Ace In The Hole (1951)

Ace In The Hole (1951) ★★★★★ 5/5

Long before James Franco found himself trapped under the rocks in 127 Hours, Leo Minosa (Richard Benedict) found himself in the same sort of predicament. Trapped in the rocks of Escadera, New Mexico while trying to steal ancient Indian artifacts. Chuck Tatum (Kirk Douglas) is a newspaper reporter who has basically been banned from the industry for his nonprofessional behavior and lack of ethics in reporting. Tatum finds himself the first on the scene of Minosa's situation and sees nothing but opportunity.

Tatum recalls the real life story of W. Floyd Collins, who suffered a similar fate in the 1920's. He goes to see Minosa trapped in the rocks and when he hears Minosa talk about how he was afraid he became trapped as the result of an Indian curse, Tatum likens it to the story of the curse of King Tut's tomb. Immediately he puts himself to work to get the story. However, he doesn't just get the story, he dictates it and wants Minosa to be trapped for as long as possible so he can write.

Minosa has a wife (Jan Sterling) who was ready to leave him. The couple run a small cafe in the middle of nowhere. She despises her life and with her husband being trapped, she knows she can leave. Tatum manipulates her way of thinking. As a family drives up to ask where the trapped man was they read about, Tatum shows Mrs. Minosa the paper and how he had written about how she was a wife in distress over her husband being trapped. He went on to explain that the people would be coming in droves and from it, the cafe would prosper. Indeed it did, and like Tatum, she too saw the benefit of dragging the story on.

Tatum works his angle to get in good with the sheriff (Ray Teal) to ensure that he is the only one with full access to the scene, thereby blocking out all other reporters. Likewise, he works his magic with the doctor and the rescue crew. He ends up in complete control of the situation and completely fabricates what could have been a simple rescue into "The Big Carnival," which was the original title of the film.

Jacob Q. Boot (Porter Hall) runs the small newspaper that Tatum works for and sees through Tatum's story. Boot is in opposition of the sheriff's politics and condemns Tatum for what he has been doing. In reaction, he quits on the spot and decides to make his fortune telling his story to the larger papers throughout the country. Mrs. Minosa also has expectations about making her fortune and moving to New York . . . in hopes of being with Tatum.

The ending rather intense. Yet knowing what the movie was saying as it progressed, it was not necessarily an unexpected ending. Alcohol and the weight of the situation the Tatum created ultimately become his own demise.

Media's portrayal of news is scrutinized very well in this film without belittling the industry. Two sides are given, the side of the professional, upstanding newsman (Boot), and the unscrupulous newsman more concern about money and fame then integrity. It draws a clear picture of how the media can manipulate an event to it's advantage in order to sell papers. Tatum saw a story and steered it in a direction that would benefit him. With his twist and writing, he drew interest so great that the location became a fairground, songs were written with Leo's rescue as the topic, trains rolled through and the entire country rallied around a man who was not a victim of the rocks, but a victim of the media using him to his advantage.

This film is still just as relevant today as it was when it was released. Paparazzi and entertainment shows like TMZ easily target people and situations and present them in a less then becoming matter to make money. This film really makes you stop and rethink what is being reported and how a story could be manipulated, jeopardizing the lives and livelihoods of the people being covered.

Marty (1955)

Marty (1955) ★★★★★ 4/5

Marty Piletti (Ernest Borgnine) is a butch in New York. At work, his customers tell him he should be married, after all, he is 34 years old. All his brothers and sisters are married. At home, his Mother tells him he should be married. Friends want him to find a girl. Everyone around him pushes him into romance at every opportunity they get. Marty is a warm hearted guy with a charming personality. He's not the best looking guy, and he is critical of himself.

Clara (Betsy Blair) is a 29 year old school teacher. She is kind and polite. Like Marty, she does not have high self esteem and doesn't think love will find her. She too lives with her parents, and uses it to her advantage claiming her parents couldn't do without her help at home.

The two meet at the Stardust ballroom after Clara's date has left with another girl. Marty sees her crying and befriends her. That night, the two spend hours at a diner talking and getting to know each other. The get along perfectly and are attracted to each other. Marty takes her home and the two share a kiss before his Mother arrives and briefly meets Clara. Being late at night, Clara is then escorted home by Marty when they run into a friend of Marty's who he had actually lost track of earlier in the night at the Ballroom. He tries to get Marty to hang out with him, but Marty insists on taking Clara home. When he finally does, he promises to call her the next day.

Morning comes with Marty singing and happy. However everyone around him who had encouraged him to find love now protests his new interest. His Mother excalims she didn't like the girl and forbids him to see her again. Her main reason is because the girl is not Italian. This change of pace came from a conversation Marty's Mother had with her Sister in which her Sister warned that if Marty ever finds love he will try moving her out of her house and into an apartment. Moments later, Marty's cousin is in a bitter fight with his wife. He warns Marty about the problems that come with a wife and begs him to stay a bachelor. After church, Marty meets his friend who had briefly met Clara. Again Marty finds himself being talked out of his interest in Clara. His friend speaks about how ugly she is and makes Marty not want to see her. He declines calling her.

Later that night, Marty is spending times with his friends who bicker about what they want to do that night. Clara is at home watching Ed Sullivan with her parents, and clearly heartbroken. Marty himself is feeling bitter about spending another noght doing nothing when he knows he found someone he loves. Love wins and Marty calls Clara.

The film moved along nicely. It was also nice watching a film where the lead characters were more typical of everyday people instead of Hollywood icons. The dynamics and the shift in how Marty was made to feel by those in his environment was well played. While the attitudes of those around him shifted quickly in the film, it was well crafted and made sense. The development of each character and why they changed their initial viewpoint was well scripted and believable. My only issue with the film was the ending was far to abrupt. Sure, we knew what happened and it was no mystery, but I think it left for the viewer wanting to see Marty and Clara actually reunite. But, just as the film did not star mainstream idols, it did not feature a traditional Hollywood ending. Perhaps this helped the film achieve it's success as it was more releastic then it was movie like.

The Bicycle Thief (1948)

The Bicycle Thief (1948) ★★★★★ 5/5

Following World War II, Rome suffers greatly and poverty affects the population. Men gather in the morning to hear if they are selected to work. Antonio Ricci (Lamberto Maggiorani) is chosen for a job to hang movie posters throughout the city so long as he has a bike. Accepting the job, he rushes home to his wife (Lianella Carell) and tells her of the news. Yet there is a problem, he doesn't actually own his bike. He had pawned it off for food. In order to get the bike back, his wife pawns their linens. It seems to be a good exchange as the income Ricci will bring in with his new job will greatly make up for it.




