The Misfits (1961)

A divorced hot chick (Marilyn Monroe) and her landlady (Thelma Ritter) meet up with a tow truck driver (Eli Wallach) and his cowboy friend (Clark Gable). They later swap out the landlady for a troubled ranch hand (Montgomery Clift), then go rustling Mustangs. They all fall over Marilyn while she falls out of her dress.

Clark Gable was 59 going on 109 and would pass just after filming wrapped. He had said that working with Marilyn was going to give him a heart attack and, well, it seems he was right. He got in shape for the roll, quitting booze and losing weight, but too little, too late. There was a doctor on call but it was for the troubled Monroe and Clift. This would also prove to be Marilyn’s last film, dying of a semi-accidental drug overdose a year and a half later. Of the five principles, only Eli Wallach would see 1970, leaving us in 2014 at 98.

Maybe because he wasn’t playing the romantic lead, I liked Montgomery Clift’s performance. He played a neurotic, self-destructive cowboy. A role I suppose he could relate to. Except for the cowboy part. I’ll again repeat Marilyn’s quote about him: "the only person I know who is in worse shape than I am".

Not what I was expecting. There is a whole lot of ogling of Marilyn to the point where it seems to serve the dual purpose of making a point and appealing to men who like ogling Marilyn. She was 34 or 35 here and still effectively playing the 20-something bombshell, if maybe carrying a bit more weight than normal. It was said that they suspended production for two weeks so she could detox but that may have been a ruse to cover director John Huston’s gambling losses.

The four main characters (excluding Ritter’s landlady) are trying to figure out where they fit in. The aging cowboy out of touch in the new west, the tow truck driver dealing with the dead wife he worshiped, the young ranch hand not sure where he is going in life, and of course the divorcee who based her identity on the men who want her. You know, Misfits. They seem to come to terms with their issues, but it is not altogether clear.

The Misfits is an interesting film. Here we say goodbye to two icons of classic Hollywood. However I don’t know what to make of the overt “male gaze” aspect of the film. It felt very intentional. I may not see it again, but I do find myself thinking about it. AMRU 3.5.

"Honey, we all got to go sometime, reason or no reason. Dyin's as natural as livin'. The man who's too afraid to die is too afraid to live."

The Asphalt Jungle (1950)

A big time operator (Sam Jaffe) is released from prison and has a plan for a big score. He seeks out a money guy to finance the heist to hire a box man (safe cracker), a driver (James Whitmore), and a thug (Sterling Hayden).

Our money guy (Louis Calhern) has been in a fair number of decent movies. I’m sure our paths will cross again. He was also in a Jungle of the Blackboard variety. Here, his piece on the side is a cusp of famous Marilyn Monroe. She was quite good in the small role.

Even outside the presence of Sterling Hayden, this film bears a strong resemblance to The Killing. Big, complex heist, recruitment of people, complications and double-crossing, then things fall apart. That’s not a spoiler. Bad guys didn’t get away in the 50’s. Between the two, I prefer The Killing. The heist itself was more interesting and I like Hayden in the Boss role. Here he was a hooligan on the spectrum. Jean Hagen (Singin’ in the Rain) played his Doll.

Modern life once again has crept into this historical document. In the interest of law and order, the police chief advocates roughing up suspects and victims alike. When a cop is discovered to be a ‘bad apple’, he monologues how cops, good and bad, are necessary to fight this existential threat that is crime. It was quite strident and very close to the zeitgeist of the day. This isn’t a commentary on the present situation. Law enforcement was extremely different in 1950 and a very complex topic. It was simply a thing that made me go “huh”.

Another theme was the creepy old man. The older Calhern shacking up with the hot Monroe ("young enough to be his granddaughter") is derisively viewed by the police. Another character stares creepily at a teenage girl while she dances. That was borderline uncomfortable. I looked it up. She was twenty during filming. We’re cool. I believe the point was to keep the audience from sympathizing with the criminals too much.

The Asphalt Jungle is an entertaining heist film. It is interesting how 50’s noir has a distinctly different feel than the earlier ones. They feel more grounded in the real world. John Huston’s Maltese Falcon is a landmark in the genre and very different in tone. He would deconstruct the genre, with dubious success, three years later with Beat the Devil, and appear in, but not direct, a landmark of neo-noir with Chinatown. AMRU 4.

