WHAT FILMS HAVE YOU SEEN LATELY?

[movieman1957]

I'm surprised that this is a Chayefsky script. For all his cynical views and biting humor this seems unusual territory but he does it beautifully.

I do agree about the scene with Blair waiting for the call is heartbreaking.

[moira finnie]

I'm surprised that this is a Chayefsky script. For all his cynical views and biting humor this seems unusual territory but he does it beautifully.

I think that Paddy Chayevsky wrote his blistering social commentaries later in his career when the unraveling of society seemed to call for more dire words. The tender honesty and realistic humor he displayed in Middle of the Night, The Catered Affair and The Bachelor Party were written in the same period as Marty. (If you watch the movie again, look for the playwright as "Leo"--one of the boys in the diner who says, "I dunno. Whadda you wanna do, Marty?" ad nauseum). It is rather sad that the gentleness in Chayevsky was overwhelmed by his concern and outrage over all the upheaval of the sixties and seventies. I think his work will be remembered for many years--though there is something special about Marty.

BTW, Marty was supposed to fail, giving a tax break to Hecht-HIll-Lancaster production company, which hoped to shelve the movie. During its one obligatory week of release (to qualify for the tax write off) there was an overwhelming wave of praise from critics and the word of mouth among audience members transformed it into a huge hit. I think they had to pay taxes on this project.

[MikeBSG]

Yesterday I watched "Prisoner of Zenda" (1952) directed by Richard Thorpe.

It may be movie heresy, but I liked this one better than the 1937 version. Much of this was casting. I liked Stewart Granger better than Ronald Colman, Deborah Kerr better than Madeline Carroll and (best of all) James Mason better than Douglas Fairbanks Jr. Fairbanks made me think of Rupert as an obnoxious college frat boy. Mason gave me Rupert as a worldly rogue.

But I also think the 1952 version moved faster, and I liked the action scenes better. The final duel was terrific. I know that "Scarmouche" supposedly has the longest duel in any film, but I think the 1952 "Zenda" can't be too far behind. I also liked the fact that in 1952 Rupert not only just complains about Rassendyl "fighting with furniture" but also uses some on Rassendyl as well.

This film was directed by Richard Thorpe, who was fired from "The Wizard of Oz" because they didn't like the way he had the Tin Man chop through a door. I kept thinking of that bit of trivia (and the assault on the witch's castle) when the good guys stormed the castle in "Prisoner of Zenda." Maybe this was Thorpe's revenge.

Anyway, I think the 1952 "Prisoner of Zenda" is a superb swashbuckler.

[feaito]

I saw the 1937 and 1952 versions of "The Prisoner of Zenda" years ago and I remember that I found in general the 1937 version superior, because I felt that the story was handled better by John Cromwell; I think that he gave it more substance and depth. It's not only a swashbuckler, but also a good drama. On the other hand, Ronald Colman gives a more complex performance and a sort of melancholic quality to his character. The MGM version is glossier and, perhaps, is a more "straightforward" swashbuckler. IMO, Granger's best swashbuckler is "Scaramouche" (1953) though.

Still I'd have to see them again back to back, to compare both films properly. But i have so many films on my queue

I like straightforward swashbucklers, but when the have an added plus in terms of dramatic quality, better scripts or better actors I like them better

One thing that annoys me though in certain adventure films is excessive offbeat humor; I remember being put off a little by "Gunga Din" (1939) and "The Crimson Pirate" (1952) due to this fact.

By the way, the 1922 Silent version of "The Prisoner of Zenda" (1922) lacks the warmth and charm of the the later versions. It's fine, but no really great.

[Rita Hayworth]

Yesterday I watched "Prisoner of Zenda" (1952) directed by Richard Thorpe.

It may be movie heresy, but I liked this one better than the 1937 version. Much of this was casting. I liked Stewart Granger better than Ronald Colman, Deborah Kerr better than Madeline Carroll and (best of all) James Mason better than Douglas Fairbanks Jr. Fairbanks made me think of Rupert as an obnoxious college frat boy. Mason gave me Rupert as a worldly rogue.

