Five Favorite Films of the 50’s

The 1950s was such a rich decade in film that I found myself having a difficult time in selecting what films to eliminate. I could only select five  films according to the blogathon rules of engagement. Once I narrowed my selection down the question or questions became how can you leave a film like Alfred Hitchcock’s North by Northwest off you list? How can you not select Sunset Blvd. or Some like it Hot or Strangers on a Train or The Searchers or High Noon or Paths of Glory or Singin’ in the Rain or Vertigo or On the Waterfront or Rio Bravo or well you get the point. The 1950s was a great decade. Narrow a select down to five favorites was not easy.

One rule I made on my own was to list a film  director no more than once. Otherwise I could have listed five  Alfred Hitchcock films: Vertigo, North by Northwest, Rear Window, Dial M for Murder and I Confess. Or I could have went with five Billy Wilder films: Some Like it Hot, Sunset Blvd, Ace in the Hole, Witness for the Prosecution and Stalag 17. I could also list five John Ford films but you get the point.

With that self set rule in place it became a little easier, however, I made one other rule. List a bunch of runner ups. Like I said the 1950’s was a rich decade. Anyway, here are my five favorite, not necessarily the bests, but favorites with a bit of an explanation followed by my runner ups.

Ace on the Hole

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Manipulation, exploitation, opportunism, and hard-boiled vile, shaken, mixed and slammed into your guts by Billy Wilder. Ace in the Hole (aka The Big Carnival) is a lurid, take no prisoners portrait of the news media delivering a knock down nasty assault on journalism and the morbid character of the blood leeching public. No one is spared. A film made more than fifty years ago, yet more relevant today than ever. Opportunistic journalists pushing the limits of ethics is a recurring trend. The news media, in general has become more bipartisan and show business, making news more than reporting news objectively.  So-called entertainment news shows, making “superstars” out of marginal personalities like Paris Hilton, the Kardasians on television almost ever night. Kirk Douglas’ Charlie Tatum would fit right in with today’s media world.

 

Rear Window

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This is my favorite Hitchcock film, not an easy task in itself to select. It’s also one of my favorite films of all time. A permanent top-fiver on every list I ever made.  It never gets bumped.  Maybe not so surprisingly I have written about Rear Window twice before. Rear Window gets to the roots of movie watching, and still photography, for that matter.  For anyone who is an avid film goer, it is no great revelation that watching movies is an extension of voyeurism; after all, what are we doing but looking into the lives of others. Observing, in a socially acceptable way, as opposed to peeping into the windows of neighbors or strangers. We are all, to an extent, curious to know what other people are doing, it’s human nature. However, most people can keep these voyeuristic tendencies limited to the socially accepted variety. Alfred Hitchcock was well aware of this trait in humans and he suckers us into compliance right from the beginning with the casting of James Stewart. Who better than Mr. Nice Guy, Mr. Straight Lace to lure you into peeping in on your neighbors and making you think there is nothing weird about it. You may not like hearing it but yes, if you like watching movies you are a voyeur! Rear Window is also smart, funny, tense, meticulous and intriguing. Oh yeah, there is the gorgeous looking Grace Kelly too, and the excellent Thelma Ritter.

invasion of the Body Snatchers

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An allegory on the infiltration of communism in America? A metaphor for people turning a blind eye to the McCarthyism hysteria that was sweeping the country in the early 1950’s? An attack on the potential dangers of conformity and the stamping out of individuality? Don Siegel’s 1956 gem of a film, Invasion of the Body Snatchers, has been said to “really be about” any and all of these themes since its debut now more than fifty years ago. Siegel, who should know, never mentions any of this kind of subtext in his autobiography, A Siegel Film, so one can assume, all the reading into this classic SF film is just that, critics and film goers reading their own thoughts and ideas into a work of pop art. After all, isn’t personal interpretation one of the elements and joys of enjoying art?

Invasion of the Body Snatchers is an expertly made science fiction thriller that slowly builds in tension and never lets up. Filled with perfectly composed cinematography, a pulsating music score, by Carmen Dragon, and top notch acting performances from Kevin McCarthy and the lovely Dana Wynters, in a gallant battle to save the human race from dehumanizing pods.

Invasion of the Body Snatchers cautions us on the problem of being complacent with our lives; falling asleep is a danger, we are vulnerable, one loses touch with the world, and pods can quickly take us over. This fear is as relevant today as it was more than fifty years ago, maybe even more so, when the film was made, as pod like ideologues and followers swarm into the political mainstream.

Gun Crazy

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The original title, Deadly Is The Female, says it all. A lethal woman and a chump of a guy whose life isn’t worth a plug nickel once the sexual sparks ignite and the bullets begin to fly. Gun Crazy is a compact, quick moving, finely tuned, low-budget piece of celluloid art. Brilliant in its minimalist approach, this small quickie accomplishes more visual beauty and excellent pacing than 99% of all high budget products that are excreted from today’s filmmakers. Note how director Joseph H. Lewis focuses entirely on the young lovers making all the other characters and their actions secondary. Even the police, as they close in on the couple in the swamp, are barely on-screen. The stunning bank robbery sequence, shot in one long take, sucks the audience, into the action practically making us all accessories in the crime.