While working one day, hanging up a poster of Rita Hayworth, his bike is stolen. Panic striken he tries to chase the thief down with no avial. Devastated, not by losing his bike, but at the realization he has no way of bringing in any income and supporting his family, he retreats home where he meets his son Bruno (Enzo Staiola ) and the hunt for the bike begins.

Rizzo, with help from his son, spend the following day looking for the bike. They see it at one point and track down the man riding it. A policeman is summoned to search the home of the accussed while an angry mob threatens Ricci for his claims. Ricci leaves, lost and bewildered at the thought of not having his bike. Eventually he is driven to theft himself and unsuccessfully attempts to steal someone else's bike.

Lianella Carell has a natural beauty to her which makes her moments on the screen joyous and life like. While the family suffers extreme poverty, there is no denying the relationship between her character and Ricci comes off as very real, and very loving. Enzo Staiola as Bruno steals every scene he is in. In fact, the movie subtly shifts it's focus on the bike and infuses the relationship between Bruno and Ricci into your subconcious. There are a lot of issues at hand in this film and one of the strongest is that between Father and Son. In one day, the two experience several emotions. One of the most touching scenes is when the two splurge at a fancy resturant and Ricci tries to explain what finding the bike and keeping his job will mean. Bruno knows the hardships they face. Bruno's frugality in this scene is tender. Ricci hits Bruno at one point out of frustration and magically we feel the same frustration as the two characters. one being frustration and the other a betrayal of sorts. Ricci hears news that a boy is drowning in the river and our hearts sink as he runs to the victim with Bruno being nowhere in site. In the finale, when Bruno sees his Father caught with a stolen bike, it arouses so many thoughts. Ricci, without saying a word, tells us of his humiliation and his shame for letting down his son. Bruno compliments the scene by showing us the pride and love he has for his Father. It is beautiful, emotional and magical.

This is a simple film about a man trying to get his bike back. But the underlying themes of the film make it one of the most complex films when analyzed. The relationship between a Father and son as Bruno and Ricci bond. Employment issues and the fact that to make money, you need money. Without a bike, Ricci has no way to make money, and he can't get a bike without money. Rich vs poor. This is clearly an underlying theme as Bruno and Ricci dine in a resturant as a wealthy family eats at a nearby table. It also comes into play in the irony of Ricci hanging up glamorous posters of Rita Hayworth throughout the deteriorating city of Rome.



The film is a beautiful one and evokes much emotion, particularily in the scenes involving Ricci and Bruno. It is much more then the story of a stolen bike. It is the story of a bond between a Father and Son and the unconditional love, respect and admiration the have for one another.

Splendor In The Grass (1961)

Splendor In The Grass (1961) ★★★★★ 5/5

Amazing movie. This is one of the best movies I have ever seen without any question and has placed Natalie Wood on a whole new level for me. Wood plays Deanie Loomis, an all American girl in 1928 who is living the perfect life. Her family is middle class, but optimistic about stocks they have. Although they are not wealthy, they are happy and living above their means. Deanie is successful in school and well liked. She is pretty, popular and dating the star football player, Bud Stamper (Warren Beatty). He is athletic, has perfect looks, and comes from a wealthy family. The two share a typical teenage romance. They enjoy their time together and their romance is innocent. Both of their parents warn of issues that may arise if the romance goes to far, referring specifically to sex.

Bud begins to have stronger desires the more the two are together. He becomes confused and grows annoyed their relationship hasn't progressed beyond simple kissing and holding. Essentially, he wants sex. Likewise, Deanie questions her own sexual needs and tries to determine herself how to maintain her chastity. Bud has a sister, Ginny (Barbara Loden), who confuses his perception on sex completely as she does not hold back at all in her relationships, which are primarily based on sex. At one point, she nearly becomes raped as a group watches. From this, Bud realizes he can't keep seeing Deanie because he may not be able to resist his sexual urges. His Father (Pat Hingle) explains that he needs to find a different kind of girl to meet those needs. Bud does just that with Juanita Howard (Jan Norris).

Upon finding out what Bud has done, Deanie become depressed, nearly suicidal and throws herself at Bud. Knowing the difference between a good girl and a bad, he turns her down. Finally, she breaks down physically and emotionally. Her parents (Audrey Christie & Fred Stewart) send her to a psychiatric hospital. Meanwhile, Bud, still in love with Deanie and still knowing she is the right girl for him, becomes careless with his own life and loses sight of his goals. Deanie is institutionalized, yet he still loves her. Because of poor performance in college, his Father visits and tries to convince him that he can take any girl he wants and that Deanie is replaceable.

Years pass and Deanie comes home. Although time has passed, her love for Bud has not. While her Mother protests her seeing him, her father tells her where he can find Bud, at his Father's ranch. Deanie visits Bud, meets his wife, and realizes that although she loves him still, she might possibly love that the relationship is nothing more then a fond memory. The finale leaves for several interpretations, which add to the beauty of the film.

Natalie Wood's performance in this film rivals that of all her other work. Transforming from a perfectly lovable girl next door to an emotionally unstable wreck, there is never a moment of doubt as to what her character is going through. The character development is well played and highly believable. She is surrounded by a cast that plays to every aspect of the film. It is the surrounding characters who help define what Deanie and Bud believe in. Just as they impact Deanie and Bud, everything Deanie says and does impacts every other character. Whether it is the teacher, kids in the hall, Juanita, the doctors or Bud. Rarely does a film intertwine the characters so perfectly no matter how large or small their role is.

The use of the camera compliments everything about the film too. Complex scenes are easily adapted to the screen. Among those are the scene where Deanie reads a poem aloud in class as Juanita listens, Ginny's drunken antics as she wanders from the ballroom to the parking lot and Deanie's walk to the falls. Color is placed to focus attention on key elements in various scenes.

From a story perspective, it is so very complex and absolutely deserving of the Academy Award it won for the screenplay. When broken down, the topic of teenage sex has consequences regardless as to whether it happens or not. The pressure to avoid human instincts and urges can be maddening and cause mental and social suffering. At the same time, the act itself can cause just as much turmoil from pregnancy to negative labels. Decades later the double edge sword still exists where the perception a man can ensure his sexual needs are met if they are met by a girl to serve that need. Yet, a young woman who desires to have her needs met is ridiculed and scorned. Deanie and Bud were truly in love with each other and intended to marry. They both had urges and were directed away from them. This prompted the decline in both of their lives. Bud took the advice of his father and his sexual needs were met, but they were met at the expense of his relationship with Deanie. He loved her, but was convinced that because she was good he should not have sex with her. Deanie was not allowed to have her needs met and the betrayal of her true love drove her insane. It's a very complex storyline and the actions taken to cause and prevent what happened to the central characters could be debated on many levels.

