Slater is a big, stinking racist, and is not happy working with Ingram who is black. Ingram himself is trying to stay on the straight and narrow, but has a gambling problem and owes a baddie $7500. Burke, the sly mo-fo, pulls strings to pressure the men and make sure he gets the crew he wants. Soon the three are preparing to rob a small bank.
As with all (or at least most) daring capers, despite their prep work and good planning, things go awry. This time though, it’s not because of a Dame or unplanned events, but because of Slater’s racism.
Odds Against Tomorrow is a very good and suspenseful noir with intriguing characters and a fantastic soundtrack. Johnny, though by no means perfect, is infinitely more likable than little bitch Slater, who is passive aggressive with his girlfriend Lorry (Winters) and plain aggressive with everyone else. That being said, he too shows vulnerability and humanity at times, and he is disillusioned and angry after a hard life.
It’s a caper movie, but it focuses a lot on the characters and what drives them, rather than the heist itself, though that too is tense and exciting. The ending (which we won’t reveal completely) is heavily symbolic and reminiscent of (slight spoiler alert!) White Heat, and we absolutely loved it! A great, late film noir.
Roger O. Thornhill (Grant) is a busy adman with a slightly exasperated secretary and a fabulous mother (Landis). During lunch, he is mistaken for a Mr Kaplan by a couple of thugs and whisked away on an adventure.
Despite Thornhill’s insistence that they have the wrong guy, baddie Phillip Vandamm (Mason) is convinced his captive is lying. His suspicions are confirmed several times as Thornhill starts investigating and finds himself in the mysterious Kaplan’s hotel room, accepting his laundry and answering his phone. Idiot.
Things go from bad to worse when Thornhill becomes a prime suspect for murder and must go on the lam. He ends up sneaking on to the “Twentieth Century” where he meets the mysterious and gorgeous Eve Kendall (Saint). She helps him elude capture, but now our hero is hunted by both criminals and law enforcement. What a pickle!
North by Northwest is definitely among the funnier Hitchcock movies. The whole thing plays like a farce, and Cary Grant’s amazing face, sass and sarcasm keep the audience laughing throughout. We also loved his darling mother.
On a busy beach, aspiring actress/model Lora Meredith (Turner) is looking for her daughter. She finds the girl in the company of an African-American lady, Annie Johnson (Moore), who she hires as a live-in babysitter after learning she and her daughter are homeless.
Lora goes to see a theatrical agent, Allen Loomis (Alda), who basically tells her that to succeed she must prostitute herself, something she’s not yet quite desperate enough to do. However, she gets a break when a playwright likes her honest critique of his play, and is soon catapulted to stardom, much to the chagrin of love interest Steve Archer (Gavin) who’d rather have her be a stay-at-home mom and his wife.
Lora and Annie stay friends for the next 10+ years, as the former finds success and the latter eventually gets paid for being her maid. Their daughters grow up, but while Lora’s daughter Susie (Dee) is a well-adjusted blonde with a private school education, Annie’s daughter Sarah Jane (Kohner) is light enough to pass for white and develops some serious identity issues.
As is tradition, we loved this Sirk film more than we thought we would. Sarah Jane, though an atrocious dancer and slightly annoying, is a tragically intriguing character, Annie is just the best, Susie is pluckily charming, and Lora is self-centred yet understandably ambitious. And there are also some men there, more often than not screwing up the women’s lives.
Lora and Annie’s friendship seems to be fairly mutual even though Annie works for Lora, but we learn that Lora knows absolutely nothing about her friend’s life outside of the house, which is very telling.
Imitation of Life is about friendship and family and heritage and sexism and racism and authority. And probably lots of other things as well. We loved it, and we’re now off to plan our funerals. Those things are not to be left to chance.
What we learned: If you love someone, apparently it gives you the right to decide for them. And control them. And be petulant if they make their own decisions. Also, racism sucks!
In those days Caesar Augustus declared that everyone throughout the empire should be enrolled in the tax lists. This first enrollment occurred when Quirinius governed Syria. Everyone went to their own cities to be enrolled. Since Joseph belonged to David’s house and family line, he went up from the city of Nazareth in Galilee to David’s city, called Bethlehem, in Judea.
We all know that story. However, this is not that story, but set in the same time. In 26 A.D. (probably not called that at the time, to be fair) Judah Ben-Hur (Heston) was a Judean prince and childhood friend of newly returned Roman tribune Messala (Boyd). Despite the intense homoeroticism of their interactions, the two have a falling out over political issues (one wants the other to sell out his people. That sort of thing).
After an accident involving a Roman procession and rooftop tiles, Messala finally has an excuse to arrest the Ben-Hur family and send Judah away to the galleys. His mother Miriam (Scott) and sister Tirzah (O’Donnell) are thrown in a dungeon, the family home is raided, and Judah is sent off.
Strange destiny eventually brings the eponymous hero back to his hometown, now as an adopted Roman with a new fortune, new status in the Roman Empire, and excellent horse racing skills. His hatred for Messala has not diminished though, despite an encounter with Jesus, and he is also out for revenge and for the salvation of his family…
Sometimes it’s hard to get in the right mood to watch an almost 4 hour epic from the ’50s, and we must admit we didn’t rush to pick this one up despite all we’ve heard of it. However, we’re glad we did as it lives up to its reputation (despite Heston’s occasional overacting). We loved the Roman perspective on Jesus, the (possibly unintended) homoeroticism between Judah and Messala, the sheikh, the general epicness of the feature, and the fact that we never actually see or hear Jesus.
We also loved the Roman uniforms, but mainly because they reminded us so much of Asterix that we spent the entire film quoting Asterix chez les Bretons (1986) and had to pull some strings to get our hands on the Norwegian dubbed version (AKA the only version worth watching) of our childhood favourite. So thank you, Kristian!
It’s easy to think Ben-Hur is a movie about horse racing (it’s by far the most famous scene), but it is really an epic saga of revenge and redemption with Jesus hanging out in the background. And a badass chariot racing scene.