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.

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!

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.

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!

The Searchers (1956)

The Searchers ★★★★★ 5/5

This is my absolute all time favorite Western. Hands down. I am not a fan of John Wayne. While I know he epitomizes the essence of Westerns, he comes off flat to me. I don't feel he is an actor. I feel that his performances are all extremely similar and there is no variation from one film he stars in to the other. However in The Searchers the character he plays has great depth. His character, Ethan Edwards, is conflicted. While he claims to care only about himself and his motives, his actions say otherwise.

The film opens upon the majestic scenery of the glorious west. John Ford uses the camera and the cast magnificently. From the front porch of a ranch, the camera looks out red rocks. In the foreground, a woman in a blue dress looks out to the plains. Out from the horizon comes a Civil War vet on a horse. That man is Ethan Edwards. The woman is his sister in law,Martha (Dorothy Jordan). He is soon greeted by his Brother Aaron (Walter Coy) and their children: Ben (Robert Lyden), Lucy (Pippa Scott) and Debbie (Lana Wood as a child and Natalie Wood as teenager). The family settles in getting reacquainted with Ethan. As dinner starts, Martin Pawley (Jeffrey Hunter) joins the family. He is an adopted son of Martha and Aaron. He is also 1/8 Indian heritage. Ethan shows no hesitation in making that known and even less hesitation declaring his dislike for Indians.

Within the first few scenes, the audience knows two things. First, Ethan despises Indians and is fueled with racist thoughts towards them. Second, he longs to be with Martha. It is never spoken of or acknowledged, but it is made clear from the way he looks at her. It has been suggested by some critics and observers that Debbie may actually be Ethan's daughter. This observation comes from Ethan giving Debbie a medal from the Civil War and her age calculated with when Ethan was last there. But this is all speculation.

The family is interrupted by Captain Samuel Clayton (Ward Bond) and a group of his men who ask for Aaron and Martin to join them in tracking some stolen cattle. Ethan offers to take the place of Aaron and the group head out to find the cattle. They come across prize cattle slaughtered in the desert. Ethan advises that the killing of the cattle was a diversion and that it meant only one thing - that the Indians were looking to ambush nearby homes. The men split up and go to their respective families. Ethan and Martin ride to the home of Martha and Aaron. The scene they approach is very, very similar to the scene from Star Wars where Luke returns to his Aunt & Uncle's burnt down home and dead bodies. In The Searchers, Martin finds Martha and Aaron's home - and it is worth mentioning he refers to them as his Aunt & Uncle - completely charred and their bodies to be burned. One could easily find the influence of The Searchers in the similar scene of Star Wars.

Ethan and Martin decide to hunt down the Indians to see if they may have possibly kept Lucy and Debbie alive and kidnapped them. Brad Jorgensen (Harry Carey, Jr.), Lucy's boyfriend rides along with them. While on the trail of the Indians, Ethan finds Lucy's body. She had been raped and murdered by the Indians. Upon learning this, Brad raids the Indians and is murdered by them.

The story continues for the course of 5 years. Through this time, there are some additional plot lines. Martin has a girl whom he plans on marrying someday. She does not want to wait and proceeds to marry another. The wedding is abruptly cancelled when martin rides into town. At the same time the US Calvary enters to inform the group that they need help capturing the Indian chief Scar (Henry Brandon). Scar is the Indian that Martin and Ethan have been looking for. After a raid on the Indian camp, Martin finds and rescues Debbie. Ethan however has an extreme resentment towards her and no longer considers her an equal human, feeling that now she was an Indian.

By the end of the film, he does two things that show his character development. While he doesn't feel that Debbie is kin because she has lived with the Indians for so long, he overcomes this in the rescue and does eventually save her rather then shoot her. He also at one point makes a will and leaves everything to Martin. Which completely goes against everything that we were initially introduced to early in the film.

The film is compelling and solidly written. The plot is clear and not clouded by unimportant details. Throughout the film you hear John Wayne say "That'll Be The Day." Yes, this line was the influence to the Buddy Holly song of the same name.

A great film and more then worthy of being on the list of movies to see. Pay close attention to the beautiful cinematography. Appreciate the brilliance of the score. Connect with the characters and follow their growth. Pay attention to what is not being said. enjoy it!

