South Pacific (1958)

On an island in the South Pacific during World War II, pretty nurse Nellie (Mitzi Gaynor) falls in love with a rich French expatriate. He would be instrumental in a dangerous mission that could turn the tide of the war. I hope he agrees to help.

But this is a Rodgers and Hammerstein musical so there is a whole lot more going on, not limited to tedious musical numbers. There’s sexy lieu-tellen (John Kerr, no relation) who’s not on a mission, who says he is? And my favorite maritimer Billis (Ray Walston) who wants to visit the island Bali Ha’i for, you know, women. Jersey girl Juanita Hall reprised her role from the stage as Islander Bloody Mary. Figuring she was too old to sing, they dubbed her singing voice. In fact many of the actors had their singing voices dubbed, sounding comically different than their speaking voice.

The theme here is prejudice, highlighted by the song “You've Got To Be Carefully Taught”. The film features references to two interracial relationships, quite progressive for the fifties. Unfortunately, the depiction of south pacific natives was very 1950’s. You win some, you lose some.

Silly and dated, South Pacific is a somewhat amusing romp that holds your interest, particularly if you are a fan of musicals. It was as huge a success on the screen as it was on the stage. I found it a bit tedious at times, but it was nice to learn the origin of the songs my mom used to sing when she was being silly. AMRU 3.5.

What Else I Watched, 2024Q3

Catch me If You Can (2002)
Con man (Leonardo DiCaprio) masquerades as a pilot, surgeon, lawyer, and more while the feds try to track him down. Very entertaining movie and I should have seen it sooner. The story is complete fiction, but that doesn’t matter. It’s a wonderfully fanciful tale craftily done. AMRU 4.

Past Lives (2023)
I rewatched it with friends and they were underwhelmed, to say the least. I had modest expectations when I first saw it and I apparently oversold it to them. I gave it a 4.5 last time. Might need to downgrade that a bit.

The Angels' Share (2012)
Scottish hood finds a mentor and learns to appreciate scotch. Tough watch and sometimes hard to understand even with subtitles on. Still, it's worth the effort. AMRU 3.5.

Ghostbusters: Frozen Empire (2024)
Amusing and predictable addition to the franchise with somehow even more fan service than the previous. I appreciate the Bill Murray cameo and small roles by Annie Potts and Ernie Hudson, but bringing back Walter Peck and even the library administrator was a bit much. The film focuses primarily on Phoebe (Mckenna Grace) which is a good decision. Including Podcast and Lucky felt unnecessary. Patton Oswalt and Kumail Nanjiani appear because they must appear in every nerd franchise on earth. Silly, amusing, and loaded with plot holes. AMRU 3.

Gilda (1946)
Holds up to a second viewing but doesn’t rise to the top of the genre. Interesting story but the characters are unlikable. That’s not necessarily a flaw, but I think we should at least like Rita’s Gilda. The ending is surprisingly abrupt and, man, talk about a red flag relationship.

Film: The Living Record of our Memory (2021)
Long and rambling documentary about film preservation and restoration. For the uninitiated, film degrades over time, particularly if it isn’t stored in ideal conditions. Also, most early films were lost because they weren’t valued after they had their run. What could have been done in 90 minutes was stretched to two hours. Glad I watched, but had to split it up over a couple sessions.

Wild Mountain Tyme (2022)
Irish farmer (Christopher Walken) doesn’t want his son to inherit the family farm because he isn’t married. Son (Jamie Dornan) likes his longtime neighbor (Emily Blunt), but is too damaged to ask her. Based on a stage play and the pretentious dialog sounds it, which contrasts with the beautiful photography. There are several “what the hell are they talking about?” moments, and Walken’s Irish accent borders on a hate crime. Weird and somewhat interesting, but I can't recommend it. AMRU 2.5.

I managed seven "off-brand" films this quarter, but I am finding it hard to find time to watch anything. We'll see how Q4 goes.

The Cyclops (1957)

A young woman (Gloria Talbott) hires a crew to sneak her into the mountainous forbidden zone in Mexico to search for her fiance who crashed there several years ago. Soon we learn that each crew member has their own reasons for going on the trip.

Writer/Director/Producer Bert I. Gordon made a bunch of films in the second half of the 1950s usually depicting creatures of unusual size. Here our heroes discover huge creatures and later a giant deformed man. I wonder …

Lon Chaney Jr. was squarely in the “take any job” segment of his career. Five years earlier he impressed in a small role in High Noon (1952) but would never repeat that success. Pretty Gloria Talbott had a long career in low budget genre pictures, starting when she was just four years old. Years ago I saw her interviewed for the underwhelming 100 Years of Horror (1996) and it was clear time was not good to her. She passed a couple years later at the age of 69.

Considering the humble budget, the effects for Cyclops aren’t that bad. Occasionally the monster would be transparent, but otherwise effective. Mr. BIG would again explore the giant man trope later the same year with The Amazing Colossal Man, which got a sequel the following. Oddly, the only cast member in common between the three films is Duncan 'Dean' Parkin, who played today’s Cyclops and Colonel Manning from the Colossal Man sequel.

