March 2014 Blind Spot: All The President’s Men (1976)

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This month’s Blind Spot is a ‘hit two birds with one stone’ type of a thing in that it’s part of the conspiracy movies I’ve been bingeing on in anticipation of Captain America: The Winter Soldier. It’s something I’ve been wanting to see for ages, glad I finally got around to it.

I wasn’t even born yet when the scandal happened in 1972, starting with a break-in at the Democratic National Committee (DNC) headquarters at the Watergate office complex in D.C. I’ve seen Bob Woodward and Carl Bernstein on TV over the years and I think I may have known they’re the journalists who first uncovered the scandal that led to President Nixon’s resignation, but I never realized just how they got there.

It’s a testament to Alan J. Pakula‘s shrewd direction and Robert Redford & Dustin Hoffman‘s excellent performances that this film remains as gripping as ever, even watched for the first time 38 years after its release. It’s the quintessential political conspiracy drama that earns its ‘true classic’ label, it currently sits at #77 on AFI’s 100 Greatest Films list. I actually watched this film just a day after Pakula’s other conspiracy movie made just two years earlier, The Parallax View, but I enjoyed this one a whole lot more. Obviously I already know that Woodward and Bernstein survived the whole ordeal, but that fact in no way lessens the suspense of the film. It’s perhaps the best film about investigative journalism, and no doubt it’s the film shown in every journalism class in America. Believe it or not, I actually wanted to be a journalist when I first came to the States, so I might’ve seen some clips of this in my Broadcast Journalism class in college.

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Woodward & Bernstein: In the movie & in a real life photo

I was completely engrossed in the story, but not only in terms of the scandal itself, but in the realistic depiction of how the journalists work on their story, as a lot of the film take place within The Washington Post. There’s a scene where the veteran Bernstein started making revisions of Woodward’s drafts without first consulting him. “I don’t mind that you did it,” Woodward said, “I just mind how you did it.” Clearly they didn’t get off on the right foot, but they soon bonded over their tenacity to get to the bottom of this story. There’s a nice rapport between the two actors that worked well here. Clearly the two reporters are such workaholics and became so consumed with the story. I’d think that real journalists have a bit of that obsessive streak in them when they’re following the trail of a story, especially something as important as this one. Little did they know where the story would lead, as the trail just kept getting higher up the chain of the Republican Party and eventually all the way to the White House!

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All the dialog between Woodward & Bernstein and the editors, played by Jack Warden and Jason Robards are quite fascinating, as it shows how risky it was to break a story like this. Amongst the supporting cast, Robards was particularly memorable as Benjamin Bradlee, the then executive editor at the Post. He’s very convincing as a seasoned journalist and has the gravitas required for the role. The scenes in a parking garage where Woodward held his secret meet-up with Deep Throat (a pseudonym the journalists give to the secret informant) is rife with tension, handled brilliantly in an eerie, atmospheric way. Hal Holbrook is perfectly effective in his brief appearance, adding so much to his character and making it practically iconic. “Follow the money,” he says, in one of the most memorable quotes in William Goldman‘s Oscar-winning screenplay.



The scenes where Bernstein coerced his sources to talk are particularly intriguing, especially the one with the book keeper of Committee to Re-elect the President (with an appropriate acronym of CREEP). Jane Alexander was nominated for Best Actress in a Supporting Role and I agree that’s quite a fantastic performance. She only had about 8-minute screen time in the entire film, about the same number of minutes Dame Judi Dench appeared in her Oscar-nominated turn in Shakespeare in Love. Truly, there’s really not a boring moment here even during the most seemingly mundane stuff like typing or people talking on the phone. There’s a six-minute continuous tracking shot of Redford being on the phone, according to IMDb trivia, DP Gordon Willis did that in one take!

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I’m surprised Willis was not nominated for an Oscar for his work here, though later on he received an Honorary Academy Award in 2010. I love how he used a variety of creative shots, such as the one where the two reporters were doing meticulous research at the Library of Congress. The camera shot them from above, starting with a close up of their hands sifting through a mountain of library slips and it slowly pulls away, accompanied by the sound of rustling paper and very subtle background music. No words are spoken but it’s a powerful scene. I found this wonderful Mise-en-scène article on this exact scene where the author astutely observed that … “The scene symbolically represents the story of the film, that of two men against an entire administration. It expresses the immensity of the task that lay ahead for the reporters, not just in searching through library cards, but in revealing the truth behind the misdeeds of the administration.”


I love the attention to details of this film, the clothes, the sets, and all the details within The Post headquarter. Apparently the design department of the film even made a replica of the out of date phone books to make it even more authentic! I’m sure there are countless details that I failed to catch. This is definitely the kind of film that warrants subsequent viewings in order to get the details I’ve missed on initial viewing.

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I’ll end this review with one last observation. I like how the story stays focused on the journalism aspect of the scandal and how the Post finally got to publish it, there’s no unnecessary subplots about the personal lives of the leads or anything of the sort. What an intriguing slice of American history, and as someone who’s not born in the US, it’s especially fascinating to see. To this day, every political scandal is tagged with the “-gate” suffix because of this, which adds to the timeless aspect of this film. Thanks to Redford for acquiring the rights to Bernstein’s and Woodward’s memoir and for Mr. Pakula for bringing this engrossing political history to life.

four and a half stars out of five
4.5 out of 5 reels


This is the first entry to my 2014 Blind Spot Series, as first started by Ryan McNeil at The Matinee, and continued by Dan Heaton at Public Transportation Snob .

Here’s my full Blindspot List.


What do you think of All The President’s Men? I’d love to hear what you think!

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February 2014 Blind Spot: Mr. Smith Goes to Washington (1939)

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I didn’t realize that I’m doing another Frank Capra film back to back in the BlindSpot series! Well, I had initially wanted to do a James Stewart marathon after the Gregory Peck one, but I never got around to it. Well, I finally got to see it on President’s Day last weekend, what a fitting time it was and this film certainly lived up to its classic icon status. According to IMDb trivia, it’s ranked #5 on the American Film Institute’s 100 Most Inspiring Movies of All Time (2006), and #26 Greatest Movie of All Time (2007) also by AFI.

