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Weekly Favorites Film Reviews
By
Rachel Sexton
This column is
dedicated to reviews of classic films and my favorites over the
last few decades.
Feedback is appreciated.
May 21, 2004
Philadelphia
Story, The
(1940 / 112 Mins. / Rated NR)
 Directed
by George Cukor
Due to the
loss of one of the greatest leading ladies of all time,
Katherine Hepburn, I thought I'd acquaint you with my favorite
film of hers, 1940's The Philadelphia Story. A masterpiece in
writing and action, The Philadelphia Story is a true comedy
classic.
The plot here centers on wealthy socialite Tracy Lord (Hepburn) on the
eve of her second wedding. She had been married to C.K. Dexter Haven
(Cary Grant), but their relationship was volatile and they divorced.
The day before the wedding, Haven brings two tabloid employees, writer
Macauley Connor (James Stewart) and photographer Liz Imbrie (Ruth
Hussey) to stay in the Lord house to do an exclusive on the wedding.
The Lords agree to this because the tabloid also has a story on
Tracy's
father's philandering they will publish if the Lords refuse. Through
much witty banter and champagne drinking, romantic entanglements ravel
and then unravel themselves. Needless to say, Tracy not only ends up
with the right man but learns a lot about herself in the process.
A short, wordless scene begins the film by setting up the Tracy and
Haven breakup. The complicated situation of the reporters' involvement
is then set up. The humor and the romance never let up from there.
There are so many hilarious and memorable scenes here, I could really
pages. I'll just single out some things I love. The excellent thing
about this script is the character development of
Tracy.
Her wealth and privilege have led her to emit the attitude of a
"goddess", which Haven points out repeatedly. He knows her flaws and
we can tell he still loves her anyway. We also see that he wants her
to improve not for him but for herself. The story is outstanding in
that Connor's role in the narrative is to mostly lead her to the
realization that she should and can be more tolerant.
Additionally, The
most memorable scene, and my favorite, is the scene where this is
eloquently accomplished. Stewart's "hearth fires and holocausts"
speech in this scene is mesmerizing. As far as the comedy goes, the
Uncle Willie character is good for a lot of laughs, while the wit and
barbs in the exchanges between Haven and Tracy are exciting, too.
Also, Stewart is hysterically funny when he's playing drunk. I love
this type of comedy. No stupid gross-out gags, just pure clean humor.
Trust me, it's the funniest kind. The ending also has to be one of the
most satisfying ever.
This film also tackles some intriguing themes in the story. Social
classes is the most conspicuous, as Connor and Tracy discuss this
frequently, including the repeated phrase "With the rich and mighty,
always a little patience." Connor's real passion and talent as a
novelist and Liz's as a painter enter into this theme as well.
The three leads, Hepburn, Grant, and Stewart, are legends for a reason
and this film will leave no doubt as to why. Stewart won Best Actor at
the Oscars justifiably, and Grant is at the height of his charm.
Hepburn, however, is the best, convincingly making her character
dynamic.
I can't express how much I love this film and how much every film
lover should see it. Classics like The Philadelphia Story are why film
is the popular art form it is today.
Film Rating:
5 out of 5
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May 14, 2004
Third Man, The
(1949 / 100 Mins. / Rated NR)
 Directed by
Carol Reed
Welles and
Reed Create a British Masterpiece
Remember the AFI
Top 100 Films list from a few years back? They listed what they
considered the best American films. Just recently, Britain’s version
of the same organization did the same. The film that topped BFI’s Top
100 British films list is this one, The Third Man, a deftly
plotted, acted, and directed thriller that deserves to be on the BFI
list.
This film is the
story of Harley Martins (Joseph Cotton) who goes to Vienna to work
with his friend Harry Lime (Orson Welles). When he arrives, Martins
finds out that Lime has died. He begins to investigate what happened
and soon finds that things are not what they seem. Black market crime,
betrayals, police inspectors, and shocking plot twists keep the
narrative exciting.
That storyline
outlined above really doesn’t do the plot justice. The script is
excellently written, with memorable plot points and strong exploration
of the central theme: do you ever really know anyone? The development
of the interaction between Martins and Harry’s girl Anna is engaging
and realistic. The voice-over that begins the film, explaining about
the state of Vienna at the time of the story, is good, as is a montage
later in the film that reveals some of the details of Harry’s life.
There are
certain directorial choices that emphasize the noir aspects of the
story. Titled angles in shots and the editing emphasizes that Martins
doesn’t know who to trust. Director Carol Reed also knows that
sometimes what a reaction shot implies is all that’s needed. There is
also some cinematography that creates a noir atmosphere in this black
and white film, such as a train light in fog and a mirror in a
hospital. Lighting also contributes to this. There is one scene that
combines all these things into a standout: the final sewer chase
scene. The tension generated by the interaction of these cinematic
elements in this scene is palpable. The resolution of the plot in this
scene and the brief one that follows is satisfying because it’s really
the only way it can end, and also is a bit unpredictable.
