1964--My Fair Lady, George Cukor

 

1964--My Fair Lady—George Cukor

Nominated: Becket, Dr. Strangelove or: How I learned to stop worrying and love the bomb, Mary Poppins, Zorba the Greek

Should have won: Mary Poppins

Be sure to see: A Shot in the Dark, At Midnight I'll Take Your Soul, Spider Baby or the Maddest Story Ever Told, 2000 Maniacs

“There even are places where English completely disappears. In America they haven't used it for years”--Professor Henry Higgins

     The birth of this movie was long before Audrey Hepburn brought Eliza Doolittle to the screen. George Bernard Shaw wrote the play Pygmalion in 1912. In 1956, it became a stage play and, under a new title My Fair Lady, was the longest run of any musical theater production in history.  This version of the film was originally supposed to have Julie Andrews in the Doolittle role, Peter O'Toole or Cary Grant as Henry Higgins, and James Cagney as Eliza's father. I think I could see some of those roles panning out but not James Cagney. I know it isn't right to typecast someone but I'll forever see Cagney as the ruthless gangster in White Heat. Instead of singing “Just a little bit” he might fill Higgins with lead.

     It is London (as if the annoying accents didn't give that away) and Professor Henry Higgins (or is it Iggins?) and Colonel Hugh Pickering make a bet on whether Higgins could take a slummy flower-selling woman and teach her phonetics so that she could be passed off as a proper speaking aristocrat. This woman is Eliza Doolittle and painstaking lessons go underway as Higgins attempts to get Eliza to pronounce words properly. Lessons to get her to pronounce her “A's” (The rain in Spain stays mainly in the plain) and “H's” (In Hartford, Hereford, and Hampshire, hurricanes hardly happen) correctly. When she finally grasps the long “A” concept I was relieved for two reasons. One, it sets off a song that I kind of liked and also so I didn't have to listen to her pronounce “A” incorrectly anymore. It was murder listening to her say “The rine in Spine sties minely in the pline.” I think the most difficult thing for me to accept while watching this movie is the British accent is so annoying to my ears that even when they speak correctly it is still sounds bad. But for what it is worth, Pickering and Higgins didn't exaggerate the accents, particularly the way Eliza's father does in the movie. Or watch the 1968 Oscar winner Oliver! Talk about annoying accents. As for scenes of a speech coach teaching dictation to a woman who can't grasp it, see the hilarious scene in Singin' in the Rain when a diction coach is trying to get Lina Lamont to pronounce “And I can't stand him” to no avail.

     Roger Ebert has said that for a movie to be great it should have three great scenes and no bad ones. In the case of My Fair Lady it exceeds this total of great scenes but it does have one bad one as far as I am concerned. Eliza's father has a musical number where he sings “Just a little bit” and it goes on forever, has silly dance steps that don't fit the complexity of most musical numbers, and it got old fast. All right, so this movie has a bad scene for me but it didn't really drag the movie down. And one other scene that had me scratching my head is after Eliza is prim and she goes to a horse race and attracts a young man who is taken aback by her beauty and charm. For days he stays outside her house just in case she invites him in. I suppose it should be taken that he would go home and then return to the house and ask the housekeeper if he can see her from time to time, but the movie gives me the impression he just camped out there.

     I liked My Fair Lady. The story is familiar, borrowed by films like She's All That or perhaps Pretty Woman. Some of the music was catchy and the cast is great. I kind of liked, but bet most women will despise, the song “Why can't a woman be more like a man?” The lyrics are ridiculously offensive but I wonder if that was the joke or, if because of the time, they were legit. It is a good movie but it is hard to accept it beat Mary Poppins, a superior movie and, incidentally, a superior musical. 

 

1963--Tom Jones, Tony Richardson

 

1963--Tom Jones—Tony Richardson

Nominated: America America, Cleopatra, How the West was Won, Lilies of the Field

Should have won: The Great Escape

Be Sure to See: The Birds, It's a Mad Mad Mad Mad World, The Pink Panther

“The word 'religion' is as vague and uncertain as any in the English language.”--Squire

     The box the copy of Tom Jones came in when I checked it out had a quote from Newsweek saying it is the best comedy ever made. Clearly whoever said this had never seen, well, any other movie ever made. I didn't think any movie could overtake Crash as the worst best picture winner ever (though Midnight Cowboy came close) but alas I might have found it. Ultimately, I believe I will place it third to last because at least it had a solid costume design and two good sword fights. Crash winning made me want to bust in the Oscar ceremony when it was announced winner and shoot up the place.

    Tom Jones, unfortunately, is not about the charismatic singer of “What's new pussycat?” and “It's not unusual.” That might have made for an interesting film. This Tom Jones begins like an old silent movie with just an organ playing over title cards. In old England a woman has a bastard baby (I've always wanted to legitimately say that) and she is banished from shame and degradation by the Squire. He vows to raise the child as his own and names him Tom Jones. Years later, Tom turns out to be quite the ladies man though he only really wants Sophie.

