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Wild River (1960)
Strange romance, but good acting
Wild River has a strange story, but if you're a Jo Van Fleet fan and want to see her in a solid character role, you can try it. She stars as an eighty-year-old stubborn woman (still in her 40s in real life) living in the sticks who refuses to vacate her home even though it's not safe anymore. It's on the Tennessee River banks, and not only does she risk the floods every year, but she's also standing in the way of building a dam for the safety of the other town's residents.
Montgomery Clift is a northerner, and when he's sent down to make sure the building of the dam goes smoothly, he encounters a massive culture clash with the residents - not to mention endless arguments with Jo. Jo lives with beautiful Lee Remick, her granddaughter, but the strange part of the story is the romance between Lee and Monty. She's a barefoot hick who doesn't even use proper grammar, and even though she's a natural beauty (she doesn't wear a speck of makeup in this movie), I doubt Monty would really want a relationship with her. His work takes up all his energy, and he wouldn't want to upset Jo any further by sleeping with her granddaughter. But few movies get the green light without a romance, so I understand the addition to the story.
As usual, Monty's conflicted expressions work well in the role, and Jo is a pro who knows how to take a large bite out of her elderly characters. It's fascinating to see Lee on retrospect; later in her career, she played classy and cultured (The Competition), a complex alcoholic (Days of Wine and Roses), a Swedish politician (The Farmer's Daughter), and the devil's assistant (Damn Yankees!). In a role where she has to count on her fingers and toes, she's quite different.
Interspersed in this drama are racial tensions and a battle of one against the world - everything you'd expect from an Elia Kazan film. The supporting cast includes Jay C. Flippen, Barbara Loden, and Bruce Dern in his film debut. If you like this one, check out 1984's The River.
The Search (1948)
Very sweet film
I'm a notoriously hard sell with films about children, but I was captivated and charmed by The Search. A young Czechoslovakian boy, Ivan Jandi, starred as one of the children in post-WWII Europe who lost their families and were taken in by American organizations in the reconstruction effort. He spoke no English and learned all his lines phonetically, working with the director and his costar Montgomery Clift. You'd never know he has no idea what he's saying - his emotional delivery was very convincing! It's a heart-wrenching performance from a non-actor, and he was rewarded with a Juvenile Oscar (and a Rag, too).
At the time, it was bravely directed by Fred Zinnemann, who shot on location in the ruined cities of Germany. American audiences weren't used to seeing the damage our bombs had done, and it was quite sobering to watch art imitating real life. When we see Monty and Ivan walking around the rubble, it's not fake stones or set pieces. Everything is real, just as there were really tons of displaced children we tried to help after the war. There are sweet moments in this movie, as the two leads bond even with a language barrier; but there are also heavy moments, too. Ivan has a tattoo on his arm, and even though he managed to survive a concentration camp, he still has upsetting obstacles to overcome.
For a unique post-war story that quite literally hit home, I'd definitely recommend The Search. It won the Golden Globe for Promoting International Understanding, a wonderful category that unfortunately no longer exists. Even if you're tough on child actors and prefer to watch movies about "real people", give this one a chance. It's very sweet.
Red River (1948)
Great classic
I'd seen City Slickers a dozen times (or more) before watching Red River. The famous "yee-haw!" scene quoted in the Billy Crystal comedy was immortalized, and I was so excited to see the black-and-white original. It's a very exciting classic documenting the most quintessential cowboy activity: a cattle drive. John Wayne is heading a wagon train with his pal Walter Brennan, but when they're ambushed by Indians, there are very few survivors. Even the Duke's girlfriend, Coleen Gray, gets killed! He finds a new purpose by raising an orphaned preteen, Mickey Kuhn, and starting a cattle ranch. As the years pass, Duke gets more successful but hardens his heart against everyone besides the boy - who grows up to be Montgomery Clift. So if you see still photos from this movie with a gray-haired John Wayne, it's because the movie spans a couple of decades.
The cattle drive is wonderfully engrossing, and all the varied characters will find places in your heart. Even crusty Wayne is easy to root for, as you hope he remembers what's really important in life and softens up a bit. Monty is very young and handsome, so it's no wonder he has a romance as a side plot (with western veteran Joanne Dru). You'll also see the familiar faces of Noah Beery, Harry Carey Sr. And Jr., John Ireland, and if you keep your eyes peeled for the dance hall girl, you'll see Shelley Winters for a minute.