Touch of Evil

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The opening is one astounding continuous long running brilliant shot. It’s a spectacular beginning to one of the most interesting film noir’s ever made. Touch of Evil is also my own personal favorite Orson Welles work. It’s low budget film making that cannot be beat. Released on the top half of a twin bill, at least in New York, the film played at theaters around the city for only four days; scaled back to one theater for another three days and then quickly disappeared. Orson Welles as Hank Quinlan is an unkempt, overweight, beastly looking character. Visually, Welles made himself grotesque by placing the camera at a very low angles to emphasizes his character’s bulk. In one scene, we see Quinlan lifts he massive body up and out of a car, getting the full brunt of his size and hideous unkempt clothes right in our face. If there is a weak link in the film, it’s Charlton Heston playing Vargas, the Hispanic detective. Can anyone really believe Heston as Hispanic? Touch of Evil is a dark dirty, gritty noir.

Read more about the Five Favorite Films of the 50’s here!!!

And below are a few Runner Ups. I’m sure I missed a few.

Some Like it Hot

North by Northwest

Rio Bravo

Night of the Hunter

Strangers on a Train

The Asphalt Jungle

Paths of Glory

The Searchers

The Killing

Rio Bravo

Dial M for Murder

High Noon

Sunset Blvd.

Singin’ in the Rain

On the Waterfront

From Here to Eternity

Witness for the Prosecution

Vertigo

Rashomon

A Place in the Sun

Bridge on the Rive Kwai

12 Angry Men

Rififi

Pickup on South Street

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Abel Ferrara’s New Film includes My Photograph

John Greco Author/Photographer

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Back in the 1970s and living in New York City, I did a lot of street photography. Being a movie fanatic, I went thru a period of photographing the exteriors out many of the movie theaters around the city. Most are now long gone. One of those photographs was of the Baronet/Coronet theaters on the Upper East Side of Manhattan. Those two theaters along with the Cinema One and Two were located on the same block, on 3rd Avenue between 59th and 60th street. Back then they most sort after theaters for filmmakers to showcase their films in the city. The Baronet/Coronet photo was taken in 1976. The film, playing in both theaters was Brian DePalma’s Obsession.

Since the age of the internet, I have posted the photograph online a few times. A couple of months back I received an email from a representative of film…

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Barbara Stanwyck’s Deadliest Femme Fatale

220px-Double_indemnity_screenshot_3The first hard-boiled writer I ever read was James M. Cain. Early on I had watched the film version of Double Indemnity, more than a few times, and a then recently published paperback version drove me to Cain’s short novel and others. What was missing most from the Cain novel was the witty dialogue the characters possessed in the film. That’s due to screenwriters Billy Wilder and Raymond Chandler sprinkling a biting rhythmic quality to it. Maybe it’s not realistic dialogue, but it sharpens the film to the highest levels of wit and testosterone.  Either way, actors Barbara Stanwyck and Fred MacMurray handle the dialogue with a snarky, edgy style missing in Cain’s novel.

161228_double_indemnity_bannerI may be wrong, but as far as I can remember, the Billy Wilder film was my first exposure to Barbara Stanwyck.  There was something mystical about her. She was not the ravishing, steamy beauty say  of Ava Gardner in The Killers or Jane Greer in Out of the Past. Those two ladies were closer to the idolized fiery femme fatales that we are used to seeing. However, arguing that Stanwyck lacked sex appeal or could attract a steady stream of men would be futile. Barbara Stanwyck possessed high cheekbones, and eyebrows that mischievously arched upward. It was enticing. Then there were those legs or gams as they were called. They were her sexiest attribute. She may not have been the most beautiful of actresses, but she quickly drew you into her feminine sphere. When you see her in that first of many memorable scenes, a towel wrapped around her otherwise naked body or later when she is on the couch lifting her leg giving Walter Neff an enticing view as he takes off her shoe… well, you already know she’s got her pasty wrapped around those gorgeous gams. There was also a toughness about Stanwyck. You knew she wasn’t going to take bull from anyone.

Stanwyck’s Phyllis Dietrichson is a user. She uses the come on of verbal sexual foreplay and sex itself as a means to an end. I don’t believe Phyllis enjoys the sex act itself; it’s the endgame that genuinely gets her off; the plan to get rid of her husband and the insurance money that’s her genuine desire. Walter, like her husband, doesn’t matter, he is just a pawn in her deadly game. Phyllis is a woman with no redeeming qualities.

For Billy Wilder, Double Indemnity was his third directorial effort, but the first to reveal his dark and pessimistic view of America and its people. We would see Wilder’s bleak take on society in future films like Sunset Blvd, The Lost Weekend, and especially in Ace in the Hole. Wilder’s world is filled with sordid lives of kept men (William Holden), alcoholics (Ray Milland) and bottom feeders (Kirk Douglas). Wilder’s co-writer was non-other than another hard-boiled writer, the great Raymond Chandler.

