#112 Duck Amuck

Watched: June 10 2017

Director: Chuck Jones

Starring: Mel Blanc

Year: 1953

Runtime: 7 min

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A short film, so a short post. Duck Amuck brought back many childhood memories as we watched it non stop as children. However, watching it as adults, we realised that we had never understood the dialogue completely. We knew the “melody” of the words by heart, but obviously we watched it before we could speak English. Any child who’s watched animated movies in foreign languages will understand what we’re talking about – you know (and remember) exactly how everything sounds but you have no idea what anything means. So watching it again was a bit of a revelation.

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This sort of sums up the experience

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Basically, it’s a hilarious fight between Daffy Duck and his animator, and you can watch the entire thing here. We suggest you do, as nothing we say will convey the glory that is this film. Enjoy!

What we learned: We finally learned what the dialogue was all about.

Next time: Glen or Glenda (1953)

#111 Singin’ in the Rain

Watched: June 10 2017

Director: Stanley Donen & Gene Kelly

Starring: Gene Kelly, Debbie Reynolds, Donald O’Connor, Jean Hagen

Year: 1952

Runtime: 1h 43min

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A musical classic which we, like probably most of you, have seen numerous times before, there’s nothing not to love about Singin’ in the Rain. In the late twenties, silent movie stars Don Lockwood and Lina Lamont (Kelly and Hagen, respectively) have to make the transition into talkies or fade into obscurity.

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And these guys ain’t ready for fadin’!

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They have one problem though – Lina Lamont has the most grating, annoying voice in history, and an accent which in no way matches her glamourous image. The solution: get aspiring actress and Don’s love interest Kathy Selden (Reynolds) to dub all of Lina’s dialogue and singing, against the star’s wishes.

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Unfortunately, the two women didn’t exactly get off to a good start

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With the help of the studio heads and sidekick Cosmo Brown (O’Connor), Don and Kathy create a success with their musical version of the silent stinker Don and Lina were supposed to put out.

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And they sing and dance their way through the process!

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Gene Kelly is, as always, amazing, as are Reynolds and O’Connor. The romance between Don and Kathy is very sweet – after the initial bickering which all film romances must go through, they are actually adorable together. Meanwhile, Cosmo’s snarky one-liners, cheerful disposition and fantastic physical comedy and dance moves make him the ultimate sidekick.

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Pictured: the real romance

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We love the musical numbers, the many many films within the film, the discrepancy between the stories Don tells the media vs. the real version of events, the physical comedy and basically everything about this film. It’s just a magical experience which will make you happy no matter what, and if it doesn’t you might need to see a doctor because you have no heart and you’re probably dead inside.

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This film is even better for curing the blues than pictures of puppies. Trust us – we’ve done a study

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What we learned: There’s nothing like a good behind-the-sofa fight scene and a great dance number!

Next time: Duck Amuck (1953)

#110 Ikiru

Watched: May 28 2017

Director: Akira Kurosawa

Starring: Takashi Shimura, Miki Odagiri, Nobuo Kaneko, Shinichi Himori

Year: 1952

Runtime: 2h 23min

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Kanji Watanabe (Shimura) is a small cog in the great wheel of Japanese bureaucracy. He’s been feeling a bit under the weather and goes to see his doctor. After a less than encouraging meeting with another patient in the hospital waiting room, Watanabe’s doctor tells him the exact lies his fellow patient warned him of, and he realises he only has a short time left on this earth.

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Like any doomed man, he tries to drown his sorrows

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With a death sentence hanging over his head, ungrateful children plotting to take his money, an unfulfilling job, a dead wife, a wasted life, and no tools to connect with his son or express his emotions, Watanabe stops going to work and starts drinking. He spends a night out with a novelist he meets, but drinking and partying does little to lift his spirits.

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His cheerful demeanor does wonders for all those he meets though

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After his first experiment fails, he starts to spend time with a former underling from work – the young and vivacious Toyo (Odagiri). He asks her to teach him how to enjoy life – he wants his last few months to have meaning, but he doesn’t know how to make that happen – and she tells him that her new job making toys is bringing her joy. This gives Watanabe an idea – to help a group of lobbying parents clean up a cesspool in their neighbourhood and make a playground. Finally, the bureaucrat makes things happen.

