Some Like it Hot (1959) Billy Wilder

This posting is my contribution to the CMBA Comedy Classics Blogathon which runs through Jan. 27th. You can find more contrbutors here.

 

Do you remember the first film you ever recorded? I do, it was Billy Wilder’s “Some Like it Hot” way back sometime in the 1960’s. “Wait a minute!” You say, “How can you have recorded it back in the 1960’s when VCR’s did not come out until the late 1970’s?” Well, it was simple, on a reel-to-reel tape recorder. I loved this film so much I recorded the entire soundtrack. I use to lay down in bed or on the couch with my headphones on and listen to the entire movie, visualizing all the scenes.

Crazy, weird? Probably, I am sure my parents thought so.

Needless to say, “Some Like it Hot” is one of my favorite movies, it has stood the test of time. Because of this film, I became a lifelong admirer of both director Billy Wilder and Jack Lemmon. It is a film I never get tired of watching.

Before and since its release in 1959, there have been many films that have used men in drag as a plot device (“I Was A Male War Bride”, “Tootsie”, “La Cage aux Folles”), even TV shows like “Bosom Buddies” got into the act, however none have come close or surpassed “Some Like it Hot” in its farcical humor. The well-known storyline is simple, it is 1929, two Chicago musicians, Joe (Tony Curtis) and Jerry (Jack Lemmon), witness The Saint Valentine’s Day Massacre after which they decide it might be best for their health if they leave town. The only jobs available are as musicians in an all girl band heading for Florida. It is at the train station they meet Sugar “Kane” Kowalczyk (Marilyn Monroe) a ukulele player and singer with the band.

Fingers (1978) James Toback

“Fingers” can be seen as a portrait of the artist as a small time enforcer. Jimmy Angellini (Harvey Keitel),  the quirky anti-hero of James Toback’s film directing debut is living a dual life, one of a sensitive artist, an aspiring pianist on the verge of an audition with a major impresario at Carnegie Hall. The other life is that of a street wise hood who acts as an enforcer for his father (Michael V. Gazzo), a small time loan shark. Jimmy however, doesn’t fit into either world, he has no friends and his only constant companion is a portable cassette tape player on which he is always playing the same songs, fifties rock and roll classics like “Summertime, Summertime” by The Jamies , “even when it’s fuckin’ 15 degrees outside,” as his father tells him.  His musical taste, like his life, is splintered between classical music and rock and roll.  Jimmy’s parents continue the duality theme in his life, his father, the low level hood while his late mother was a former musician, neither of who seemed to have bestowed much love on their son. Old Dad, at one point even wishes he had strangled Jimmy when he was a kid still in his crib. Mom was always resentful of his musical talent.

Horse Feathers (1932) Norman Z. McLeod

For The Marx Brothers the world and everyone in it is a target for ridicule. It makes no difference what ones position is in life, politician, policeman, intellectual, thug, society matron or bimbo, all are treated with equal irrelevance. No one is immune, all are exploited as asinine know nothings. Though the Marx’s share the same universal space as the rest of us, they are a law unto themselves and the first rule is…everything is irrelevant. As for all other rules, just refer back to rule number one. As Groucho sings in the opening minutes of “Horse Feathers,” their fourth film, “Whatever It Is, I’m Against It.”

The Marx Brothers world juxtaposes ideas that challenge the normal thought process. We have Groucho telling Harpo, “Young man, as you get older, you will find out you can’t burn the candle at both ends.” Harpo proceeds to quickly rebuke this piece of worldly advice by pulling out a candle from underneath his coat that is doing just that! The Marx’s also fracture the rules cinematically with Groucho breaking through the fourth wall. During Chico’s piano solo, he addresses the audience directly saying, “I’ve got to stay here, but there’s no reason why you folks shouldn’t go out to the lobby until this blows over.” Living in the world of The Marx Brothers can best be described as a dreamy surrealistic trip, no need for drugs, recreational or otherwise, to help you along.