It’s always wonderful to see when ‘the actor and the role meets,’ that is when a role seems to be tailor-made for an actor that it’s as he disappears into that character. I felt that was the case with Peck as Atticus Finch in To Kill a Mockingbird, and here, Stewart seemed to have become Jefferson Smith despite not being the first choice for the role. The role was for Gary Cooper who’s supposed to reprise a similar one he did in Mr Deeds Goes To Town (also by Capra), but he was unavailable. Having seen this film, I can’t picture anybody else but Stewart in the role.

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What’s interesting about this film is that even though the subject matter is about American politics, it doesn’t concern a specific party, we’re never told if Jefferson Smith was a Republican or Democrat. The state that he and Senator Joseph Paine (Claude Rains) come from was never mentioned, either. It’s a classic David vs Goliath story as Smith was a nobody in the grand political scheme when a governor of the unnamed western state picked him to replace a deceased senator. He’s picked because of his wholesome Boy Scout (or Boy Rangers in the film) image, the corrupt political boss Jim Taylor and his minions think Smith’s lack of experience think he’d be easy to manipulate. Of course things don’t go exactly to their plan.

The word ‘filibuster’ seems to have become a dirty word in Capitol Hill. Frankly I don’t know much about the intricate and twisted world of politics, so it was fascinating to see Smith getting lectured from his own secretary Clarissa Saunders on how to get a bill passed. It’s certainly one of my fave scenes from the entire film:


This is the first time I saw Jean Arthur in anything and her portrayal of Saunders is brilliant. Nice to see a smart and sassy female character, not unlike another heroine in another famous 1939 film, which took the Best Picture that year, Gone With The Wind. Now, Saunders is nowhere near as manipulative as Scarlett O’Hara of course, but she’s also beautiful and knows her way around a man’s world.

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The whole conflict revolves around building of a dam by the Willett Creek, which is the same area of land where Smith wants to build his national boys camp. Naturally Smith is no match for the Taylor Machine in terms of money and clout, and the political Goliath is determined to crush David by any means possible. Having been *crucified* (that’s the exact word used by Rains’ character) by the Taylor Machine, Smith was ready to give it all up when Saunders persuaded him not to. That propels him to launch a filibuster to clear his name just before he’s kicked out of the Senate.

I was totally engrossed in the story from start to finish, and the third act is certainly the most rousing part. It’s certainly an inspiring story told with an unapologetic sense of virtue. A dissenting voice against this film is perhaps that it lacks subtlety. At times perhaps the audience, especially those on the cynical side might feel they’re being hit over the head with the morality lesson. But you know what, I happen to think it’s great to see a film that celebrates goodness and everything we should aspire to as a human being. I wrote in this post that people may find a hero that stands for truth, justice and the American way so darn boring. I beg to differ on that front. Smith is no superhero, he has no superpower of any kind, but he certainly has the power to inspire others to stand up for what’s right no matter what the cost. In essence, that’s what a true hero is all about.

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As I mentioned before, Stewart is perfectly cast as Smith and he certainly makes for a protagonist worth rooting for. The supporting cast is superb all around. Speaking of GWTW earlier, well, it’s fun to see Pa O’Hara here, aka Thomas Mitchell as journalist Diz Moore who’s in love with Saunders. My favorite is Claude Rains as the Senator whom Smith looks up to but ends up betraying him. His emotional struggle throughout the film is palpable and fascinating to behold and Rains has the charisma and gravitas to own a scene. I’ve only seen him in Casablanca before this, so I’m hoping to catch more of his films.

This film is full of rousing scenes as well as humorous moments. Smith’s obvious naivete is amusing and endearing but never ludicrous. There’s a hint of romance between Saunders and Smith, but yet it never took over the story which I thought was refreshing.

The ending doesn’t end with a neat little bow as our protagonist collapsed in exhaustion after talking non-stop for 24 hours, but he remains defiant and even hopeful to the end.

Jefferson Smith: I guess this is just another lost cause Mr. Paine. All you people don’t know about lost causes. Mr. Paine does. He said once they were the only causes worth fighting for and he fought for them once. For the only reason any man ever fights for them. Because of just one plain simple rule. Love thy neighbor. And in this world today of great hatred a man who knows that rule has a great trust. You know that rule Mr. Paine and I loved you for it just as my father did. And you know that you fight harder for the lost causes than for any others. Yes you’d even die for them. Like a man we both knew Mr. Paine. You think I’m licked. You all think I’m licked. Well I’m not licked. And I’m gonna stay right here and fight for this lost cause. Even if this room gets filled with lies like these. And the Taylors and all their armies come marching into this place. Somebody will listen to me.

The change of heart of the antagonist may seem abrupt here but I think Mr. Paine have been convicted that what he did was wrong long before he finally had the courage to confess it.

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Cap·ra·esque

[kap-ruh-esk] relating to or in the style of the movies of Frank Capra, focusing on courage and its positive effects and the triumph of the underdog.


Well, this is the third film from Frank Capra and I definitely see a definite pattern in his films. There’s a timeless quality about it, as his film seems to be relatable for any era because its message and its ideals are not confined by a specific time frame. No matter what year it is, greed, oppression and exploitation are never a good thing, and we’ll always root for someone who perseveres to rise above improbably odds.

I’m so glad I finally caught Mr. Smith Goes to Washington. It’s definitely enjoyable and thought-provoking. A true classic that I certainly don’t mind watching again.

four and a half stars out of five
4.5 out of 5 reels


This is the first entry to my 2014 Blind Spot Series, as first started by Ryan McNeil at The Matinee, and continued by Dan Heaton at Public Transportation Snob .

Here’s my full Blindspot List.


What do you think of Mr. Smith Goes to Washington? I’d love to hear what you think!

January 2014 Blind Spot: It Happened One Night (1934)

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Ok, it’s my first Blind Spot Film of the year. I don’t know why it took me so long to finally see this one, as it came highly recommended by so many people. The main draw for me here is to see Clark Gable in something other than Gone With the Wind as that’s the only film I’ve seen him in. It’s also the second Frank Capra film since It’s A Wonderful Life.

Now that I’ve seen the film, I noticed how similar the storyline is to Roman Holiday, but instead of a princess, the female protagonist is a spoiled heiress who’s running away from her father (Walter Connolly) who disapproves  her nuptial to a society aviator. Claudette Colbert has quite a spunk as Ellie Andrews, though I have to admit it took me a while to warm up to her as her character is such a brat. At one point her dad slaps her and she certainly had it coming. Ellie promptly jumps off her dad’s yacht and later catches a bus to New York City to return to her husband. And that’s where the ‘meet cute’ happens.