The final scene is amazing. Here are two people who were completely in love and planning on spending their lives together. After time has passed, they are nearly strangers, yet you can see there are still feelings. Neither seem to be truly happy with the outcome and have merely accepted life as it now is, realizing that what they had left behind them in time was quite possibly the finest moments of their lives. you can almost see that while they are not happy, they question whether or not happiness would have lasted and carried on through their relationship had they stayed together. It's a tender moment. Sad, yet at the same time freeing.

Literally everything about this film is amazing. Without a doubt this ranks as one of Natalie Wood's finest performances in a career that has no real low points.

The Natural (1984)

The Natural (1984) ★★★★★ 1/5

Roy Hobbs (Robert Redford) is a 19 year old baseball player who wows everyone around him with his skills. Max Mercy (Robert Duvall) immediately sees that this boy is going to be a star. Because he is so good, he is put up against the major leagues greatest player in a hitting contest and wins. Before he can go any further in the league, he is seduced and shot by a woman (Barbara Hershey) who preys on rising athletes. She falls out the window and dies as the gun goes off. Because of the injury Hobbs sustains, he can not play.

16 years later he tries to make a comeback in the league. With him is the bat he made from a tree that killed his Father. Pop Fisher (Wilford Brimley) takes him on his team to his disliking. To the suprise of Pop, Hobbs is still at the top of his game. Reporters try to exploit his past and suggest that he murdered the woman who hat shot him. Others try to claim his bat is loaded. A Judge (Robert Prosky) wants him to throw a game for money. A woman, Memo (Kim Basinger), is sent in to distract Hobbs from playing well, and the plan works as he falls in love with her and his game suffers. During the height of his slump, he sees a woman in the stands who turns out to be his childhood sweetheart Iris (Glenn Close). Feelings are ignited and Hobbs starts to play well until Memo poisons him. Lying in the hospital, the doctor tells him he shouldn't play anymore. Iris visits and he confesses his love for baseball.

Eventually Hobbs is well enough to play. During the game, Iris has a note sent to him and reveals that her son is actually his son as well. Lo and behold, Hobbs has a boy, and unexpectedly it is with the woman he loves, almost as much as baseball. When Hobbs learns of his son's existence, all the powers of the universe seem to come together. Lightning flashes and the bat that symbolizes his Father breaks. With a new bat, new energy and a new son, he hits the ball into the lights. Oddly, from hitting one light, every light in the park explodes on him and he rounds the bases followed by the sparks, falling like magical fairy dust.

In the end, we see Father and son playing catch in a field with iris watching from the distance.

What a ridiculous movie. First of all, Redford looks the exact same at age 19 and age 35. There was no effort to make him look any different from one period of time to the other. The whole story was so far fetched. A woman who gets her kicks shooting up and coming athletes? Seriously? I couldn't get into the whole plot about Memo wanting to seduce then poison him. Constant murder attempts on one athlete throughout his career . . . which by the way was essentially a sappy "I love baseball more then life" or "I can't live without baseball or I'll die" story line. Through the whole movie my attitude was very "who cares?" This film has an incredible cast, but with such a weak, random storyline, they have nothing spectacular to show off their skills.

The Natural is nothing more then an over dramatic, far fetched fairy tale written to make a boring topic like baseball seem like a romanticized, mysterious underworld/soap opera. The only good thing about seeing this movie is that I never have to watch it again. By the time the end came I didn't even care if he won or lost, I just wanted it to be over. There were several moments where I hoped it would just come to one of those random endings where the film just stops and it's left up to the imagination of the viewer as to what happens. But when Hobbs blew out the lights and rounded the bases in slow motion, I knew that the scene would last far too long. They just had to put it in slow motion, didn't they?

Kramer vs. Kramer (1979)

Kramer vs. Kramer (1979) ★★★★★ 5/5

Joanna Kramer (Meryl Streep) packs her bags and prepares to leave. Ted Kramer (Dustin Hoffman) arrives home late from work to find Joanna leave. It is an abrupt ending to their marriage and we don't know what spurred it. The breakup is swift and fairly calmly played out. Ted figures Joanna will be back within a few days. Joanna does not come back. This scenario is an easy enough plot, but it becomes complicated as they have a son, Billy (Justin Henry).

Ted is a marketing man with a high paced, exhausting job. Yet, he has to completely turn his life around to learn how to incorporate Billy into his life. Previously, Joanna had done all the child rearing. Ted now has to learn to cook and shop, maintain a family schedule, balance play time and work time, and teach his young son how to develop.

Just as his life is in complete sync, and Billy has adjusted to having only a Father, Joanna reappears. Her appearance, well over a year after she had left, comes with news that she wants her son back. Court proceedings take place and a custody battle ensues. It literally becomes Kramer vs Kramer in a tear jerking drama as lawyers cut deep to twist the facts in an effort to make each look unfit as a parent.

With no question whatsoever, Justin Henry may quite possibly have put on the best performance by any child on the big screen. He is emotional and on cue with every motion and line delivered. At times defiant, at times joyful, his presence completely steals the scene. There are times where it is hard to determine if the film is about Billy's adjustment to life without a Mother, or if it is a film about the estranged relationship between his parents. Meryl Streep is always consistent and has the chops to make you believe anything she does. Her emotional instability is relayed just from her facial expressions alone. The isolation and torment that she has brought on upon herself as Joanna puts her in a unique position. While she is the Mother, and the love for her child is clearly strong, her psychological demons, which are mostly kept from the viewer, make her unlikable in many ways. This film is probably one of Dustin Hoffman's finest. he is lovable as a Dad thrown into a new lifestyle. As a viewer, you feel for him. You feel love, pity, sympathy, joy, sadness and so on.

While entertaining, the film is also highly socially relevant. More often then not, it has been the Father associated with packing up and leaving the family. Kramer vs. Kramer flips that stereotype around and puts the Father in the place of where we traditionally see the abandoned Mother. It's quite progressive in nature as far as delivering a social message to viewers other then what we are accustomed to seeing. I felt that in this movie, Ted was clearly the stronger parent. In a sensible world, custody would have been given to him with no question. In this film, custody in the end is awarded to the Mother who had left. Sadly, this would be the case in the real world despite the fact the Father was there and the Mother was clearly unfit. Kramer vs. Kramer basically is saying that our society and courts are quick to abandon Father's rights regardless of whether the Mother is fit as a parent or not. It's a sad realization and prompted a change in thinking, which sadly has not seemed to have occurred.







On a production side note I have to add I was disgusted to see this film was nominated for an Academy Award in editing. This movie had one of the most noticable editing flaws I have ever seen in a movie. In one scene, Ted is walking with Margaret (Jane Alexander) in a blizzard. The following scene, Ted enters a small bar to meet with his lawyer to get the verdict results. He walks in with his winter coat, yet in the back ground the trees reveal they are in full foilage. The sky is clear and a light wind blows the leaves. At first thought, it would seem time has passed and the case dragged on into summer. This thought is quickly put to rest when the following scene again takes place in the midst of winter. Very disappointing. I should almost knock it down a star for that!