Gunfight At The OK Corral (1957)

Gunfight At The OK Corral (1957) ★★★★★ 4/5

This is the film adaptation of the conflict between Wyatt Earp (Burt Lancaster) and the outlaws he met up with in Tobstone. This film is truly Western in it's nature and does not contain the elements of humor like Rio Bravo or the shock value of the The Wild Bunch. There were some hints of underlying subtle humor but you really had to be paying attention. One of the lines that caught me off gaurd was when Doc Holiday (Kirk Douglas) found out his girl Kate (Jo Van Fleet) left him for another man (John Ireland) - a cattle man - he replied "There seems to be a lot of beef coming around" or something of that effect. It was clearly a statement not referring to the stolen cattle being rounded towards Mexico, but a reference to Kate finding another man. It was quite brazen for 1957, as when the scene when Holiday calls her a slut. But that is as much shock value as you will get in the film.

The movie is very typical of the Western. The premise is based on actual events, and had they not taken so many liberties with the accuracy of the events I would have given the movie 5 stars. Of the Westerns seen so far this was the best. The acting was stellar. Kirk Douglas was likable as Holiday and Burt Lancaster played Wyatt Earp with dignity. My only issue with their on screen relationship in this movie is that they almost portrayed the two men as having a love affair. The two men were drawn together and formed an unlikely relationship. The Sheriff and the murderer. There was a point where Kate even confessed to Holiday that she was jealous of Wyatt Earp. The closeness and dedication of the two men make the modern day viewer think there was a lot more going on there then friendship.

This was a movie where the lines were clear. There were good and bad characters. There was no in between. While Holiday was known to be a murderer of sorts, for the purpose of this film his intentions were clear. He was there to help Earp. Earp's brothers, Jimmy (Martin Milner), Morgan (DeForest Kelley) and Virgil (John Hudson) are clearly on his side. The outlaws, led by Ike Clanton (Lyle Bettger) were the clear antagonists. Plot wise, the film was layed out clearly. The Clantons had stolen cattle and were working to push the cattle to Mexico. In the process there were conflicts in smaller towns and the cowboys were going to cause problems in towns they were passing through. The Earps were going to put an end to that - and did.

The film is solid with great performances - particularily notable is that of Jo Van Fleet's. As the love interest of Doc Holiday she serves as a minor antagonist to him. Basically she is a crazy mess of insecurity and dependency. Her dependency being Holiday. She loves and hates him at the same time. But she is so emotionally unstable you don't know what she will do. One minute she is setting Holiday up to be killed and the next minute she is trying to save his life. There are brief moments where it gets to be too much, but overall it is a charged performance worthy of seeing.

The movie is long, but face paced. This is movie represents the classic Western at it's finest. As stated before, I would have easily given this movie 5 stars if the historical accuracy was there. When I watch a film based on real events, I become enthralled with the facts and the premise on which the film was based. When I started researching the events of 1881 I became disappointed. I am very much a realist when it comes to films based on actual events. Other then the liberties they took with the facts, this is a well done, enjoyable movie.

Rio Bravo (1959)

Rio Bravo ★★★★★ 3/5

Howard Hawks directed this 1959 Western. Considered one of the last great Westerns, the film stars John Wayne as John T. Chance, a sheriff in a small Texas town in the American frontier. The film opens with the Sheriff's deputy, Dude (Dean Martin) fighting Joe Burdette (Claude Akins). During the fight Burdette shoots an innocent bystander and ends up arrested for murder. He is shortly taken to jail where Chance, Dude and a third deputy, Stupmy (Walter Brennan) await Burnette's brother Nathan (John Russell). However the Sheriff knows that the arrival of Nathan is not going to be a pleasant one as Nathan is a wealthy tycoon known for helping his Brother out in times of trouble, and also known to be wealthy enough to hire scores of hitmen who will kill anyone who tries to interfere.

There are several townspeople who want to help Dude as they know he is in no state to fight Burnette on his own. Dude is infamous for his alcoholism and Stumpy is cripple. Pat Wheeler (Ward Bond), a friend of Chance's becomes an example of what happens to anyone who wants to help Chance when he is murdered by one of Burnette's men. Dude and Chance look to apprehend Pat's murderer and do so in the local saloon where Dude, who is in the process of overcoming his alcoholism, proves that he can again be the deputy he once was by avenging Pat's death.