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Gable’s Peter Warne is an out-of-work newspaper reporter. He’s made quite an effort to secure the last seat on the bus, only to have it ‘stolen’ by Ellie. The bantering between these two are pretty amusing, though it’s obvious they’re attracted to one another. When Warne recognizes who she is, he offers her two choices, one of which is that he’d blow the whistle on her whereabouts to her father. Needless to say, Ellie is stuck with Peter until he can help her get to NYC. Seriously, there are worse things than being stuck with Clark Gable!

One of the main highlights is when Peter rents a small motel for the two of them. It’s quite risque for those days to show a man being shirtless, which apparently happens because Gable kept having trouble removing his undershirt whilst keeping the dialog going, so Capra decided to forgo it. Apparently the undergarment industry was largely affected by this when people stopped buying undershirt as it was deemed cool to not to wear one. That’s mind-boggling how much power Hollywood had back in the day.

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With a set of clothesline and a blanket, Peter builds the ‘walls of Jericho’ between the two beds, which was also Capra’s idea because Colbert refused to undress in front of the camera. The two also puts on quite a show in the morning when two detectives knocked on their door looking for Ellie. Pretending to be a bickering married couple, it was the perfect bonding experience as their adventure is just beginning. Though it’s a completely different role from Rhett Butler, Gable’s certainly got the swagger and charm intact.

Interesting how this film’s success undoubtedly brings about the rom-com trend. We’ve become tired of that genre these days, as most of them are neither romantic nor comedic. I think You’ve Got Mail is a wonderful contemporary rom-com that adhere to a similar pattern, with the characters start out disliking each other. The key I think is in the chemistry of the two actors, and the wit in the dialog. So even if everything else about the film seems out of date, the story still holds up and the dialog still brings a smile to one’s face.

[after Ellie stops a car by showing her leg]
Ellie: Aren’t you going to give me a little credit?
Peter: What for?
Ellie: I proved once and for all that the limb is mightier than the thumb.
Peter: Why didn’t you take off all your clothes? You could have stopped forty cars.
Ellie: Well, ooo, I’ll remember that when we need forty cars.

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The story itself is pretty predictable. I knew at the end Ellie and Peter are going to be together, but I was still surprised by how they finally got reunited. Ellie’s father played a huge role in bringing them together, which is interesting in and of itself to see a parental figure having such a big part in the love story. In the finale, ‘walls of Jericho’ shows up again but only from the outside of the motel where presumably Ellie and Peter are now married. The sound of trumpet is heard as the walls is coming down. There are plenty of innuendos throughout, some are less subtle than others, but in this day and age where borderline pornographic content becomes ‘normal’ at the movies, it’s nice to see something THIS wholesome for a change.

ItHappenedOneNight_GableColbertWhat strikes me about this movie is the lack of any kissing scene between the two leads. I’d think the Hayes Code allowed kissing scene at the time, as Colbert did kiss Jameson Thomas who played her husband King Westley, so it made me wonder if it’s because Gable and Colbert didn’t get along during filming. All of the promos like the image on the right that suggest any kind of kissing scenes between these two are so misleading, there’s an almost kiss when the were at a barn, but that’s about it. According to IMDb Trivia, seems that neither of them were fond of making the film and didn’t think much about it. So I guess its massive success (both artistically and financially) was as huge a surprise to them as to everyone else.

So did I love this movie? Yes I did, and I’m glad I finally watched it. At the same time, I’m not as enamored with it as I did with say, Roman Holiday and Casablanca. It’s interesting that both of those films didn’t quite have a happy ending, which actually makes it even more romantic. There is something so beguiling and heart-wrenching to see unrequited love played out on screen. Another thing for me is the character Ellie itself, which is not entirely sympathetic. I mean, her rich dad worships her and she pretty much gets everything she wants. Even Roman Holiday‘s Princess Ann is far less spoiled than Ellie. Yes, Colbert makes her character fun to watch, but she’s not exactly my favorite classic characters.

Overall though, this one deserves the ‘essential classic’ status. It’s the first screwball romantic comedy that no doubt becomes the template for ‘opposites attract’ types of storyline. Of course, very few have such staying power like this one.

four and a half stars out of five
4 out of 5 reels


This is the first entry to my 2014 Blind Spot Series, as first started by Ryan McNeil at The Matinee, and continued by Dan Heaton at Public Transportation Snob .

Here’s my full Blindspot List.


What do you think of It Happened One Night? I’d love to hear what you think!

Forgotten Christmas-themed Movie: Fitzwilly (1967)

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Merry Christmas, all and sundry!

Taking a brief respite from the strategy of “What?”s and “When?”s in regards to baking family Christmas gifts. I’ve fallen back upon a request from our Hostess regarding favorite holiday-hemed films. While A Christmas Story and It’s A Wonderful Life hold their proper place high in the firmament. And have been critiqued to death. I’ve opted for a later film directed by Delbert Mann.

Whose sublime detail in its many sets firmly ensconce this work in the still glamorous world of 1960s Old Family wealth. And the continuous, often humorous sub rosa and covert scams and grifts employed to maintain it. All under the subtle of of the unassuming family butler.

Fitzwilly (1967)

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Imagine if you will a cabal of Old School and generational full liveried staff and servants attached to Old Family Money all along the East Coast. Loyal to a fault and quite content their positions, lifestyles and standing. Yet, also often willing to bend the rules of social propriety (The Law) to maintain that standing. And the rather relaxed and elegant lifestyles of their respective “families”.

Put that concept in the more than competent hands of director, Mann. Allow him access to a stellar cast of then up and coming character actor and television talent. Back that up with an exceptionally harpsichord and brass heavy orchestra under the touch of an equally up and coming Johnny (John) Wiliams’ Ladle on opulent oaken and maple home estate and high end department store sets. To reinforce the carefree confidence of more the than financial stability of a half century ago.

Then put it all in the hands of Claude Fitzwilliam. (Dick Van Dyke. Rarely better!) A generational manservant and honors graduate of Williams College and completely devoted to the welfare and care of Miss Victoria Woodworth (A very spry and sharp, Edith Evans). Who enjoys the life of elegant luxury. While indulging in esoteric hobbies. Like a dictionary of phonetically misspelled words. Or dabbling in her and her family’s rather racy memoirs. Completely oblivious to (Or is she?) the goings on of her staff of footman, Albert (John McGiver). A bevy of maids and attendants. Chauffeur, Oliver (A very young Sam Waterson) and Fitzwilly. As Oliver guides a rather posh Rolls Royce Silver Cloud into Manhattan. On a walking and rather slick plundering tour of Bergdorf’s, Neiman’s and other high end establishments.

