I don’t really get why trying Nazi war crimes can fill a whole three hour courtroom drama, but the reason I don’t is probably why it needs that much time.
This film is indirectly responsible for my initial awareness of Spencer Tracy. In order to talk William Shatner into allowing himself to age publicly, Tracy was used as an example, and turned out to have been one of Shatner’s personal icons, having worked with him on this very movie. As much as I like Star Trek, I find Tracy’s performances very likeable for an entirely different reason from why Shatner is fun. Continue reading →
I’ve been holding onto this for a long time because it looked fun, but I wasn’t sure if it was actually a theatrical movie, and also it’s a remake of My Favorite Wife, so I really wanted to do it, but I wasn’t sure it would be a good fit. But I have established that it was a feature, so I’m going to cover it now.
This is built on a thorny relationship question, which I think might shift slightly from the 40s to the 60s to today. Nobody’s wrong, but how do they make it right?
After watching the movie:
Five years after his wife Ellen went missing in a plane crash, Nick Arden has her declared legally dead so he can marry his new love, Bianca. The very same day, the Navy rescues Ellen from the tropical island she’d been marooned on, and she returns home to learn her husband is leaving for his honeymoon. Ellen’s mother in law Grace conspires with her to get her to interrupt Nick and Bianca’s honeymoon so Ellen can have her family back. However, while Nick is overjoyed to be reunited with Ellen, he dreads breaking the news to sensitive and moody Bianca. Now Ellen is furious that Nick won’t get rid of Bianca, and Bianca is furious with Nick for sneaking around instead of giving her a wedding night, and then, just so Nick won’t be left out, he learns Ellen wasn’t alone on that island.
It’s not entirely correct to say that nobody’s wrong. Nobody is at fault for the creation of the situation, but everyone takes a share of extenuating it. This is one of those stories that runs on people not talking to each other, but it’s also people who won’t be talked to. As reluctant to brooch the subject as he is, Nick does try to do so, just as gently as one would expect him to deliver a disappointment to his bride on the special day. Bianca just won’t let him reach his point. Ellen’s jealousy and impatience is also understandable, but she keeps interrupting the process. Watching people who not only won’t talk to each other but can’t talk to each other is often like drowning, but it’s very fun downing done well, and this is a delightful mix of a whole lot of different kinds of comedy on the way to nobody admitting anything to anybody.
I’m sure I’ve seen the hotel manager in a lot of 60s movies and possibly TV. He seems to play disapproving waiters and authorities a lot in the 60s. Don Knotts also has a guest role in a couple of scenes, mostly in the same vein as his usual type, but without any pressure to be a hero. The judge at the beginning and end is unfamiliar, but he steals the show.
It’s a thorny problem, but the real world solution wouldn’t have so clean a break with one woman. This falls into the trap of a lot of the movies where building up the case against the wrong partner leaves a character that doesn’t seem to have any business being with the one forced to choose. It could also have left it at neither, but then the happy ending would need even more help.
The ride of this movie makes up for a lot of logical problems. The writing and performing is funny, so what else does it need to be? As long as the journey is enjoyable, the map doesn’t need to make too much sense.
I’m sure there are other movies that reach this level of substanceless fame, and probably ones that I’ve reviewed here before, but while I know I’ve reviewed well-known movies nobody actually seems to discuss the content of before, I can’t think of one so big yet so mysterious.
I roughly know its time period, but mainly because Wall-E used some clips. Otherwise, it’s somehow the codifier of what a classic musical film is, to the point that it’s taken as a generic for “musical”. But it’s theoretically in that position because it’s good and because it’s influential. But the mold got overused and eventually musicals started defying it. Later on Broadway reinvented Disney reinvented Broadway, but that’s beyond the scope of a review of Hello, Dolly!Continue reading →
Apparently this is about a socialite falling in love with a writer. I don’t see from that description why this is one of Audrey Hepburn’s most iconic films. I expect that must be coming from the writing and the performances, because the synopses I’m seeing aren’t particularly persuasive, and nobody ever talks about why this is such an enduring movie, they just namedrop it and others are expected to know. The least glowing reference I can think of is the couple in the song of the same name agreeing that they “both kind of liked it” as the first common ground they can think of to save their relationship. And there’s an entire, very catchy song about that. Continue reading →
I found this while looking for b-movies for Movie Monster Month, but it didn’t look like it had a monster focus, so I left it. However, it looks like it makes up for it by having an insanity focus.
With a title that sounds like an H.G. Wells knockoff, this is a story about trying to avoid a planetary collision between Earth and a rogue planet headed right for it. Pretty much a “turn your brain off and have fun” concept. But then on top of that, this movie was filmed in Italian, but they cast Claude Rains in a prominent role, and his performance is in English. It’s probably going to be distracting having only one character not dubbed, and would be even if I hadn’t found out ahead of time.
I’m not certain if I’ve reviewed any foreign movies in the past (aside from the raw material making up What’s Up, Tiger Lilly?, which is a special case), but I can think of a few I’ve wanted to include but decided against for that reason. I guess that barrier is as broken as documentary film is now.
I am really over zombies as a pop culture phenomenon. They’re here to stay because the only two kinds of enemies you can kill without offending people are Nazis and zombies, and you can justify modern-day or future zombies much more easily than explaining why there are Nazis in orbit around Regulus 9.
I’m more into vampires (kind of surprising, given my politics), but the thing is, I’m kind of attracted to the idea of being a vampire, while nobody wants to be a zombie. People want to be Survivors of the Zombie Apocalypse. I want no part of that scenario. I’m not entirely happy with my civilization, but I like it much better than none at all. Also I’d die in the first ten minutes of the movie.
However, this is the seminal zombie movie, and even Mister Rogers enjoyed it. Like last week’s movie defined vampires in cultural consciousness, this movie invented what we think of as zombies. Without even using that word. It hijacked the word in our culture, and now it means George Romero’s undead monsters. So that has to be of value.