THE LAVENDER HILL MOB (1951, GREAT BRITAIN), THE LADYKILLERS (1955, GREAT BRITAIN)

Doesn't it seem like British movies have a distinctive air of, for lack of another word Britishness? 

But exactly HOW British are they?

How British is it? month (Post 8 of 10)

The Lavender Hill Mob and The Ladykillers

The Lavender Hill Mob

It's a funny thing about going through the films on this list. I like to watch a few things that have a certain theme and move on to the next thing. But how do I choose what to look at next? Well, sometimes these films just drop in your lap. I was in a Pawnshop and saw as part of a Hitchcock DVD collection that included Blackmail, Sabotage, and The 39 Steps. Three 1001 movies in one!

I also had a friend who is a big Ozu fan and insisted that I watch his collection. Ok, I guess I'll check out some Ozu. I had another friend who mentioned having a DVD Alec Guinness collection. The titles The Lavender Hill Mob and The Ladykillers went off in my head. So I asked to borrow them. Why don't I watch more British films? I asked. Well, thank you. I think I will.

How British is it? Something about these British Ealing caper movies that seem...I don't know really British! But what is it, exactly? Is it Alec Guinness? Yes, but that's not quite it. 

What about the uniquely British supporting cast like Stanley Holloway or Peter Sellers? Yes, but that's still not quite it. 

Is it the distinct dialogue, uniquely British, differentiating it from non-English caper movies such as The Killing or The Asphalt Jungle? Yes, that's close. 

But I think it's when they get out in the streets. The neighborhoods, the trolleys, driving on the wrong side of the road, people on bicycles. Just that feeling you get from looking at the screen and your surroundings. Now that's British!

The Ladykillers

Rating for Britishness from 1-10: A solid 8 for both films.

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Posted in 1950'S | No comments

RIO BRAVO (1959)

The Great American Western (Post 6 of 12)

 

Rio Bravo

 

I saw an interview with Quentin Tarantino where he rated Howard Hawks'Rio Bravo as one of his three favorite movies (Along with Blow-Out and Taxi Driver). This persuaded me decide to go ahead and give it a look since I'd never seen it.

The plot is basically local sheriff (John Wayne) and his often drunk deputy (Dean Martin) try to thwart a villain (the bad guy who is always out of town but coming in soon to settle some old scores) with the help of the limping sidekick (Walter Brennan, of course) and a teen heartthrob (Ricky Nelson).

What's interesting is that although the plot is not epic in nature, the movie clocks in at a healthy two hours and twenty-one minutes. That's twice the time of many Westerns of the time (Ride Lonesome for example). It does have action, especially towards the end, but what is really has a lot of and what makes the movie stand out is the character development. The writing (Jules Fuhrman and Leigh Brackett) has to be good to hold the viewers interest for that long and the small but well-cast ensemble work well together. I'm guessing the dialogue might be one of the main reasons that it is on Tarantino's "best of" list.

We even get a song or two from Martin & Nelson accompanied by the harmonica stylings of Mr. Brennan. Thankfully, John Wayne doesn't join in the chorus.

Oh, I almost forgot. Angie Dickinson is Wayne's (much younger) love interest. Her presence adds further depth to the story and she looks great in her undergarments.

Note to self: Watch De Palma's Blow-Up and to Dressed to Kill real soon.

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RIDE LONESOME (1959)

The Great American Western (Post 5 of 12)

Ride Lonesome

Ride Lonesome (which is only 72 minutes long) seems like a typical B-Western about a aging bounty hunter (Randolph Scott) bringing in a wanted criminal for a reward. But as the film progresses, we begin to see some slight variations on the typical themes. Two cowpokes riding with the bounty hunter also want to bring in the desperado for their own ends (That is if they can figure out what the word amnesty means). But they come to the aide of the bounty hunter more than once, even though they know that a confrontation may be looming between all of them. A pre-Bonanza Pernell Roberts and a wonderfully dimwitted James Coburn play the cowpokes.

Of course, the motivation of the bounty hunter himself isn't all that it first appears to be either. Throw in a beautiful widow, and you got yourself a pretty good entry in the genre.

We also have as baddies a pre-Dukes of Hazzard James Best and the always menacing Lee Van Cleefe.