Riffraff (1936) J. Walter Ruben

A young Spencer Tracy plays Dutch Miller, a highly arrogant, egotistical blow hard of a fisherman with the ability to lead men ever since he was a kid. He commemorates his marriage to the pretty cannery row beauty, Hattie (Jean Harlow) by quitting his job and encouraging his fellow fishermen to go out on strike. When the labor battle is lost, Dutch is tossed out as union President and with his oversized ego in hand, and no job, goes off leaving his wife and former friends to prove he can be a success. Later, Hattie learns the Dutchman is not doing well and is living in a hobo camp. She steals some money for him, but the ego driven Dutch refuses to accept her help or even see her. Hattie is soon caught for the thief and sent to prison. Pregnant with Dutch’s child on the way, Hattie escapes from prison. When Dutch learns about his child he has a sudden epiphany, coming to the realization being a good fisherman is good enough. He doesn’t have to conquer the world.

“Riffraff” is a paranoid piece of entertainment, written by Francis Marion, Anita Loos and H.W. Hanmann, based on a story by Marion. The film cannot make up its mind whether it wants to be a raucous waterfront comedy or a social drama dealing with issues of union labor, evil management and women behind bars. This is where the main problem with the film is, in the writing. Tracy’s character is not believable and his turn around at the end is just too quick and unconvincing.

24 Frames: 2nd Annual 10 Best Classic Films Watched…For The First Time

Welcome to the annual Twenty Four Frames Top Ten List of Classic Films Watched… For The First Time. Once again, the list turned out to have an international flavor, though films from the U.S. still dominated with five (Only because the films watched during the year were mostly from the U.S.). That said, two of the films making the top ten are from Britain and one each from Japan, France and Italy. The 1930′s dominated with four films making the list. Again, the 1960′s was the most recent decade with two films. The two decades in between  also made the list with two films each. There are 15 honorable mentions all of which are worthy works in and of themselves and deserve to be seen. For easy access, I have provided links to the films on the list I have written about. Additionally, here is a link to all the films I watched in 2011.  Finally here is a link to the 2010 10 Best Classic Films Watched…For the First Time. The films are in alphabetically order.

Hugo (2011) Martin Scorsese

Martin Scorsese’s  HUGO is a film lover’s dream. A homage to those early days of cinema when virgin movie audiences would jump from their seats frightened the oncoming train would  burst right through the screen and run them over.

The film is based on the children’s novel, “The Invention of Hugo Caberet” by Brian Selznick. The last name should sound familiar. Brian is a relative of the late Hollywood producer, David O. Selznick whose classic films included “Gone with the Wind,” “Spellbound,” “Rebecca” and “David Copperfield.” It must have been some kind of organic fate that attracted  the filmmaker, connoisseur and historian Scorsese to this woven tale of fantasy and celluloid love.

Enchanting is not a word that comes to mind when discussing Martin Scorsese films but I cannot think of a better one to describe this affectionate look at the early days of a new art. The name Georges Mêliés will mean little if anything to most current filmgoers, it’s a name almost lost in the passage of time. An early pioneer in the art of film,  Mêliés  short works were innovative gems of science fiction and fantasy using cinematic techniques like stop motion, time lapse photography, dissolves and editing to create early celluloid magic with works  like, “A Trip to the Moon” (1902) and “The Impossible Voyage” (1903).   

 

Remember The Night (1940) Mitchell Leisen

Barbara Stanwyck was always at her best when her character came from the wrong side of the tracks. She seemed to have a natural affinity for those who lives have mostly been filled with hard times, scrapping by the best way they can. Maybe it had to do with her sad Brooklyn upbringing, her mother dying when she was four, pushed from a streetcar by a drunk, and her father leaving only weeks later, never heard from again. That kind of pain has to leave an indelible mark on one for life. Yet, beneath the tough exterior would hide a gentle desirous heart longing for acceptance that would eventually show itself.

This double side of Stanwyck’s persona is clearly on display in an early scene in the 1940 holiday comedy/drama, “Remember the Night,” when Fred MacMurray’s prosecuting Assistant District Attorney John Sargent arranges, through a legal technicality, to have Lee Leander’s (Barbara Stanwyck) trial for shoplifting postponed until after the holidays. This results in Lee, unable to post bail, having to spend the long holiday week in a jail cell. Sargent, in a twinge of guilt, or holiday spirit, arranges through a shady bondsman to have Lee’s five thousand dollars bail paid for. When the bondsman delivers Lee to the ADA’s apartment, she is cynical enough to have no doubt her payback to him will be in sexual favors. To her surprise ADA Sargent expects nothing in return. He really just did not want her to spend Christmas in jail. The look of surprise in Lee’s eyes and face is priceless when this realization hits her.