On The Waterfront (1954)

On The Waterfront (1954) ★★★★★ 5/5

Terry Malloy (Marlon Brando) emerges from the dark and calls to a window for his friend Joey, telling him to go to the roof to get a pigeon of his that had escaped his coop. Joey goes to the roof and as Terry walks away, Joey is thrown from the roof top and killed. Father Barry (Karl Malden) becomes involved as he realizes that there is more going on then meets the eye at the docks. The dock workers are being treated unfairly. Johnny Friendly (Lee J. Cobb) controls the docks and who is paid what and when. If a worker complains, he ends up like Joey.

Terry feels bad about setting his friend up to be murdered, but at the same time he is conflicted to remain under the good graces of Friendly. Terry becomes more conflicted as he develops a relationship with Joey's sister, Edie (Eva Marie Saint). Eventually he realizes he has to stand up for himself in order to keep Edie by his side. With the help of Father Barry, Terry takes on Johnny Friendly and his mob in an effort to ensure the workers are treated fairly.

Eva Marie Saint, Marlon Brando and Karl Malden are all powerhouse stars in this film. Each of them ignite the film and when they appear together on screen the results are awesome. The story is fast paced and the finale is terrifically played out. A moving picture with a message. My only complaint about the movie was Brando's character name. At times it sounded like people were saying "Jerry" other times "Gary." I don't know if it was the accents or the distant yelling in some scenes but I was often like, "Who are they talking about?" You are also going to look out for Brando's famous "I coulda been a contender line." It is always a thrill to hear a popular movie line played out in its actual context.

Giant (1956)

Giant (1956) ★★★★★ 5/5

A sweeping epic. There is not much more one can say about Giant then that. This is a film of such great magnitude. This film is a powerhouse in every way imaginable. from the star power to the story. One can debate about what the film is actually about though as it coves so much territory. Is it the film of a man and his family? We are introduced to Jordan "Bick" Benedict (Rock Hudson) when he first meets Leslie Lynnton (Elizabeth Taylor). The two become married and move to his ranch where they start a family and we follow their lives. Is the film really about Jett Rink (James Dean) and his rise from a poor farm hand to an eccentric millionaire? We are introduced to him and watch him go from nothing to a nationally renowned tycoon. Are we really seeing his story and how it impacts the life of the Benedict family?

As far as plot, it is quite simple. The Benedicts are successful ranchers in Texas. They are proud of Texas, and proud people. Jett is their ranch hand, and when Jordan's sister, Luz (Mercedes McCambridge) dies, she leaves a small plot of land to Jett. Jett takes that land and begins to dig for oil. He strikes it big and becomes more wealthy then the Benedicts. Jordan loathes Jett and wants nothing to do with him. So, it becomes quite a shock later in life when his daughter Luz II (Carroll Baker) falls for Jett.

What is even greater in this film is the social changes that Leslie brings to Texas when she arrives from the East. Prior to arriving to Texas, she is a Virginian socialite. She breaks racial barriers when she tends to a sick baby in the Mexican village. She shows that animals can be broken by using respect rather then physical abuse. She makes politics a place for women and not just men. She is a strong woman, and as strong as Jordan is, he respects and loves Leslie enough to understand her. Leslie represents a coming of age for women's rights and helps to show how in a few generations, the way of life can be positively impacted by accepting the beliefs of those you love. Her openness to people and modern ways of thinking by those in comparison to what Jordin was accustomed to do wear off on Jordin and he adopts them as his own. This is apparent in two of the final scenes where his son, Jordan Benedict III's (Dennis Hopper) wife Juana (Elsa Cárdenas) is denied service in one of Jett's hair salons, and then again when Mexican customers are turned down at a diner.

Running well over three hours, the film can certainly drag on at points. This is not because it is dull or boring, but because we are simply not accustomed to sitting through one movie so long. If you can stick it out, it is a must see movie. The messages are subtly incorporated through the film so that when it come to the finale, we clearly see and understand that a change has been made. It is this ending that makes us realize that we are watching more then simply the story of a man's life. We are watching the evolution of man. We see how man's thinking can change. While it may take time, it happens, and perhaps a slower development of ones thinking makes for a greater impact when the time comes to fully understand and discover what you believe in. This fantastic movie was sadly the last for James Dean and a clear tribute to his incredible on camera persona. Sadly, he did not even live to see the release of this film. It is also fine acting by Rock Hudson who proves his range extends romantic comedies and commands the respect as a serious leading man. It goes without saying that Elizabeth Taylor is radiant in this film as she always is. She is charming as Leslie Benedict and it's hard to imagine anyone taking on this role but her. Through her acts of kindness on screen, it is very easy to relate to stories of her humanitarianism in her real life. A magnificent piece of work!

The Awful Truth (1937)

The Awful Truth (1937) ★★★★★ 4/5

Jerry Warriner (Cary Grant) is introduced in the film trying to get a quick tan before heading to his wife who believed him to be in Florida for a week. Where he was, we don't really know, but it certainly wasn't somewhere a married man should be. When he does return home, he finds his wife Lucy (Irene Dunne) with company of her own, Armand Duvalle (Alexander D'Arcy). She too has not been home, and had spent a weekend away with him. The two realize that neither is necessarily faithful and think perhaps the best thing to do is divorce.

Lucy moves out and soon finds herself engaged to Dan Leeson (Ralph Bellamy), a wealthy Oklahoman. Jerry himself begins to date Barbara Vance (Molly Lamont) and the couple is often seen in the social pages. Throughout each of their new affairs, they find themselves often interfering in each others relationships. Lucy has custody of their dog Mr. Smith, and Jerry visits regularly, usually when Dan is visiting. Lucy, upon a visit to Jerry's home, accidentally answers the phone when Barbara calls. To cover this up, Jerry says it's his sister. To his surprise, Lucy shows up at a dinner event Barbara's family is hosting. However she shows up as Jerry's sister.

By the end of the night, the two end up heading to a family cabin, and they realize how happy the really are with each other.

This film is a screwball comedy with the highlights being scenes where Lucy is playing Jerry's sister, the two are pulled over because of a loud car radio and where Mr. Smith's hide and seek interrupt a visit from Armand, Jerry and Dan. The film is fun and light hearted. The two are enjoyable as they take turns sabotaging each others relationships without doing so at the expense of the person the opposite has begun dating. it is a fun film and quite typical of other films of that era. Irene Dunne plays comedy quite well, as does Cary Grant. Dunne is also very reminiscent of Katharine Hepburn and certainly holds her own in the comedy arena.