And If part of my 1001 Movies Before You Die goals is to see a Randolph Scott movie before I die, I can now check that one off of the movie bucket list.

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HIGH NOON (1952)

The Great American Western (Post 4 of 12)

High Noon

 

One of the sparsest and most intense Westerns I've every seen. The anticipation of the inevitable closing gunfight is much better than the gunfight itself. Still a classic of its type and a welcome additon to the 1001 movie list.

Speaking of sparse (And I am trying to keep my comments sparse here), I can't get that clunking but catchy theme song from High Noon out of my head.

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RIO GRANDE (1950)

The Great American Western (Post 3 of 12)

Rio Grande

 

One of the more interesting aspects of the last of the John Ford/John Wayne cavalry triology is that it shows how military life effects the family. You pretty much know in the first scene when Lt. Yorke (John Wayne) mentions that he hasn't seen his son in fifteen years, it's only a matter of time before the son shows up under Yorke's command. We also see Yorke's wife (Maureen O'Hara), whose conficting emotion about the father and need to protect the son are two of the moves focal points.

Speaking of Family Issues: Isn't it funny how Indians, even in many of the classic Westerns (like Rio Grande, Winchester '73, Ride Lonesome as well as Rio Grande) never seem to have families that are shown? I'm guessing this is because the audience might identify with them or start to think that maybe the cavalry shooting their firesticks at them might not be such a nice idea. This idea did catch on in later revisitations of the genre, but not in Rio Grande. We do see the cavalry coming to a truce with Mexicans, but that's only to conspire together against the Apaches.

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STAGECOACH (1939) vs. THE SEARCHERS (1956)

The Great American Western (Post 1 of 12)

Stagecoach vs. The Searchers

The American Film Institute put out their first 100 Years…100 Movies of the 100 best American movies list in 1998. The John Ford directed Western Stagecoach, (starring John Wayne) placed at number 63. The John Ford directed Western The Searchers, (again starring John Wayne) was also on

the list, though placed at a more modest number 96.

Ten years later, AFI put out another list and Stagecoach was nowhere to be seen. The Searchers, on the other hand had moved all the way up to number 12!

So why has the reputation of Stagecoach gone down and The Searchers stock risen so highly?

Stagecoach has the reputation as being the beginning of a more advanced storytelling in Westerns and by all accounts this seems to be true. So why is it not on the list? I'm guessing it may just seem a little too old fashioned now. The battle between the Apaches and the members of the stagecoach doesn't seem to date too well. Also, the cavalry coming to the rescue is now a cliche. It really doesn't matter that it wasn't a cliche at the time. Our modern sensibilities may also react a bit negatively to portraying the Apaches or any Indians without any depth (or families).

Where Stagecoach really gels is in the ensemble cast headed by John Wayne as the Ringo Kid and Claire Trevor as Dallas, the hooker with the heart of gold. We truly get a feel for all of the characters (the southern gambler, the drunken doctor, the mild-mannered whiskey drummer, etc.) and this character develpment really sets it apart.

The Searchers reminds me a little of Saving Private Ryan out West (Saving Natalie Wood?). This film does feel like a more modern Western, so maybe that's one of the reasons that the reputation of The Searchers is on the rise. John Wayne is clearly the star of this one and he is as tough and unrelenting as they get. He even has his own memorable signature line (That'll be the day!).

The Indians (The Commanches) in The Seachers are a better drawn out than in Stagecoach. We see they have motivations (and even families!) of their own!

John Ford's Monument Valley does look quite wonderful in color and I certainly wouldn't argue with The Searchers being on the 1001 movie list.

But my vote between the two would still go with Stagecoach though apparently I'm in the minority now.

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ANATOMY OF A MURDER (1959)

Jimmy Stewart or Cary Grant month (Post 14 of 14)

Anatomy of a Murder

 

ANATOMY OF A BLOGGER

The 1001 Movie Blogger is escorted through the courtroom to the witness stand and sworn in.

Jimmy Stewart: Sir, you do realize why you are here today?

1001 Blogger: No! I have no clue why I'm here today. All I know I was watching Anatomy of a Murder yesterday and today I find myself in this court. I want to know what I am being accused of!

George C. Scott: Perhaps I can shed some light on this situation your honor. May I approach the defendant?