     I guess that's about it for the story. Obviously there is more but why bother? Some of the scenes worked okay, others were puzzling. As I mentioned the sword fights were pretty good, but Tom was no Errol Flynn or Inigo Montoya. There were some out of place comic scenes like when Sophie’s uncle kept falling over hay bundles or when Tom gives an extremely accurate impression of Moe Howard when he is injured during a deer hunt. I don't think it was intentional though.

     The sound was muffled and the picture was grainy. I don't believe it was the disk and I don't think the film has dated. I'm guessing that is how it was shot. Some of the color pallet and the editing looks like it was done by a B+ student in film school; sloppy but succeeded in pulling if off.

     Tom looks at the camera a few times and one time, after he discovers some money missing, was a pretty funny moment I suppose. And when he meets his long lost father who tries to rob him, the payoff of that scene was curiously amusing. There is also a scene where he rescues a woman (the first of the two sword fights) and they go to eat. The cameras linger on them eating their food with no dialogue. We just watch them eat their meals for several minutes. It was a curious scene. Not good or funny or even important but it kept my attention. There is a footsie under the table scene that reminded me of Booty Call. Who would have thought in a blog about best picture winners you would read the title Booty Call?

    I would say watch this movie only if you are a completest. It is among the worst movies to win best picture. But from what I've read other people say, at the time it came out it was funny and considered pretty sexy. Now I like old movies a lot. To the point where I don't typically say “Well at the time...” I just say it was good then and it is good now. Tom Jones is an exception. Let's just say I don't take time frames into consideration for whether something is good or bad, I consider old movies fine as they are. But it's not unusual for me to find an exception like I did with Tom Jones. Sorry, I just couldn't resist to work that in somehow. Skip this movie, it is a ridiculous mess...for the most part.

 

1962--Lawrence of Arabia, David Lean

 

1962--Lawrence of Arabia—David Lean

Nominated: The Longest Day, The Music Man, Mutiny on the Bounty, To Kill a Mockingbird

Should have won: Lawrence of Arabia

Be sure to see: Cape Fear, Carnival of Souls, How the West was Won, The Manchurian Candidate

“He likes your lemonade”--T.E. Lawrence

     There are an abundant of great movies out there. And there are a good deal of fantastic ones. But there are a choice few that are monumental masterpieces. Lawrence of Arabia is right there with them. I was lucky enough to see this movie on the big screen. It is a double edged sword though. It was miraculous to see it in such a setting but now it has spoiled me. There is no way I could ever watch it on television. This film should not be confined to such limitations.

    It is World War I and British lieutenant T.E. Lawrence is to act as an observer to the Arab army. Lawrence stays to help keep the prince on the side of the Allies and against the Turks.

     One of the handful of movies I've seen in the theater that had intermissions for length, Lawrence of Arabia is so good I could have sat through another one. Actor Omar Sharif's description of the movie doesn't make it sound too appealing when he say it is “Four hours long, with no stars, and no women, and no love story, and not much action either.” Doesn't hold a good selling point for you I'm guessing. But the film was a huge success, snagging seven Oscars, though Peter O'Toole was not one of the acceptors. For me, Sharif's shortcomings from the movie didn't hinder it at all. The movie is a work of art and I was mesmerized the entire time.

     Curiously, this is one of the few movies in history where the lead actor dies in the first scene. 1982's winner follows this format and does the same thing. Don't worry, I don't think I spoiled anything. I mean, it was right off the bat so Lawrence still has a story to tell.

     It is a desert movie, obviously, and I wondered while seeing all the unscathed sand around the action how the scenes were shot. On multiple takes did they have to relocate? Did someone take the time to smooth out all the footprints?

     I’m not sure if everyone could appreciate all this movie has to offer. It might even be boring to some but if it is I imagine you could still appreciate its beauty. If you are a fan of film, Lawrence of Arabia is one that can not be missed. But if all possible try to see it on the largest screen possible. It is one of the most visually stunning movies ever made and there is no need for elaborate computer effects to produce that. I'd put it with Gone With the Wind as the best Oscar winners in history.

 

1961--West Side Story, Jerome Robbins and Robert Wise

1961--West Side Story, Jerome Robbins and Robert Wise
Nominated: Fanny, The Guns of Navarone, The Hustler, Judgement at Nuremberg
Should have won: West Side Story
Be sure to see: Curse of the Werewolf, A Raisin in the Sun
"Didn't you see he is one of them?"--Bernardo
"No, I saw only he."--Maria

    A lot of positive things can be said about West Side Story from the choreography of the dances to the lyrics of the songs to the comparisons to “Romeo and Juliet.” I think the most impressive aspect was the editing. I've often wondered how tedious and frustrating it would be to edit a film. To take hours of shots and discard some while salvaging others, putting them together to make a cohesive idea. This movie had to have been a chore, perhaps even more than other musicals, because of how much kinetic energy went into the dance numbers. The cuts matched the beats to perfection and even in the non-music scenes I noticed very few continuity errors, and every movie—no matter how great—has them; they are unavoidable. Thomas Stanford edited West Side Story and Richard Carruth edited the music. Along with Jerome Robbins' choreography, every movement fit the timing of the cuts to perfection. And I can stray from the music numbers for examples. When someone throws an object in the air in the soda shop, the camera angle changes. When the change occurs, we see the object in its decent. A lesser movie would have, perhaps, caught the object on its way up again or after the fact. Film is twenty four frames per second and you can tell that piece was scissored not an instant long or short. And the best music scene, “Tonight, tonight” (no not the Mello-Kings' 1957 Doo Wop song “Tonite, Tonite”) should be shown in film schools during the lesson on editing. The scene cuts from one gang to the other; from Tony to Maria to the police. Back to the gangs. Each cut fitting perfectly to the beat. Never dragging or rushing in the least bit.