The Cyclops almost feels like a proof of concept for Gordon’s later Giant movies. It’s the shortest of the three and while not without good story elements, the conclusion feels a little rushed. But it holds your interest and doesn’t overstay its welcome. AMRU 3.

Spellbound (1945)

The surprisingly young psychologist (Gregory Peck) arrives to be the new director of a sanitarium, but his troubling behavior leads to suspicion that he is not who he says he is. Will love bloom?

Ingrid Bergman plays the psychologist with the heart of gold and Leo G. Carroll is the kindly outgoing Dr. Murchison. Also here is old friend Norman Lloyd as an inmate and Wallace Ford (Freaks) as a creep in a hotel lobby. There are a few interesting background characters that could have had more screen time, something screenwriter Ben Hecht was adept at creating.

The psychobabble, and there is a lot of it, doesn’t distract much from the story. Peck’s Ballantyne is in serious trouble and on the run, and Bergman’s Dr. Petersen believes in him despite having no reason to. Grant’s understated performance, while disappointing Hitch, was eerily appropriate for the amnesiac.

Spellbound takes some unexpected turns and features a pretty trippy dream sequence. This is classic Hitchcock. Maybe not a top five Hitch, but definitely top ten. AMRU 4.

She Wore a Yellow Ribbon (1949)

Retiring Captain Brittles (John Wayne) goes on one last patrol, this time to evacuate the women-folk. Oh, and one of them wears a yellow ribbon. It’s unimportant.

The ribbon signifies that the woman (Joanne Dru) is officially going steady. Between two young officers, she chooses the rich pretty-boy over the one with a promising military career ahead of him. I struggled to follow this sub plot and I needn't. It was very uninteresting.

A young John Agar appears as Brittles right hand. He was married to Shirley Temple at this time. Also here is Harry Carey Jr, not to be confused with Harry Caray. And also is Ben Johnson whom we recently saw in Shane.

The 41 year old Wayne was surprisingly believable as the 60 year old captain, impressing long time collaborator John Ford, who said he "didn't know the big son of a bitch could act!" I haven’t seen too many of Wayne from his young and fit years and he didn’t much resemble himself from his El Dorado years, which is a good thing.

She Wore a Yellow Ribbon has a few strange elements, like Wayne getting a man thrown in the brig for some reason. Also, there is the element of Wayne trying to avoid hostilities with the natives rather than the more familiar narrative. Pointless love triangle aside, the major theme explores a man dealing with his obsolescence. Who is he if not the gruff captain the others look to for leadership. This is a theme I can relate to. AMRU 3.5.

Scarlet Street (1945)

Humdrum bank employee Chris (Edward G. Robinson) comes to the aid of a woman (Joan Bennett), and they strike up a friendship. Under the mistaken belief that he is a famous and fabulously wealthy artist, she and her abusive boyfriend (Dan Duryea) plot to scam him.

On today’s internet this would be called a romance scam, but back then the scammer was required to interact with the victim in real time. Oh, and actually be a pretty woman. Fritz Lang directed the 1944 noir The Woman in the Window also staring Robinson, Bennett, and Duryea, and featured a very similar plot (“A reserved professor meets a model and gets mixed up in murder.”)

I thought I had seen Joan Bennett before (outside of Suspiria, that is) but it was her sister Constance that appeared in What Price Hollywood? and Topper. There was also a sister Barbara who appeared in only five films and lived a troubled life. I shan’t go into detail.

Dan Duryea seems to always play the same character. A joyously hateful scoundrel. Here is no different. Robinson plays the hapless victim to perfection, led down the path like a lamb to the slaughter. But Robinson was capable of adding depth and complexity to the otherwise two-dimensional role. A subtle glance can express wonders.

The Big Heat is the standard bearer of later career Lang but Scarlet Street is a close second. Nothing compares to Lang's early work, but these latter films can be quite surprising. It's a solid story and Robinson's performance is fantastic. AMRU 4.

The Producers (1967)

Broadway has-been (Zero Mostel) realizes that if he sells more than 100% of the shares in a musical, and it fails catastrophically, investors won’t be looking for their money, and he can keep everything. So, he gets the wrong play, and hires the wrong director and actors. What could possibly go right?

The Producers features many exceptional, over the top comedic performances. Specifically Kenneth Mars as the Nazi playwright (I outrank you!), Dick Shawn as the on-stage Hitler, and of course Gene Wilder and Zero. But don’t forget about the secondary characters from the elderly, love-struck investors to the go-go dancing secretary.

The movie rose from relative obscurity when it was adapted into an actual Broadway musical then remade as a film. This is how Mel managed to earn an EGOT, which is pretty good for a man who can’t read music. I have not seen the latter film.

The movie’s many hilarious scenes are facilitated by the brilliant, almost plausible premise. The very broad, and very dated humor may be off putting for some, but for me The Producers is a delightful romp. Mel Brooks is a national treasure and I loved every minute of this film. AMRU 4.5.

“Hitler, there was a painter. He could paint an entire apartment in one afternoon! Two coats!”