Judge Welch: It's a bit irregular, but I will give you a little latitude here.

George C. Scott: Take a look at that woman sitting over there, Mr. Blogger…If that is your real name.

(The woman in question is the voluptuous blonde Lee Remick, circa 1959, as she looked in Anatomy of a Murder.)

1001 Blogger: Okay, I'm looking.

George C. Scott: Do you think she's pretty?

1001 Blogger: Impressive...bordering on spectacular. But what's the point of your question?

George C. Scott: Let the record show that the defendant is not blind. He can see perfectly well.

Jimmy Stewart: Just a minute! Are you trying to railroad my client, sir! He deserves his day in court before you just arbitrarily toss him into the clink.

(Stewart slams his right hand down on the prosecutor's table for emphasis.Lee Remick giggles at the outburst and the all the males in the court soak her in for a minute before the trial can proceed.)

Judge Welch:(to the lawyers) Gentleman, gentleman. Have you no since of decency, sir? This is, after all, a court of law!

(A booming German voice from the back is heard as he approaches the bench.)

Maxamillian Schell: Perhaps I can shed some light on things. I say to you your honor, if this man is found guilty, there are others who went along who must also be found guilty!

Judge Welch: I need to stop you right there, sir. I believe you are looking for the Nuremberg Trial, third door to the left.

Maxamillain Schell: Oh my God! I'm so embarrassed. I was never here. (Schell runs out of the courtroom.)

Judge Welch: Now can we get back to-Who are you?

(A white haired man in suspenders approaches the bench carrying a rock.)

Spencer Tracy: Mr. Blogger, have you ever read The Origin of the Species by Charles Darwin?

1001 Blogger: Well, yeah. Most of it anyway.

Spencer Tracy: Oh! I wasn't expecting you to say yes. I've got nothing else. Witness is excused. (Tracy returns to his seat.)

Judge Welch: Excuse me, but this is still my courtroom and I don't excuse this witness!

Jimmy Stewart: Hold on here. Can I try something?
(Stewart goes to the bench and instructs the defendant to follow him around the courtroom. Stewart walks past the onlookers and twice around the perimeter of the room back with the 1001 Blogger following closely behind before the blogger ends up back at the witness stand.)

George C. Scott: OBJECTION !!! Counsel is leading the witness.

(Judge Welch pounds his gavel.)

Judge Welch: Any more references to Kentucky Fried Movie and I swear clear I'll clear this courtroom! Do you understand? Will the defendant please sit back down?

(The 1001 Blogger retakes his seat on the witness stand.)

George C. Scott: My colleague here has a question for the defendant.

(A JAG lawyer rises)

Tom Cruise: Did you or did you not order a code red?

1001 Blogger: What's a code red?

Tom Cruise: Um, I'm not really sure. I thought you knew.

(Cruise sits back down and lowers his head.)

(The 1001 blogger now feels a light shining in his eye.
A portly man in a powdered wig drops a monocle into his
hand.)

Charles Laughton: Sorry, your honor. I was using my monocle shining light method to see if this man was telling the truth or if he's just a...LIAR! But to tell you the truth, the thing isn’t really that reliable. Let’s just forget the whole thing. (He sits)

(A short round faced man stands up and begins to scream in German.)

Peter Lorre: (translated into English) Do you all want to kill me?

You just want to wipe me out?

But you can’t murder me just like that!

I demand to be handed over to the police!

I demand to be brought before a real court of law!

Judge Welch: Does anyone hear speak German?

James Stewart: No, your honor.

George C Scott: No, I certainly don’t speak Kraut.

Judge Welch: Sorry, sir. We can’t understand you. You’re going to have to sit down.

(Lorre sits down and buries his head in his hands.)

1001 Blogger: Hello! What about me? I still don't know what I'm being accussed of! This trial is...is

(A short, dark haired man stands and finishes the sentence for him.)

Al Pacino: This trial is out of order! My client is guilty! My...

(Judge Welch bangs his gavel once again and points to a sign above the door of the courtroom which reads-NO PACINO. Al Pacino gestures apologetically with his hands and sits down.)

Jimmy Stewart: My goodness. May...may I have a second to question my own client? Thank you. Mr. Blogger, do you laugh when you hear the word panties spoken out loud?