    The opening sequence is brilliant example of dance choreography. It sets the tone, shows the two gangs and how they protect their turf but do it with no dialogue and only dance routines. For the most part, the actors' singing was shaky at best. In fact Richard Beymer and Natalie Wood's voices were dubbed. If I had any complaints about this film it is the decision to dub Marni Nixon for Natalie Wood. I noticed how beautiful Maria's singing was and when I found out that it wasn't her I was kind of bummed. Then when I watched outtakes of Wood actually singing, I thought, hey she was not too bad. Though perhaps not as good as Nixon.

    The plot is a modernized musical retelling of Romeo and Juliet, though the end isn't exactly the same. Simply, The white Jets and the Puerto Rican Sharks are feuding gang members in the city. A member (or former member to be precise) of the Jets and the sister of a member of the Sharks fall in love. There are small fights, big rumbles, tension at a local dance, and a minor (potentially major) attack on one of the Shark girls by the Jets. But to me his movie was about moments, not the entire picture. I liked how the characters were blurred out except for Tony and Maria when they first see each other. I loved how Robbins was able to blend contemporary dances with classical ballet and you don't really notice it. “Cool” is a pretty neat number with a lot going on but the Shark women performing “America” with its intelligent lyrics is a work of art.

     From a popcorn movie fan's standpoint, West Side Story is a fantastic movie. But from a technical stand with the choreography, direction, and editing, it is a miracle. 

     On a side note for you hockey fans: If the Winnipeg Jets play the San Jose Sharks, is Officer Krupke head of security? 

1960--The Apartment, Billy Wilder

1960--The Apartment, Billy Wilder

Nominated: The Alamo, Elmer Gantry, Sons and Lovers, The Sundowners

Should have won: Psycho

Be sure to see: Peeping Tom, Spartacus, The Time Machine

“I like it that way, it makes me look the way I feel.”--Fran Kubelik about her broken mirror

     The Apartment is a fun movie because it pulls off both comedy and drama very well; the genres blend together with no stilted segue from one to the other.

    

    C.C. Baxter works in an insurance office with 32,000 other employees. To get in good with his colleagues, he will oftentimes work late. He doesn't go home; he can't go home. He lends his apartment to others from the office to have trysts. This racket goes on without too many hitches (despite his annoyed doctor neighbor) until the pretty elevator girl Fran Kubelik comes into play. Add in his boss who, unknown to Baxter, is also involved with Fran, a tangled web becomes weaved in his apartment.

     The Apartment is an adulterers comedy which didn't sit well with many critics of its time. But the world was changing and sex was becoming more mainstream. Remember this was seven years after the publication of Playboy Magazine and it was becoming slowly realized that sex wasn't just for marriage anymore. Also, it threw some people for a loop that this comedy would have a suicide attempt halfway through. But The Apartment works for numerous reasons. Jack Lemmon is perfectly cast in what many consider his best role as the well-intentioned Baxter. I must admit I sort of fell in love with Shirley MacLaine as the elevator girl. When I first saw her on the elevator I didn't recognize her and didn’t know she would be a major player and was hoping I'd get to see more of her. If I ever had to list an actress from a certain role (as opposed to in general, ie Elizabeth Taylor who was gorgeous throughout her career) who I would say I had a little crush on, I would point to MacLaine in The Apartment.

     The late night rendezvous by Baxter's friends, the annoyed neighbor, etc. are a few of the many subplots in the film but an interesting one involves the boss of Baxter's company, Mr. Sheldrack. Sheldrack is played by Fred McMurray who you might remember from the fantastic Double Indemnity of 1944. Sheldrack, looking like he could be Lon Chaney Jr's brother, holds the key to The Apartment, I think--pun fully intended here. Because he is the boss, Baxter really can't turn down his proposal to take the apartment for the night. What we find out (and Baxter eventually finds out) is his apartment date is none other than Fran Kubelik, despite the fact he is a married man with a family. It is after this encounter the suicide attempt takes place. Baxter returns from a night of drinking with a woman he picks up in a bar alongside an intoxicated Santa Clause played by Hal Smith who fans of The Andy Griffith Show will recognize as Otis Campbell. He returns to his apartment with this woman to find Fran knocked out from taking too many of Baxter's sleeping pills.