But I also think the 1952 version moved faster, and I liked the action scenes better. The final duel was terrific. I know that "Scarmouche" supposedly has the longest duel in any film, but I think the 1952 "Zenda" can't be too far behind. I also liked the fact that in 1952 Rupert not only just complains about Rassendyl "fighting with furniture" but also uses some on Rassendyl as well.

This film was directed by Richard Thorpe, who was fired from "The Wizard of Oz" because they didn't like the way he had the Tin Man chop through a door. I kept thinking of that bit of trivia (and the assault on the witch's castle) when the good guys stormed the castle in "Prisoner of Zenda." Maybe this was Thorpe's revenge.

Anyway, I think the 1952 "Prisoner of Zenda" is a superb swashbuckler.

I have seen both version that you've shared here and I find both of them equally good in their own special way and I loved them both dearly. The 37 Version is more a drama ... The 52 Version has more action ... I always have some difficulty comparing the two movies side by side because they were made 15 years apart and that alone can force certain viewers to prefer one version over the other. Being in my 50's ... I prefer to watch the 37 version than the 52 version because it has certain charm to it. The 52 version is done more dramatically and with more action of which may favored the younger viewers between 20 to 35 years of age. Anyway, in closing you get great entertainment from both of these films and I can see where you are coming from and all.

Both are classic.

[RedRiver]

My scale tilts in favor of Cromwell's version. But the later film is beautifully colorful, and the phenomenally talented Deborah Kerr brings credibility to any project.

[charliechaplinfan]

I'm glad Marty has touched so many people, watching it again one of the moments I will remember really well is when Marty hits the bus stop sign because he's so happy. We've all felt like Marty and Clara but the off hand cruelty of everyone around Marty discouraging him before he's even begun, his mother might be losing her company, she can see that Clara might not be maleable like her sister's daughter in law and his friends are jealous that he might have found happiness.

I've only ever seen the 37 version of Zenda, I'd got it into my head that it was the superior version but if other prefer the 52 version I'll give it a go.

[MikeBSG]

Today I watched "Broken Lance" (1954) directed by Edward Dmytryk.

All I knew about this film was that it was "House of Strangers" (which I've never seen) transplanted out West with an anti-prejudice theme. It turned out to be a very interesting Western, maybe the first of the "close of the West" Westerns. Spencer Tracy plays an aging cattle baron who has poisonous relationships with three of his four sons. Richard Widmark is the eldest (and the stinker) and Robert Wagner is the youngest (and only decent) son. Wagner is part-Indian, but the film focuses more on Tracy's inability to change and how he gets brought down by an eastern mining corporation. There is little Western action as such, although Wagner and Widmark go head to head in a climactic fight that would make Anthony Mann proud. The movie also makes fine use of the western landscape.

Parts of this film made me think of "Man Who Shot Liberty Valance" and parts made me think of "Bonanza." Splendid performances by Tracy and Wagner. Worth a look if you like classic Westerns.

[CineMaven]

...CineMaven - Thanks for the reminder about My Reputation. I really like director Curtis Bernhardt's American movies (he seemed to hate them), but this was one of the best films of Stanwyck's fantastic forties. Good parts for Eve Arden and Lucile Watson too! And that James Wong Howe chiaroscuro sends me over the moon.

I'm running out of room on the DVR, daggnabbit.

