THE STRANGER (1946)

I really enjoyed posting two straight weeks of blogs on Hollywood films from the 1930's, and so for the 1940's I'm going to up the ante and try for three weeks worth. Looking at titles I have left from the 1001 Movies You Must See Before You Die book, this shouldn't be a problem. As before, I’ll list my expectations for each film going in and state whether these expectations are reached or not. And I’ll once again give each film my Elisha Cook Jr. supporting player award because there was such a bounty of great supporting performers from this period and I just like doing it.

The Stranger (1946)

Expectations: Another in the it’s been years since I’ve seen it category. Orson Welles stars and directs. Curious to see how it stands up.

After Viewing: The opening sequences of this film do have the stylish touches associated with Mr. Welles. The general plot involves Edward G. Robinson as Nazi hunter tracking down Nazi war criminal Franz Kindler (who Welles plays without an ounce of redeeming qualities) hiding as a teacher in a small town America. You gotta like that.

I thought that since this film has an important climactic scene at a clock tower, it might make a good double feature with Back to the Future…or not.

And the Elisha Cook Jr. supporting player award goes to…Billy House as the middle aged, balding, paunchy proprietor/pharmacist of the local general store whose biggest thrill is finding someone to play checkers with him for a quarter a game and snooping into other people’s business. I honestly thought I had seen Mr. House in other movies, but as I looked at his IMDB resume, it seems I was mistaken. But he brings some well-needed humor to a film with grim subject matter.

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THE KILLERS (1946)

I really enjoyed posting two straight weeks of blogs on Hollywood films from the 1930's, and so for the 1940's I'm going to up the ante and try for three weeks worth. Looking at titles I have left from the 1001 Movies You Must See Before You Die book, this shouldn't be a problem. As before, I’ll list my expectations for each film going in and state whether these expectations are reached or not. And I’ll once again give each film my Elisha Cook Jr. supporting player award because there was such a bounty of great supporting performers from this period and I just like doing it.

The Killers (1946)
Expectations: Knew it was a well thought of film noir with Burt Lancaster.

After Viewing: “Ernest Hemingway’s The Killers” has very little to do with the Hemingway story past the first couple of scenes. Lancaster's character "The Swede" is killed in the first few minutes of the film and the story is told in flashback through the eyes of an insurance investigator researching a claim (a little far-fetched in the extreme it goes to, I admit). The flashback aspect makes me think of this as kind of a film-noir Citizen Kane, well not quite, but I do really like the story-telling technique. And you got to like Lancaster’s evil cabal of crooks for their big heist(Albert Dekker, Jeff Corey and Jack “why wasn’t he a bigger star?” Lambert). And let’s not forget the gorgeous femme fatale (Ava Gardner). There are other plot holes if you really think about it. Why do the killers announce in the opening scene they are there to kill their vicitm and risk someone stopping them or their prey getting away? Why don’t they just play it cool until they find him? * I think the answer is that it makes for a great opening scene that sets the mood for the whole piece.

One reason to watch Don Siegel’s 1964 version of The Killers (other than Lee “my favorite action movie actor of all time** Marvin) is Ronald Reagan.

If you don’t like Reagan, you get to see him play a bad guy that slaps Angie Dickinson to the ground and gets punched out by John Cassavettes.

If you do like Reagan, he slaps Angie to the ground and gets punched out most convincingly.

*This was the question that the director of the 1964 Killers, Don Siegel asked. He didn’t use this scene at all in his version.

**Actually tied with Steve McQueen on my imaginary list. Or maybe Clint Eastwood? But let’s not forget Kirk Douglas…Forget it-this is why my list is imaginary.


And the Elisha Cook Jr. supporting player award goes to...William Conrad. (And I’m talking about the 1946 version here.) Despite the fine supporting players that I mentioned above, I want to single out Conrad here. During this time period the short, stout, balding actor mostly played thugs or hired guns (like he does in The Killers). Who would have thought that this same short, stout, balding actor would become a TV star twenty-five years later as a detective in Cannon and later in Jake and the Fatman? What are the odds that someone with this type of resume and physical appearance would get his own show today? Answer: No chance. Here’s to you, Mr. Conrad. We need more like you and less pretty boys. (Stepping down off my soapbox.)

