time had the presence and skill to bring this off -- allowing us to fathom the almost tragic depth of the jejeune Phillip's fascination with a gorgeous "older woman" while avoiding the appearance of silliness which might have, but does not, taint Paula's irrational loyalty to Roger. In short, Ingrid probably set the standard for the many subsequent portrayals of more successful independent yet loving women. The rest of the cast helps too -- Montand's magnetism makes Paula's continuing love for the cad almost believable and, for once, Anthony Perkins' stereotypical "spoiled rich boy " portrayal is right on target and his infatuation convincing.

A Fine Madness (1966)

Sean Connery Shows His Versatility

[31 August 1998]

This nicely done adaptation of Eliot Baker's comedic novel (screenplay by the author himself) displays Sean Connery at his versatile finest. In the midst of his "Bond" persona (two years after "Goldfinger") Connery gives a brilliant, anti-typical performance as Samson, a poet to whom art is everything, and the polite fictions and civilities of society nothing. As a man, he is rude, crude, sexist and insensitive to the feelings of everyone, including himself. He is a monster in the mode of Gully Jimson [ "A Horse's Mouth" (1958)] or the real-life Dylan Thomas. A genius whose talent is little recognized, the poet reacts violently to the humdrum restraints of a culture that considers genius anti-social. That underlying tension, and his penchant for enjoying every attractive woman who happens to be in the vicinity, get him classified as a psychotic and put on the fast-track schedule for a pre-frontal lobotomy. Connery's talent and charm save this very funny movie from the somewhat offensive obnoxiousness of its hero, and clinch its optimistic argument about the ultimate triumph of artistic greatness. Also, don't miss the lovely performance by Coleen Dewhurst as a psychiatrist-seductress.

Devil Doll (1964)

Top-Notch, Economy Class Thriller,

[9/10 · 31 August 1998]

"Devil Doll" may not be the crown jewels, but it is a small gem, and a very enjoyable horror tale. Except for a few slow-moving scenes in newspaper offices, it is well acted, directed and photographed, with great use of lighting and close-ups to build tension and enhance the mystery. We never actually see any violence, but Hugo, the little dummy, is truly frightening. You will even find yourself sympathizing with his plight, as we do with Frankenstein's and other monster "bests." Billed an "underrated, exquisitely-tailored sleeper" in Maltin's movie guide (4 out of 5 stars), this effort shows what can be done on a small budget by good craftsmen and professional performers; it is a better movie than 99 percent of the full-color and full-gore horrors being produced today. Don't confuse it with the 1936 Tod Browning classic, " 'The' Devil Doll," which is a completely different story.

Arch of Triumph (1948)

Ingrid is Gorgeous; Laughton is a Nazi.

[16 August 1998]

This is certainly not Ingrid Bergman's best movie, though her performance as Joan, and Boyer's as Ravic, are terrific. But you will never see a more beautiful Ingrid than in the magnificent black and white =chiaroscuro= of Russell Metty's photography, and Ingrid is very touching as the "lost woman" hinted at but never fully realized in "Casablanca" and "Notorious." Even considering that Bergman was gorgeous on screen for almost forty years, her stunning image in this somewhat confused thriller-soap opera, is worth the price of admission; plus the dialogue is pretty good, and you get to see Charles Laughton as an evil Nazi colonel!

The House on Carroll Street (1988)

The McCarthy Era with Style

[9/10 · 6 August 1998]

This is a wonderfully Hitchcockian, quite realistic, but also nostalgic return to the time when some people were looking for Communists under every bed, as well as in Hollywood and =Life= magazine. Kelly McGillis is terrific as the idealistic civil liberties type who discovers Nazis in the garden and her own personal SS man in a Senator's office. Mandy Patinkin is really convincing as the Senate staffer who hounds McGillis from her job. He even looks a little like a famous politician with the initials RMN. For a bang-up thriller without any shooting, car chases or explosions, this is one of the best videos around.

The House in Marsh Road (1960)

This nicely scary little ghost story is pretty str...

[9/10 · 3 August 1998]

This nicely scary little ghost story is pretty straight-forward = in plot. A husband with a sexy mistress is trying to murder his wife, and a protect= ive (family-owned) poltergeist blocks him at every attempt. But the brief summary fails to convey some fine performances and lovely atmospherics t= hat rise above what is basically a "B" - level thriller. The women take act= ing honors -- Sandra Dorne is probably at her most-enticing ripeness as the buxom blonde divorcée who lures David Linton to his doom, and she pani= cs beautifully when trapped with her lover in the doomed house; Patricia Dainton is convincing, too, as the long-suffering wife of the promiscuou= s David. Third, for comic relief, Anita Sharp-Bolster is hilarious as the Irish housekeeper, who complains about "Patrick," whom she's named after her husband "because she never sees him" either! The black and white photography is moody and penetrating, as is the haunting music of John Veale (though it gets too loud and overrides the dialogue once or twice.= ) A hard-to-find video is available from several U.S. sources, both as "Invisible Creature" and "The House in Marsh Road."