1001 Blogger: No, of course not. Well, sometimes…

Joe Pesci: (rising) Excuse me. If it please the court. I saw who did this. It was two yoots.

Jimmy Stewart: Objection! Isn’t it reasonable to assume if we have a no PACINO rule that we should also have a no PESCI rule?

Judge Welch: You are quite right, counselor. Sit down, Joe.(Joe mumbles something in Italian, but sits down)

Jimmy Stewart: May I say something now?

(Before he can continue, a lady with a thick Australian accent stands.)

Meryl Streep: A Dingo ate my baby!

(The courtroom looks at her for a moment before ignoring her comment and looking back at the
defendant.)

(Juror #8 stands.)

Henry Fonda: No jury can declare a man guilty unless it's SURE.

Judge Welch: Those are admirable words. But this is not a jury trial!

(Henry Fonda waves apologetically and slumps down in the jury box.)

(A distinguished looking African-American man stands up)
Denzel Washington: If it please the court. This case isn’t just about AIDS. It’s about the severe public hating…our loathing…our fear of homosexuals!

Jimmy Stewart: Aids? You mean like hearing aids?

Denzel Washington: Uh, never mind.

Judge Welch: I think he's referring to congressional aides.

Denzel Washinton: I said never mind! Withdrawn!

George C. Scott: What's a homosexual?

Denzel Washington: Withdrawn! Withdrawn already!

Kirk Douglas: (standing) Gentleman of the court, there are times when I’m ashamed to be a member of the human race and this is one such occasion.

Judge Welch: Those are harsh words, Mr. Douglas. Do you wish to explain this rather cold indictment of humanity?

Kirk Douglas: Uh, no. I kind of thought you were going to just cut me off like you did everybody else. Just pretend I didn’t say anything. (He sits)

Judge Welch: (Exasperated) I believe we're ready for closing arguments now.

(A distinguished looking southern gentleman stands up.)

Gregory Peck: In the name of GOD, do your duty.

James Stewart: That's good Greg, but I think he was
talking to me. But I don't really have a close. How about you George?

George C. Scott: Me neither. Lets go have a beer. What do you say?

Judge Welch: Great idea. This case is dismissed. You are free to go. Party at Barney Quill's bar!

Everyone cheers as they leave the court for Barney Quill's Bar, leaving the 1001 blogger alone in the courtroom with a confused look on his face. Lee Remick sticks her head back in the door of the courtroom and signals at the defendant.)

Lee Remick: Hey, Mr. Blogger fella! Aren't you coming to the party?

(The 1001 blogger breaks into a smile as he follows her out of the courtroom.)

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AN AFFAIR TO REMEMBER (1957)

Jimmy Stewart or Cary Grant month (Post 13 of 14)

An Affair to Remember

AN AFFAIR TO REMEMBER IS RELENTLESSLY

ROMANTIC FROM BEGINNING TO END!

Many women love this movie. It’s even referenced at length in Sleepless in Seattle.

Why exactly is that?

Well, the movie I compare it with is Raiders of the Lost Ark.

What, you ask? Bear with me.

When Raiders came out, it was lauded as an action-packed thrill ride from beginning to end!

Okay.
With that model in mind, I say An Affair to Remember is non-stop romance from beginning to end! The relationship between Cary Grant and Deborah Kerr moves kind of quickly in the film and never lets up, even as circumstance and bothersome fiancees and girl-friends get in the way during the second half of the film.

And funny supporting parts? Not in this one. The two major supporting parts are Cary’s grandmother who is as serious as they come and Kerr’s fiancé who folds like cheap patio furntiure at the inevitability of Kerr being with Grant. There is no time for comedy relief! The romance must never stop! Of course, Grant and Kerr do have a few lighthearted moments during their courtship, but they illicit only a chuckle here and there. Because this love affair is serious business and I promise you again and in block letters that…

AN AFFAIR TO REMEMBER IS RELENTLESSLY

ROMANTIC FROM BEGINNING TO END!

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THE MAN WHO KNEW TOO MUCH (1956)

Jimmy Stewart or Cary Grant Month (Post 12 of 14)

The Man Who Knew Too Much

Typical but entertaining Alfred Hitchcock thriller about a doctor (Jimmy Stewart) and his ex-perfomer wife (Doris Day) whose son is kidnapped while they are on vacation in Marakesh. They embark on an odyssey that sends them across continents, up a few blind alleys and finally to the Royal Albert Hall in London.