The Treasure of the Sierra Madre (1948)

Two down and out Americans (Humphrey Bogart and Tim Holt) have a chance meeting with an old prospector (Walter Huston) who is up for one last try to strike it rich. When Bogart’s Dobbs comes into a bit of cash, the men pool resources, buy supplies, and head to the mountains.

This film is the origin of the famous Blazing Saddles line regarding badges. You know the one. Beyond that, a campfire beans scene and Huston’s prospector character seem familiar. I don’t know if Brooks intentionally referenced them, but I wouldn’t be surprised.

Director John Huston (Walter’s boy) tricked the studio to get the film made. Westerns were cheap, quick, easy, and profitable. That’s what studios want so that’s what Huston told them he was making. Who read scripts? Instead, they got something else, and something better. Jack Warner had a fit when he saw the rushes. A few issues he had was that big star Bogart’s character wasn’t quite as heroic as he wanted, and was frequently upstaged by Walter’s prospector. Oh, and the ending. Walter himself wasn’t too keen on taking the part, thinking at 65 he was still a leading man type. Two years and three films later, he’d be gone. And so it goes.

The Treasure of the Sierra Madre is a special film. It says a lot about how desperation, and the prospect of fortune changes a man. That is, if he’s the kind of man to allow it to. And Walter’s performance was a tour de force. AMRU 4.5.

“Do you believe that stuff the old man was saying the other night at the Oso Negro about gold changin' a man's soul so's he ain't the same sort of man as he was before findin' it?”

Chinatown (1974)

Private Investigator Jake Gittes (Jack Nicholson) is hired by a woman to find out if her husband is having an affair. Husband is Mulwray, a big-wig at the drought stricken Los Angeles water department and is seeing a young blonde. The scandal goes public, lawsuits are filed, and shenanigans come to light about the water department and things become complex.

If you don’t like films where you don’t know what’s going on, Chinatown is not for you. Everyone has secrets and nothing is as it seems. Diane Ladd had a small role. You know, Laura Dern’s mom. There are a few pieces of trivia I’d like to include here but it would reveal details best revealed by watching. I won’t do it to this caliber of film, leaving me with less to say.

Chinatown is neo-noir, a modern interpretation of the 40’s and 50’s film style. It is set in the late 1930’s and follows many of the same conventions but with a more modern sensibility. Code-banned topics are dealt with using code-banned language. Nicholson’s Jake is present in every scene.

Many lesser films use the obfuscation game to make their films seem complex or deep. But Chinatown is a masterpiece. All the pieces fit together in the end, the performances are exceptional, and the cinematography is spectacular. It demands a second viewing and I look forward to that. Too bad the director is a child molester. AMRU 4.5.

“But, Mrs. Mulwray, I goddamn near lost my nose. And I like it. I like breathing through it. And I still think you're hiding something.”

The African Queen (1951)

The straight laced Reverend Sayer (Robert Morley) and his sister Rose (Katharine Hepburn) run a missionary deep in Africa during the onset of the first world war. Their only contact with the world outside is through Charlie (Humphrey Bogart), the captain of the African Queen, one of the few steam ships capable of navigating the treacherous rivers of central Africa. Because of his importance for delivering supplies and news, they tolerate his uncouth ways.

Soon, the German army arrives to offer their assistance. That is, they burn the native's huts and conscript them into the German army. This displeases the Missionaries Sayer very much. Well, after tubby drops dead, good 'oll Charlie shows up again. After deciding that time on a river boat with the gin swilling Charlie is slightly better than being murdered by proto-Nazis, she goes with him. Then, when Rose learns that the German position in Africa is fortified by the presence of a gun boat that patrols a large lake, she decides to settle the score.

Go figure, it's a color film! I remember seeing it in my youth (leeches, bleck!) and apparently it was on a black and white TV. Anyhow, the thing that struck me most was the appearance of the two A-list actors. Bogart appeared scrawny and Hepburn old. Both actors were a bit long in the tooth come 1951, and Bogart was never an imposing physical specimen, but it was interesting they chose to be depicted as they actually were. Maybe that honesty that led the Academy to give Humph the only Oscar he would ever receive. Or maybe they felt he needed to be rewarded for his body of work. Either way, he'd be gone in six years. Smoking is bad, hmmm Ok?

Despite it's reputation, and the reputation of it's actors and director, I found The African Queen to be a bit dull. Still worth seeing, but a little bit of a disappointment. AMRU 3.

"Well I ain't sorry for you no more, ya crazy, psalm-singing, skinny old maid!"

