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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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…
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.
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.
Steve Thompson (Lancaster) has returned to Los Angeles after a year’s absence, and he quickly reconnects with ex-wife Anna (De Carlo) – the main reason he left town a year earlier. While they seem to be ready to start their relationship again, Anna is also pursued by local gangster Slim Dundee (Duryea) and after a series of miscommunications with her ex-husband as well as pride on both their parts, she ends up marrying Dundee.
When the lovers are caught in Steve’s house, he tries to cover up their affair by suggesting to Anna’s criminal husband that they join forces for a heist. As an armoured truck driver, Steve offers to be an inside man on a pay roll robbery as long as no one gets hurt in the process. What could possibly go wrong in this scenario?
Criss Cross explores a lot of the typical Noir tropes, such as the good guy whose fate is sealed through a mix of circumstances, bad decisions and, of course, the love for a Dame. In addition, there’s the usual: flashbacks, heists, double-crossings, chain-smoking, heavy drinking, gorgeous dresses, the protagonist’s voice-over, and a gradually darker and darker story line.
The Dame here is fairly innocent and nice compared to a few others we’ve encountered so far, although looks can be as deceiving as a Dame. Anna almost seems another victim – of men in her case, who treat her fairly crappily and might be to blame for her Dameyness (totally a word!), though some of the responsibility might lie with her (her alternative may have been to end up like the barfly in the Round Up). Her descent into victimization may be just a side effect of her learning that her new husband is not as easy to manipulate and control as her ex, but it may also be that Steve (and the audience) are given a glimpse into why she is who she is.
Likewise, Steve is not as much of an anti-hero as many other Noir characters – apart from his obsession with Anna (and his tendency to fight with her), he seems to be a fairly ordinary man with a normal family and a steady, average job.
All in all, we thought this was another wonderful and suspenseful Noir from Robert Siodmak, a master of the genre. Great movie – great rhumba music, courtesy of Esy Morales and his Rhumba Band. Good times!
What we learned: When you Double-Cross a Double-Crosser… It’s a Criss-Cross! Also, organizing a heist to cover up an affair may not be the best idea…
Leonora Eames (Bel Geddes) has one ambition in life: to go to Charm School so that she can be eligible to marry a rich, upper-class man. After saving up all her money to attend said school, she gets a job modelling clothes in a store which, through a series of (un)fortunate events leads to her meeting Smith Ohlrig (Ryan), the epitome of the rich bachelor.
Ohlrig marries his model more to prove he will than because of any true affection for her, and as soon as they are married, she starts to see his true nature. Rather than a wife, he treats her as property – he expects her to be at his beck and call at every hour of the day and even embarresses her in front of his friends and co-workers. To Leonora’s credit, she realises that no amount of money is worth this kind of treatment and she leaves her abusive husband.
Though not divorced, Leonora is now on her own and gets a job as a receptionist in a small doctor’s office, where she meets Dr Larry Quinada (Mason). For once, she is in the company of a man who expects more from her than being arm candy – she must give her all to her job and show that she can learn. After a somewhat rocky start, she realises that she is capable of more than being a charming wife
However, despite the lack of love in their marriage, Ohlrig has no intentions of giving his estranged wife a divorce, and his treatment of her becomes more and more brutal throughout the film. In addition, Larry is unaware of her marital status as she is afraid to reveal her real identity to him. Will she be able to escape this mess?
Caught is a suspenseful noir which we completely loved. While Leonora’s ambition at the start of the film is questionable, it seems as though this is something she has been told to do, more than something she wants deep down. She is reluctant to go to parties she’s invited to, and she is weary of the sort of men who invite random models to parties. Her readiness to leave her rich husband without a penny also speaks to her true nature. She’s sweet and likable although a bit irresolute and helpless in the beginning.
It’s a great watch with an interesting ending (which we won’t spoil) that may have been even more controversial to a 1940s audience than it is today. A very good, somewhat unusual noir with great performances – kind of like Citizen Kane from the wife’s perspective in a lot of ways. Although parts of Citizen Kane is also from the wives’ perspective so it’s not a perfect comparison… Suffice to say – we loved it!
What we learned: The only reason we haven’t married rich yet is because no one ever sent us to Charm School. Damn our equal opportunity, sisters-are-doing-it-for-themselves country! Also, money alone isn’t everything.
We’re going back in time to catch up on a recent addition to the list, and what a great addition! Judy O’Brian (O’Hara) is an ambitious young club dancer with ballet dreams. However, when she goes to a meeting with Steve Adams (Bellamy) to audition for the American Ballet Company, she sees the professional dancers and is intimidated by their (very impressive) skills. Thus, she runs out before seeing Adams.
Adams leaves his office at the same time and tries out his smooth umbrella game on Judy, but is brutally rebuffed. She goes back to the apartment she shares with a fellow dancer and they are visited by Bubbles, aka Tiger Lily White, (Ball) – a former dancer in their troupe who has made a name for herself in Burlesque. She is looking for more girls and hires Judy as a stooge – she is to dance ballet during breaks in Bubbles’ set to rile up the men who have not paid to see art.