The Ox-Bow Incident (1943)

The Ox-Bow Incident (1943) ★★★★★ 4/5

This is a Western unlike any other Western. There are no sweeping landscape shot, there are no shootouts between the good guys and the bad guys and the headlining star Henry Fonda as Gil Carter is not the central character. A local cattle herder has been robbed and killed. The townspeople gather and form a mob to avenge the death of their fellow cattleman. The angry group finds three men asleep "near Ox-Bow" in the middle of the night. They awaken the men and immediately conclude they are the murderers. Donald Martin (Dana Andrews) is the soft spoken leader of the three. He is found with cattle which bear the mark of the deceased rancher. He claims to have paid for them but has no proof of sale. His fellow traveler Juan Martínez (Anthony Quinn) is found to have a gun on him . . . the same gun that belonged to the murdered rancher. Alva Hardwicke (Francis Ford) is the third in their party, and he is a mindless old man that only complicates matters by claiming Martinez is the murderer.

The "Major" Tetley (Frank Conroy) and his son, Gerald (William Eythe) lead the mob that has cornered the three accused of murder. Gerald is completely opposed to the whole situation, but the hard nosed major bullies him into lead the three men into execution. While the majority of the group is in favor of the "eye for an eye" attitude, Davies (Harry Davenport) is absolutely against any revenge and tries to sway the men into bringing the three to town for a fair trial. He allows Martin to write a letter to his wife, and he shares that letter to the Major in an effort to convince him for a fair trial. The effort is in vain, and while only 7 of the men are opposed to killing the three captured, it is not a majority and the men are ultimately hung.

Following the hanging of the three, the mob runs into Sheriff Risley (Willard Robertson) and finds that the man who was initially said to be dead was merely injured and recovering quite well. In addition, the men who really shot him were all in custody. Immediately, the men all realize they have themselves committed murder, and all will be dealt with except for the 7 who opposed the hanging.

This was quite a shocking movie as Westerns of that particular era were notorious for ending with the good guys riding off after defeating the bad guys and saving the town. In this instance, the good guys took action which in turn left them to be the bad guys. The good guys were hung and murdered. Although the intention of the townsmen was good, their actions were careless and lawless. This was a great twist and quite ahead of it's time. I also liked the relationships between the characters. The dynamics between the Major and his son, as well as Davies and the rest of the group. It is a movie that makes you think after it ends. There is a direct impact it has on the characters we have seen deal with the situation, as well as characters we were never even introduced to in the film.

A Passage To India (1984)

A Passage To India (1984) ★★★★★ 2/5

Set in India in the 1920's, Adela Quested (Judy Davis) and Mrs. Moore (Peggy Ashcroft) head to India from England to visit Ronny Heaslop (Nigel Havers). Heaslop is the son of Moore and the fiancee of Quested. While visiting, the English women befriend a local Indian man, Dr. Aziz Ahmed (Victor Banerjee). Ahmed takes them about India and heads an expedition to explore rural caves. While in the caves, Quested is attacked. At the time of her attack, she is alone and we as viewers do not see the attack. We are shown her fleeing from the cave, bloody and in shock. Moore takes her from the caves and into town. Once in town, the story is told that the attack was actually a rape in which her accuser was Ahmed.

The issue becomes a highly political matter dividing the upper class British from the lower class Indians. Moore is disgusted by the entire situation and takes the opinion that Ahmed is innocent. Because she is in such opposition to the charges being made, she flees the country and heads back to England. Before the trips end, she dies of a heart attack on board the ship. In India, the trial continues without her. When Quested takes the stand, she proclaims that it was not Ahmed that raped her.

Ahmed is set free and leaves the British occupied India to make a new life in rural India. Time passes, and Ahmed is able to put his anger aside and writes a letter of atonement to Quested.

The movie itself has been highly regarded as a masterpiece and one of the best translations of a novel to film. There are strong performances. There are also understated performances, including Alec Guinness as Professor Godbole. Personally, I did not find this film to be that great. The story was slow and a lot of time was spent in establishing the relationship between the British women and their Indian friend. Quite a bit of time was taken until we were actually brought to the main conflict of the film which involved the rape scene. Once that scene occurred, the movie was gripping and the trial was without a doubt the best portion of the film. There was intensity and it was captivating. Tension between the British and the Indian characters was well played and gave a feel for the impact on the trial. Emotions were properly acted out and the weight of this trial could be clearly seen through the acting. While the outcome of Ahmed's innocence was reassuring, the film left complete disappointment as there really was no resolution as to what did happen to Quested. For all the time invested into this movie, I wanted to know what really happened. I do not feel that Ahmed had anything to do with the rape, and almost think that the echos in the cave drove Quested to scratch at herself. I doubt there was even a rape. When the movie ended I felt completely let down and disappointed that we as viewers were led down the opposite storyline we wanted to hear.

To Be Or Not To Be (1942)

To Be Or Not To Be (1942) ★★★★★ 4/5

Carole Lombard and Jack Benny play a Polish husband and wife acting team who participate in a theater group during the height of Hitler's reign. Their theater group is actually performing a comical play about Hitler, but they find themselves switching to a Shakespearean play when the Polish government tells them that they can't perform the Hitler themed play they had rehearsed.

They, along with their acting troupe soon find themselves out of work as war breaks out. But before you know what happened, they are in a complete mad capped adventure. The two find themselves in the middle of a plot to thwart the war and murder Nazi informants. However their schemes go awry and when the informant the y are after is killed, they must take on him as a character to hide that they had murdered him. The film continues this way until they are actually impersonating Hitler himself.

Is it a film to see? Yes. There are several reasons to see this film. The first is because of Carole Lombard. This was actually the last film she made. In fact, the film was released after her tragic death. She was clearly at the height of her career and this film is a testament to her talent. Another reason you need to see this film is because if you are a movie lover, you probably watch current movies too. Although I have not seen anything that officially confirms it, this film has all the makings to serve as inspiration for Inglorious Basterds (2009). Much of that film can be seen in To Be Or Not To Be from the layout of the theater and the concept of tricking Hitler at the opening of a film. Both films feature our protagonists disguising themselves as Nazi's and infiltrating at the highest level possible. Of course this leads us to the third reason to see this film. It uses humor in the most unlikely context. Remember, this movie came out while Hitler was still alive. The sight of a Nazi uniform was offensive. Conceptually, at that time, actually still to this day, it is awkward to pair comedy and Nazi's together. That was quite a bold move in 1942. Yet at the same time, the humor is really poking fun at, and making the Nazi's look like fools. The tie in and use of the "To Be Or Not To Be" scenes are all quite well done and make for a great tie in of the films plots.

