I have no idea what to expect. This was an algorithmically generated recommendation I’ve never heard of, and all I have to go on is that it’s a courtroom drama about some amoral law students who believe they’re above the law. And Orson Welles is in it.
A 50s screwball romantic comedy is pretty much always welcome, and often a relief. This week, I think I really need to see Clark Gable and Doris Day verbally spar their way into each other’s arms.
The setup of a teacher and a student and a false identity vaguely reminds me of the original The Nutty Professor, but an adult educator and a reporter taking her class for petty reasons is a lot better than a college professor and a coed.
This is yet another black box movie to me. Until I decided to watch it, I’d never heard what the plot was. Just something about a riverboat in Africa and Humphrey Bogart. Apparently it’s about civilians in World War 1 German-held Africa. And a love story, because every movie needs a love story. Continue reading →
Much like State Fair, I get the idea this is is a movie that’s more about taking the audience to an event than actually telling a story. In this case, bringing the circus to an audience that doesn’t have a circus in town right now. I thought this was a musical, but it doesn’t appear to be. It is a Cecil B. DeMille epic however, and it makes perfect sense to pair a circus with a director known for massive crowds and setpieces. I’m not really sure a story about a circus can really be an “epic” in any sense but the spectacle and runtime though.
This is one of those movies that seem to boil down to a log line and nothing more enters the general consciousness. This is three romances centered wishes at Trevi Fountain. I know nothing more than this. It was shot on location because all the big Hollywood pictures were shot in Italy in those days. It seems to be a particularly fondly remembered example, but nobody seems to talk about much other than “shot on location” and “three American women in Rome wish for love”.
It’s in color and CinemaScope, so the Italian views won’t be squandered. In fact, I get the impression they’re the best part of the movie for a lot of people.
After the obvious Rathbone and Brett (at least, I think Brett is obvious), the historical Gilette, and the modern Cumberbatch and Downey, two of the biggest names I see discussed as great Holmes performances are Peter Cushing and Christopher Plummer, and I was hoping to get to include both in this farewell series. However, in my preparation, I found that Plummer’s most notable outing in the role was Murder by Decree, which I’ve already covered. I don’t want to reprise Holmses, so I’m afraid I won’t be covering Plummer again. However, Cushing is quite acceptable.
I admit my reference is limited, but all I know of Cushing’s career is Moff Tarkin in Star Wars, the forgotten Doctor Who (no, not that one, the other one. The really forgotten one. No, not that forgotten) from the two cinematic films, and that he was in quite a lot of Hammer films, a production company most known for highly regarded 60s and 70s B-horror films (don’t quote me on that summary). This is in fact a Hammer film, and probably considered a horror. So now I’ll have seen a Hammer Horror, probably.
John Wayne is remembered as playing cowboys or other heroes of the American West. So it always surprises me to learn that some of his most praised movies cast him as something else. Here, he’s an Irishman who spent some time as a boxer in America, but has come home to court a wife.
The main conflict appears to be that his lover’s brother doesn’t approve of the match, and the argument gets physical. Boy is that a mistake to let an argument come to blows with a professional boxer. I really hope that conflict is exaggerated by the synopsis I’m seeing and it’s mostly just courtship in the Irish countryside. I’m also curious to see if Wayne bothers with an Irish accent.