     The comedy turns serious and the doctor neighbor becomes involved. As does Fran's concerned brother-in-law in a scene where he punches Baxter across the face twice, the second punch really connecting with Jack Lemmon. As much as I hate remakes, I could see this one being updated. There was a foreign movie called The Apartment released in 1996 but it wasn't a remake, just a similar title.

     I liked The Apartment a lot. It was very involving. I cared about every character in it. It was funny and dramatic and Lemmon's performance is one of the best I've seen. But to think Psycho didn't even get nominated for best picture is a shame. It does make me wonder though. What if Baxter's apartment key had gotten mixed up with The Bates Motel's key to cabin one? Fran's post overdose shower scene would be a little more interesting. 

1959--Ben-Hur, William Wyler

 1959--Ben-Hur, William Wyler

Nominated: Anatomy of a Murder, The Diary of Anne Frank, The Nun's Story, Room at the Top

Should have won: Ben-Hur

Be sure to see:A Bucket of Blood, The Killer Shrews, Imitation of Life, North by Northwest, Plan 9 From Outer Space

“I tell you every man of Judea is unclean and will stay unclean until we have scoured off our bodies the crust and filth of being at the mercy of tyranny. No other life is possible except to wash this land clean.”--Judah Ben-Hur

“One God, that I can understand. But one wife? That is not civilized. It is not generous.”--Sheik Ilderim

     The story goes back a long time. It has quite a history even before reaching the screen in 1959. According to the featurette, in 1880, General Lou Wallace wrote a book called Ben-Hur, setting it in the Bible, though his story is not actually in the Bible. The story went on to be a smash hit on the stage, (interestingly, a light was shown to depict Christ, not an actor) earning $10 million. In 1907, it was made into a movie without permission from the deceased author's family, so the producers were sued and the family won. It is said to be the first case of copyright infringement laws on the books, at least that is what the special features told me. It was remade in 1925, this time costing $4 million, an astronomical amount for the time, and some disastrous accidents occurred on the set. In the famous scene where the boat catches fire, the wind made the smoke increase at an alarming rate so crew and actors leaped overboard into the water.  Many of the people were extras and filled out the paperwork that they could swim simply to get the job. They lied and, consequently, some drown.
 

     Fast forward to the 1950s. Movies were losing their audience to television and to try to catch up the idea, another telling of Wallace's story was to hit the screen. This one struck gold. Even this one had some interesting behind the scenes tidbits. Charlton Heston was nowhere near the first choice for the role, Paul Newman or Marlon Brando were preferred. The long and expensive shoot caused producer Sam Zimbalist to die of a stroke.

  
      As for the film itself, it is one of the most grand experiences I've seen on the screen. The massive sets (the largest ever constructed) and amount of costumes were incredible. And the $15 million budget was the most expensive up to that time. The chariot race is the largest single set ever constructed, and is every bit as great as it is reputed to be.

  
     The story: The year is 26 A.D. and Judah Ben-Hur and his sister are watching the governor pass by in the streets below. His sister accidentally knocks a large stone off the roof, striking the governor. Judah takes the blame but he, his sister, and his mother are all arrested. He is taken to a ship where, for three years, he is to row with the other men in a grueling sequence. It is the climax of this famous scene where the fire occurred in the 1925 version. As for this one, as the men row faster and faster we sweat with them. When some of the men fall out from fatigue, we have to catch our breaths too.

  
      After the boat fire, Judah finds himself no longer a slave and begins racing a chariot. How he came to such fortune I'll let you find out, though I will say it comes by result of a scene that reminds me of Butch's decision to go back downstairs in Pulp Fiction. I'll leave it at that. In one of the most thrilling action sequences of all time, the nine minute chariot race is the heart of the film. I watched it twice. The horses move fast, the people not fast enough. People are thrown off and trampled and the crowd cheers. I was pretty giddy myself. Rumors spread that someone was actually killed but most think it is simply a story. Dummies were placed at precise locations to be trampled, and the horse/chariot pileup shot wasn't planned either; they really smashed into each other. But there was one casualty in the race though it was not a person but a camera. One of the few (and very expensive) 65mm cameras in the world was taken out by a team of horses.

  
     The climax of the film is very strong though the action had died down a bit. Judah finds his mother and sister living in the land of the lepers in a very heartbreaking scene. Then came the debated crucifixion scene, this time with an actor portraying Christ, not a shining light.

    
     Ben-Hur is a fantastic movie and is certainly one of the most visually stimulating you'll ever see. I'd still knock it to about a quarter of the way down the list of the winners if I were to rank them, though I'm not sure why. Maybe because individual scenes and technical aspects stand out more than the movie as a whole. But it certainly comes recommended. I would rank it as my second favorite Charlton Heston film. Everyone should see it once.