Before long, Dude's dependency on alcohol wins over and when Nathan and his men return to town, they capture and tie him up, leaving Chance vulnerable and almost murdered. He is saved by Colorado Ryan (Rick Nelson) and Feathers (Angie Dickinson) who divert attention and allow Chance to defend himself. Colorado is a former employee of the murdered Pat Wheeler and has nothing to do with his employer dead and decides to help Chance. Feathers is a woman passing through town who takes up employment at the Hotel. Her motivation to help Chance is love. Her attraction to him is clear the moment she appears on screen.

The progression of the film leads to a final shootout at an abandoned house. Chance and his crew take on Nathan Burnette and his men. As expected in classic American Westerns, the good guys take out the bad guys and the Sheriff gets the girl.

While watching the film, Howard Hawks influence is clearly visible. The communication between Chance and Feathers is very similar to that of Bringing Up Baby (1939). The dialogue between the two is fast paced and more comical then serious. Feathers plants ideas into Chance's heads and tells him what she wants by telling him what he wants. The screwball element in this film is not as strong as that in Bringing Up Baby, but it is there. Rarely was comedy used in the Western, but Hawks managed to use it throughout all of Rio Bravo. It is most obvious in scenes featuring Carlos Robante (Pedro Gonzalez-Gonzalez). Robante owns and operates the Hotel where the majority of the film takes place. He fills the film brilliantly. Robante makes the comical bits fit in the movie and does so without taking away the credibility of the film being a Western.

I did have a problem with Rick Nelson in the film. I found him to be droll, inexpressive and an odd addition to the casting. In reading more about the film, I actually discovered he was nominated for a Golden Globe for this performance. That struck me as odd because I found him to be completely out of place. At the time the movie was filmed, Rick Nelson was the biggest teen heart throb on the market. he was a TV star, a chart topping musician, and graced the cover of every teen magazine on the chart. He even had a segment in the film where he crooned with Dean Martin, then performed a solo. To me, it was like Howard Hawks used Rick Nelson as a marketing ploy to get people to come see his movie. It would be like sticking Justin Bieber into a current film to play off his popularity. The fact he received a Golden Globe nomination completely overwhelmed me. But, then I remembered when The Tourist (2010) was nominated for a Golden Globe nomination. The accusations were that the film was not worthy and the Golden Globes only did this so that Angelina Jolie and Johnny Depp would appear at the ceremony. Is it possible that in 1959 the Globes did the same thing to get the biggest teen star to their awards show?

I have to warn you. This is a long movie. The film clocks in at over 2 hours long. It seems to drag quite a bit. It is the comical moments starring Pedro Gonzalez-Gonzalez that keep the film rolling. The movie is by no means one of Howard Hawks finest. Nor is it John Wayne's finest.

All That Heaven Allows (1955)

All That Heaven Allows ★★★★★ 2/5

Cary Scott (Jane Wyman) is a suburban widow. The movie opens with a sweeping camera shot panning through a neighborhood down to Scott's backyard where she awaits Sara Warren (Agnes Moorehead) for lunch. While Warren has to cancel lunch, she does invite Scott to a dinner at the country club. In the back of the scene, Ron Kirby (Rock Hudson) prunes and landscapes. Through this scene we establish she has some affluence and respect. She takes Warren up and goes to the club for dinner and dancing. Her escort to the club is a man her age who later makes a proposal they marry - not for love, but companionship. While at the club a married acquaintance dances her to the balcony, passionately kisses her and pleads for her to run off with him. She declines, but politely excuses his sexual advances with the grace and dignity of any 1950's woman. Meanwhile, the country club is full of gossiping and viscous women who want nothing more then to be the first to attack another woman's virtues. Particularly Mona Plash (Jacqueline De Wit).

Well, the love story comes in when Kirby returns in fall to complete her autumn landscaping. Kirby is much younger then her, and to me the meeting and suiting was awkward. After meeting her twice, and paying no attention to her at all, he randomly asks her to visit his home in the forest where he plants trees and lives in a greenhouse. Scott visits Kirby's home and finds along side the greenhouse he lives in is an old stone mill. She tours the mill and falls in love with the charm of the building. She proclaims how it would make a beautiful home and Kirby chuckles.