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TREASURE OF THE SIERRA MADRE (1948)

I really enjoyed posting two straight weeks of blogs on Hollywood films from the 1930's, and so for the 1940's I'm going to up the ante and try for three weeks worth. Looking at titles I have left from the 1001 Movies You Must See Before You Die book, this shouldn't be a problem. As before, I’ll list my expectations for each film going in and state whether these expectations are reached or not. And I’ll once again give each film my Elisha Cook Jr. supporting player award because there was such a bounty of great supporting performers from this period and I just like doing it.

The Treasure of the Sierra Madre (1948)

Expectations: It’s been so long since I’ve seen this. I remember liking it and who among us hasn’t at one time another repeated the line, “I don’t have to show you any stinking badges.”

After Viewing: I try not to state on this blog that a movie is great. I may say how much I liked a movie. You can’t argue with that. But who am I to determine the aesthetic merits of a particular work of art or film? That being said, I’m willing to go out on a limb on this one.

The Treasure of Sierra Madre is a great film.

I can't even explain why it's great, so I'm not going to try.

However, I can safely say that Humphrey Bogart and Walter and John Huston were great.

And I still don’t know who the elusive author B Traven was.

And I still don’t have to show you no stinkin’ badges.

Just watch if you haven't seen it.

And the Elisha Cook Jr. supporting player award goes to…Alfonso Bedoya. I realize I should give this to Walter Huston. He deservedly won an Academy Award for the part of the old prospector. The memorable scene where he dances a jig may only be topped by his hysterical laugh near the end of the film. Yes, Walter Huston was great. But let’s give some love to Alfonso Bedoya as the Mexican bandit Gold Hat and remember to repeat Senor Bedoya’s line at every opportunity, “Badges? We ain’t got no badges. We don’t need no badges. I DON’T HAVE TO SHOW YOU NO STINKIN' BADGES!" You’ll be glad you did.

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THE BIG SLEEP (1946)

I really enjoyed posting two straight weeks of blogs on Hollywood films from the 1930's, and so for the 1940's I'm going to up the ante and try for three weeks worth. Looking at titles I have left from the 1001 Movies You Must See Before You Die book, this shouldn't be a problem. As before, I’ll list my expectations for each film going in and state whether these expectations are reached or not. And I’ll once again give each film my Elisha Cook Jr. supporting player award because there was such a bounty of great supporting performers from this period and I just like doing it.

The Big Sleep (1946)

Expectations: I’ve read the Raymond Chandler book. I’ve seen the film, but it has been many years.

After Viewing: Following shamus Humphrey Bogart as Phillip Marlowe around is not for the faint of heart if keeping up with every aspect of the plot is important to you. I say just try to keep up and don’t worry about unresolved plot points. Did she know that guy? Who killed the chauffer? What was their relationship? I don't really know, so just light up a smoke and pour yourself a brandy (even if you have to indulge your vices by proxy) and enjoy the ride.

And the Elisha Cook Jr. supporting player award goes to… (ta da!) Elisha Cook Jr.! I feel guilty about not giving Elisha Cook Jr. his own award for The Maltese Falcon, so I’ll give it to him here. Elisha doesn’t show up to the second half of the film, and I don’t think I’m giving any plot point away to say he doesn’t make it to the end. In fact, I’m not sure if Elisha Cook Jr. made it to the end of any film he was in. I think it would be interesting to find out the percentage of his screen appearances he survives until the end credits, but I’ll leave that research for someone else.

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TO HAVE AND HAVE NOT (1944)

I really enjoyed posting two straight weeks of blogs on Hollywood films from the 1930's, and so for the 1940's I'm going to up the ante and try for three weeks worth. Looking at titles I have left from the 1001 Movies You Must See Before You Die book, this shouldn't be a problem. As before, I’ll list my expectations for each film going in and state whether these expectations are reached or not. And I’ll once again give each film my Elisha Cook Jr. supporting player award because there was such a bounty of great supporting performers from this period and I just like doing it.

To Have and Have Not (1944)

Expectations: I know I've had several viewings of the scene where Lauren Bacall says “You know how to whistle don’t you, Steve? You just put your lips together and blow.”

After Viewing: I honestly thought I had seen this one before, but it quickly became evident that I had not. I guess I had just seen clips of the “you know how to whistle” scene enough times to make me think I had. The movie has a lot going for it including Lauren Bacall’s screen debut, William Faulkner's screenplay, Ernest Hemingway's original story and ace director Howard Hawks. Overall, the movie feels a little like warmed over Casablanca to me: exotic locations, Bacall taking Ingrid’s Bergman’s romantic love interest role, quirky supporting characters, the neutral Humphrey Bogart eventually falling down on the right side of the fight, there’s even a piano player,-Hoagy Carmichael, who performs the memorable song “Hong Kong Blues,” Not that those similarities are necessarily a bad thing.