While I don't like the ending of the movie, it's a western I'll definitely recommend. It's an enjoyable ride with wonderful music taking you along the way. It's unusual for Dimitri Tiomkin to write a western theme, and he was rewarded with a Hot Toasty Rag! For an must-see John Wayne double feature, pair this with Hondo.
The Portrait of a Lady (1996)
Similar to 'Dangerous Liasons'
Written and directed by Hollywood's greatest feminist, Jane Campion. The Portrait of a Lady arguably lives up to its title. I didn't like it, but then again, I'm not its target audience. One of the most memorable scenes is when the women are out in nature and one of them has to urinate. They all trot into the woods and form a circle around the one who has to pee to protect her privacy. The one in the middle squats, and everyone giggles. I understand Campion wanted to show a truly feminine moment when all women literally gather around each other and share a uniquely girly activity. While I'm glad the girl-time wasn't some other bodily function, I still found the famous scene overrated.
The rest of the story hasn't anything to do with female hygiene - thank goodness! Nicole Kidman plays a woman of independent means who becomes prey to the cold, calculating Barbara Hershey and her male companion, John Malkovich. If you liked John in 1988's Dangerous Liasons, you'll like his extremely similar character in this. In fact, The Portrait of a Lady reminded me very much of Dangerous Liasons. This type of plot isn't my favorite, and I'm very surprised that a noted feminist would choose to glorify one woman deliberately turning against another. Shouldn't stories be made about women sticking together and rising above unnecessary cruelties to get ahead (or at least equal) in a man's world? The good points to the movie are the costumes and art direction, but besides the background eye candy, I really can't recommend this one.
DLM Warning: If you suffer from vertigo or dizzy spells, like my mom does, this movie might not be your friend. There are sudden tilts of the camera that will make you sick. In other words, "Don't Look, Mom!"
Larceny (1948)
Exciting noir
Much different from his nice guy Mr. Gailey in Miracle on 34th Street the previous year, John Payne plays a villain in Larceny. This fun film noir features John and Dan Duryea as con artists who pick the innocent, pious widow John Caufield as their next target. They plan to swindle her into investing in their "charity", and John puts on the moves to help cloud her judgment. Meanwhile, Dan's girlfriend, Shelley Winters starts to get jealous when it seems that John's judgment gets clouded - she's got a crush on him and doesn't want Joan to take him away. While she still seems new to the screen, Shelley does assert a memorable presence. She's a tough moll with great one-liners to rattle off. She finds a photograph of another girl in John's wallet and gets upset. John insists she's his kid sister, and Shelley replies, "If she's your kid sister, I'm a boa constrictor in high heels." John admits she is, and when she slaps his face, he slaps her right back. Talk about exciting!
If you've seen all the popular noirs too many times and are in the mood for something new, check out Larceny. Dan is always a fun, slimy bad guy, and John gets to show a different side to him. Joan is as sweet as Shelley is salty; try to figure out who he's going to pick!
I Died a Thousand Times (1955)
For those who didn't like the original
The Humphrey Bogart classic High Sierra has been remade twice: I Died a Thousand Times and Colorado Territory. The latter is a western with Joel McCrea, and the former is a nearly identical version of the original, starring Jack Palance. Of the three, my favorite is the western. But since I'm a fan of Shelley Winters, I do like the 1955 version as well. Ironically, the first and most famous version is my least favorite.
If you don't already know the story, it's the age-old tale of a criminal pulling off one last job before going straight. Jack is an ex-con released from prison who joins his followers to pull off one last robbery. His girlfriend, Shelly, has waited for him while he was in jail, but Jack's eye wanders to a completely different type of girl: innocent, inexperienced, and trusting. In essence, it's a story of personal growth and loyalty. Jack tries to mature and become worthy of Lori Nelson's image of him, and Shelley remains loyal through thick and thin. Give it a shot if you want to see a young Jack Palance, but you might not like it if you're as loyal to Humph as Shelley is to Jack.
