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.