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All because of a little fluffy bunny toy

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Ikiru is beautiful and haunting, and we loved it (despite its lack of samurai). It’s a long feature, but it flies by, and one cannot help but be drawn in by the intriguing actors and the very human plot. Watanabe has to get a death sentence in order to start living, and unfortunately this is true for so many people. In a society where people’s worth is determined by their ability to adapt to and contribute to the system, Watanabe manages to use the system to form his legacy. However, he needs the push of his impending death in order to start doing something with his position.

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In context, this is even sadder than it looks

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An intriguing, beautiful and heart breaking drama and an interesting view into post-war Japanese bureaucracy and society, this is one of those films everyone should watch at some point in their lives. Not as famous (at least in Norway) as many of Kurosawa’s other films, we’re glad it was added to the list, otherwise it probably would have flown under our radar and we’re glad we watched it. It actually made us feel something in our cold, dead hearts.

What we learned: Live while you can, love your work and make a difference.

Next time: Singin’ in the Rain (1952)

#109 High Noon

Watched: May 21 2017

Director: Fred Zinnemann

Starring: Gary Cooper, Grace Kelly, Katy Jurado, Lloyd Bridges, Thomas Mitchell

Year: 1952

Runtime: 1h 25min

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New Mexico Marshal Will Kane (Cooper) is getting married to Quaker girl Amy Fowler (Kelly) and retiring from his gun wielding profession as it goes against his new wife’s beliefs. As the ceremony comes to an end, word comes to their small town of Hadleyville that one of Kane’s earlier arrests has been released from prison (because Northerners are too lenient) and is coming on a train scheduled to arrive at noon.

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Your wedding present is MURDER

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Frank Miller (the bad guy, not the graphic novelist) has his three cohorts waiting at the train station, and the newlywed Kane couple decide to make a run for it before the killings begin. However, despite the theory that Miller may leave the town alone if he does not find Kane there, Kane is not one to run from a fight. He decides to stay and protect his town with the help of his disgruntled deputy Harvey Pell (Bridges) while they await the arrival of their new marshal who is supposed to arrive the next day.

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Basically, the entire plot revolves around bad timing

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New wife Amy and ex-lover Helen (Jurado) both think this is a ridiculously bad idea and team up to skip town by boarding the same train on which Miller is expected. With a clear deadline, Will tries to round up a posse of deputies to help him stand against Miller at noon. However, although most of the town agree that they have Kane to thank for their prosperity, and that Miller deserves a good ass whoopin’, they are reluctant to risk their lives to help their (technically former) marshal out. As noon approaches, Kane awaits his fate in solitude as even the jealous and immature Pell has abandoned him. Shit’s about to go down…

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One is the loneliest number that you’ll ever doooo

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High Noon was a very tense Western and we loved it. It’s very engaging and we felt personally affronted by all the townspeople who refused to help. When the showdown finally came, after about an hour of the town clock moving relentlessly towards noon, it felt as though this could go either way, and we honestly had no idea whether Kane would come out of this alive or die defending his town.

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The filmmakers threw us off by putting the bad guys in different colour hats while the good guy wore black. It was all very confusing.

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All in all, this was a very engaging and enjoyable (almost) first Western on the list. Unlike The Treasure of the Sierra Madre (which we also loved, by the way), this felt more like the Westerns our dad used to watch when we were growing up, with a lot of the same tropes we will undoubtedly see in future representations of the genre. The tension rivaled that of many a thriller and Noir, and our dog loved all the horses on screen.

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Imagine tense score…

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What we learned: We cannot hear the name “Gary Cooper” without Young Frankenstein’s rendition of “Puttin’ on the Ritz” getting stuck in our brains. Also, Lloyd Bridges stayed extremely recognizable for close to 50 years.

Next time: Ikiru (1952)

#108 The Prowler

Watched: May 31 2017

Director: Joseph Losey

Starring: Van Heflin, Evelyn Keyes, John Maxwell, Katherine Warren

Year: 1951

Runtime: 1h 32min

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After a bath, Susan Gilvray (Keyes) sees someone leering through her bathroom window and calls the police who basically chalk it up to hysterical women who should know better than to get undressed in their own homes.

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She should know better than to go near windows while her husband is a work

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One of the police officers, Webb Garwood (Heflin) seems to understand perfectly why a peeping Tom would like to spy on Susan, and he swings by at the end of his shift to check up on her. They discover that they are from the same town and start hanging out together when her radio personality husband is at work, which eventually leads to an affair.