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Checking off items on Fitzwilly’s shopping list: Silver cutlery, forks, spoons, sugar tongs on one level of Altman’s. Antique mirrors and leaded crystal one floor up. Television consoles on the ground floor. Vintage wine at another location. With Fitzwilly affecting a different voice, accent, infliction and body language for each purchase. Billing each to a fictitious family. Then calling the Shipping Department for a cohort (Noam Pitlick) to send on their way to St. Dismas Charitable Fund and its many thrift shops.

While Miss Vickie is otherwise occupied and in need of an assistant. In the shape of initially bookish, smart and bespectacled, Juliet Nowell (Barbara Feldon in her first and best film role!). Graduate of Business and Literature from Smith college. Expanding her repertoire with Post graduate work at Columbia and wanting to branch out on her own.

Fitzwilly and Ms. Nowell do not hit it off right away. As her evening arrival and interview had been arranged by Ms. Vickie and against his wishes. Creating an possible unwanted intrusion into the butler, staff and other familiar monied families’ staff operating under Fitzwilly’s umbrella. A solution is sought. And found in the holiday remodeling of a Palm Beach manse. Whose $15,000 budget (What roughly a half million would be today! Remember, this is 1967.) is placed into the hands of Byron Casey (Stephen Strimpell). Who wishes to spend as little as possible. And pocket the rest. A quick meeting with Fitzwilly and staff reveals all sorts of possibilities in keeping hold of Casey’s proposed half of the total budget. While procuring a Steinway Grand Piano, Crystal, Silver, Entertainment systems and other accoutrements of the idle rich.

Plans are discussed and set. Along with contingencies to keep Miss Vickie occupied along with Ms. Nowell. Who, besides being terribly efficient. Is also blessed or cursed with the curiosity of a cat. And finds Fitwilly’s and staff’s basement “work shop”. Full of paper stocks, printing presses, inks, pens, labeling machines, letterheads, mimeograph machines. All of the recently used tools of the illegal arts had been used to begin shipping items from north to south.

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A confrontation is to be had as Ms. Nowell kind of misreads what she’s seen. And kind of doesn’t. After quickly executed biblical bar grifts (Sampsom and Delilah) are executed across upper and mid town establishments to cover unexpected shipping costs. Made worse by Ms. Nowell accidentally mailing out Casey’s $7,500 “retainer” check to a charity Fitzwilly has no control over. And can not intercept or stop its payment.

Others would see this as a irredeemable catastrophe, but not Fitzwilly. Who enjoys a challenge and come up with “one last caper” to cover the loss. And perhaps, turn a profit. With Altman’s being an optimum target. Along with a few other reputable firms.

All these plans, schemes, times and places of execution are known by far too repentant Albert (John McGiver). Who is snatched up in the middle of the Christmas Eve rush. And is more than willing to bare his soul as Miss Vickie politely crashes the interrogation between Albert, store manager, Oberlatz (Norman Fell) and Assistant District Attorney Eliot Adams (Dennis Cooney). Who want to nail Albert and company’s hide to the closest wall. As Miss Vickie; who knows Eliot and his family. Begins very polite, yet scandalous negotiations which focus on poster boy, Adam’s less than stellar past in boarding, prep schools and colleges. Watching and listening to the grand old dame effortlessly knocks back proposed felony charges to misdemeanors is a singularly memorable thing of insinuating and groveling beauty.

Clearing the decks for a Happy Ending. Whose details I’ll avoid while avoiding Spoiler Territory.

Now. What Makes This Film A Notable Favorite?

One of the last, most meticulously detailed and executed examples of being rich in the 1960s. And how the rich behave, though little of that has changed over the decades. Used to a certain level of comfort and discretion few may attain. And never apologizing for it.

Part of the film’s humor is in seeing how dropping the right name. Or having the right looking work orders. The right clothes. Behaving in certain cultured, mannered effete ways. Opens doors that most thoFitzwillySoundtrackrough background could never accomplish. Especially when Fitzwilly and his crew in brand name logo coveralls allows them to wrap up and walk out with a full blown African Safari floor display from a top line department store for Miss Vickie’s “Platypuses”. Her version of a rich kids’ Boy Scouts.

This film also possesses one of the best and most helpful soundtracks I’ve enjoyed in a while. Gently enhancing the austerity of Miss Vickie’s posh estate one moment. Then lightheartedly advancing suspense the next. Kudos to young Mr. Williams for so cleverly making an early mark before being “the go to guy” with the creation of later blockbusters.

Cinematography by Joseph F. Biroc is lush and opulent. Everything one could ask for. Indoors and out. Sets have already gotten their due. Costume design and execution by Donfeld are flawless. From Mr. Van Dyke. To Ms. Evans and Ms. Feldon’s early penchant for knit scarves and turtlenecks on down.

Overall Consensus:

This is a film for Mr. Van Dyke to carry, if not take the lead on. Setting well inside the template started with Bye Bye, Birdie and Mary Poppins. Having fun with playing different characters, no matter how briefly. While Ms. Evans delicately manages to steal every scene she is in.

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The chemistry between Mr. Van Dyke’s Fitzwilly and Ms. Feldon’s Juliet is fun to watch from the start. Equals in more way than one. Matching talents and wiles in a film that features the buyers’ insanity of the last minute Christmas season. Though is not centrally themed around it.

Note: This film has finally been getting some proper air time on Turner Classic Movies and is available to be viewed Full Length on YouTube.


Check out Jack’s other posts and reviews



Have you seen Fitzwilly? We’d love to hear what you think!

Classic Actor Spotlight: Sterling Hayden – Variations On A Theme

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Greeting, all and sundry!

After taking a step back as the latest addition to The Hunger Games sweeps through theaters near and far, I’ve decided to tidy up some loose ends. With a pinch of Paula’s What A Character Blog-A-Thon. And a subtly expressed desire to learn more of the machinations of director, Stanley Kubrick.

To that end. Allow me to introduce a superb character actor. Who was born poor. Lived large and rich. Was something of a swashbuckler during World War II. And brought that vast experience to countless roles. This offering will cover four of his most popular and memorable characters. Under the assured touch of three historic directors:

Sterling Hayden: Variations On A Theme.