Comical scenes are performed well without any hokey qualities or over embellished lines. Much of the humor in the movie is subtle and needs to be picked up on by the viewer. As a viewer, you do also have to follow along to keep track of who is an imposter and who is not. There were some scenes that lingered, but not enough for it to be totally distracting to the movie. Part of that is also a positive remark as they do not force humor just to get a laugh. The humorous scenes are laid into the script appropriately.

The Public Enemy (1931)

The Public Enemy (1931) ★★★★★ 4/5

In 1934, The Hays Code went into effect in Hollywood. This code limited violence and profanity in films which made for a much lighter, romantic and music Hollywood. It was movies like The Public Enemy which helped bring the Hays code into effect. The Public Enemy was a gangster movie which followed the life of Tom Powers (James Cagney).

The movie starts with Powers getting into trouble as a boy with his friend Matt Doyle (Edward Woods). The two get involved with stealing and petty theft. As time carries on, the crimes become more and more involved and they end up working for Paddy Ryan (Robert Emmett O'Connor). Powers works his way up and earns the respect of the men on the street. At the same time, he looses the respect of his brother Mike (Donald Cook). While Powers slips further into the underworld, his Mother (Beryl Mercer) fails to accept what his son has become. Eventually, Powers messes with the wrong guys, or in this case, the wrong guy's girl, and gets what's coming.

As far as plots, it's nothing we haven't seen before. Although, this was the movie, along with a few others from the pre-Hays era that inspired everything we have seen. For this alone it is worth seeing the film, and it is important to see it if you are a movie lover. Acting wise, it is well ahead of it's time. Topic wise, I was shocked by many scenes in the movie. While the content is mild by today's standard, in 1934 this movie was way ahead of it's time. There was murder, there was adultery, there was spousal abuse. One of the most famous scenes in the history of film is in The Public Enemy. That is the scene in which James Cagney physically assaults his on-screen girlfriend Mae Clarke by pushing a grapefruit into her face. It's a brilliant scene. It is both funny and saddening at the same time. While the act is funny, the abuse it reflects is not. Upon it's original release, this scene was banned in several cities. Many cities however chose to ban the entire movie. The scene involving the scandalous affair between Powers and the girlfriend of his rival came as a complete shocker. There is often flirting and what not in older movies, but in this film, she turns off the light, makes some innuendos and heads toward the bed. That's a rariety to see in any 30's film, let alone in a scene where the main characters involved are married. Murder and gun play are very predominant in this film. The final scene made my jaw drop and I couldn't believe how incredibly harsh the ending was.

It should also be noted that Jean Harlow appears in this film. He role is small, but she is a Goddess on the screen and makes for a perfect addition to this gritty classic about gang life in the 30's. The movie is one you do need to see. It is well done and enjoyable. It also paves the way for future gangster films.

Gaslight (1944)

Gaslight (1944) ★★★★★ 4/5

Paula Alquist (Ingrid Bergman) is witness to the murder of her aunt at a very young age. Her aunt is a huge star of the stage, and young Paula admired everything about her aunt. After the murder, she leaves the house where her aunt raised her and never planned to go back. However these plans change when she marries and her husband Gregory Anton (Charles Boyer) convinces her that they should move back into the house. Although a great deal of time has passed, Paula still can not forget the murder and is somewhat weary of living in the house. To help calm her nerves, he hires a cook (Barbara Everest) and a maid (Angela Lansbury) to help Paula tend to the home.

As soon as they move into the house, Gregory's behavior becomes off putting. He becomes frantic when Paula finds old letters from her Aunt. He monitors Paula's every move. He starts to subject her to a cruel psychological torture. He hides things and convinces her she lost them. He moves things about. He breaks her confidence and spirit. The house is lit by gas lighting, and when gas is turned up in one room, it dims the lights in another room. When the house is empty and Paula is home alone, she hears footsteps above her and watches as the lights go dim, wondering who is in the house with her.

Eventually it becomes apparent that he may have had a hand in the murder of Paula's aunt, and that he is after the aunt's personal belongings. With the help of the police, Paula eventually learns the truth and turns the tables on Gregory.

Bergman and Lansbury are the mainframe to this film. Both play their characters with great passion. Bergman has several scenes where she goes from being happy and charismatic to emotionally tortured in just a few frames. She oozes emotions and does so vibrantly. There is an absolute emotional connection between the viewer and Bergman. Without saying a word, she can emulate her inner transformation. Lansbury is quite remarkable as well. She is a sly little tart in this movie. She dates men and walks through town on her own. She is not concerned about danger and not afraid to use sexuality. Like Bergman, Lansbury mastered the act of acting with facial expressions and body language. On screen, the two are not fond of each other and the disconnect between the two is played out on screen perfectly. There is a very natural feeling to their disapproval of each other on screen that heightens the story.

This movie is almost worth of 5 stars just based on their performances alone, however I could only give it 4 stars because there were some drawn out moments which slowed the movie down. I also had a really hard time with Boyer's accent. It was very thick and very hard to interpret at times. There were moments where I was concentrating so hard on what he was saying the the movie became more of a struggle to watch then it was to enjoy. I think perhaps these were the moments where I felt the movie dragged on a bit. Other then this, the film was quite likable. Watching Bergman's psychological breakdown was quite enthralling.

The Adventures of Robin Hood (1938)

The Adventures Of Robin Hood (1938) ★★★★★ 4/5

Shot in 1938, this film made a dazzling use of technicolor. The costumes are vivid and bright, and outlined with sequins and jewels. The royal court is bright and festive with colored flags and robes. Outdoor scenes are lush with green foliage. It's no wonder this film won an Oscar for Best Art Direction. Olivia de Havilland as Maid Marian is ravishing in this early use of color. In addition to impressive art direction, the film aslo won for Best Editing, which is no surprise either. As I watched the film and the chase scenes on horseback, I immediately was impressed by the nature of the scenes. The background, obviously added later, moves in time as the chase progresses, and while it is no match to today's effects, it certainly was quite advanced for 1938.

There is not too much to say about the storyline that isn't known about Robin Hood. Robin Hood (Errol Flynn) looks to find peace and happiness for his village of Saxon against the tyranny of Prince John (Claude Rains), who has declared himself King of England in the absence of King Richard (Ian Hunter). He reigns havoc, raising taxes and torturing the towns people. Robin Hood leads Little John (Alan Hale, Sr.), Friar Tuck (Eugene Pallette) and Will Scarlet (Patric Knowles) in the revolution. They rob from the rich and give to the poor. Robin Hood brings order to the forest, helps King Richard reclaim his throne and wins the love of Maid Marian.