1958--Gigi, Vincente Minnelli

1958--Gigi, Vincente Minnelli
Nominated: Auntie Mame, Cat on a Hot Tin Roof, The Defiant Ones, Separate Tables
Should Have Won: Cat on a Hot Tin Roof
Be Sure to See: The Fly, Touch of Evil, Vertigo
"The only people who make love all the time are liars."--Gaston Lachaille

     The only good things to be said about Gigi is the sets were elaborate, the costumes were great and Leslie Caron is beautiful. Beyond that, Gigi is one of the worst movies to win best picture. Breaking the fourth wall, we are told by, um, I don't remember who he was that it is 1900 Paris and young Gigi (who is 15 in the novel, I assume she is not much older than that in the film) forms a friendship with Gaston, the wealthy man in town who offers her lavish things, though she longs for things money can't buy. Her grandmother educates her to be a lady and wants the pair to be together (even though that is a little pervy). 

     There are a few songs in the movie but none really stand out. There is one where Gaston sings by a pond with swans in it and there is a little fence in the pond that is completely unnecessary to the plot. The fence's soul purpose is as a prop to keep the swans in the foreground for us to see instead of swimming deeper into the pond.  This is obvious as the swans keep trying to swim through it to get to the other side. Just something I noticed and I must say it was the best part of this horrible movie for me. Oh, yeah, I didn’t mention the song. It is about how Gigi is just a child and a brat but then the song turns sweet...then sour again...then sweet again. Afterward, of course, he ends up proposing. 

     Another song in this movie is “Thank Heaven for Little Girls” which is also, I might add, in one of the worst movies ever made, My Father The Hero. I'm not sure how many movies have featured this song but it is 0-2 in the ones I've seen. The movie is terrible but if you must see it, look for the sets and the costumes; they are nice.

     

     Leslie Caron must have been a hot ticket for a time landing roles in to Oscar winning movies in the decade, though neither were particularly any good. Fans of Johnny Depp might remember her as Madame Audel in Chocolat, another best picture nominee that I didn't see. I like Johnny Depp and I can dig a chick flick if it is good, but Leslie Caron hasn't delivered for me so far so I think I'll pass. And you should pass on Gigi unless you are determined to see it.

1957--The Bridge on the River Kwai, David Lean

1957--The Bridge on the River Kwai, David Lean

  

Nominated: Peyton Place, Sayanora 12 Angry Men, Witness for the Prosecution
Should have won: 12 Angry Men
Be sure to see: Jailhouse Rock, Old Yeller, What's Opera Doc?, The Wrong Man
"You not speak to me of rules. This is war, not a game of cricket!"--Col. Saito

    British POW are ordered by Colonel Saito to build a bridge across the Kwai River (er, I mean River Kwai...?) which will be used to transport Japanese munitions. Colonel Nicholson refuses to work on the bridge alongside his men because he says an officer should never do manual labor. He is put in a hot box. Eventually Nicholson agrees and he and his men build the bridge. In the meantime, American intelligence officers Shears and Warden (well, is Warden an officer? There is an awkward side story that took a lot of screen time diving into his status. How important was it really?) intend to blow up the bridge to keep the supplies from being transported.

     Based on the novel by Pierre Boulle who also wrote Planet of the Apes, The Bridge on the River Kwai is one of those movies that are both exciting and boring at the same time. Not too much happens through most of it yet I was still intrigued by the progress of the building of the bridge. The most interesting aspect of the movie was the bickering of the two colonels.

     The whole movie is a buildup to the final few minutes. Waiting for the train; waiting for the explosives to be set. Watching Nicholson's suspicions rise. The odd thing to me was I was so into Nicholson's character that I, too, wanted the bridge to be built even though I would essentially be rooting for the enemy.

     The movie is very very good but drags. It was pretty interesting but I still wanted to get up and walk around for a while. The good aspects to me were Alec “Obi Wan” Guinness and Sessue Hayakawa in Oscar nominated roles (Guinness won his). I also liked the whole bridge building aspect. The editors of the movie had to been sweating bullets. In a process like building a bridge, if continuity is off the bridge could be smaller or bigger than it was before. The only setback for me was that damn whistling song. Like “Do not forsake me oh my darling” from High Noon or “Everybody's Talking” from the dreadful Midnight Cowboy (it will be coming soon in 1969's winner), “Colonel Bogey March” gets whistled over and over and over and over and...

1956--Around the World in 80 Days, Michael Anderson

1956--Around the World in 80 Days, Michael Anderson
Nominated: Friendly Persuasion, Giant, The King and I, The Ten Commandments
Should Have Won: The Ten Commandments
Be Sure to See: The Bad Seed, Invasion of the Body Snatchers, The Man Who Knew Too Much, The Searchers
"Why hang me for a sheep-stealing son of a tarantula. If you ain't a pack of yellow-bellied milk stops,"--Col. Proctor Stamp

    Jules Verne's classic tale Around the World in 80 Days was adapted into at least three films. One starred martial arts expert Jackie Chan and a previous one featured Pierce Brosnan. Decades before, it had been adapted into a version which won the Academy Award for best picture. It is a shame because the 1956 winner does not deserve to have “Oscar” anywhere near its title. The only interesting thing about this movie is it is that producer Michael Todd coined the term “cameo” and that this movie is the only feature length film he ever produced, and it won. Talk about batting a thousand. 