He Ran All the Way (1951)
Excellent in every way
He Ran All the Way was John Garfield's final film. He died tragically of a heart attack, so when you watch this movie and see him exerting himself running up and down the stairs and waving a gun around in tense situations, it is extremely sad. Had another actor been cast in the film, it would merely be an exciting, very well acted thriller. But John Garfield is the lead, and it adds an extra layer of desperation, knowing that this man is quite literally running for his life. We know that he doesn't win the battle in real life, and we hope that he will on the screen.
After an overture of Franz Waxman's completely unexpected and frantic music, we see a robbery gone wrong. John and his cohort kill a cop, and he immediately goes into hiding. In a smart move, he goes to a public swimming pool, hoping he can blend in without anyone being able to pinpoint exactly when he arrived there. While in the pool, he meets Shelley Winters. He puts the moves on her and goes with her back to her apartment - but then he shows his true colors. . .
I would never be as tactless as to say Julie put his whole heart into the performance, but he put every ounce of his talent into this role. Press pause on any frame of any scene, and you will see an incredible combination of emotions written on his face. This was the best performance of his career, and if it weren't such a contentious year, the Hot Toasty Rag Awards would have been proud to give him the honor of Best Actor. As it was, he was up against A Place in the Sun, Death of a Salesman, Blind Victory, and others.
I'm a Shelley Winters fan, and her brand of insecurity and slight dowdiness works well in this role. Her parents, veteran character actors Wallace Ford and Selena Royle, don't let their supporting characters curtail solid, simmering performances. Everyone is top-notch, which I usually attribute to a good director: John Berry. His pace and framing are intriguing, and again, we would have loved to have honored him at the Rag Awards. But, with on-location filming in Africa, dancing on the ceiling, two war movies, and more, Berry didn't make it on the list. This thriller is excellent, and if you've followed John Garfield's career, you owe it to him to watch his final onscreen piece.
Odds Against Tomorrow (1959)
Gritty heist movie
In this gritty drama, gambling, racism, robbery, and murder are the main characters. It's exciting, but definitely has an indie feel to it. There's no glamour, no frills - this raw drama would have found a better home had it waited a few years and been released in the 1960s. Released during a year when audiences wanted to see Ben-Hur, The Best of Everything, and This Earth Is Mine, it's not a movie most people remember.
Robert Ryan is a racist ex-con who unknowingly signs up to commit a bank robbery with Harry Belafonte, an unsuccessful gambler. The third partner is a disgraced former cop, Ed Begley. Robert doesn't want to work with Harry, but he's broke and tired of sponging off his girlfriend's, Shelley Winters, money. The tension and arguments between the three partners threaten the execution and success of the robbery. Keep in mind, we're supposed to be rooting for the bad guys!
Some Like It Hot may have received all the attention for the gay innuendo that made it past the censors, but Odds Against Tomorrow was far more explicit. No one in Some Like It Hot is actually gay, but there is some humor about cross-dressing and pseudo male romances. There's an openly gay character in Odds Against Tomorrow, who constantly checks out Harry Belafonte and sidles up to him in a bar and tries to buy him a drink. It's not going to be everyone's cup of tea, but if you like gritty heist dramas, give it a try.
Meet Danny Wilson (1952)
Fun, light fare
If you liked Frank Sinatra in the light fare Double Dynamite, you can check him out in Meet Danny Wilson. He plays a singer with a knack for getting into trouble, who also gets involved with a gangster. Some might call it a story that's a little close to home, but others will just take it for what it is: a cutesy love triangle with some Frank Sinatra songs thrown in for good measure. You'll get to see "How Deep Is the Ocean?", "I've Got a Crush on You", "That Old Black Magic", and "All of Me" performed in a fun nightclub setting.
The woman who is the object of everyone's desire is Shelley Winters, and although she sang in a few movies, she didn't have the best voice. It's still fun to see her share a duet with Frankie, and her eyes sparkle with the fun we think she's having. It turns out, they didn't enjoy working together, but you'd never know it from their cute rapport onscreen. I always wished Shelley had been cast as Adelaide in Guys in Dolls - she would have been so much better! Alex Nicol, Frankie's piano player, and Raymond Burr, the mobster, also vie for Shelley's affections. Who will win out? Find out if you can have love and success all in one in Meet Danny Wilson.
Phone Call from a Stranger (1952)
Don't look up the plot synopsis!