Soon after the tour of his home, Kirby brings her to a party hosted by his friends, and in the following scene he brings her back to the mill, which is completely renovated. It is there he asks for her hand in marriage. After a brief hesitation, they are soon professing their love for each other and trying to decide how to make the marriage work. The first obstacle comes when they run into Plash and she begins spreading rumors about Scott's new affair.

Scott has 2 children and she confides about the marriage proposal to them. They are shocked and appalled when they heard that the man she loved and wanted to marry was their former gardener who is equal to them in age. Kirby arrives at the home. While Scott's daughter is pleasant, her son does not hold back his objections. She then takes Kirby to the country club to introduce him to her "friends." The club proves to be a disaster. Mona Plash takes every opportunity to make cut throat remarks. The man who had passionately kissed her before at the club does so again. Now Scott is targeted as being easy. Others make comments about her being with Kirby because he is young. Some say he is after her for money. It gets pretty ugly. The children thereafter throw tantrums about the relationship and beg her to break it off. Her daughter even gets kicked out of the library because her Mother's reputation is so bad. So eventually, the marriage is called off so Scott can suffice and appease the country club community and her children.

At Christmas time, Scott heads to pick out a Christmas tree and who does she run into but Kirby. Kirby and his new love interest. Upset and alone she asks the tree to be sent to her and heads home. Kirby unwillingly leaves with his girlfriend. Scott's loneliness doesn't last long as her daughter comes home and flashes her engagement ring. Her eyes fill with heartbreak. Her son then talks about how he will be moving to France and since his sister will be married they sell the house. Initially the son had been so against the marriage between his Mother and Kirby because he didn't want the house to be sold. Sadness overcomes her. She goes to the doctor who is also a friend. He speaks to her as a friend and tells her to go to Kirby despite what everyone says. She takes his advice and runs to him . . . well, drives to him. He is outside and hears her calling for him. He runs to her and falls off a cliff. She has no idea and drives home. Eventually she learns of the accident and goes to be with him.

Often great films are defined by the actors in them. It is often the actors themselves that make a film great. Likewise, it is safe to say an actor can distract a film. During Rock Hudson's initial appearances in the film, his 1950's sex symbol status seemed to over shadow the picture. The shots of him are upward shots - from below his face looking upward with blue skies behind him. They were long and drawn out and were blatantly opportunities to simply capture Hudson's handsome look. I felt there was no substance to the character of Kirby, and that essentially the film tried to simply use the character to simply show off Hudson and bring women into the theater to swoon over him. The film is slow and there is no storyline that builds on their affection for each other. It just kind of happens . . .and to everyone's dismay. The degree of dismay was actually somewhat ridiculous. One would think if all these people talking so negatively are not even friends, then why even care what they think about one's marriage. It seems the lack of support from the family is quite overwhelming. Her isolation is somewhat disturbing. That someone would allow their life course to be so driven by everyone else. Only her doctor can see this. He is the only person who comes out and states the obvious - that she shouldn't care about what others say and do what will make her happy.

The movie left me wanting more. With such a strong title, I expected a sweeping drama. I didn't get that. The movie was slow and open ended. There was so much conflict built up between what she wanted and what others wanted that I wanted a resolution for it. For Scott to prove them all wrong and make them feel bad for their tormenting her. I was almost expecting a death in the film that would make those who harassed her and stopped her happiness feel ashamed and guilty for what they did. That didn't happen. The ending to me was not much of an ending. Or was it. perhaps the fact that there was no recourse with her protagonists was the film's way of saying none of them mattered and Scott's final decision in the film was more important than anything.

What I did like about the film were the social references. The glimpses at middle class 1950's America are interesting. To see the interaction of the country club and the meddling wives. The snide comments, the exquisite gowns and the importance of social standing. The country club scenes of All That Heaven Allows almost rival Mean Girls (2004). The home interiors nicely reflect those of typical 1950's homes. The furnishings and colors make for well laid out sets. The clothing exemplifies the 1950's beautifully. Perhaps one of my favorite parts is when Warren suggests to Scott she get a TV. Then when she gets the TV it is somewhat exciting to see. The whole notion that we are seeing life before people entertained themselves without a TV. I think that is what I liked best about the film - seeing the lifestyle of the 1950's suburbs.