 

    Well that isn't the only interesting thing about the movie. The first few minutes are also amusing because it opens by showing clips from the classic 1902 film A Trip to the Moon (which comes highly recommended, I might add; it is on youtube. Watch it). After that setup there is a six and a half minute intro about rocket travel and Verne's ideas before the actual movie began. I'm not sure if that is part of the actual movie or added to my disk. I could rent a different copy but, to tell the truth, I don't want to. 

 

    It is September 21, 1872 (75 years to the day before Stephen King was born, I'll have you know), and

Phileas Fogg has made a wager with members of his men's club he can travel around the world in 80 days. The men take that bet and Fogg grabs three shirts, two pairs of pants, and his valet named Passerpartout and they begin their journey. It starts in a balloon but proceeds to trains and boats. Along the way, Princess Aouda (the lovely Shirley MacLaine; in four years she will star in another best picture winner and it is that movie I developed a little crush on her) joins them. They run into a few setbacks and so on, all the while the police are suspicious that he stole 55,000 pounds from a bank. 

 

    Some movies like this can work but most I've seen are a mess. Rat Race, Cannonball Run, and even the quasi-acclaimed It's a Mad Mad Mad Mad World (which I didn't care too much for but is worth a look on a rainy day) are examples of films that, for me, never should have left the starting post. Movies like this are frustrating because I lose my interest. Around the World in 80 Days was frustrating because on top of losing my interest it was long, at just over three hours. There is one span of over four minutes of nothing but Passepartout looking out a train window. Later, when they've reached America, there is an Indian attack and the rubber arrows bounce off of Passepartout like it was a middle school play. 

   Some of it was good. I liked what Fogg does when the steamship was running out of power. And whether or not he wins the bet was handled well, leading the viewer in different directions. The movie runs about a minute too long. though. When the bet is settled it seems like a good place to end. Then the final ten seconds make up one of the lousiest final scenes in movie history. I can only imagine it was debated on during post-production on whether to keep it or scrap it. They arrived at the wrong choice.  And it should also be noted that a man named Reginald Denny played a police inspector. Wasn't he the truck driver who was beaten during the Rodney King riots? Look that up on a rainy day, but skip this mess.

 

1955--Marty, Delbert Mann

 

1955--Marty, Delbert Mann
Nominated: Love is a Many-Splendored Thing, Mr. Roberts, Picnic, The Rose Tattoo
Should Have Won: Night of the Hunter
Be Sure to See: The Blackboard Jungle, Lady and the Tramp, Rebel Without a Cause, To Catch a Thief, The Trouble With Harry
"Two women in the same kitchen make a house-a burn up,"--Aunt Catherine (in an Italian accent)

     In the few roles I've seen Ernest Borgnine play, he always struck me as a tough guy I wouldn't want to tangle with. In Marty I saw a softer side. Marty Poletti lives with his old Italian mother and works as a butcher. He is in his mid-thirties and isn’t married though all of his siblings are. If he ever forgot he was single he sure gets reminded of it often. I saw where the story was going pretty early on and, though I connected with Marty, I didn't really feel emotional about his single-life plight until about fifteen minutes in. He calls a woman for a date and is rejected. This is when my attitude for both Marty and Marty came into focus. I wanted so badly for him to find happiness.

     I've read some takes on the movie's plot and they almost always say it is about Marty finding love but I don't think so. I think it is about him finding acceptance. At a dance, someone offers Marty $5 to take a girl home so he can hook up with an old friend he sees there. In this scene, we see how big Marty's heart is because anyone else would jump at the chance for a free five dollars and to get to talk to a girl. But Marty immediately took to the girl's feelings and declines. What follows is the storyline of Marty meeting the girl anyway and it kicks off with him gazing at her from across the room in the first of two great shots in the movie. 

    The girl is Clara and Marty eventually walks her home. What spawns from this is a somewhat awkward relationship (if you can call it a relationship since the movie takes place over only a couple days). They are both shy and unsure of themselves. They know they like each other but they also know mutual attraction is a new feeling for both of them. Marty realizes he is heavyset and out of touch with a woman's desires and people (including Marty's mother) let him know that Clara is not a beauty queen, even calling her a dog. This was puzzling to me because I found her quite attractive. Lots of times someone's attitude makes them more attractive, it's true, but these people were referring to her looks. She looked okay to me. 

    Their first night together goes fairly well though Marty babbles on the whole evening while Clara listens politely. But Marty's intentions are to be a gentleman and even goes the extra step to walk on the outside of the sidewalk, which is a lost art I still practice. The night is capped off interestingly with Clara meeting Marty's mother in an uncomfortable exchange. It is clear his mother doesn't approve which surprised me. I figured she'd be happy with anyone he brings home, particularly since Clara is Catholic like they are. But Marty isn't deterred by it, as he isn’t deterred by his friends disapproval of her. And after walking her home my other favorite shot occurs when Marty's burst of excitement and joy makes him run into the street yelling for a taxi. 