These Amazing Shadows (2011) Mariano and Norton

 The PBS series, “Independent Lens” is giving film lovers a real holiday treat on December 29th with the television debut of the documentary, “These Amazing Shadows,” an entertaining and informative look at the Library of Congress’ National Film Registry. Unlike the Oscars and other award shows the National Film Registry is not just an excuse to create another list or TV special.  The films chosen have “stood the test of time,” as one of the interviewees tells us early on. They represent a group of films that are culturally, historically or aesthetically significant.

The selected films are far reaching in range from the Hollywood classics you would typically expect like “Casablanca,” “The Wizard of Oz,” “The Searchers,” “The Godfather” and “It’s a Wonderful Life” to many  less recognized works ranging from the avant-garde, to historically important home movies along with some unexpected rarities and oddities. From the spectacular large Hollywood productions down to scratchy 8mm films and everything in between, the National Film Registry has collected and preserved works that tell our history, celebrate our lives and reflects what we as Americans were, are and how film, whether they are works of art or entertainment, reflect our lives, influence our thoughts and define our culture.

Man’s Favorite Sport? (1964) Howard Hawks

In a CBS Sunday Morning segment a while back, there was a piece on Cary Grant where Director and Film Historian Peter Bogdanovich told a story about how Grant and some friends went to a show one evening. Grant forgot his ticket and said to the ticket taker, “Excuse me, I forgot my ticket, I’m Cary Grant, is it okay if I go in?” The ticket taker took a good look at Grant and replied, “You are not Cary Grant!”  This leads me to what is the most obvious problem with Howard Hawks 1964 comedy, “Man’s Favorite Sport?” starring Rock Hudson and Paula Prentiss, which is, it needs Cary Grant, instead we get Rock Hudson, and Rock Hudson, with all due respect, is not Cary Grant.  Then again, who is?

Howard Hawk’s was one of the masters of screwball comedy. Back in its heyday of the 1930′s and 1940′s Hawks made some of the best in this sub-genre with films like “Twentieth Century,” “Bringing up Baby,” “His Girl Friday” and “I Was a Male War Bride.” Three of these four films happened to have starred Cary Grant. Grant was romantic, suave, debonair, and yet he could take a pratfall just about as good as Chaplin or Keaton. He also had a way with a line of dialogue that made even average lines sharp as a switchblade. He would have been perfect to play the bumbling Roger Willoughby in what would turn out to be Hawks final comedy. Grant and Hawks almost came to an agreement to work on the film together however, before signing contracts Grant opted out to make “Charade” instead with Audrey Hepburn. 

Rear Window (1954) Alfred Hitchcock

L.B. Jeffries (James Stewart), a photojournalist for a big time magazine is confined to his Greenwich Village apartment in a leg cast due to an accident during a photo shoot when he got a little too close to the action on a race track. His long period of convalescence is stifling. Use to being on the move, traveling to exotic places around the world, Jeffries is bored and frustrated by his inability to get around. A brutal heat wave with temperatures hovering around 100 degrees only adds to his aggravation. Bored out of his mind, Jeffries spends his days and nights, voyeuristically spying on his neighbors whose apartments are visible from his window facing the courtyard of his housing complex. The tenants are a diverse group of New Yorkers whose lives he becomes fleetingly acquainted with. They include a newlywed couple, a struggling songwriter, a lonely woman, he dubbed Miss Lonely Heart, a young beautiful dancer he nicknamed Miss Torso, and some married couples, one with a dog, another who sleep out on the fire escape, and especially one unhappy couple, Lars Thorwald (Raymond Burr) and his ailing wife.

 Jeffries girlfriend, Lisa Freemont (Grace Kelly), a high fashion model, is pushing him to settle down and get married, a concept Jeffries reacts to as if it were allergenic. Jeffries begins to focus on the Thorwald’s when he notices Mrs. Thorwald, who was always in her bedroom, has seemed to have disappeared and Mr. Thorwald, a salesman by trade, began to be going out at odd hours of the night with his sample case in hand.