Who first grabbed my attention at a very tender age. Playing the towering, gruff, often dissatisfied thug, Dix Handley in John Houston’s The Asphalt Jungle. A 1950 film that is notable for its time in revealing crime being anywhere. And everywhere!

The Asphalt Jungle (1950)

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From the corner diner and soda shop run by a hunchbacked ex convict, James Whitmore. To insurance companies with policies on diamonds and other precious stones. To monied families led by Louis Calhern as Alonzo Emmerich. Who pads his family coffers through bank rolling high end heists. When not spending obnoxious sums to his his pampered girlfriend, Angela Phinlay (Marilyn Monroe).


To keep afloat, Emmerich moves on a diamond heist that requires a master “Yegg”. (Safe cracker). A small crew. And an expendable hooligan in the form of Dix Handley. Who walks into the conspiracy with eyes wide open. Seeing a chance for some quick money and a one way ticket back to Tennessee and his Quarter Horses.
Dix uses his height, voice, bulk and ominous shadows to diversions to a minimum. While taking on the role of just paroled, “Doc” Erwin Reidenscheider (Sam Jaffe’s) personal protector. The prep for the heist in the basement of a jewelry exchange is well detailed. With diagrams, maps and layouts. Lookouts are set. The vault is drilled for Nitroglycerine. An alarm goes off. Police arrive as the thieves are making their escape. shots are fired. One criminal goes down. So does a cop. And Emmerich is none to pleased to see “Doc”, Dix and two others with a satchel full of stones. And wanting their cut. NOW!

Emmerich stalls. One of Emmerich’s associates draws a pistol. Dix drops him, but catches a shot to the gut. Emmerich gives up what cash he has. Dix goes to see his girlfriend, “Doll” Conovan (Jean Hagen) for a cross country trip home. As “Doc” sedately takes the slow route home in a taxi. With a side stop to a diner and a comely young lady who catches “Doc”‘s eye. Before being recognized and pursued by police.

What Does Mr. Hayden Bring To This Role?

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A solid Rock Of Gibraltar upon which to build a wondrously devious tale on the intricacies of high end crime. With Dix bullying his way when necessary. Yet unaware that his benefactor, Emmerich is spending money he doesn’t have for maps, tools and expertise required. And hoping to buy the stones cheap and sell them dearly. To remain solvent for another year.

All this is Greek to Dix. Who is willing to take the risk. For an immediate payoff. And is not really surprised when angers rise and things head south after the heist.

***

The Killing (1956)

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Which lays a decent foundation for a very early Stanley Kubrick ode to a “sure thing” race track heist, The Killing from 1956. Put together and overseen by Mr. Hayden as Johnny Clay. Who is much smarter than he seems and plans for every contingency as his crew comes together. Hot headed, womanizing Val Cannon (Vince Edwards). Over the hill, former race track cop, Marvin Unger (Jay C. Fliippen). Nebbishy numbers guy, who knows a reasonable fence, George Peatty (Elisha Cook, Jr.). And creepy as Hell looking, budding sociopath, Nikki Arcane (Timothy Carey).
The men gather. Talk about non specific specifics regarding the heist amongst smoke laced, still air and naked, shadow casting light bulbs above a poker table. Each has a task. either inside the race tracks terminus and betting windows. Or beyond in the parking lot that skirts the backyard stretch. Everything depends on the day’s last race. Plus time for the losing bettor’s money to be gathered and put in the Counting Room. And afterwards the vault. The trick is for Clay and his crew to intercede after the count and before the vault. To the tune of two million dollars. Serious money, indeed!

Secrecy is essential. But men will be men. Egos will be egos. And Clay and Peatty have girlfriends. Clay’s girlfriend, Fay (Colleen Gray) is frightened of her man. While Peatty’s wife, Sherry (Acid tongued and cheating, Marie Windsor) has other plans. Courtesy of Val Cannon in a classic double cross.
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The day arrives. The races are run. Money is gathered. The last race comes up. Nikki waits with a rifle in his red convertible as the gates opens and the race starts. The diversion occurs at Nikki’s hand. Everything goes as planned. Though a guard does manage to get shot and Johnny is wounded. Double crosses happen. Members of the crew are killed. Clay and fay seek any of numbers of ways out of the city ahead of news reports. Airline tickets are purchased and their suitcase full of money is weighed, tagged and sent on its way to the waiting, idling airliner…

I’ll leave it right there. Lest I move into spoiler territory.

What Does Mr. Hayden Bring To This Role as Johnny Clay?

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An iron fist inside a somewhat clumsy glove. There are members of Clay’s crew whom he knows. And others he does not. Using greed and the allure of big money, he does get them to work together. When a few aren’t busy working their own angles. To claim their prize at the end of the rainbow. Those whom Clay cannot intimidate. He sometimes brow beats as dents and small problems are worked out.

Refreshingly, the ladies, or dames in attendance are often just as greedy and clever as the men. With Marie Windsor’s setting the standard for ruthless molls to come.

In a straightforward, B&W shadow filled and close to Noir heist film. That looks and feels like a procedural. Completely from the criminals’ point of view.

***

Dr. Strangelove or: How I Learned To Stop Worrying And Love The Bomb (1965)

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Which brings in a later, 1964 Kubrick film. A Doomsday, Black Comedy filled with superb, deadpan comedic talent. And a heavt hitting supporting cast much more recognizable for drama. Yet excelling at comedy. Dr. Strangelove or: How I Learned To Stop Worrying And Love The Bomb.

Mr. Hayden’s role is mostly dramatic. As the commander of a Strategic Air Command Base, General Jack D. Ripper. Who has sent his wing of B-52s off their “Fail Safe Points” to bomb Moscow and cities beyond. Encompassing all the physical attributes, gestures, pauses and enunciation of Four Star General Curtis E. LeMay (The Grandfather of SAC). As he explains in his own warped logic, his reason for eradicating Russia from the map. To a befuddled, prim and proper RAF Group Captain Lionel Mandrake (Peter Sellers in one of three diverse roles).