Other production
values such as costuming and composition stand out as well. The score
may be the best of these, though, as it is made up of unforgettable
zither music. You may feel like you know this music, though you’ve
never seen the film.
The performances
here are also a highlight. Martins, the central figure, is our conduit
to the story, and Cotton accomplishes all that’s required; he is
empathetic and real. Alida Valli as Anna and Trevor Howard as
policeman Callaway are also good. Finally, Orson Welles, of course,
needs no evaluation. Acting (not to mention directing) comes naturally
to him and his presence here is electrifying. I shudder to think what
the history of film would look like without him, as he directed and
starred in the film that topped the AFI list, Citizen Kane.
Thanks to
performers like Welles and the direction of Carol Reed, The Third
Man should and has entered the ranks of great films. The deft
plot, outstanding acting, and more than effective direction are the
hallmarks of this film that will result in a thrilling movie watching
experience for the audience.
Film Rating:
5 out of 5
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May 7, 2004
Maltese Falcon,
The
(1941 / 101 Mins. / Rated NR)
 Directed by
John Ford
Maltese
Falcon a Noir Classic
Revisiting classic
films and analyzing why they are classic is a valuable exercise for
movie buffs. A film from
Hollywood’s
Golden Age that I would give the highest rating is 1941’s The
Maltese Falcon.
Based on the novel
of the same name, John Ford directs Humphrey Bogart as private eye Sam
Spade whose current case involves tracking down a valuable statue of a
falcon originally belonging to the Knights of Malta. Mary Astor, Peter
Lorre, and Sydney Greenstreet co-star. The film opens with a title
card about the statue and its history, and then another card, along
with more shots, establishes the setting as
San Francisco.
The office of Spade and his partner Miles Archer soon becomes the
focal point and the story is on.
The plot is
complex, unpredictable and always interesting. I won’t give away a
lot, but there are a couple of surprises early on, and that’s only the
beginning. There’s great, rapid-fire dialogue here, not to mention the
distinctive characters that always have an angle. I liked the romantic
interaction between Spade and Astor’s character, Brigid. The ending
brings that plotline to a satisfying conclusion, and it‘s really the
only way the film could have ended.
Enhancing all this
is the excellent direction of Ford. He isn’t afraid to shy away from
the maximum violence allowed at the time and the entire production is
unified with a cynical, knowing tone. There is really a lot of modern
bite here, and almost no one can be trusted. His touches are usually
memorable, such as a telephone call to Spade filmed with Spade just
out of frame until the call is over. (The information in that call is
one of the early surprises.) Also, when Spade meets with Greenstreet’s
character, Gutman, their conversations usually include Gutman being
filmed from a low angle while Spade is filmed from a normal level.
This indicates a power difference between them.
Racking up the
favorable points about this film are the performances. Bogart is at
the peak of his power here. He relishes every line and action of
Spade’s. He fully conveys the way Spade knows people and how to
operate them so well. Astor is good, though Bogart overpowers her.
Greenstreet again works amazingly with Bogart, as he did in
Casablanca.
Another of their
Casablanca
costars,
Peter Lorre, is one of my favorites here. He provides comic relief,
especially in his first scene. He was one of the best character actors
and he doesn’t disappoint here.
All of this
constitutes a film that many would call the pinnacle of the film noir
genre. Astor is fully the femme fatale; the lighting is effectively
dark and inventive. Most of all, though, the emphasis is on how the
calculating and the intelligent can exist in people simultaneously.
I can’t say enough
about the true classic that is The Maltese Falcon. Film buffs,
film noir fans, or just plain regular moviegoers will all recognize
how simply entertaining this film is. Rent it, it’s a classic for a
very good reason.
Film Rating:
5 out of 5
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Friday, April 30, 2004
Highlander
(1986 / 116 Mins. / Rated R)
 Directed by
Russell Mulcahy
There Can Be
Only One Highlander
I remember
arriving home from school just in time to turn on the television and
when the USA Network came on, I would hear "Here we are, the Princes of
the Universe/ I am immortal, I have inside me blood of kings/ I have
no rival, no man can be my equal"—the lines from the Highlander
series theme song, taken directly from the film that inspired it. The
song is by the legendary group Queen and it is one fun part of an
entertaining film. Highlander is imperfect but has a truly
interesting premise, some good direction, and star Sean Connery!
Highlander
stars Christopher Lambert as Connor McLeod, a man who discovers in 1500’s
Scotland that he is immortal. Trained by Juan Ramirez (Connery), he
learns to face and survive the centuries of life ahead of him, as well
as battle the evil immortal Kurgan (Clancy Brown). Having lived into
present-day New York City, McLeod must face the Gathering, when all
immortals will fight each other for the Prize until only one is left.
This includes a final showdown with the Kurgan and McLeod must also
deal with the curiosity of police forensics expert Brenda Wyatt
(Roxanne Hart).