This is a true swashbuckling movie and Flynn's most famous role. It is this film that inspired Robin Hood films for decades. Flynn's charismatic persona and acrobatic stunts demonstrate why he was such a popular matinee idol. Movies like this helped shape and define the action genre. It is a well done movie and lacks much of the over dramatic acting associated with early action films.

Rocky (1976)

Rocky (1976) ★★★★★ 5/5

Until now, the only film of this series I had seen was Rocky IV, which I saw in the theater as a kid at the height of the Cold War. I did love that movie, James Brown's "Living In America" and Dolph Lundgren, but at the same time I didn't feel I ever needed to see any other movies from the film series. I mean really, what more could there possibly be to see after that spectacle of a film. I bring this up to give some insight into my attitude going into this movie. It was merely another one on the list.

I can actually say that I was wrong about that and I do see why this is such a great movie. Rocky is about so many things other then boxing. It is a story about the underdog. Rocky Balboa (Sylvester Stallone) is a third rate boxer from a poor neighborhood in Philadelphia. Apollo Creed (Carl Weathers) is the world champion boxer looking for a competitor in the ring after his scheduled opponent gets injured. He decides to pick a local boy and give him the opportunity of a lifetime. It is a love story about a poor guy trying to win the affection of a lonely woman. Rocky woos Adrian (Talia Shire) and she stands beside him through the end. The film is about a man dealing with his own emotions as he watches his best friend move ahead in life. Paulie (Burt Young) sees Rocky become successful and find love while he himself struggles. There is also the story of a coach (Burgess Meredith) trying to reclaim what he had lost in his youth. There are also political issues. This is an American story which celebrates the 200th year anniversary of the United States. It is a story where black and white are pitted together without any sense of racism.

To my surprise, this was a great movie. I have never been a huge fan of Stallone, and never really took him as a serious actor . . . until now. In this film, Stallone looks good and portrays emotion. He is inexperienced as an actor, which makes his vulnerability even greater and his humanity even stronger. The tie in between the score, the story and the characters is flawless. I was surprised also that more of this film was about the emotional connections between the characters then it was about the boxing. Although the plot revolved around boxing, this is absolutely not a film about boxing.

North By Northwest (1959)

North By Northwest (1959) ★★★★★ 4/5

In watching North By Northwest shortly after watching Blazing Saddles the first thing that comes to mind is that it is too bad that Mel Brooks couldn't take a cue from Alfred Hitchcock and make a simple understated cameo, rather then force himself into the film at the expense of the movie. Alfred Hitchcock makes his subtle appearance in North By Northwest as he boards a bus. There is no stage hogging or unnecessary length taken to put spotlight on the director. The focus is instead on the story of Roger Thornhill (Cary Grant).

Thornill is a well do to executive mistakenly taken for George Kaplan - a man who doesn't even exist. He is abducted in the middle of the day and taken to the country side where Phillip Vandamm (James Mason) tries to have him killed by getting him drunk and placing him in a car on a road that teeters over the ocean. Rather then meeting his death, Thornhill meets the police and is arrested. He fully intends on having Vandamm arrested for what he has done, but upon returning to the home where his intoxication was forced, he is treated as a dear friend and guest. Thornhill doesn't give up and wants to learn more about the man they mistook him for and heads back to the hotel where Kaplan was said to be staying. In doing so, he is spotted and again taken as Kaplan. From there on he essentially becomes Kaplan.

The movie slyly takes us across the country as Thornhill searches for Kaplan and Vandamm's men follow to kill Kaplan. Along the way, he meets Eve Kendall (Eva Marie Saint) and the underlying sexual tension predominates every scene they appear in. At times, the scenes between the two slow the movie down a bit. However these scenes are essential in building the relationship between the two.

What makes this movie so great are two particular scenes. The first being the famous scene where Grant is alone in a cornfield. He is alone and vulnerable. Only Hitchcock could take a desolate place and intensify it to the point where the viewer is on the edge of their seat. Thornhill plays a game of cat and mouse with a machine gun equipped crop duster and eventually takes it to the ground. It is a brilliant, well done scene and possibly one of the best in cinema. The second scene of interest is that of the climatic finale on Mt. Rushmore. Hitchcock was well known for taking innocent places and making them the highlight of his films. In this particular film, the United Nations, Grand Central Station and Mt. Rushmore all serve as the stage to this thrilling movie.

In not for the lag created by the romantic storyline, this movie would have easily received stars from me. I do love this movie and am completely captivated by the story. Even though I know the outcome, I still enjoy watching it and following Thornhill as if it was the first time I have seen the film. Performance wise, I think Eva Marie Saint steals the film and is quite possible one of Hitchcock's strongest leading ladies. A must see without any doubt.

Babe (1995)

Babe (1995) ★★★★★ 5/5

It is a simple story. A pig that thinks he's a dog.

Babe (voiced by Christine Cavanaugh) is saved from the slaughterhouse to be used in the county fair for people to guess it's weight. A sheepherder (James Cromwell) guesses the weight and wins the pig. When brought to the farm, the dynamics of the animals in the farm are introduced and the animals all have their own unique personalities. Babe is taken in by a sheepdog (voiced by Miriam Margolyes). Babe knows to stay in the barnyard, but when he hears the sheep in danger, he runs to the pasture to see what's wrong. Thieves are stealing sheep and Babe returns to the barnyard to get help. From that point onward, Babe is welcome in the pasture and builds a strong relationship with the sheep. The sheep like Babe and do as he says, which makes him a prized sheepherder. The farmer takes advantage of this and enters Babe in competition where he goes from laughing stock to miracle when Babe successfully completes the competition.

This film is magical in so many ways. The special effects are amazing and you completely forget that animals really don't talk. Everything is done above and beyond expectation. The personalities given to each animal are done to perfection. From the dimwitted duck to the possessive male sheepdog. The moronic innocence of the sheep and the cunning evil of the cat. This movie is a complete opposite of Animal Farm (1954). The animals coexist in harmony. They know their place, yet at the same time, when one of them dreams to go beyond their place, they find help in achieving their goals.

Completely magical, heartwarming and enjoyable. There is noting to not like about this film. It is a film that children can enjoy, yet at the same time there is nothing childish about it. Babe is an ageless film and is sure to entertain and enlighten anyone who watches it.

Blazing Saddles (1974)

Blazing Saddles (1974) ★★★★★ 3/5

From a story point of view, this is a great movie with a good twist on the classic Western. However when it is brought to the screen, much of the story is lost in overacted nonsense, particularly when director Mel Brooks appears on screen. His over-exaggerated, forced humor completely takes away from everything and slows the movie down.