But the main draw here is Humphrey Bogart. Woody Allen could have easily gotten his inspiration for Play It Again, Sam from this movie. Who wouldn’t want to emulate someone that cool and unflappable? I just wish I could call a woman that gets out of line a “screwy dame” without sounding silly.

And the Elisha Cook Jr. supporting player award goes to…Walter Brennan. The Elisha Cook Jr. award probably should be called the Walter Brennan award, as he was probably the definitive supporting actor of this period. He was also one of those fortunate character actors who looked sixty when he was in his thirties and was able to thrive in supporting roles for decades.
“Was you ever bit by a dead bee?”

And no, I will not discuss the “naked pictures of Walter Brennan” scene from Good Morning, Vietnam.

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THE MALTESE FALCON (1941)

I really enjoyed posting two straight weeks of blogs on Hollywood films from the 1930's, and so for the 1940's I'm going to up the ante and try for three weeks worth. Looking at titles I have left from the 1001 Movies You Must See Before You Die book, this shouldn't be a problem. As before, I’ll list my expectations for each film going in and state whether these expectations are reached or not. And I’ll once again give each film my Elisha Cook Jr. supporting player award because there was such a bounty of great supporting performers from this period and I just like doing it.

The Maltese Falcon (1941)

Expectations: This one’s easy. This will be about the fourth time I’ve seen this John Huston/Humphrey Bogart/Dashiell Hammett film and like it better each time.

After Viewing: Even though the appeal of Dasheill Hammett’s story is figuring out what the crooks are up to, this film is so much fun to watch, you really don’t mind having been through this movie before.

And the Elisha Cook Jr. supporting player award goes to…Syndney Greenstreet. I feel a little bad about not giving this award to Elisha Cook Jr., since I’ve named this award after him. And I do give credit for the fortyish Mr. Cook playing a twenty-year old gunsel. But this film is top heavy with great supporting players. Barton Maclane or Ward Bond-good, but not good enough for the award here. How about the stunning ten second cameo from director John Huston’s dad Walter? Impressive but not good enough. Mary Astor as the femme fatale? I like her character more with each viewing, but not good enough. Okay, Peter Lorre as the effeminate crook Joel Cairo, perhaps? In almost any other film it would be Lorre. But I’ve got to go with Greenstreet as Casper “The Fat Man” Gutman. Rephrensible, but somewhat charming in his own way-and a perfect counterpoint to Bogart.

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THE GHOST AND MRS. MUIR (1947)

I really enjoyed posting two straight weeks of blogs on Hollywood films from the 1930's, and so for the 1940's I'm going to up the ante and try for three weeks worth. Looking at titles I have left from the 1001 Movies You Must See Before You Die book, this shouldn't be a problem. As before, I’ll list my expectations for each film going in and state whether these expectations are reached or not. And I’ll once again give each film my Elisha Cook Jr. supporting player award because there was such a bounty of great supporting performers from this period and I just like doing it.

The Ghost and Mrs. Muir (1947)
Expectations: I’m actually surprised this is an entry in the book. When I think of The Ghost and Mrs. Muir, I only have a vague memory of the late 1960’s television series with Hope Lange.

After Viewing: This film about a beautiful widow haunted (but in a totally not-scary way) by an earthy (but deceased) sea captain actually has a lot of charm and wit.

Curiosity: Movie fans bemoan and ridicule the strict Breen Code that censored Hollywood films tremendously from 1934 through the early 50's. Yet, despite these limitations, there are plenty of good films from this era. You wouldn't think this would be so. The commentator to this film states (and I'm beginning to agree with) that screenwriters and directors from this era had to learn to be more subtle in their writing and learned to work this limitation for dramatic advantage. The salty sea dog's cursing with the word "BLAST!" gets the point across well enough just as Mrs. Muir's response by angrily typing out a four-letter word (we don't know what the word is, but we get the idea)when she's angry.

And the Elisha Cook Jr. supporting player award goes to…George Sanders. I most recently saw Sanders as the oily boyfriend in Rebecca. He plays a similar part here. I can’t really see him playing anything but a cad. (Though he did later play Mr. Freeze on an episode of Batman). I should also give a nod to screenwriter Phillip Dunne (How Green Was My Valley) as well.

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