Would I consider this film a must see? No. I would not. Rock Hudson has had much more worth while performances. Pillow Talk (1959) serves as a fine example as a movie which showcases Hudson's acting ability as well as his good looks. If it were me choosing the titles of 1001 Movies To See Before You Die, I would easily replace All That Heaven Allows with Pillow Talk. Pillow Talk is fun, witty, a classic film which continued to influence cinema even in this century.

Overall recommendation - watch Pillow Talk (1959) instead!

Strangers On A Train (1951)

Strangers On A Train ★★★★★ 5/5

This is a fantastic movie and rightfully belongs on the list of movies to see. The black and white imagery is flawless and translates on the screen smoothly. While the film boasts no major Hollywood star power, the acting is superb and believable. This is one of Hitchcock's classic movies and all the elements one would expect are there. The manipulation of an innocent character, intense emotion in the most mundane of places, and beloved national Monuments holding court to the unthinkable.

In this film two complete strangers meet on a train. Guy Haines (Farley Granger) is a professional tennis player who meets Bruno Anthony (Robert Walker) on a train. Haines is a well known professional tennis player whose life is publicly followed in the society pages. He is amidst a divorce with wife Miriam (Laura Elliott), and publicly seeing a Senator's daughter, Anne Morton (Ruth Roman). Anthony knows the divorce is not going smoothly and suggests to Haines that it might be easier to continue his life if Miriam is murdered. Anthony then goes on to explain the best way to murder someone is to have a stranger do it. He then explains how he himself has someone who he would like to have murdered . . . his Father. So before leaving the train, he outlines the perfect murder, explaining how he could kill Miriam in exchange for Haines killing his Father. Haines blows the conversation off as small talk, but Anthony seems to think that a deal has been made. The scene ends and the two men go their separate ways.

The movie takes off pretty quick with Anthony pursuing Miriam to an amusement park. In typical Hitchcock style, the unthinkable happens, and like any other Hitchcock film it is done with suspense and anticipation. With Miriam dead, Anthony seeks out Haines to tell him the news and direct him as to how it was now his turn to fulfill the murder of Anthony's Father. Naturally Haines is taken back by what has happened and intends to bring the attention of the murder to the police. But that would be too simple.

My first thought in knowing the plot line was how ridiculous. What could possibly prevent him from telling the authorities what happened. But Anthony has the logic and blackmail to stop Haines from talking. Haines carries on with his life. At all costs he avoids Anthony. Anthony persists to follow and harass Haines in an attempt for him to carry out the murder of his Father. Anthony infiltrates Haines' life. He works his way into social parties, shows up at Haines' tennis matches, and appears at outings in town.

It is at a social gathering when Anne and Barbara Morton (Patricia Hitchcock) realize something is not right with Anthony. Anne makes the connection that Anthony is in fact the murderer and Haines tells her what has happened. Together, along with sister Barbara, they devise a way to put an end to the situation.

In the end, Hitchcock places the key players together on a runaway merry go round.

The plot twists are suspenseful. Hitchcock works wonders when matching a score to a picture. He knows where to place the high notes and the low notes. The music drives the movie. This holds so true in the final scene with the runaway merry go round. This scene in itself is a masterpiece. A simple contraption built to entertain becomes a nightmare. Children become victims, innocent girls are set spinning in a frenzy, a fight ensues and the merry go round spins. Carousal horses become weapons, an old man trying to stop the merry go round crawls underneath it to stop the chaos. He moves at a snails pace in contrast to the dizzying speed of the action inches above him. There is no scene I can think of like it.

The actors are supberb. Everyone carries their role out with splendor. Farley Granger plays the innocent victim as well, if not better the Cary Grant or Jimmy Stewart in other Hitchcock movies. Robert Walker exemplifies a psychopath and makes the role believable. He is a strange mix of likeable and loath able. Ruth Roman is glamorous and beautiful. She plays the loving girlfriend without being over dramatic. She is very reminiscent of Doris Day or Grace Kelly. Hitchcock cast this film perfectly and the characters play their parts right on cue. However if there is one actor that really steals the film it would have to be Patricia Hitchcock. She brings humor to the film with witty one liners and breaks up the dramatic pieces. In one particular scene however her acting shines. This is the scene where she realizes that Anthony is the murderer. It is an under rated performance and a true highlight to the film.

This movie belongs on the list and is worth seeing.