One of my favorite scenes is where Stewart goes to meet Ambrose Hall to get information about his boy, only to find out the Ambrose Hall he goes to is the wrong one! Just one of Hitchcock's misdirections, but a interesting bit of comic relief at a tense time in the movie.

Jimmy Stewart does his usually fine job as the everyman caught up in a situation over his head (Assuming you can call a successful doctor with a beautiful and talented wife an everyman.) And Doris Day is also very good. It makes you wonder how she would have done if she had veered off into more dramatic parts instead of Please Don't Eat the Daisies type roles.

There are also lot of clever touches in the John Michael Hayes script, including much of the banter between Stewart and Day.

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WINCHESTER '73 (1950)

Jimmy Stewart or Cary Grant month (Film 10 of 14)

Winchester '73

Creative Anthony Mann western in that the main character is...a Winchester '73 rifle. It may not be as cool as an Official Red Ryder Carbine-Action Two-Hundred-Shot Range Model Air Rifle, but it practically turns everyone who touches it into Gollum from Lord of the Rings!

It goes through the hands of several characters: Jimmy Stewart (the main star), Dan Duryea (as a depraved heavy), Shelly Winters (during the very brief time she could still play a leading lady), Charles Drake as Steve Miller, (but he gets offed and loses the gun quicker than you can say abracadabra), Tony Curtis (When he was really still more Bernie Schwartz than Tony Curtis) and Rock Hudson as an Indian chief. I'll say that again...Rock Hudson as an Indian chief! But since Rock is playing an Indian, we know he has to get killed half way through the film and lose control of the gun.

Winchester '73 is my favorite of the three Anthony Mann/Jimmy Stewart movies on the list for what it's worth.

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NORTH BY NORTHWEST (1959)

Jimmy Stewart or Cary Grant month (Post 5 of 14)

North by Northwest

“You listen to me. I’m an advertising man, not a red herring. I’ve got a job, a secretary, a mother, two ex-wives, and several bartenders dependent on me-and I don’t intend not to disappoint them by getting myself killed!”

This Alfred Hitchcock tale of an advertising man (Mr. Cary Grant) was definitely a challenge the first time I saw it (If I can remember that far back) keeping up with all the twists and turns of the plot. Luckily, several viewings later (even when you know what’s going to happen) it’s still fun to watch the events unfold. You can watch it and say to yourself or annoy the person sitting next to you that hasn't seen it by saying out loud: Here's the scene where they get him drunk! Here's the auction scene! Here's the UN scene! Here's the train scene! Here's the Mount Rushmore scene! Here's the scene where the kid extra puts his fingers in his ears before the shot from Eva Marie Saint's gun goes off and neither Hitchcock, the editors or the studio caught it!

It’s hard to imagine anyone but Grant in the role of Roger Thornhill, so maybe critic Richard Thompson is right. Grant might just be the most important star in film history.

Oscar note: The noteworthy screenplay by Ernest Lehman went up against Ingmar Bergman for Wild Strawberries and Francois Truffaut for The 400 Blows for the 1959 Academy Award and they all lost out to the screenplay for... Pillow Talk. Pillow Talk? The Rock Hudson/Doris Day movie? Really? I demand a recount.

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THE NAKED SPUR (1953)

Jimmy Stewart or Cary Grant month (Post 4 of 14)

The Naked Spur

For those more familiar with the Jimmy Stewart of Frank Capra comedies or Alfred Hitchcock thrillers, it may be a surprise to see him playing a much tougher character in Westerns. In fact, he did a lot of Westerns. The two Stewart Westerns that come to my mind first are How the West Was Won and The Man Who Shot Liberty Valance. But Stewart also made several Westerns with director Anthony Mann, none of which I've seen before going through this list. Obviously, they are well thought of since three of them are on the 1001 list.

In The Naked Spur, Stewart plays bounty hunter Howard Kemp who is set on bringing in outlaw Robert Ryan for the reward. He has to contend with Ryan's girl (Janet Leigh) and is assisted by his crusty prospector sidekick played by Millard Mitchell. He also has to contend with an dishonorably discharged Union soldier played by Ralph Meeker. This small cast are almost the only people in the entire film with the exception of a few Indian extras. But they don't matter anyway, do they?