On a flight from Chicago to Los Angeles, Gary Merrill befriends three fellow passengers while one technical issue after another lead to unscheduled stops. The new acquaintances are Michael Rennie, a doctor with a drinking problem and a guilty conscience, Shelley Winters, a failed actress who's ashamed to return home, and Keenan Wynn, a loud-mouthed salesman who's always quick with a joke.
If you've never seen this movie, I beg you not to look it up online or search for a plot synopsis. Just let the movie unfold naturally. You can only watch it for the first time once, after all! This unforgettable tearjerker shows the humanity in all of us, and the driving desire to do the right thing. Nominated for Best Picture and Screenplay at the Rag Awards, this classic belongs in every movie collection.
The Scalphunters (1968)
Story is too dated
The entire premise and plot of The Scalphunters is pretty dated. It's difficult to actually enjoy this movie unless Burt Lancaster is your favorite actor of all time. He stars as a fur trapper whose stock gets stolen by a band of violent Indians, who leave Burt with a piece of property they believe is a fair trade for the furs: a slave. Ossie Davis is better educated than Burt and that's supposed to be funny. See what I mean? This movie is extremely dated.
The rest of the movie features Burt and Ossie teaming up to try and find the Indians and win back the furs. Modern audiences will not be rooting for them, since it is not considered fashionable anymore to kill animals for their skins. Telly Savalas is a rival fur trader who is also after the stock. Shelley winters is Telly's girlfriend, which brings me to the only interesting part of the movie:
Burt Lancaster and Shelley Winters had a torrid affair years before, and I wondered how they could have been reunited in this movie. Yes, Deborah Kerr had the guts (or desire for revenge) to have an onscreen sex scene with Burt fifteen years after their affair - but however theirs ended, it couldn't have been as painful as his and Shelley's. If you watch this movie closely, you'll notice that they never share a frame together; perhaps she insisted (understandably so) that they never went to work on the same days.
What's the Matter with Helen? (1971)
One of the better 70s thrillers
What's the Matter with Helen? Is one of those campy thrillers from the 1970s that older women acted in when they didn't know what else to do with their careers; but if you're going to watch one of those movies, make it this one. It's actually pretty good.
Debbie Reynolds and Shelley Winters are two friends whose sons are also friends. When the boys commit a murder and are convicted, their mothers' reputations are ruined. Anxious for a fresh start so that they live out what is left of their lives with dignity and potentially happiness, they move to California and change their names. They open up a dance studio for Hollywood hopefuls, and the little tap dancing children flocking. However, when Debbie gets a suitor, Dennis Weaver, Shelly starts to get upset. Hence the title question.
When, with fun, frisky music by David Raksin, this thriller is head and shoulders above the others, like Whatever Happened to Baby Jane and Lady in a Cage. If you like the cast or the genre, give it a shot.
Tennessee Champ (1954)
A knockoff of 'Kid Galahad'
If you liked the old boxing flick Kid Galahad, you can check out a similar version that's not nearly as good: Tennessee Champ. It features a hardened boxing manager with a fiancé he strings along and won't marry, and when a squeaky clean kid with a talent for fighting comes along, he tries to make him a champ without suspecting the kid's good manners will win over his girlfriend. Sound familiar?
The cast in this one is Keenan Wynn, Shelley Winters, and Dewey Martin as the Tennessee Champ. He's very religious and would rather be a preacher than a boxer, but Keenan talks him into it, saying that he can donate all his profits to the church. That part of the plot is very silly, because it implies that he is moron, not merely a man of God. Shelley has a throwaway part, because she doesn't have a love triangle and mainly bickers with Keenan whenever she's on the screen. If you recognize the cutie pie in the first five minutes of the movie, it is a pre-famous Charles Bronson (billed as Charles Buchinsky). For the life of me, I couldn't figure out why he wasn't the lead, especially since he and Dewey Martin resembled each other.
You'll also see Earl Holliman as Keenan's assistant who took too many blows to the head. However, no one really stands out in this movie. The cutest part is during Dewey's first match. He thinks Earl is going to go easy on him as promised, but when he stops pulling his punches, Dewey, says, "That hurts, now stop it, please!" Besides that, and Charles Bronson, you're better off with Kid Galahad.
Something to Hide (1972)
Save your time
If the first ten minutes of Something to Hide seem cheesy and over the top, you should know that it only goes downhill from there. I stuck through the end because Peter Finch is a good actor, and I'll give anything with Shelley Winters a try. However, I should have stuck with my initial impression. I should have watched an old favorite of Shelley's and remembered Peter Finch in movies where he showed his acting talents. This is not one of them.