The story is that of a Western town that finds itself target of Hedley Lamarr (Harvey Korman), a statesman who wants to run the townsfolk out town to lay down a railroad. The town, full of residents all with the last name "Johnson" is in need of a Sheriff. Bart (Cleavon Little) is pulled from lynching to serve as Sheriff. To the town's dismay he is Afro-American, which serves as the basis for a slew of racial jokes. Bart befriends town drunk Jim (Gene Wilder) who is known to have once had the quickest hands in the West. This is a clear homage to Gunfight At The OK Corral and the role played by Kirk Douglas. References are also made to High Noon throughout the film. Madeline Kahn appears as Lili von Shtupp, the token brothel dancer often associated with Western films.

The highlight of the film is undeniably the end of the film when a false town is created to divert Lamarr's men. A fight ensues and the action moves off the set of the film and onto the set of another Warner Brother's movie being filmed by Dom DeLuise. From there, the action moves to the Warner Brother's cafeteria.

There are constant sexual innuendos and racial jabs throughout the film. There are also elements from other genres of film scattered through the picture, as well as elements that do not belong in a Western. Among these are operational toll booths, Nazis, Klansmen, references to the Academy Awards, and so much more. This makes the film a great "I Spy" game, but not necessarily a great movie. Korman is quite enjoyable in the film. He is highly likable as an actor in the film. Wilder has several performances in other films that far exceed this role. While enjoyable, it is far more over rated as a comedy. Watching it, I feel like Brooks takes liberties with the placement of himself in film and abuses them. He is not as funny as he thinks he is, but chances are nobody was going to tell the director that his appearance in his own film would completely take away from it. Had Brooks not been in this movie, it probably would have been a lot funnier.

The Jerk (1979)

The Jerk (1979) ★★★★★ 4/5

The plot line of this is really quite simple. Navin R. Johnson (Steve Martin) leaves home to find success. In the process he invents a piece for glasses which holds the glasses on the nose. The man who he made the invention for (Bill Macy) patents and sells the invention giving Johnson 50% of all his earnings. Johnson takes his earnings and marries Marie (Bernadette Peters). The two live happily as millionaires until a class action lawsuit is initiated by Carl Reiner. The lawsuit results in Johnson losing everything.

The humor in the fill has a lot of random, or WTF moments in them. First of all, Johnson is raised in Mississippi by a black family and has a hard time understanding why his skin has not changed to match that of his family's. He is childlike and innocent and upon his first sexual encounter with a circus performer Patty Bernstein (Catlin Adams) finds out what the "special purpose" of his penis is. He has a dog who he claims as his own and when someone suggests he calls the dog Shithead, he innocently takes the name, completely unaware that he is using a foul and offensive term. He gets a job at a gas station working for Harry Hartounian (Jackie Mason) who gives him a place to live - which coincides with his own phone number. The irony of the phone number is that the listing in the phone book makes him target for a lunatic(M. Emmet Walsh) when he picks a random name out of the phone book.

The film is fun and light and Bernadette Peters shines in the film. She counterbalances Martin's wackiness and over the top ignorance. She is soft and charming on the screen. Without her, this film would not be as endearing I don't think. There is one scene in particular where the two serenade each other on the beach singing "You Belong To Me." The scene is beautiful and tender. At the same time it is also a random, WTF moment as she busts out a coronet in the middle of the song. But still, it is well played and enjoyable. In this day and age where comedy consists of over the top, one liners and cheap gags, this film excels as it does all of that while not being so exaggerated or so forced in it's use of humor that it ruins the film. While I did like this film, and would have no problem watching it again, I do have to add that my favorite Steve Martin film is, and will always be Father of the Bride (1991) - which, to my dismay is not included in the list of 1001 movies To See Before You Die.

The Bad And The Beautiful (1952)

The Bad And The Beautiful (1952) ★★★★★ 5/5

This movie reminds me a lot of Sunset Boulevard (1950) in many ways. Mostly because of the narrative style, and in some ways because of the underlying darkness to the film. Much like Sunset Boulevard it is a story of Hollywood. A Hollywood that the public doesn't get to see. The film is essentially three stories tied into one that all revolve around Jonathan Shields (Kirk Douglas), a movie producer paving his way through the top of the industry at the expense of other people's lives.

Shields first comes across a promising director Fred Amiel (Barry Sullivan) who he takes in and begins to collaborate with. They excel in writing B rate movies and producing them at a low cost. Together the two reach a point where they can take on a big budget film. When they go to get it made, Amiel finds himself excluded from the project. This betrayal ends their relationship.

Georgia Lorrison (Lana Turner) is the daughter of an A list movie star who has passed. She herself has ambitions to be a star. Her auditions and screen tests are flops. Nobody wants to hire her with the exception of Shields. He fights to get her a starring role and with his coaching she becomes a huge box office star. Stardom at this point is no longer her real concern. She has fallen in love with Shields and he leads her on to believe he loves her. Little does she know he is just making her feel this way to get a solid performance from her. When the film is released, she leaves the premier to be with Shields only to find he has moved on to the next starlet aspiring for success. From that moment on she refuses to speak to him.

The third story is that of a prominent screen writer James Lee Bartlow (Dick Powell). Shields buys his most successful piece of work and brings him and his wife to Hollywood to write for him. Bartlow is often distracted by his wife (Gloria Grahame) and so Shield arranges her to fly to Mexico with sexy actor Victor "Gaucho" Ribera (Gilbert Roland) in order to give Bartlow some time alone. However the plane Gaucho and Bartlow's wife were in crashed and the two killed. In the years to come, Shields is quite about the fact he arranged for the two to be on that fatal plane ride. When Shields slips and reveals it was his ideal, Bartlow walks out.

The film closes with Bartlow, Lorrison and Amiel all listening to Shields on a phone. His career has tanked and he is looking for help from the three people who he used to build his career. All of them are highly successful despite Shield's betrayal. This final scene is fantastic as it recalls an earlier scene in the movie where Shields tries to take his hand at directing and is told that the less dialogue is in a scene the more imagination the viewer has in imagining what is being said. In this final scene, we can not hear what Shields is saying over the phone, but the expressions on the three listening allows the viewer to think about what may have been said. It is a brilliant ending.

Lana Turner was wonderful in this film. To see an actress acting as if she didn't know the first thing about acting is very intriguing. We see her character develop from an insecure, alcoholic girl into a graceful, exquisite movie star. She is graceful and beautiful on the screen. Kirk Douglas is also perfect in his role. While he is completely despicable in his actions, his character still retains a suave likability to him.

I absolutely loved this film. The plot, the story, the narration and the behind the scenes look at Hollywood were all highly enjoyable. This is a movie worth seeing, especially for the final scene where the audience is reminded that sometimes no dialogue does in fact say more then what any actor could. I also liked reminding my self that Kirk Douglas is still alive and that he is one of our last links to the Golden Age of Hollywood. Great movie!