The Indians don't matter anyway, do they? The gang has a run in with the Indians that is just about to be handled peacefully until the impetuousness of the Ralph Meeker character leads to a bloody shootout where...well, it's at least bloody on the side of the Indians as most of them get gunned down. Damn Yankee soldier.

The great sidekick that never fulfilled his potential: Millard Mitchell plays Stewart's bounty hunting ally here. He also played Stewart's loyal deputy in Winchester '73. I was curious what happened to Millard, as good movie character actors don't grown on trees. Answer: He died of lung cancer at age fifty in 1953, the same year The Naked Spur was released. So let this be a lesson to you kids: Don't smoke! It could stand in the way of you becoming the next Walter Brennan.

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REAR WINDOW (1954)

Jimmy Stewart or Cary Grant month (Post 2 of 14)

Rear Window

During the 1980's, four of the five Alfred Hitchcock movies that were re-released to theaters starred our man Jimmy Stewart (Rear Window, Vertigo, The Man Who Knew Too Much, Rope). In Rear Window, Stewart plays Jeff Jeffries, a photographer with a broken leg and an impossibly beautiful society girlfriend (Grace Kelly) who likes to bitch at him about his lifestyle and talk about eating at Twenty-One. Jeffries has little to do but sit around his apartment and spy on his neighbors, who seem to, luckily for the movie audience, not believe in curtains. We, the viewer, get to put ourselves in the postion of Jeffries, also the viewer, and live vicariously through him. Of course, he witnesses foul play from one of these neighbors and putting together the puzzle pieces as to what is going on is most of the fun in one of my favorite Hitchcock movies.

The stuggling (aren't they all) composer with a drinking problem (don't they all) who at least gets the honor of sharing Alfred Hitchcock's cameo.

The sad Ms. Lonelyhearts. Looking for love. Looking for the right man. Who knows, if this had been a Douglas Sirk movie, she might have been the main character. Of course, by Hollywood standards the part of Ms. Lonelyhearts would have then been played by Grace Kelly, who they would have been given big glasses for her to wear to attempt to make her look "plain," but...I digress.

The mysterious and sinister Thorwald, played by Raymond Burr, long before he started doing Independent Insurance Agents commercials in the 70's.

And last, but definitely not least, Ms. Torso, the ultimate fantasy girl, even for someone who has Grace Kelly as a girlfriend.

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PATHS OF GLORY (1957)

Color Me Kubrick Month (Post #5)

Paths of Glory

This anti-war/political manipulation classic set in the French trenches of World War I still remains a powerful work today.

Here are three memorable scenes:

1)The battle scene. And there's only one. And It's not expansive. But it is effective.

2)The courtroom scene. Kirk Doulas vs. Richard "Six Million Dollar Man's boss" Anderson. A stunning example of justice not served.

3) The scene with the firing squad featuring the cowardly squad leader having to blind fold the man he unfairly chose to be executed as well as the always bizarre Timothy Carey.

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THE KILLING (1956)

Any list of must see films of the magnitude of the number 1001 should basically just inlcude "entire Stanly Kubrick catalog." It practically does, though The Killing is strangely absent from the 1001 list.

Color Me Kubrick month (Post #1)

The Killing (1956)

Expectations before watching again: Classic film noir. First of the great Stanley Kurbrick films. A favorite. And why is this not in the 1001 book again?

After viewing: The great heist in the film told by different viewpoints (which is the reason Kubrick chose this source material) is what really sets this apart. The cast of character actors is quite good, the ending (different from Lionel White’s book) is a doozy and everything really comes together here. One question though: What is the deal with Maurice,the Russian chess player/wrestler whose dialogue is almost incomprehensible?

And the Elisha Cook Jr. supporting player award goes to…Elisha Cook Jr. I’ve made many posts on this blogsite giving out my imaginary Elisha Cook Jr. supporting player award. I think the main reason I decided to do it was because of Mr. Cook in this movie.