The movie starts with Peter and Shelly screaming at each other. There are a very unhappily married couple having another fight. Shelley pushes him too far, and it implies that Peter loses control... The next section features Peter functioning in the house without Shelly, but sometimes he hears her voice and believes her to still be in the house. It is pretty obvious what has happened, but the movie doesn't come right out and say it. Meanwhile, he picks up a pregnant hitchhiker and allows her to stay in his home. Their relationship is ambiguous and quite pointless. Save your time and watch something else tonight.
Kiddy Warning: Obviously, you have control over your own children. However, due to adult content, I wouldn't let my kids watch it.
Frenchie (1950)
Shelley is adorable
If you (like the rest of the world) think of Shelley Winters as an overweight, frumpy, whiny old lady, rent Frenchie. I'm in the minority, I realize, but this is how I think of Shelley winters. She's cute as a button, has a fun and flirtatious personality, and believe it or not, she has a figure. Frenchie is a western with a thin plot, but it doesn't matter. Shelley is trying to find the murderer of her father, and Joel McCrea is the sheriff. Joel warns her with a story of a girl he knew who rode a wild horse for too long and got into trouble. "Don't worry about me, Sherriff. Anything I can get on. . ." she says tauntingly as she fixes his bow tie, "I can get off." How did that get past the censors? Perhaps the members of the Hays board were too distracted with Shelley's adorableness and glamorous saloon costumes to notice what was coming out of her mouth. What a figure (she used to share clothes with her roommate, Marilyn Monroe)! It's no wonder all eyes in the saloon leave the can-can dancers when she walks into the room.
Seriously, folks. I know Shelley Winters isn't a glamour queen. I realize no one remembers her as a great beauty or sex symbol. But I always think of her as she was in Frenchie. She's a bundle of fun, and I would have loved to have been her friend.
The Big Knife (1955)
Excellent Palance performance
Jack Palance has been immortalized as Curly from City Slickers, and it's a good thing, too - before that comeback, he made terrible European flicks for thirty years. But before all that, he actually acted. If you can't imagine him in a heavy drama, rent The Big Knife. It's a classic Kirk Douglas role, but watching Jack in it makes you think there's no other actor who could have taken it on. John Garfield did the part on Broadway, which is to be expected since he frequently worked with playwright Clifford Odets. Had he lived, Julie would have been fine on the screen as well, but my point is that Jack Palance was wonderful. There were lots of heavyweight dramatic actors in 1955 (Burt Lancaster even turned it down), but in this movie we forget all about them.
In this heavy cynical drama, stars as a Hollywood actor with skeletons in his closet. He is temperamental and cruel when he argues with his soon-to-be ex-wife Ida Lupino, but he's scared and malleable in his scenes with his agent, Everett Sloane. Everett has been with Jack for a long time, and he knows where the bodies are buried. There's a particular body that's starting to get unearthed, and Everett wants to do everything possible to keep it covered. Blackmail and deceit take front seats in the story. It is not a feel good movie, so you might want to have a comedy on hand for a double feature. This movie shows the seedy side to Hollywood, one a lot of people didn't want to talk about at that time. It took guts to make this movie. There have been lots of movies in the decades since, like L. A. Confidential, that have watered down the message of this original. But keep in mind that up to 1955, when Hollywood made a movie about itself, it was usually light fare. Everyone involved in this movie took a chance, and perhaps Jack was forced abroad after putting his face on the big screen. Or perhaps he merely had a bad agent. He should have employed Everett!
The Poseidon Adventure (1972)
Best Picture of 1972
I was a little reluctant to watch The Poseidon Adventure because of my great fear of water. My mom assured me that there was only one scene where I'd need to close my eyes, and she gave me my cue. The rest of the movie was practically indoors, she said. Boy, am I glad I listened! What a fantastic adventure movie! I highly recommend it, even to those of you out there who are afraid of water like I am. Just close your eyes when Shelley Winters decides to take a swim.