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Because, in this world, “no” apparently means “yes”.

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After a while of cheating on her husband (who we get the impression is more than a little bit controlling), Susan loses her nerve and after some back-and-forths the couple split up. However, Webb, who early on stumbled across Susan’s husband’s life insurance papers, hatches a cunning plan.

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Webb, pictured here hatching

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He decides to get rid of the troublesome rival, get the girl and make a profit in the process. It all goes according to plan, but then another little hiccup appears in the shape of an unplanned pregnancy which could expose them both.

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Luckily, this town is coming like a ghost town and provides a good place to hide

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The Prowler wasn’t at all what we expected. We were prepared for a lot more stalker action and less murderous-psychopath-lover action, but we were far from disappointed. Instead of the basically good man corrupted by the femme fatale we often see in Film Noir, this is the story of a basically good girl who is corrupted by a man (Un Homme Fatal..?) and who must suffer the consequences.

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Him taking the position of her stalker probably should have been her first clue…

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Susan’s fatal flaw is probably her terrible taste in men. Between her controlling husband who locks up everything in his house, including his wife, makes her stay up and listen to his late night radio show and signs off with a slightly ominous “I’ll be seeing you, Susan,” and her new beau who’s a murdering psychopath, she never really stood a chance. Add to the mix the fact that Webb is a master manipulator and Susan is incredibly naïve and easily manipulated, and you have a recipe for disaster.

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She should have walked away the minute he sat down in her house as if he owned the place

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Though not what we expected, we loved The Prowler and we don’t regret the fact that we ended up having to purchase a second, Region A Blu-Ray player in order to watch it (that’s what you get for not checking region codes properly when buying stuff online). At least now we’re no longer limited to buying Region B discs. We’ll pretend it was all part of our master plan all along.

What we learned: Don’t marry your dead husband’s killer.

Next time: High Noon (1952)

#107 Strangers on a Train

Watched: May 15 2017

Director: Alfred Hitchcock

Starring: Farley Granger, Robert Walker, Ruth Roman, Leo G. Carroll, Patricia Hitchcock, Kasey Rogers

Year: 1951

Runtime: 1h 41min

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Pliable Guy Haines (Granger) accidentally meets creepy Bruno Antony (Walker) on a train. The two start speaking – Guy’s first mistake – and the polite Guy does what most people do when they meet crazy people on public transport – he smiles and nods and generally agrees with his fellow passenger.

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Smile and nod, Guy. Smile and nod.

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Bruno is anxious to rid himself of his father, and he knows, through the gossip columns, that Guy has a wife, Miriam (Rogers), who he wants to divorce in order to marry his new girlfriend Anne (Roman). Bruno also has a theory about how to get away with murder – the trick is to murder someone you have no motive to kill. You know, such as when two people who are otherwise unrelated randomly meet on a train and decide to kill each other’s family members…

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A psychopath he may be, but one cannot fault his taste in shoes

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Guy reaches his destination and thinks no more of the insane stranger on the train until his wife refuses to divorce him now that he’s making money. To make matters even more difficult, she is pregnant by another man and Guy finds himself in a murderous mood which he tells his girlfriend.

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You can see why he’d want to divorce her. She is after all wearing glasses! The ultimate sin of women!

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Guy doesn’t need to worry though – Bruno is there to solve his problems. He follows Miriam and her two boyfriends (possibly? We’re not quite sure) to a fun fair and gets her alone in a secluded spot where he strangles her.

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At least he got rid of those pesky and unattractive glasses for her!

 

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While this helps Guy out of one predicament, it get him into another. Bruno now expects the favour returned – for Guy to kill his father. When Guy refuses, Bruno inserts himself into his life and threatens to frame him for Miriam’s murder.

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Meanwhile, to avoid suspicion, Bruno goes around randomly strangling society women

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Strangers on a Train is a classic Noir thriller with a great premise and a very creepy, menacing and completely insane antagonist. The other characters are a bit less interesting, particularly the boring protagonist, although there are some perceptive women, such as Anne’s little sister Barbara (Hitchcock), Anne to a certain degree, and of course the manipulative and morally speculative Miriam. Also, just in case you care, our favourite characters were the little boy on the carousel and the old man crawling under it.

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This guy

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It’s a suspenseful and interesting thriller which every Hitchcock fan should watch, and we loved re-watching it.