The flaws of
this film rest with the script, mostly. The story is exciting but a
bit predictable and a bit unrealistic. I do think the parallel
storylines, 1500’s Scotland and present-day New York, is a good
structure, and some of the dialogue is good, too. I especially like that the
phenomenon of immortality isn’t explained, it just happens. The
details of immortality are well done, too, like an immortal can only
be killed by beheading and that the Prize is ultimate knowledge. There
is some humor here, too, such as McLeod’s duel in Boston common. The
idea of immortality is also explored, as McLeod must watch a woman he
loved grow old and die. I also like the interaction between McLeod and
Brenda, which includes a good love scene.
Director Russell
Mulcahy shows some good technique as well. He uses nice transitions
every time the story segues between the two time periods. There is
also some interesting camera work, such as rotating shots at bird’s eye angles. The productions
values are also an area that could have used improvement, the lighting
especially. The costumes are good, but the locations are only
adequate. But the music blows the rest away. Aside from the
song I quoted earlier, Queen wrote an entire soundtrack of songs. I
like them all. The lyrics really fit the story and the feeling of the
songs fits the present-day time period.
Of the actors,
Lambert isn’t very talented but he’s at his best here. Hart is good at
bringing to life an intelligent, persistent character. Plus, Connery
is a no-brainer. He’s just a star. Brown makes a thoroughly evil
villain, much like he did in The Shawshank Redemption. Considering its
premise, direction, and the presence of Sean Connery, it is clear why
Highlander was popular, though the film isn’t perfect. There is
exciting drama and a little humor along with the intriguing idea of
immortality.
Film Rating:
3.5 out of 5
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Friday, April 23, 2004
Dead Again
(1991 / 100 Mins. / Rated R)
 Directed by
Kenneth Branagh
Considering what an
intriguing subject it is, reincarnation is surprisingly rare in films.
There are few untapped good ideas for premises, and reincarnation is
one of them. Areas of this idea could still be explored. Thankfully,
the most recent example is a film that today’s screenwriters and
filmmakers can look to as possibly the best. Dead Again brings
the thriller genre new freshness with a reincarnation plot, memorable
direction, and outstanding performances.
Dead Again
tells the story of Mike Church (Kenneth Branagh), a Los Angeles
private investigator who is brought in to help an amnesiac woman (Emma
Thompson) having violent nightmares. Through the help of hypnotist
Franklyn Madson (Derek Jacobi), the woman soon realizes the dreams are
the events of a past life. In the 40s, Roman Strauss (Branagh again)
falls in love with and marries Margaret (Thompson again). Margaret
ends up murdered and Roman executed for it, but there is doubt that he
did it. In the present, Mike and the woman fall in love as well, and
she, too, begins to fear that history will repeat itself and that
someone is out to murder her.
The script is an
important reason why this film is so effective. Writer Scott Frank,
who also scripted the great Out of Sight, really knows how to
write a thriller and expertly balances the two time periods. A lot of
the dialogue is sharp and at times humorous. Plus, there are a couple
of nifty plot twists near the end of the film. The second twist the
viewer may be able to predict, but the first will take you completely
by surprise. Moreover, the small hints about the first twist are great
but you don’t notice them until you see the film a second time. The
script also manages to really keep suspense sustained throughout the
film. There is one shocking moment near the end of the film I won’t
describe, but I’ll say this: Smoking will never look the same again.
Branagh is also
the director here. He proves the talent he showed at the helm of his
first starring film Henry V, which was not beginner’s luck.
Branagh has a couple of signature camera moves and they work really
well in this film. For one, during the first hypnosis scene the camera
rotates around the action. This effective move can also be seen in
Branagh’s other films. Branagh also uses one long unbroken shot for
one emotionally intense scene and it really makes an impact. Other
details, like using one actress for two roles, one in the present-day
story and one in the 40s story, enhances the dualism in the script. He
also wisely uses black and white for the 40 scenes so audience won’t
get confused. The production values are solid as well, especially the
music, very suitable for a thriller while also maintaining a
theatrical feel.
Of the actors,
Branagh excels here, too. A native Brit, he uses an American accent as
Mike and a German one for Roman, in the process making both roles
ingratiating. Thompson also drops the British accent for an American
one as the amnesiac, all the while proving why she is one of the best
actresses working today. Of the support, it is very cool to see Robin
Williams in a rare dramatic role as a one of Mike’s clients who knows
about reincarnation.
Reincarnation makes
for an intriguing premise in Dead Again, an excellent thriller
with an outstanding script, direction, and performances. The topic is
rare among films over the last several years, and I personally hope it
comes up more in the future. Wouldn’t a romantic drama based around
reincarnation be interesting? If the example of Dead Again is
followed, that film should be entertaining.
Film Rating:
4.5 out of 5 | Film Grade: A-
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Friday, April 16, 2004
Click here to read Rachel's review
of "Go".
Friday, April 9, 2004
Click here to read Rachel's review
of "The Usual Suspects".
Friday, April 2, 2004
Click here to read Rachel's review
of "LA Confidential".
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