As in all disaster movies, a group of eclectic characters are gathered in a large setting, and each is given a couple of minutes of screen time to explain themselves and endear them to the audience. In this one, everyone's together on a party cruise for New Year's Eve. I won't tell you exactly what happens, because it's extremely exciting to watch it unfold, but after the disastrous event happens, the surviving passengers are forced to band together and find their way to the surface, or else go down with the ship. Gene Hackman plays a new-age reverend, and he shows more energy and passion than in most of his performances. Ernest Borgnine and Stella Stevens play bickering spouses, each with strong personalities; whenever Stella's on the screen, she makes their impossible surroundings look beautiful. Shelley Winters and Jack Albertson are an older couple, fulfilling the "tearjerker scenes" as they constantly talk about their grandchildren. Red Buttons is a hardworking bachelor who gets to act like a hero for the first time by bolstering Carol Lynley's confidence. Roddy McDowall and Arthur O'Connell go along for the ride, and just like in all disaster flicks, not everyone makes it out alive.
The Poseidon Adventure is so extremely exciting, and I don't know how they did those special effects in 1972. Even with today's technologies, the shipwreck scene in the beginning is lifelike and frightening. Nothing drags in this movie, and the tension is constant as the passenger list dwindles. The best picture of 1972 (according to the Rag Awards) and one of the best disaster movies of all time, The Poseidon Adventure will keep you riveted from start to finish.
DLM Warning: If you suffer from vertigo or dizzy spells, like my mom does, this movie might not be your friend. When the ship turns upside down, that will make you sick. In other words, "Don't Look, Mom!"
Harper (1966)
Solid Paul Newman performance
While Paul Newman spent the first half of his career playing sexy bad boys with an attitude problem, he easily transitioned to tired cynics with a rebellious edge leftover. If you're wondering where it all started, rent Harper. Paul plays a private detective who gets in over his head while trying to find Lauren Bacall's husband, and while he's still young and charming in 1966, he acts like he's been doing the same thing for too long but he doesn't know what else to do. For example, there's a scene where he goes to a restaurant and pumps the hostess and the bartender for information using the exact same verbiage. The hostess says she could tell he was a bookie; he says, "No kidding? You really could tell, huh?" Then the bartender says he could tell he was from Las Vegas; he says, "No kidding? You really could tell, huh?" The second time he says it, you can feel his exhaustion behind the inflection. He's done this routine a hundred times before.
If you like 1960s detective movies, you'll probably want to check this one out. I liked the Tony Rome movies better because there was more humor in them, and Harper is more of a straight drama. My favorite scenes were the ones with Shelley Winters, since she was fun and frisky; what a cute character! It wasn't very nice, though, when the other characters talked about her getting fat and letting herself go. I hope she didn't have hurt feelings.
Elvis (1979)
The first biopic
It feels like they've made a million different Elvis Presley biopics, but really there've only been thirty film portrayals of The King. I haven't seen most of them, but I did sit through 1979's tv-movie Elvis, starring Kurt Russell. If you're going to pick one, you might want to pick this one. Oftentimes the first stab at something is like a trial-run, full of errors and leaving room for improvement by later versions. This was the first Elvis biopic, but it's stood the test of time remarkably well, and it's revered by his greatest fans.
This movie doesn't go into Elvis's later years, but when you watch the movie, it doesn't feel like anything's missing. Everything you'd want to see in an Elvis biography is included: his war years, his devotion to his mother, played by Shelley Winters, his romance with Priscilla, played by Season Hubley, and plenty of vocal performances. While Kurt doesn't do his own singing, he more than makes up for it with his movements and expressions. He clearly did his homework, knowing that, not only was it an honor to be the first to play Elvis, but also keeping in mind that he himself had a personal connection to the star. As a little boy, he played a small part in an Elvis Presley movie in the early 1960s!
Kurt Russell does an excellent job both impersonating Elvis's outward persona and revealing his private moments. If you're a fan and want to see him in a different type of role than he usually takes, rent this drama. It's extremely entertaining, informative, and engaging.
The Diary of Anne Frank (1959)
Too glamorized
I know it makes me sound like a terrible person, but I just didn't like The Diary of Anne Frank. It's a terribly depressing story! I can't imagine actually enjoying watching this movie and wanting to watch it over and over again. Everyone knows how it turns out, and if someone doesn't, they might enjoy watching it even less.