What we learned: Never talk to weirdos on public transport. Also, definitely don’t try to placate them by agreeing with everything they say!

Next time: The Prowler (1951)

#106 An American in Paris

Watched: May 14 2017

Director: Vincente Minnelli

Starring: Gene Kelly, Leslie Caron, Oscar Levant, Georges Guétary, Nina Foch

Year: 1951

Runtime: 1h 53min

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An American in Paris marks a return to the wonderful world of musicals, and it’s a great one at that. Jerry Mulligan (Kelly), an American ex-soldier and aspiring painter, has taken up residence in Paris after the war ended. While his accommodations are small, IKEA has nothing on this guy’s smart living solutions, and he spends his time sleeping, painting and trying to sell his work in the streets of the city.

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His low sales numbers might be attributed to him berating and insulting potential customers

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He also spends time with his pianist neighbour Adam Cook (Levant) and the latter’s associate, singer Henri Baurel (Guétary), and together the three dance with adorable old ladies and talk about their lack of success. In between all these fine activities, Jerry also makes time to teach local kids English through the medium of song and dance.

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An elaborate dance routine really is the only way to teach kids these days

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Mulligan finds himself a sugar mama in Milo Roberts (Foch) who promises to make him a household name, but falls in love with Lise Bouvier (Caron) who, unbeknownst to Jerry, is already engaged to marry Henri. Complications ensue, but so too do magnificent dance numbers.

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Making the most out of the fact that it was filmed in colour

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There are so many great scenes in this film, such as the introduction of Lise with the different sides to her shown through dance, the old lady Kelly dances with in the café, and of course the grand finale which we cannot even begin to describe. We have an affinity for musicals, especially ones with great dance numbers, and so this one was right up our alley.

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We also have a weakness for serial killer thrillers, so were ever so slightly disappointed when they both survived their first date by the river in the fog…

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The story itself is fine, although it might just be an excuse to throw in some truly excellent dance scenes. That hardly matters though because the musical scenes are well worth the ticket price alone (in our case, borrowing a free DVD at the library – thank you social democracy!), and we’ve found new ways to enjoy another favourite pastime – reading books.

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It really is the only way to read

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…except for this way, of course

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If you like dancing, music, Gene Kelly, Leslie Caron, romance, snarky pianists, fantastic costumes, clever solutions to small living spaces, or just interesting new ways of doing everyday activities, look no further than An American in Paris. It really does have it all.

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Yes, fountain lovers – there’s even something in there for you

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What we learned: When you ain’t got any money it takes on a curious significance.

Next time: Strangers on a Train (1951)

#105 Ace in the Hole

Watched: May 7 2017

Director: Billy Wilder

Starring: Kirk Douglas, Jan Sterling, Robert Arthur, Porter Hall, Richard Benedict

Year: 1951

Runtime: 1h 51min

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Chuck Tatum (Douglas) is a big city journalist who keeps getting sacked for various offences, such as sleeping with other people’s wives and generally being difficult. With many bridges burned, he gets a job in a small Albuquerque paper where he dreams of getting a big story to facilitate his return to the big city where he feels he belongs.

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Chuck’s not too concerned with the small town newspaper’s motto

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On the way to cover a rattlesnake hunt, Tatum and young photographer Herbie Cook (Arthur) happen across a cave in and a blonde, and Tatum smells a story. He establishes himself as a hero by going into the cave to talk to Leo (Benedict), the man who is trapped there. Tatum decides to milk the story for all it is worth, abandoning the rattlesnake hunt and convincing the sheriff to take his time digging the poor trapped man out.

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After all, being trapped in a cold and musty cave for days on end has never hurt anyone

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The story of Leo trapped in the cave goes viral, 1950s style, and people and reporters come from all over the country to show their support and/or get in on the action. Leo’s disillusioned wife Lorraine (Sterling), the aforementioned blonde, abandons her plan of leaving her trapped husband and instead starts charging admission money for the cliffs, which essentially turn into a (slightly less drugged up) ’50s Woodstock.

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These two are sort of a great match

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This film was fantastic! Tatum is cynical and full of himself, he makes horrible, selfish decisions and he takes no responsibility for his actions. Instead, he tries to take the high ground with Lorraine as his actions have devastating consequences, and he start blaming the spectators and the other reporters for everything that happens. Absolutely zero responsibility taken there.

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“This chin does not make mistakes!”