Mr. Hayden’s General Ripper is one of the few straight dramatic roles. And gets the ball rolling to an at first nervous, then frightened and near Panicked Pentagon. Its War Room, Big Board. Russian diplomats and dryly funny use of “The Red Phone” as solutions (Outside of the Army overrunning and taking back the SAC base and arresting Ripper) are sought. Cutting between the Pentagon and the lead B-52 piloted by Major “King” Kong (Slim Pickens) as it dodges missiles and gets ever closer. Then back to the War Room and the besieged Burpleson Air Force Base. And Ripper supplying offensive fire with a .30 caliber Browning Machine Gun pulled from a Golf Bag (Don’t ask!)With cuts getting shorter, tighter and more suspenseful as new courses and targets are selected by Kong for his bomber.

What Does Mr. Hayden Bring To This Role as Gen. Ripper?

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One the most accurate physical portrayal of an American Military icon in cinema. Shot from low set cameras angled high to bring forth the full measure of a man feared and respected more than the Presidents of two administrations in the early 1960s.

Mr. Hayden’s and Ripper’s soliloquy to Peter Sellers’ Mandrake regarding Clemenseau. The Military Generals, Politicians and war could easily have been uttered at any time during Kennedy’s embarrassing “Bay of Pigs” invasion and fiasco. Or his later mediocre redemption during The Cuban Missile Crisis. Which, I believe is one of the reason the film works and has aged so well. The possibility of “What if?” taken to first, dramatic and later, comedic extremes.

***

The Godfather (1972)

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Which created an eight year sojourn into smaller films and larger plays. Creating the opportunity to fulfill a small, but essential role as corrupt, bought and paid for Captain McCluskey in Francis Coppola’s landmark, The Godfather.

Though Mr. Hayden isn’t on the screen very long. He makes more than the most of each scene. Radiating intolerance, arrogance and bullying legal brute force. From the moment McCluskey pushes through the clutch of uniformed cops to confront an equally arrogant and sarcastic Michael Corleone. (Al Pacino). Before breaking a sinus and jaw while clocking him into the next time zone.

Throwing down the gauntlet for all to see. Before inching back as Tom Hagan (Robert Duvall) rolls up and disgorges an equally large group of plain clothed, licensed and armed “investigators” to protected the hospitalized and moved Don Vito Corleone (Marlon Brando). In that fleeting moment there is a palpable hate between the two. Enough to tinge Michael’s later compound strategy with Tom and Sonny. To a bit more “personal” than “business” regarding the expedient demise of Sollozzo and McCluskey.

What Does Mr. Hayden Bring To This Role in The Godfather?

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A thoroughly unlikeable character in Captain McCluskey. Who seems to tower over most with rigid posture. A thrust out chest and chin. And enough experience intimidating others to be openly snide with his comments. Especially his “punks like him” comment after frisking Michael on the way to the restaurant summit and double homicide.
Was I pleased with Mr. Hayden’s performance? Absolutely! I couldn’t come up with a comparable actor for the role while reading Mario Puzo’s novel. And I felt more shock than surprise or sadness when McCluskey met his fate.
***

Overall Consensus:

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Sterling Hayden epitomized the Hollywood “Tough Guy” through the 1950s and 60s. Often down and out and with few options. Who could deliver and take punches on the same level as Robert Mitchum. And handled firearms with respect and familiarity. And full knowledge of what they could do.

Overbearing? Sure. When the character required it. Though there were smarts in abundance behind that steely gaze. Either from experience or the school of hard knocks. Very much like Burt Lancaster. Though not nearly as physical. Willing to play unlikeable characters. And never apologizing for it.


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Sidney Pollack Blogathon: Castle Keep (1969)

This post is part of the Sydney Pollack Blogathon spearheaded by Ratnakar of Seetimaar – Diary of a Movie Lover Blog. Check out his blog for more posts on the acclaimed director.


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Greetings, all and sundry!

After a brief, enjoyable respite between guest posts. I’ve been asked by our hostess, Ruth to add my unique perspective to the collected works and Mythos of one of the more memorable directors of the last half of the 20th century. One of the great triad of distinctly American cinema that includes John Frankenheimer and William Friedkin. Who first displayed their skill in live television and with the aid of solid reputations, moved seamlessly into film.

A director who gave equal credence and importance to words, comedic and otherwise. As to costumes, sets, locations and action. And more importantly, reaction.

With that said. Allow me a few moments of your time to wax poetic and lyric about the director and one of his early efforts.

Sydney Pollack: Castle Keep (1969) – “Something Memorable out of Nothing”

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A film that was received with mixed reviews when first released. Also one the later dearth of WWII films shot in Yugoslavia. Kelly’s Heroes among them. Pollack’s film centers around the chaotic effect of The Battle of the Bulge had on American troops involved. And a ragtag, polyglot assembly of soldiers recovering from and staying ahead of its icy chilled and ill wind.

Led by a stoic and eye patched Burt Lancaster as Infantry Major Abraham Falconer. In charge of officers who run the gamut of by the book, art historian, Patrick O’Neal as Captain Lionel Beckman. To extremely flaky Lt. Billy Byron Bix. Offset by religious, wide eyed dreamer, Tony Bill’s Lt. Amberjack. And a mix of veteran NCOs From old time tough Sgt. DeVaca (Michael Conrad) to Peter Falk‘s survivor and perpetual baker, Sgt. Rossi and Scott Wilson’s laid back, good old boy, Corporal Clearboy riding herd over a clutch of enlisted men from across the Army’s spectrum of specialties. Chief among them, Private Alistair Piersall Benjamin (Al Freeman Jr.). An engineer and narrator of the tale.

Some had retreated from the initial German assault and regrouped under Falconer. Other are fresh from far off “Repple Depples” or Replacement Depots. With orders to find, occupy, defend and keep a secluded 10th century castle and village of Maldorais. Which sits on the cross point of several roads leading to Bastogne.

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Prime real estate for Allies and Germans alike. Though the Germans have tanks and infantry to help stake their claim. And the American G.I.s have whatever they carry or can get their hands on. The land is pristine, layered in snow. Forested and hilly before becoming mountainous miles away. Possessing a foggy, fairy tale look and feel. Untouched by the ravages of war as Falconer leads his ragtag brigade. While the castle itself is sturdy, shrouded in mist. With tall battlements, thick stone walls, a deep moat and ancient drawbridge. A huge courtyard, stables, well and accoutrements of a bygone age.

The interior of the castle is resplendent in every degree. Full of art treasures and antiquities. And an infertile Count of Maldorais (Jean-Pierre Aumont) who wants nothing more than a son from his wife, Therese, the Countess (voluptuous Astrid Heeren) to continue the family lineage. And for the Americans leave as soon (kind of) as possible.