In The Killing, Cook becomes part of the elaborate plan to rob the racetrack. It’s the one chance he has to impress his sexy blonde wife, who they both know is out of his league. Of course, she’s two-timing him, doesn’t really love him and you could almost feel sorry for the guy if he weren’t so naïve. Small of stature and rather plain looking, Described by critic Leonard Maltin as “the ultimate nebbish,” Mr. Cook had a long career that ran from The Maltese Falcon to The Big Sleep to Shane to The Killing to Rosemary’s Baby to later as a lawyer on the Court-Martial episode of Star Trek and then as Ice Pick on the television show Magnum P. I.

Always a second banana and usually a good bet to not survive to the film’s closing credits, Cook proves that you can have a long career in Hollywood by getting bumped off a lot.

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ROMAN HOLIDAY (1953)

It’s OK for a guy to watch a Romance/Chick flick/ Women’s picture month (Film 4 of 12)

It’s OK for a guy to watch a Romance/Chick flick/ Women’s picture if...

Audrey Hepburn is in it.

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CARMEN JONES (1954)

Musicals Month (Film 12 of 12)

I really didn’t know what to expect from Carmen Jones. A more modern retelling of Bizet’s Carmen done with an all-black cast? But after viewing, I can see why the movie was included on the 1001 list. It has the music, or at least traces of the original operatic music, integrated nicely into updated songs by Oscar Hammerstein. And the cast is very good, especially Dorothy Dandridge as Carmen. It also made me want to listen to the music of the original Carmen, which I suppose is as good an endorsement as any.

Two things I learned from watching eleven musicals in a row
1. I appreciate them more having watched so many in a row, however…
2. Don’t watch them in a row. You may end up suffering from musicals overload. Spread them out next time.

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SONG OF THE SOUTH (1946)

Musicals Month (Film 11 of 12)

I saw this movie in re-relaease at the Fox Theater in Atlanta in the early 70’s. I thought it was wonderful at the time. The main character was this whiny kid, so it was definitely someone I could relate to! The best part of the film is of course, the imaginative stories of Uncle Remus about Brer Rabbit and Brer Fox (whose voice sounds just like Eddie Murphy to me). It was quite a wonder to see the cartoon characters and live action actors interact.

Seeing it today, the story is a bit thin. Eh, so what? The wonder is still there for me, because the Uncle Remus stories are still imaginative and fun. Too bad the film isn’t in wider distribution.

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GENTLEMEN PREFER BLONDES (1953)

Musicals Month (Film 9 of 11)

Marilyn Monroe’s other entries on the 1001 list (Her small but memorable role in The Asphalt Jungle and the classic Some Like it Hot) are both films I like more than this one . But Gentlemen Prefer Blondes is probably the film that shows Marilyn (as Lorelei Lee) at her most Monroeviest. I'm talking about the ditz who is a bit of a golddigger, but still comes equipped with a healthy supply of gold already in her heart. And we also get to see her perform “Diamonds Are a Girls Best Friend,” probably her most famous screen moment. My favorite line in the movie comes from veteran character actor Charles Coburn, who replies to Lorelei’s line that she was expecting someone older when she meets him with, “Older than what?”

P. S. Jane Russell isn’t exactly chopped liver either, and does a pretty good Marilyn impersonation during the courtroom scene.

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SEVEN BRIDES FOR SEVEN BROTHERS (1954)

Musicals month (Film 8 of 11)

The best way to find a wife, as we all know, is to throw a sack over their head and abduct them, especially when seven brothers desperately need wives. Well, there is a suspension of disbelief when it comes to musicals that you have to accept, because it is usually more about the songs and how they fit into the plot. Of course, this one may be more memorable for its dance numbers. And it also takes an even greater suspension of disbelief to accept these rustic mountain folk dancing so gracefully and so damn well. I do think the dance numbers are the highlight of the picture. My favorite is the number where the brothers are chopping wood, dancing, twirling with axes and pining about how they’d rather be sleeping with women than with sheep.

Wunderkind: Stanley Donen directed (or co-directed) three entries on the 1001 list: On the Town, Singin’ in the Rain and Seven Brides for Seven Brothers, all well before his thirtieth birthday!

The seven brothers include future Jet from West Side Story, Russ Tamblyn.

The seven brides include: Future Catwoman Julie Newmar (Newmeyer) and future dice roller from the 70’s Alex Trebek game show High Rollers, Ms. Ruta Lee.

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