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Another new favourite of ours, we really recommend Ace in the Hole to anyone who likes a good film. Or a good chin dimple.

What we learned: There are a lot of hard boiled eggs in the world, and Chuck is 20 minutes.

Next time: An American in Paris (1951)

#104 A Place in the Sun

Watched: May 13 2017

Director: George Stevens

Starring: Montgomery Clift, Elizabeth Taylor, Shelley Winters

Year: 1951

Runtime: 2h 02min

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George Eastman (Clift) is hitchhiking to see his rich uncle who has promised him a job in his bathing suit factory. He is given an entry level job and is expressly forbidden to mix with the girls working there. So the first thing he does is flirt with colleague Alice Tripp (Winters) and they soon start a secret relationship.

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So inconspicuous

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Not long after, George’s ambition and family ties get him promoted. He moves through the ranks both professionally and socially with an invitation to one of his rich and powerful family’s parties. There, he meets wealthy socialite Angela Vickers (Taylor) and he falls in love with her, but not before impregnating his working class girlfriend. Apparently his religious mother never taught him about protection…

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Who can resist a girl with cake, though?

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With his new girl happily unaware of his relationship status (it’s complicated), and his old girl demanding marriage, George is torn between his guilt and desire to do the right thing, and his ambition and attraction to Angela.

1951: Film stars Elizabeth Taylor and Montgomery Clift (1920-1966) star in the Paramount melodrama 'A Place In The Sun'.
When faced with the choice between a girl who packs bathing suits and one who wears them…

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A Place in the Sun has illegitimate pregnancies, ambition, love triangles, lots of foreshadowing, loose morals (and we’re not talking about Alice here), and a suspenseful scene in a boat which reminded us a great deal of Sunrise: A Song of Two Humans. Even our dog was transfixed by this one, although that could have been due to the soundtrack dogs barking throughout some of the more tense scenes.

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It’s also possible the dog was outraged by Elizabeth Taylor wearing his friend as a cape

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What we learned: Don’t get a girl pregnant when you are secretly in love with another girl. That’ll get you into all sorts of trouble.

Next time: Ace in the Hole (1951)

#103 The Asphalt Jungle

Watched: May 06 2017

Director: John Huston

Starring: Sterling Hayden, Louis Calhern, Jean Hagen, Sam Jaffe, James Whitmore, Barry Kelley, John McIntire, Marilyn Monroe, Marc Lawrence

Year: 1950

Runtime: 1h 52min

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Dix Handley (Hayden) has three things in life: a gambling problem, a potential girlfriend named Doll (Hagen), and a dream to buy back his family’s old farm. However, he tends to gamble away all his money whenever he has some, so the family farm seems far from his reach, and he’s not necessarily as into Doll as she is into him.

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Doll and Dix. There’s a (possibly disastrous) movie title in there somewhere…

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When Doc Riedenschneider (Jaffe) is released from prison with a plan for a big caper, he goes to see an acquaintance of Dix’s for funding. Dix and Doc (another potential title, by the way) cross paths and Doc is adamant that Dix is the right man to be the muscle in the heist. This job will give him the money for a farm, so Dix agrees and joins Doc’s team along with a safecracker and a getaway driver, as well as financial backers Alonzo Emmerich (Calhern) and Cobby (Lawrence).

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You just know they’re doing criminal stuff when there’s a pack of cigarettes on the bed, a bottle of booze on the table, and two of them have removed their jackets.

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While the robbery itself goes off with only one small hitch, the double crossings start pretty much right away. With the police chasing them and everyone backstabbing each other, who will come out of this alive?

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And who will get to wear the pretty, pretty necklaces?

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A criminal who wants a quiet, peaceful life; a high-stakes heist with a cast of hand picked experts; a doomed romance; a corrupt businessman with a gorgeous blonde mistress; a dirty cop and double crossings galore – this movie has it all. Clichés they may be, but when they’re done this well it doesn’t really matter. Films like this are the reason people keep coming back to the same clichés – sometimes they really work.

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Like blondes. Blondes always work to confuse young investigators. We’re not sure of which gender that’s most condemning…

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What we learned: There’s no honour among thieves. Also, ’50s slang for explosives is “soup”. It’s fun stuff like this which keeps us coming back. (Well, that, and the obligatory dance/music scenes in Film Noir.)

Next time: A Place in the Sun (1951)