Key Largo (1948)

Unlike most famous movies I hadn't seen, I was quite surprised to learn that I knew nothing of the plot. I knew the gay 1980's song, and that's about it. A story on NPR mentioned the film and a song sung by Claire Trevor and they said something about the setting. It was the last of four movies in the set loaned to me by a coworker and I finally finished the set.

Bogie is a drifter, a tough man who sticks his neck out for no one. Bacall is the young hottie. Lionel Barrymore is her father. Or father-in-law. Edward G. Robinson is the gangster trying to get back into the country. Who's going to stop him? Who? Nobody, that's who!

Gangsters, drifters, cripples, and hotties are all shut into a hotel when a hurricane passes. Is Bogart tough enough to stand up to the cruel Edward G? Will hottie Bacall fall for him? Are we seriously asking these questions?

What was interesting about the movie was Claire Trevor as Robinson's ex-hoochie mamma. She's a total lush at this point and a bit of an embarrassment. Her song was memorable, not for the singing itself, but for how it plays into the plot. Typical Bogart stuff, typical Bacall stuff. Enjoyable. AMRU 3.5.

Beat the Devil (1953)

On display at the library was a Bogart film I wasn’t familiar with. It stars an aging Bogie, a plump Peter Lorre, and a very young Gina Lollobrigida. It was directed by John Huston and written by Huston and Truman Capote. With that many big names attached to this film, I reasoned, it has to be great. Or suck.

The movie also featured the hot Jennifer Jones, who died in December, and Robert Morley, who looked at death’s door during the movie (fatty managed to live almost another 40 years). The clincher for me was to see a 26 year old Lollobrigida.

“Adventure at its boldest! Bogart at his best!” Bigger lies never before graced a movie jacket cover. Loosely based on the James Helvick novel, Bogie is Billy Dannreuther (sounded like Dan Rather), a man of questionable past married to Lollobrigida. He has a business deal with a group of four criminals lead by Peterson (Robert Morley). Somehow they will swindle uranium rich land in Africa and become millionaires. Bogie has the contact. They are delayed in Italy where they meet a British couple. He is a stuffy aristocratic type, she a dizzy chick with a strange sense of humor. They are taking over a coffee plantation and are on the same steam ship. Lots of antics in town and on board.

Jennifer Jones was charming, delivering the strangest lines in rapid fire. Bogie was, well, Bogie. Older. He would live only four more years. He was in a car accident during filming and lost a couple teeth, so then-unknown actor Peter Sellers was hired to dub parts. Lorre had a fairly small role.

I kept waiting for the business to get going. The trip, the land grab, the millions, but this is a standard caper-gone-bad film. Once I realized the story I THOUGHT was going to unfold, wasn’t, I enjoyed it a bit more. Lots of side deals, obstacles, lies, and mishaps. The tone was light, like a comedy, but it was more tongue-in-cheek than LOL. Still, it kept me interested, and guessing. Were I to pass it while channel surfing, I would likely linger on it for a bit, but I can’t imagine watching it again. AMRU 3.

“I've got to have money. Doctor's orders are that I must have a lot of money, otherwise I become dull, listless and have trouble with my complexion.”

The Maltese Falcon (1941)

This adaptation of a Dashiell Hammett novel stared Humphrey Bogart, Mary Astor (remember her from Red Dust? She's not hot in this film either.), Peter Lorre, Sydney Greenstreet, and also featured Eliza Cook Jr (from just about everything). Directed by John Huston. Arguably, this is Bogart's most famous role after Casablanca. 

Sam Spade and red shirt Miles Archer are detectives. Stereotypical bombshell walks into their office with a hard luck story. They take the case, and soon Archer is dead. Different groups of people turn to mess with Spade, who slowly pieces the real story together. Everyone has a back story and everyone is searching for a jewel-encrusted falcon statue, painted black to disguise it's real value. Who gets it? With all the smoking going on in this film, a black lung was more likely than a black bird. It says something about cigarettes when obese Greenstreet outlives Bogart and Lorre by more than ten years. Cook, it should be noted, lived to a ripe old 172. 

The American Film Institute ranked this the 31st greatest movie of all time in 2007, then called it the 6th best in the genre of Mystery. It was nominated for Best Picture, Best Supporting Actor, and Best Screenplay. 

With the marquee names and reputation, I have to say this was a bit of a let down. I enjoyed the movie, but I couldn't make heads or tails of the story. I think I'll need to watch it again. This time without child interruption. AMRU 3.5.