Falconer sends his underlings to scout out possible defensive positions. And in the process discover the village’s brothel run by the Red Queen (Catarina Borrato) and her clowder of fetishy women. Sgt. Rossi finds a bakery run by an attractive widow and begins to fall in love with both. Lt. Bixby and Lt. Amberjack begin to gather a following of pacifists. Corporal Clearboy discovers the wonders of Greman Volkswagen engineering, And the Major comes under the attentions of the Countess.

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In other words. Unit cohesion and integrity are going to Hell. While Captain Beckman wants to gather up as many art treasures a possible and beat feet elsewhere as the German get ever closer. Sending out white caped and snow camouflaged patrols and an occasional spotter aircraft.

It is then that Major Falconer devises a strategy of hit and run. With the village being the battle field in winnowing down German troops and tanks, Fighting a strategic withdrawal with Castle Maladorais being its last stand. The troops aren’t thrilled to hear this, but know there’s no other choice.

The Red Queen’s girls are brought into the action as tanks roll down the village’s curved, narrow cobbled streets. The girls occupy various balconies in varying stages of undress. Smiling, waving and flaunting their wares to the Germans below. Before tossing flaming wicked cognac bottles of gasoline downward upon the would be occupiers and their armored machines…

I’ll leave the tale right here for Spoilers sake.

Now. What Makes This Movie Good?

Sydney Pollack at the reins of an often visually beautiful, sometimes dream like and cohesive piece of film. Clocking in at 105 minutes with very few to waste. Especially when stacked against other bigger named and budgeted, (Catch-22 leaps to mind!) yet smaller, more garbled messaged films of that time.

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Working within a very rarified and refined winter world created by William Westlake in his novel of the same name. And tweaked just a bit here and there with a screenplay by Daniel Taradash and David Rayfiel. Mr. Pollack and company tread a fine line between one of the better late 1960s War Films while weaving an attractively seductive, yet surreal Anti-War Film. Mr. Pollack proves that he can stage, arrange and choreograph action sequences with the best of them. And his cast of stage, television and film stars from both sides of the ocean deliver.

What Makes This Film Great?

Mr. Pollack’s deft touch at allowing plenty of time and exposition to let the castle and village work its fairy tale magic on his cast through off beat and kind of quirky dialogue that would later become one of his trademarks. There hasn’t been a G.I. born who hasn’t thought of the possibility of “sitting out’ a war”. And the enclosed world of Maladorais offers those opportunities and distractions in abundance. Whether it is sex, a simple task like baking, which can easily become a life’s work. Or tinkering with the wonders of a first production VW. Each character is slowly seduced while Major Falconer watches from a safe distance with his diversions. Until it’s time to put childish things aside and get serious when the need arises.

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Cinematography from Henri Decae is more than one could ask for. Sharp and defined inside Castle Maladorais. Then offering extremely wide span and often misted exterior shots in the village and surrounding woods. Tailor made for Major Falconer sit astride a white stallion which becomes his personal form of conveyance.

Original music by Michel Legrand shows early signs of greatness. As it buttresses the visual and enhances emotion from lighthearted to treacherous. Art Direction by Jacque Douy and Mort Rabinowitz is lush and plush in the extreme inside the castle. And spartan and rustic inside and around the village. While Malcolm Cooke’s masterful editing saves momets and increases intensity when the Germans finally arrive.


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Thoughts on this film and/or Sidney Pollack? Let it be known in the comments.

Classic Double Feature: Shadow of a Doubt (1943) & Compulsion (1959)

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Greetings, all and sundry!

Allow me a few moments of your time in indulge the nostalgia of my youth. And broach a topic very close to my some may say, misspent early years.

The Classic Double Feature.

Usually reserved for Saturday matinees in the more austere theaters of the day. More often than not, theme or actor based. And superior quality. Genres of films selected was seasonal. With westerns and action popular in the summer. While offerings in Film Noir, horror, mystery and science fiction slated for fall through spring.

There is a method to the madness in the films I’ve selected. Both are films worthy of note and curiosities to our hostess, Ruth. Who desires to learn more of the works of master craftsman, Alfred Hitchcock and perpetual actor, Dean Stockwell. While the choice of which film leads is one which has plagued theater managers since the invention of celluloid. To that end. Allow me to introduce an early work from the British master. With equal parts drama and suspense layered over idyllic, quaint, rural life in a small west coast town.

Shadow of a Doubt (1943)

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A film that begins in sunny, always fair weather Santa Rosa, California. Home to many families who keep the banks, shops and stores busy. One family in particular, the Newtons; father, Joseph (Henry Travers). Mother, Emma (Patricia Coolidge). Youngest son, Roger (Charles Bates). Middle daughter, Ann (Edna Mae Wonacott). And eldest, approaching awkward teen daughter, Charlotte (Teresa Wright) or “Charlie”. Go through their daily routine of work, school, keeping house, while Charlie eloquently wishes that something, anything would happen.

That occurs when a telegram arrives announcing that Mother’s younger brother, Charles Oakley (Joseph Cotten). All calm, placid charm and deeply buried malevolence. Will be arriving on the Thursday evening train. Uncle Charles arrives. Dinner is had. Gifts are given and the first inklings of psychological thriller starts making itself known. Where most of the family see Charles as a welcome guest. Young Charlie sees her uncle as something more. Someone worldly and romantic  A man of mystery who says little about and is trying to stay ahead of his past. For good reason.

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Life continues near serenely. Until two detectives drop by to talk to the family. One detective, Jack Graham, (Macdonald Carey) tells Charlie that her uncle may be one of two men known suspected of being “The Merry Widow Murderer”. Who court older women, marries them. Then collects their insurance money and any other expensive things after their untimely, often strange, questionable deaths.

Charlie doesn’t want to believe, at first. But Uncle Charles makes a few awkward, almost embarrassing mistakes that turn heads and focuses attention in public places. And Charlie, being female and just slightly less curious than a cat. Finds small clues and evidence that lends credence to Jack Graham’s cautionary words. Topped off when Uncle Charles, perhaps a bit drunk and full of himself goes on tear about the rich in general, Rich widows in particular. And his contempt for them.