As if Judy’s life isn’t complicated enough, she also starts dating Jimmy Harris (Hayward) – a rich drunkard who is still in love with his ex-wife. When Bubbles finds out she goes after Jimmy herself, and the humiliation of her job, Bubbles’ insensitivity and her crushed ballet dreams culminate to enrage the so far kind and sensitive Judy.
After an amazing speech to the leering audience, Judy gets into it with Bubbles who, after initially playing the outraged victim, reconciles with her fellow dancer and with herself. As for Judy, she has another encounter with Adams and things are definitely looking up.
Dance, Girl, Dance was a great addition to the list. It has strong female characters and great dance scenes – two things we absolutely love. The fact that this is the first film with a female director comes across as well (although there are of course male directors who can write and direct women – we’re not trying to be sexist here). The issues addressed in the film are interesting coming from a female perspective, and Dorothy Arzner handles the lives of dancing girls in the ’40s with a slightly different take than Busby Berkeley. Great dance movie – great movie!
What we learned: is it worth sacrificing one’s dignity for fame and money? Also, a double feature night of Dance, Girl, Dance and Split (2016) leads to strange dreams of James McAvoy as a ballet dancer…
P.S. Confused about numbering? Check out this handy disclaimer!
Philip Marlowe is back, this time portrayed by (the not very tall, but oh so charming) Humphrey Bogart. Entering the Sternwood residence for an appointment with General Sternwood, he is immediately met by a Dame in the making – young miss Carmen Sternwood (Vickers), who tries to sit on his lap while he is still standing.
Carmen has gambling debts and her father, the General, is being blackmailed by a man named Geiger. He hires Marlowe to clear everything up, and on his way out, the detective is summoned to the chambers of the older Sternwood daughter, Mrs Vivian Rutledge (Bacall), who is very interested in what exactly Marlowe has been hired to do. The two start measuring each other up (both figuratively and literally) and exchange quips.
Marlowe starts his investigation in the usual way which comes complete with diagrams on page 47 of how to be a detective in 10 easy lessons correspondent school textbook. That is, he starts snooping around Geiger’s bookshop which he quickly discovers is a front for something else, although he strikes out with the lady working there. He has better luck with the saucy bookseller from across the street, and spends his afternoon with her sharing a drink.
Marlowe follows Geiger and stakes out his house. After a shot and a scream, he enters to find Geiger dead, a hidden camera, and a very drugged out Carmen in a near catatonic state. He takes the girl home, exchanges more banter with her older sister, and returns to the crime scene only to find dead Mr Geiger gone. The plot is very much thickening.
To sort out this mess, Marlowe and Rutledge (who’s divorced, by the way, so their relationship is completely on the up-and-up) have to work together. There are more dead bodies, more blackmail, more Dames and other cool women (such as Marlowe’s taxi driver), shady characters, quips and banter, silly henchmen, a fairly complicated plot (but great scenes, so it doesn’t really matter), and Humphrey Bogart being supercool.
There are beautiful clothes, sassy dialogue, and amazing characters portrayed by iconic stars. There’s also murder, intrigue, loose sexual morals, and an infamous restaurant scene we have no idea how got past the censors. It’s a classic for a reason and if you haven’t already checked this one out, you should! We loved it.
Alicia Huberman’s (Bergman) father is convicted of treason and his daughter naturally throws a party with ice and Cary Grant. As would we if Grant were available. However, she throws in a DUI for good measure, which we would not. After the drunken drive, it turns out that Devlin (Grant) is some sort of government agent and he has a job for the former party girl. After a gruesome hangover (wonderfully filmed, by the way) the two fly to Brazil to start her assignment.
The two fall in love and then the orders come through. In Devlin’s defence, he was not aware of the exact nature of his new love interest’s upcoming job before recruiting her, but he does not exactly help her out once the government asks Alicia to put the moves on an old friend of her father’s who used to be in love with her. Instead, he encourages her to use all her “womanly viles” to get the information they need from former German Nazi leader Alex Sebastian (Rains – no longer invisible).
The reason Alicia is recruited is partly because of her previous relationship with the subject of their investigation, but it is just as much due to her former reputation as a sexually active, hard drinking socialite. While Alicia herself feels she is over this period of her life, her past is enough to condemn her in the eyes of the government agents who pressure her into taking on the assignment. She is even persuaded to go so far as to marry Alex.
Further complications ensue when, after an intense espionage scene during a party, Alex and his evil mother realise that their new family member is in fact a spy. They start poisoning her, but pride and pent up anger towards her handler Devlin stops her from being upfront with him about her condition, instead blaming her reduced state during their next meeting on a hangover. How will the lovers get out of this pickle?
This Hitchcock classic is every bit as tense and chilling as you would expect, and the character of Alicia is someone it is easy to sympathise with. She just wants to be treated like a person and make a new life for herself, but all the men see her as a thing – less than proper because of her past (sexual) frivolity and her family. Even her new beau falls into that trap, although to give him his due he does defend her to his colleagues. He just cannot seem to do this to her face.