Millie Perkins made her film debut as the titular character, and while she does possess a great amount of confidence in front of the camera, she isn't really convincing as Anne Frank. She was twenty portraying a thirteen-year-old, and much, much prettier than the real girl. I couldn't help but think Hollywood wanted to draw audiences by casting an international model in the lead, which shouldn't be the point of the film. And, although filmed in stark black and white, the cinematography seemed to "glamorize" the attic. Critics have complimented George Stevens's direction, but it felt too sanitized. If you're focused on the framing of the wooden beams, you're not immersed in the story and the characters.
Shelley Winters, Joseph Schildkraut, Lou Jacobi, Richard Beymer, Diane Baker, Gusti Huber, and Ed Wynn are the other Jewish family members and friends who are being hidden from the Nazis. Virtually the entire movie takes place in the small attic, but even though two years pass within the running time of the movie, Millie still looked too old for the part. The film was a great success, though, winning two Oscars for 1959 and earning five additional nominations. It is a classic, so if you're reading the book or play in school, that would be a good time to rent the movie just to say you've seen it.
Compromising Positions (1985)
Forgettable
Compromising Positions is a 1985 comedy that represents the limbo midsection of the decade. It is part mystery, part comedy, part women empowerment - and none of the parts are very solid.
Susan Sarandon stars as an unsatisfied housewife who used to be a journalist and now relies on her husband Edward Herman to be the breadwinner. When her dentist becomes a murder victim, the detective, Raoul Julia, questions her. Turns out, she's not the only woman in town to be questioned, since the dentist was fooling around with a lot of his patients. Susan gets the bee in her bonnet to find the murderer herself, much to Raoul's frustration. Meanwhile, Edward is also frustrated, since his wife is stepping outside her role and picks fights with him at unexpected times. I found it uneven, with no one really standing out. Judith Ivey, Susan's raunchy friend, tried to make an impression with her nasty one-liners, but it's a pretty forgettable movie. If you want to see Susan in a comedy, just stick with Bull Durham.
The Other Side of Midnight (1977)
Revenge served cold
Young, innocent, and gullible, Marie-France Pisier falls for a hotshot flyboy, John Beck, at the start of WWII. He takes advantage of her love and promises to marry her when the war is over, but of course he never contacts her again. Marie-France vows to get revenge and make him regret he ever done-her-wrong - but she certainly takes her time! As the saying goes, "Revenge is a dish best served cold."
At the time, The Other Side of Midnight was a pretty naughty movie. Marie-France uses sex to get ahead, so I'd put the kids to bed before watching the famous "ice cubes" scene. Also, there's an upsetting abortion Marie-France has to endure - but back in the 1940s, there was no birth control pill. What did she think would happen? This is definitely a soapy, heavy drama, so if you like those kinds of movies, invite a bunch of your girlfriends over and pop some champagne. Be sure and keep it "on ice"!
Kiddy Warning: Obviously, you have control over your own children. However, due to sexual and adult content, I wouldn't let my kids watch it.
The Secret Life of Marilyn Monroe (2015)
Kelli Garner IS Marilyn!
You might dismiss The Secret Life of Marilyn Monroe, thinking it is just another biopic and Hollywood has certainly made enough of them. However, as someone who has seen nearly all of the representations, I urge you to reconsider. I watched this miniseries on the big screen, not a small television set. I was able to see every detail projected onto the width of the room's wall, so any flaw, dissimilarity, or wrong movement of Kelli Garner would be completely noticeable. She was perfect. I kept grabbing my mom's arm across the theater seat, exclaiming, "It's her!"
Miss Garner looks so completely like Marilyn, from the minutest movement of her eyebrows, to the slight downturn of her mouth before she smiles. Any girl can imitate Marilyn's walk, but it takes a true talent to recreate the way she sighed. From her teen years as Norma Jean, to the excruciating detail of her Marilyn mannerisms, from her private dramatics with her mother, to her terror at being institutionalized herself, it is an absolute crime Garner wasn't nominated for a single award. She should have swept the season. Had this movie been released prior to My Week with Marilyn, Michelle Williams's showstopper would have never gotten off the ground. I thought Michelle had the market cornered, but now I've seen the very best there is. Michelle took the angle of "Marilyn knows exactly what she's doing" (which was wonderful), but Kelli plays the victim. She's been victimized and manipulated her entire life, and from start to finish, all she ever wanted was to be loved. If you watch Kelli's performance first, you'll probably hate what Michelle did to the 1950s icon. Kelli is vulnerable and tragic, and she breaks your heart.