 

     The end is a little abrupt yet appropriate. I won't spoil it but my first thought was there should have been another scene with a second meeting with the couple, but that is when I figured out what the theme was (at least in my mind). I think it is acceptance. Marty's mother and friends don't accept Clara but Marty does. Is it because he loves her? Is it because they had such a good time on the date? Is it because he is tired of being alone and she is the only chance he has? Maybe in a longer movie or a sequel we would find out. But under the circumstances, all we know is they enjoyed each other and found happiness, despite what others think. The ending made me feel good and Marty and Clara's happiness brought me happiness, and that is good enough for the three of us. 

      Note: Just something I thought of. The movie is called Marty and was made in 1955. As a Back to the Future fan, I couldn't help but notice that Marty McFly travels back to 1955. I guess that was the year of Marty. 

 

1954--On the Waterfront, Elia Kazan



1954--On the Waterfront—Elia Kazan

Nominated: The Caine Mutiny, The Country Girl, Seven Brides for Seven Brothers, Three Coins in a Fountain

Should have won: On the Waterfront

Be sure to see: Creature from the Black Lagoon, Dial M for Murder, Godzilla: King of the Monsters, Rear Window, Seven Samurai
“(My coat is) more full of holes than the Pittsburgh infield.”--Timothy Dugan

 

     Former boxer Terry Malloy takes a job on the waterfront for the same mob union boss who had him take a fall when he used to fight. The mob kills a man and Terry falls in love with Edie, the deceased man's sister. Since Terry and his coworkers are working for the mob, he begins to feels tormented by it.

 

     On the Waterfront is a lot more complex than that synopsis let me be. But I figured I'd just end it there. Many people consider Marlon Brando's performance to be the greatest acting performance of all time. Funny because I think his was the third best in this movie. I enjoyed Karl Malden as Father Barry more and the best thing about it is Lee J. Cobb as the corrupt Johnny Friendly. I've seen Cobb in only four movies and all four are four star films; this, The Exorcist, How the West was Won and 12 Angry Men. In my review of All the King's Men I mentioned the lead reminded me of a cross between Cobb and Rodney Dangerfield, if you need a reminder of what I'm going for. For what it is worth, I say the best acting job is Ben Kingsley as Gandhi.

 

     Much of this movie is about trying to find out the right thing to do. When Terry testifies against Friendly, he gets disrespected and called a pigeon. Terry keeps birds on the roof of his apartment in a coop and a neighborhood kid kills them. “A pigeon for a pigeon!” the kid yells. Upon returning to work, all them men are said they can begin working except Terry.

 

     The fight climax and what the other workers do afterward in rebellion of Friendly is a great moment but most people's favorite is the scene in the cab with Terry and his brother. It could be called the famous “I coulda been a contender” scene. This is the scene Terry really opens up and we can see what he is all about, not just what his persona emits. The dialogue in that scene is poetic and I've read it mostly followed the script. The only thing that wasn't scripted was when Terry said “Charlie” fourteen times. Another improvised scene of note is the glove scene. As Terry and Edie are taking a walk, Eva Marie Saint (meaning the actress as opposed to the character) accidentally drops her glove. Brando picks it up and instead of handing it back, starts to play with it and put it on. Not that big a deal, but one of those curious things that are unscripted that find themselves in the final print of movies, like the “How do I look” “You look great” scene in Kramer vs Kramer which was just the actress asking the actor how she looked before the scene started rolling, unknowing the scene was rolling. That won best picture of 1979 so look for it later on.

 

     On the Waterfront is one of the better best picture winners but it is a curious one. I like it a lot but I've only seen it twice and have no desire to see it again any time soon. Typically, if I enjoy a movie, I want to revisit it. This isn't the case with this one. Sure, I thought it was great but it isn't one I'd desire to pop in every week. To tie in Brando with that I'd say it isn't really my "streetcar" to watch it again any time soon.



1953--From Here to Eterninty, Fred Zinnemann

 

1953--From Here to Eternity, Fred Zinnemann
Nominated: Julius Caesar, The Robe, Roman Holiday, Shane
Should Have Won: Shane
Be Sure to See: War of the Worlds
"He'd strangle in his own spit if he didn't have me around to swab out his throat for him."--Sgt. Warden

     A decent but unfocused movie, From Here to Eternity has several plots it seems to be “about”. Montgomery Clift from Red River, one of my favorite westerns, plays Pvt. Robert E. Lee Prewitt from Kentucky. He is a stubborn soldier in a new unit and makes few friends and many enemies when he refuses to join the company boxing team because of a tragic fight from his past. His friend Maggio is picked on by sadistic Fatso (the always perfect Ernest Borgnine). And First Sergeant Warden has an affair with the captain's wife. These are the movie's plot points yet it seems to be the Oscar winner that was about the Pearl Harbor bombing, though that doesn't happen until 1:45 in. It doesn't know if it wants to be a military movie, a love affair movie, or a movie about an outsider trying to fit in. But it is still pretty good, just a little unfocused.

     The direction is pretty good but there are two shots that seem to be added in and I could just feel the director sitting behind the camera grinning. One is when Warden is on the phone with Karen (Captain Holmes' wife) and the calender beside him is turned to December 6, 1941. The following scene we see a street sign pointing the direction to Pearl Harbor. I expected the camera to pan over to show director Fred Zinnemann saying, “Eh? See what I did there?”

