Reviews

THE RISING OF THE MOON.

Utterly charming film. Even better than the Brit's, QUARTET.

No 'name' stars, but they could never have given the characters the same authenticity and humanness that we enjoy from all the interpretive acting projected in each of the three episodes.

For sure, we get the best of the Irish character actors, either from the Abbey Theatre in Dublin, or even from the Outer Hebrides Playhouse ( just kidding), with all giving awesomely enjoyable performances.

Of course with John Ford at the helm, how could THE RISING OF THE MOON miss its place in the film firmament.

PS Correction from a previous review. The bobby/cop in the third episode was Dennis O'Day, not Ward Bond, whom you can catch as a cop in GWTW.

ROAMING, Elicits a compelling trajectory of interior thoughts and motivations courtesy of the lone character depicted.

The park locale is ideal for the ROAMING mise-en-scene. Its casualness and relaxed mood contrasts with the main character's tense voice and the even stranger voice of the mysterious caller.

The director chose to use many close-ups of the protagonist, and this set-up works well in augmenting his perplexities while trying to deal with the unexpected. Truly, "The eyes have it."

To keep us visually interested, too, the character continues to move through the park.

Not what you would call a typical surprise ending but a rewarding one, as is the entire film.

Noticed when Westward Passage came on TCM that in the credits page at the bottom was listed David O. Selznick, thinking I was going to at least see high production value. I did, but 'Wsstward Passage' as one of Selznick's first films at RKO Pathe' is not mentioned in Maltin's Movie Guide,or even in Ronald Haver's, David O. SELSNICK'S Hollywood.

Was David not that proud of it, as Executive Producer?

Probably not, as it goes on a bit too long and the scenario is repetitive.

Olivier's makeup almost matched Ann Harding's.

Larry is struggling to be a movie start.

Ann just struggles. Although at least she shows some emotion in her argument scenes with Larry -- Ann is pretty but in a neutered sexual way. johnhartstudio1@mac.com

Was hoping one of the reviews or even most of them would have made the point that this film has improved with age. Alas, it still has its detractors. At least they liked it in Venice that year. I watch the entire film to marvel again at Ida Lupino's screaming, "Help!", "Help!", "Help!" at the end. Ida was superb as usual. One of the great movie endings. One distraction was that the water/blood stains on Ida's dress grew larger in her close-ups.

Steiger over the top again, had to turn down the volume during his tirade. It was a rehearsal for his nasty turn in Dr. Zhivago. Sliced ham for sure, but he did make his points.

All pro performances by Sloane, Corey, Winters, Hagen, etc.. For me, a straightforward narrative really, carried by the emotional involvement of the characters. I was involved so much so that I was concerned about the future of Charlie's son.

Fine noir direction by Aldrich, getting ready for Baby Jane. Oh, NYTimes review found it 'ingrossing', so there.

John Hart

Never on Sunday never again? Flipped over this exuberant film when it first came out, but got bored sooner in the plot line mainly because of Jules Dassin's feckless role as Homer the Mentor to his big everything prostitute Ilya. Ilya played with bombastic gusto by Melina Mecouri is weighted down now with the image that she later became Greek's Minister of Culture and must have been literally slumming through this filmic romp. NEVER ON's Pygmalion roots just too obvious this time, and that's where I switched to the local news to return later to the more ebullient ending. Titos Vandos, with whom I appeared in a bomb of a Broadway show, THE GUIDE,circa 1970, was the most genuine character around with his devotion to Ilya, his sincere dancing and love-hate relationship with Homer. Tito's was used to advantage later by Woody Allen in EVERYTHING YOU WANTED TO KNOW ABOUT SEX BUT WERE AFRAID TO ASK. Dassin even throws in a Greek chorus with those fab four hookers who march down the street in unison and goad on the action-- with great advantage to the needed pace. Pireaus and environs look tourist ready but the visual peak of the film is Ily's and Homer's walk through the magnificently night-lit Parthenon on the Acropolis after seeing a fine performance of Medea. Never see Sunday again? Well, just like Ilya's fine figure, only the best parts. John Hart

In my review just submitted I referred to the young actress lead as Katerina when it should have been Veronika. I was so involved with character and the action I guess that I wasn't that concerned with names. Anyway, she and the film are brilliant. As I said, the cinematography and the director's use of montage are worthy of Eisenstein and his cameraman, Tisse'. The production design is top notch. The placement of actors in the foreground, middle ground and background within any given mise en scene is worthy of study. Stunning, memorable camera movement, and an ending that has an emotional punch that leaves Hollywood films far behind. Gee! Heroic self sacrifice instead of walking into the rainbow. Thanks again, John Hart

Having seen Jacques Perrin as an world-weary, sophisticated director in, CINEMA PARADISO, and then watching him cavort as a love-sick young sailor, (like thirty years earlier) in, YOUNG GIRLS --- is a mind bender. Star power from the word GO! Of course, Catherine Denueve has aged even more beautifully. Tragic still, remembering the death of her sister, Francoise Dorleac, soon after YOUNG GIRLS OF --- was completed, as she was on the brink of international stardom, having also co-starred with Jean Paul Belmondo in, THAT MAN FROM RIO. "Time, you bandit." And, watch GEORGE CHAKIRIS, breaking free from his stolid, (not solid) character in, WEST SIDE STORY, enjoying Demy's mis en scene and feeling free to be himself! Quite a colorful, joyous romp all round.