   By setting the story in flashback mode, the filmmakers got the film approved by the overlords of cinema morality, AKA the Production Code. This compromise to the Gods told the audience there’s no use sympathizing with our characters since they are all ending up dead because of their dirty deeds. Surprisingly, James M. Cain liked the flashback idea even admitting he would have set up the structure of his novel that way if he had thought of it himself. Cain based his pulp fiction novella on the real life 1927 murder involving Ruth Snyder and her lover Judd Gray. Like the Cain story, and the Wilder film, Ruth Snyder, the first woman executed in New York, convinces Gray to kill her husband after she took out an insurance policy on him with a double indemnity clause. The law quickly caught the two lovers. The murder became infamous when the New York Daily News published a front-page photo of Snyder strapped in an electric chair as the juice was about to be turned on.

Like oil and water, Wilder and Chandler did not mix. It was a tormenting experience for the hard-boiled author. Chandler said working with Wilder may even have shortened his life. He could not adjust to Wilder’s habits of constantly pacing while ‘writing’ or of his habit of always wearing a hat indoors, plus there was the constant stream of women he was involved with.  The author did admit he learned a lot about screenwriting from Billy. Wilder found it just as frustrating working with alcoholic Chandler and his infuriating sour disposition.

From the beginning of the project, Wilder wanted Stanwyck for the role of Phyllis Dietrichson; however, Babs was concerned about playing an out and out despicable person with no redeeming values. She loved the script but was fearful her fans would hate or even desert her. Stanwyck always played tough, strong women whether on the right or wrong side of life.

Wilder wanted her to look like a cheap, low-level dame; thus the cut-rate blonde wig the director insisted she had to wear. One studio exec famously commented, “We hire Barbara Stanwyck, and here we get George Washington.” However, in the scenes where Stanwyck wears that tight white sweater, you know she’s a sexual magnet.

Double Indemnity was a huge hit. Stanwyck received a Best Actress nomination. Wilder earned nominations for both Best Director and Best Screenplay (with Chandler). The film also picked up a nod for Best Picture. Stanwyck’s Phyllis Dietrichson is one the screen’s great femme fatales: a user of men, seductive, money hungry, willing to ruin anyone who gets in her way, a hardened, unfeeling, cold-blooded dame. How good is Stanwyck in Double Indemnity? How alluring, sexy, and dangerous? Just watch the bland 1973 made for TV remake with Samantha Eggar in the role and you know how twisted and seductive Barbara Stanwyck could be.

This review is part of the Femme/Homme Fatales of Film Noir hosted by the Classic Movie Blog Association. Please check more films in the blogathon by clicking here.

Revisiting Bonnie and Clyde

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“This here’s Miss Bonnie Parker and I’m Clyde Barrow. We rob Banks!” – Warren Beatty

   The first time I saw Arthur Penn’s now iconic Bonnie and Clyde was soon after its release in 1967. It was at a Manhattan theater and the audience, including me, was at times unsure how to respond to what we saw on the screen. In the language of the sixties – it was mind blowing! New York Times critic Bosley Crowther didn’t think so. When his scalding review came out, there was no doubt where he stood. He disliked the film immensely. He wrote calling it in part, “a cheap piece of bald-faced slapstick comedy that treats the hideous depredations of that sleazy, moronic pair as though they were as full of fun and frolic as the jazz-age cut-ups in Thoroughly Modern Millie.” In fairness, Crowther wasn’t the only critic of the day to knock the film. The studio faced with the negative reviews pulled the film from circulation. Continue reading

Across 110th Street

unnamedAcross 110th Street is an intense, nasty, hard-boiled heist film that from its opening moments to its final freeze frame finish never lets up. The pacing furious and deadly. Shot on location, mostly in Harlem, this film is too easily characterized as just another blaxploitation film; it’s not, this is a top-notch crime film that is a must-see for crime film connoisseurs. Continue reading

The Last Picture Show

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I saw first saw The Last Picture Show back in 1971 at a twin theater called the Columbia 1 and 2 located on 2nd Avenue on the Upper East Side of Manhattan. When the film opened, it created a phenomenon with audiences crowding the sidewalks in long lines waiting for the next available show. The Last Picture Show was only director Peter Bogdanovich’s second film; the first was the low budget Targets. Exquisitely filmed in black and white by Robert Surtees (The Graduate, Act of Violence, The Collector) the cinematography visually expresses and adds immensely to the bleakness of a dying small Texas town. Continue reading

Love, Gilda

Like many comics before her, and after, Gilda Radner was looking for love. Born in Detroit to a middle-class family, her father whom she loved dearly died when she was fourteen. Chubby as a child, the film states her mother, a beautiful looking woman, forced Gilda to take diet pills and repeatedly stressed the importance of being thin. Gilda, feeling unattractive found out she was funny and discovered people liked funny people. Continue reading