Although Alicia, played beautifully by Swedish icon Bergman by the way, is through with her rebellious and flirtatious past, that’s all men want from her and that is all they see. So she obliges. It is interesting that even though Hitchcock has a reputation for having been a dick to women, his female characters are usually very sympathetic and strong. However, they are always put through hell, and they are usually made weak by feelings of love, which may be symptoms of misogyny in itself. Or the stories of his hatred for women may be somewhat exaggerated. Who are we to tell?
What we learned: Once you’ve lived up to a certain persona, people won’t let you forget it and move on. Also, if you’re going to infiltrate an enemy organisation, you need nerves of steel (and don’t make stupid key mistakes).
Belle (Day), the beautiful young daughter of a merchant, is being Cinderella’d by her rooty tooty snooty sisters after their family’s fortune was lost at sea. As her father gets word of one of his ships having reached port safely, he travels to the city to regain some of his fortune, only to find it has all been seized in payment of his debts. Returning home through a scary forest in a storm, he seeks shelter in a castle which seems abandoned yet has a marvelous feast set out for him.
He spends the night in the castle and, when leaving the next morning, picks a rose for his daughter as that was her only request for a present. Big mistake. A frightful Beast (Marais) sets upon him and tells him he must die for this offence. The merchant manages to make a deal to go home home to see his family if he promises to return promptly or send a family member in his place. Belle, being the good daughter, offers to go to the castle instead of her ailing father.
Instead of finding a primitive beast ready to devour her, Belle meets a gentlemanly one who proclaims her mistress of the castle and himself her humble servant. She stays with him for months, and though every night she refuses his marriage proposal, they develop a friendship and companionship which is quite mutual, despite him looking like he’s always on the verge of reciting Shakespearean soliloquies. Case in point:
After a while, Belle finds out that her father is grievously ill and asks to go home to see him. The Beast agrees on the condition that she returns one week later, and gives her a magic mirror to see him, his glove which will return her to the castle whenever she’d like and, for some reason, the key to his fortune.
Of course, Belle’s cunty sisters, her idiot brother and his friend Gaston, uh, we mean, Avenant (also played by Marais), persuade her to stay on a bit longer, steal her key and decide to go kill the Beast and steal his fortune. However, Belle sees the Beast half dead from grief in her magic mirror and uses the magic glove to return to him at the same time her brother and Avenant arrive to dispose of him. There are declarations of love, the Beast transforms to his true princely form and all live happily ever after. Except for the intruders, one of whom is himself transformed (to take the Beast’s place as guardian of the castle? Of the afterlife? Of purgatory? Who knows?), but that’s their own fault.
Cocteau’s version is a very faithful adaptation of the traditional French fairy tale despite him, naturally, having taken some artistic licenses. Visually, this film is wonderful with amazing details, especially in the enchanted castle which is like Barbie’s Gothic Dream House – creepy but luxurious. The disembodied arms which act like servants and the half-living statues that adorn the halls and rooms are fantastic (in all senses of the word) and add an extra layer of surrealism and magic to the film. The costumes are extravagant, if not necessarily always flattering, and the beast is superbly made up.
As Peter Carter (Niven) is plunging towards certain death in a shot up plane May 1945, his final moments are shared with radio operator June (Hunter) and the two, as people are wont to do in these intense situations, fall in love. He ejects from the burning aircraft without a parachute and is surprised to find himself alive on shore some moments later. Surely, the fall should have killed him?
Turns out, it should have. Up on the celestial plane, the clerics are confused about the lateness of his arrival until they find that his Conductor, a very camp Frenchman (Goring), lost the pilot in the fog and thus neglected to collect his soul.
Unfortunately for the clerics of the afterlife, in the few hours of “extra” life Peter got, he met and fell in love with June which greatly complicates things. As he is not at fault here, is it fair to take him away just as he has found the love of his life? Since it was their mix up that caused this to happen, the celestial beings grant Peter a trial with his life at stake.
Meanwhile, in our own world, June has enlisted the help of a doctor friend of hers, Dr Reeves (Livesey, of Colonel Blimp-fame), as her new love is suffering headaches and possible hallucinations after jumping from a plane without a parachute… Naturally, the medical professional diagnoses Peter with head trauma and recommends surgery, to coincide with the patient’s heavenly trial.
This was a beautiful and engaging film which we completely loved. The relationship between Peter and June is lovely, although a bit hasty. She’s either very wonderful or very naïve to stick by him when he starts talking crazy after they’ve known each other for all of a day. The trial becomes very political, and much of the criticism against England from the USA could have been modern criticism against the US, which is very interesting to observe (especially given the newly instated president..). It’s like both countries have a history of proclaiming themselves above others and trying to impose their rules on other nations…
The sets are beautiful and impressive, especially on the other plane.
In a way, this film is like an opposite Wizard of Oz, as our world is in glorious technicolor while the other world is in drab black and white. Then again, our world is supposed to be the desirable one so it makes sense. A Matter of Life and Death has humour, excitement, adventure, romance, political undertones, history lessons, camp Frenchmen and gorgeous shoes! What’s not to love?