DON'T SIT UNDER THE APPLE TREE WITH ANYONE ELSE BUT ME

I had a good time watching “My Reputation.” It confirms my strongheld belief that Barbara Stanwyck is an amazing actress. I’ve seen her be so hard and brittle and blow folks away with a withering look, cocksure attitude, with machine gun dialogue. Here she was soft, a bit repressed. Never really unloaded both barrels on someone as I know she can. I've never seen her look so feminine and lovely as she did in the snow scenes. I totally believe her as a mother with young sons. I totally believe her being the daughter of the indomitable Lucile Watson. ( Therein tickles my interest in a comparing the careers of Missy and Bette Davis in choice of leading men and types of films and overbearing Mammas. ) In "My Reputation" her sons want her to jump into the funeral pyre, keeping that paternalistic stance in tact of putting women on a pedestal...where she can never be touched again!!! ( See, you've got to start men off when they are boys to indoctrinate them about a "woman's place." ) I believe her with George Brent. Stanwyck’s a widow making her tentative way to loving again. And she has to run the gauntlet in a snooty, gossip-mongering, judgmental, snooty, Chicago suburb. ( Substitute Chicago for a town near you! And snooty does deserve to be mentioned twice. ) Eve Arden is her pal...her married pal. EVE ARDEN: The 1940’s Woman’s Best Friend. I love her. She looks good married too. To whom? Why the ubiquitous John Ridgely who, according to IMDB, made 5,348 movies...in 1943 alone. ( Well...that’s not quite true, but doesn’t it feel like it? ) Here it shows that Eve never had to punch a line. Just her good common-sense delivery is wonderful too. And she looks tall and grand.

A friend and I were texting each other throughout the film. She writes: “I think she needs a life” “No business discussing this with her kids.” “It’s getting too sappy, I see the end coming.” “The boys will need years of therapy.” “Men were like that back then. Women needed to be taken care of.” “Men think widows are desperate.” “Men think widows must have a man. Dumb ass.” “I even like George.” “What year is this, they’re in the same bed.” “How is she getting all these men. I can’t get arrested.”



Hmmm...I wonder if the story would be different if she had daughters. The movie started to fall apart at the end for my friend Sheila. And I could see her point. But I guess I tend to watch with rose-colored glasses, and stay in the moment and the spirit of the movie's premise. Yes, Brent has to leave her ( he's in the military ) and there's the "saying-goodbye-in-the-steamy-railway station" scene so popular back then. And she promises to wait for him. I can easily shriek at my tv set: "Wait for him? Again, you're putting yourself on ice, Babs?!!!" But I didn't. That's not how the movie makes me feel. I watched Stanwyck's character be triumphant; to live her life on her terms, not "society's" terms. Yes, she went back to her sons instead of gallavanting with George Brent in NY until he had to ship out. As women do, she had to balance her desires with duty and responsibility. She didn't leave her boys. ( Of course, as soon as they wind up with girlfriends, they'll dump mom like a hot potato, but that's another story, and the natural order of things, I s'pose. ) Stanwyck faces down her judgmental friends and it's liberating. As she walks away from the train station ( Stanwyck had to have the best posture of anyone I've seen in movies ) I know she's going to be alright.

The interesting thing to me as well is to see Stanwyck play this Everywoman. A "Rich" everywoman, but an everywoman just the same. Throughout her career she's represented so many different kinds of women ( think about all her roles and the types of women: strong, weak, driven, sacrificial ) when she herself lived the life of a glamorous movie star, with a handsome (2nd) husband, earning her own living and living life on her terms. There's a 30's Stanwyck, and a 40's Stanwyck ( my favorite ) and a 50's Stanwyck...and a 60's Stanwyck. I love Barbara Stanwyck, and seeing her last night was a great reminder. I can almost forgive her wearing that awful wig in "Double Indemnity."

Almost...

[JackFavell]

I stupidly fell asleep for the second time watching My Reputation. But I did make it past the half hour mark this time, and through the snow covered hills.

If I were Babs or Eve Arden, I would have begged to have the same makeup and hairdresser for my next ten pictures! Both of them looked SOOOOOO good.

One day I will make it through this movie!

[Robert Regan]

Wendy, for years I never made it through Metropolis until they came up with a longer version. Still not my cup o' tea, but much better!

[JackFavell]

I agree, Robert, it's much better now. I have quite a long list of movies I've slept through.....

[Robert Regan]

Andrew Sarris once said that in the military you always go to any movie that they show so you can catch up on your sleep, but he couldn't sleep through The Snows of Kilimanjaro, because every reel or so there would be a loud explosion or blast of music. He could have worked that experience into a new approach to film criticism.

[mongoII]

CineMaven, great summation of "My Reputation", one of my favorite Stanwyck roles. I too adore Lucile Watson as her mother.
I believe that both Davis and Crawford past on this film and thank goodness for that.