     Some of the scenes seem a little rushed or obscure for me. Like the fate of Maggio played by Frank Sinatra in an Oscar nominated role. All I could think of when he was on screen was he looked skinnier than Barney Fife. It might or might not be a spoiler here to mention he dies but the way he died is very confusing. I know who is responsible but not how it happened. Knife fight perhaps though my first thought was he beat him to death. Of course he gives one of those death speeches before he croaks. This sets up the revenge knife fight between Prewitt and Fatso in the alley. There was an earlier fight between Prewitt and Gallovich who had taunted Prewitt to box the whole time. This was filmed with a typical style of the times. Lots of pick up shots and clumsy footwork. The ally fight worked a little better. I think it was well blocked out but a little short. However I liked how the death stab was off camera, leaving the audience wondering who wins (oh wait, I remember what Patrick Swayze said in Road House: Nobody ever wins in a knife fight). 

     The movie is iconic because of the beach scene. Burt Lancaster (I still always picture him as Moonlight Graham no matter what I see him in) and Deborah Kerr on the beach with the water flowing over them. My two issues with this scene are 1) it was too brief. The fact they were there together is important; the water passes over them and they get up and run, rather than stay there. The scene passes faster than the tide did, and 2) I can't see it and not think of Airplane!

    It was an okay movie but did very well with audiences and the Academy. It was nominated for thirteen Oscars winning eight, the most since Gone with the Wind. My problem with it was of its uncertainty of what the main plot was. I've seen it three or four times and it is certainly worth a look, but the Academy voters should have come back to the voting ballots and given it to Shane...get it?

 

 

1952--The Greatest Show on Earth, Cecil B. DeMille

 

1952--The Greatest Show on Earth, Cecil B. Demille
Nominated: High Noon, Ivanhoe, Moulon Rouge, The Quiet Man
Should Have Won: Singin' in the Rain
Be Sure to See: Monkey Business, Rabbit Seasoning
"The girl may say no but the woman in her says yes,"--Sebastian

    Before directing Charlton Heston in the epic Ten Commandments, Cecil B. DeMille guided him in The Greatest Show on Earth, 1952's second best movie about show business. The best, of course, is one of the greatest movies ever made...see the above section but it is pretty obvious.  Early on in this film, Heston is holding a baby gorilla. He worked much better with apes sixteen years later. However, I've seen thirteen of his movies (well two of them he had cameos) and I would say I've liked twelve of them at least a little bit (Almost an Angel being the only exception and The Naked Jungle was boring for the most part but came along at the end). The Greatest Show on Earth was an odd viewing for me because even though it had a lot of action, it was a bit boring. Seems like a contradiction I suppose. But for what it is worth I felt the same way about Jaws. 

     Heston (looking like an early model for Indiana Jones) plays Brad Braden, a traveling circus manager. The circus has lots of acts, like any circus, but the movie only cares about one: the acrobatic act. Two trapeze artists, one male one female, are competing for center ring. Holly is good but Sebastian is much better and more experienced. Sure there are some scenes with the elephants, one almost stepping on a woman's head, and the curiously out of place subplot of Buttons the Clown played by the normally top billed Jimmy Stewart. He never takes his makeup off...ever. He is wanted for a past crime that I think was murder but I'm not sure. But the main story is that of the acrobats, even over Braden’s story even though he is the main character. 

     The movie seems to follow All About Eve's formula from two years earlier about an up and comer trying to overtake the more established performer. But in this case, Holly and Sebastian seem to actually care for each other. The trapeze stunts are done quite well. It seems like the actors are actually the ones performing them in lieu of stunt doubles. True, some of the action high above the floor is neat, but the best act in the circus was the lady juggling off the floor. A scene that lasts fourteen seconds. I'd like to see more of her. 

    Some subplots are thrown in. The cops are onto Buttons and his crime and Sebastian has a nasty accident which leaves him injured in a way that doesn't seem like the injury fits the fall. There is a very impressively done train crash but I was confused by how quickly everyone moved on from it. Gives “The show must go on” a whole new meaning. Because Buttons was on the train, this sequence made me think of The Fugitive with a train crashing and one of the passengers is wanted. Buttons is involved in a sad scene helping someone with an injury. It was meant to come across sincere but since he is in his clown getup it is hard to take seriously.

     The Greatest Show on Earth is not the greatest movie you'll ever see. I'm not sure what the Academy was thinking crowning it over High Noon and am certainly baffled on omitting Singin' in the Rain, one of the greatest movies ever made, from contention altogether. I wouldn't suggest skipping this movie but if you put a list of the winners together in order of "must see," you would want to put this toward the bottom. 

   

    Though my favorite lines are the one above and when the narrator compares the 58,000 pound tent to a dismembered giant's skin, the most curious is one a woman says about Sebastian. Maybe I'm reading too much into it but she is washing another performer's hair when Sebastian walks by. The woman having her hair washed says “Why is it whenever he's around I'm all wet?” and the other woman says, “In more ways than one.” Naughty, naughty.