The format of the story is Marilyn with a new psychiatrist, played by Jack Noseworthy. Although a cutie, Jack's character is a terrible therapist! He poses unrealistic questions and lets his face show everything he's thinking - taboo for psychiatrists. However, for television audiences, if he removed the twinkle from his eye and stopped smiling, his scenes would be far less enjoyable. The therapy sessions provide natural breaks in the story, so the present-day Marilyn can reflect on her past (and sometimes break for commercials). The miniseries has a great focus on Marilyn's insane mother, Gladys, played by Susan Sarandon. I've never seen her in such a creepy role, but she certainly did it well. There's a balance between the private moments of Marilyn and Gladys, and the public scenes biography fans are looking forward to. Iconic outfits are recreated for the ultimate Marilyn fan to enjoy, and her transition from Norma Jean is completed with exactly the right hair and makeup styles. We see all three of her marriages as well as friendships, romances, and "bargains" with more of the Hollywood crowd. Though Jeffrey Dean Morgan is infinitely more handsome than Joe DiMaggio, he does give both an endearing and frightening performance. Stephen Bogaert as Arthur Miller looks like he stepped out of a photograph. You'll also see Embeth Davidtz, Emily Watson, Peter MacNeill, Giacomo Gianniotti and Eva Amurri (Susan's real-life daughter playing the young Gladys!). If you're a fan, you owe it to Marilyn to watch this biopic. Of all the versions, I think she'd like this one the best.
Peacock (2010)
He could have won an Oscar for this
Now, Cillian Murphy is enjoying headlines as the most recent Best Actor winner at the Academy Awards. He's being hailed as the greatest Irish actor in history, although fans of Richard Harris or Daniel Day Lewis might argue. However, before he was Oppenheimer, he also played John and Emma in Peacock. Peacock is a small indie movie that no one has remembered; I believe if it had been made fifteen years later, Cillian would have won his Oscar anyway.
Back in 2010, transgender characters weren't "in". Brave actors took on the challenge but were rarely rewarded for it. If you can pretend you don't know his now-recognizable face, you would really think a separate actress played the female role.
Watch the trailer and see if it appeals to you. There's mystery, a mixture of fantasy and realism, and an enormous amount of pressure as Cillian's world comes crashing in on all sides - literally. He'd lived a peaceful life in his small town without anyone finding out about his secret life, until one day a train derails from the tracks and crashes in his backyard. At the time of the crash, he was enjoying his private time as Emma. Neighbors, reporters, and policemen see Emma and don't recognize her as John (really, you'd be fooled, too). From then on, Cillian has to juggle his dual personalities. Sometimes he's called upon as John, and sometimes as Emma. The pressure becomes unendurable for the insane protagonist. Cillian's performance is extraordinary, making you feel as nervous and uncomfortable as you're supposed to. In the supporting cast, you'll see Susan Sarandon, Ellen Page, Josh Lucas, Keith Carradine, and Bill Pullman.
Noel (2004)
One of the worst movies ever
Noel is one of the worst Christmas movies ever made, and definitely one of the most depressing movies out there. Unless you hate the holiday, want to continue hating it, and think it's good fun to hear other people's Christmas horror stories, don't watch it. Yes, there's the draw of a big cast: Susan Sarandon, Robin Williams, Penelope Cruz, Paul Walker, Chazz Palminteri (who also directed), and Alan Arkin. But it's seriously disturbing. Death and violence are at the heart of the story, which strives to weave strangers together during the holiday season. Susan's mother is dying from Alzheimer's, Susan herself considers suicide, Paul beats up his wife, Alan is deranged, Robin's lost faith in God. . . Need I go on? There's even a scene at a bar where people tell their worst Christmas stories, and whoever wins gets a free drink. The poor unfortunate soul "wins" by talking about her dead child.
Seriously folks, save your holiday spirit. At the time, it was the most upsetting movie I'd ever seen. Unfortunately, now I've seen others that were worse; but still, I would urge you to stay very far away from this movie - especially during Christmastime.
Kiddy Warning: Obviously, you have control over your own children. However, due to adult and upsetting content, I wouldn't let my kids watch it.