The cat is let out of the bag later, when Charles confronts his niece. Accusations are tossed around and Charles admits that he is the man the police are after. And then begs Charlie for her help. She concedes, but only on the condition that Uncle Charles
leave as soon as possible. Ironically, Uncle Charles is cut a break and some breathing room to pursue his latest mark. When the other suspect is killed in a running gunfight in Portland, Maine.

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Young Charlie becomes a loose end that needs attention. In the form of a few odd “accidents” involving stair cases and the faulty lock on a garage door. Keeping young Charlie inside while the sheltered car is left with its engine running. The laws of probability are catching up to Uncle Charles. Who announces that he is leaving by train to San Francisco. In the company of a young widow. Uncle Charles schemes to have a final showdown with young Charlie between cars. As the train starts to move and begin its journey.

I’ll leave it right here for Spoilers sakes….

Now. What Makes This Film Good?

Alfred Hitchcock just getting familiar with the idea of playing with new, near perfect settings. Then playfully tweaking and twisting the American small town ideas, dreams and families. By infusing an often charming dose of “Something wicked this way comes!” in the shape of Charles Oakley. A cypher upon which any story can be painted. Until he becomes too comfortable. And projects his disdain for others upon his brother in law, Joseph. Hinting that Joseph could not possibly be averse to embezzling funds from the bank where he works. Inside the bank and within earshot of others!

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Just one of many soliloquies. Delivered with the same wide eyed, calm innocence Mr. Cotten tapped into earlier as best friend and conscience, Jedidiah Leland, in “Citizen Kane”. Only this time it works to his character’s benefit and is a little creepy to take in. Verbal wedged planted between friends that misdirect and distract and create slack for Uncle Charlie to play with.

While Teresa Wright is the personification of budding teenage womanhood. Too smart by half. Driven by emotions that run deep and wild beneath the surface. Who lets her words pull her into the intrigue. While not knowing what is on the other end. Her
younger siblings, Roger and Ann form a sort of Greek Chorus when the family is gathered together. Though Ann is also far too smart for her young age. Young Charlie’s mother and father are content to get by and preserve the American Dream. Even as Emma starts to see her beloved younger brother as someone she doesn’t really know.

What Makes This Film Great?

The town of Santa Rosa, California. That is just big enough and prosperous enough to illustrate small town America. With its tree-lined streets. large houses, well cared for lawns. Slightly out of era cars and tracks and smiling traffic cops. Which would be used again in “Pollyanna” and “Some Came Running”.

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Here. it represents the perfect summer weather Petri Dish to reveal cracks in its characters and secrets revealed with the addition of Mr. Cotten’s often too arrogant Charles Oakley. Given more emphasis through Thornton Wilder’s written words and Joseph A. Valentine’s often shadowy indoor and tight, razor sharp B&W outdoor cinematography. Aided by Dimitri Tiomkin‘s suspenseful score and music direction by Charles Previn. Set and art direction by Russell Gausman and John B. Goodman. Plus gowns and ensembles that are neither too frumpy or too elegant by Vera West and Adrian add to both story telling and an almost time capsule feel and effect.

Then there is Hitchcock. Gently tugging at the edges. Keeping the canvas of the tale and town taut. While slyly nicking there and slicing there. Letting nature do its thing and follow the path of least resistance. As the myth of rural solitude and serenity bares its all too human weaknesses. Perhaps, not a date film. But certainly one to indulge in to see the first confident steps of a sly, masterful director hinting at greater things to come!

Notes: Nominated and accepted into the National Film Registry in 1991.
Available for viewing on You Tube


Compulsion (1959)

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As is traditional with film distribution. The second film of a Double Bill or Feature should be of lesser stature and lower budget. Hence the phrase “B-Movie”. And this offering from 20th Century has that writ large. Though wisely and frugally spent in telling the tale of the infamous Loeb & Leopold “Perfect Crime’ kidnap and murder case of 1924. With the help of Meyer Levin, who had written the best selling novel of the same name the film is based on. And aided by Richard Murphy‘s faithful screenplay.

Centered around two Chicago law students with off the scale IQs and a completely less than healthy reverence for the writings of Friedrich Nietzsche and his “Man and Superman” hypothesis. The Alpha of the pair is Arthur Strauss. Played with snide, very spoiled, well connected arrogance by Bradford Dillman. Who doesn’t have any friends. And not much use for people in general as he constantly looks for ways to show his elite superiority to others. Their perceived inferiority and uselessness of their laws that are beneath his contempt.

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Artie’s partner in crime is Judd Steiner. Masterfully under and occasionally overplayed by a young Dean Stockwell. A self-imposed outcast who enjoys Ornithology, Taxidermy and deep down inside wants badly to be part of something. Oddly gravitating towards Dillman’s Strauss with near gleeful, sometimes clumsy subservient abandon.

Their first “perfect crime” which begins the sharply rendered film sets the stage for future events. With the breaking into a campus Fraternity house and taking sixty seven dollars, odd jewelry and a second hand manual Underwood typewriter with a
broken letter key. Fleeing in Judd’s Stutz Bearcat convertible, Judd starts hitting his flask while Artie drives off and nearly sideswipes a drunken pedestrian on a lonely stretch of road. Artie chides Judd for drinking and continues to needle Judd. Very
much like a married couple with an abusive husband. Until Judd nearly breaks down into tears. Swearing that he would do any thing to make things right. Artie smiles and tells Judd to turn around, drive and hit the drunk. Artie tries, but swerves at the last
second. Giving Artie an ever bigger, subtle psychological weapon with which to bludgeon Judd. As the two continue into the night.

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Comes the morning and Judd is in class arguing Nietzsche with his law professor as another player enters the fray, Sid Brooks. (Young, fresh faced and freckled, Martin Milner) A middle class student who pays his freight as a reporter on the Bulldog (late) edition of the local Chicago paper. Who stumbles across Artie and Judd as they set up an alibi with a group of other students and girlfriends to cover the next step in their “cold, dispassionate experiment”. The alibi is a get together at a speak easy that Artie found earlier. The time, nine o’clock.

Sid begs off, due to his job. And several unique and tragic events fall into place between that afternoon and night. Sid clocks in and finds that’s there is a drowned boy in the city morgue. And that a ransom note has arrives at the Kessler home. Demanding ten thousand dollars in old fifty and twenty dollar bills. Sid’s boss, Tom Daley (Edward Binns) sends Sid to the morgue. Where the child, later identified as Paul Kessler had been beaten and mutilated before being stuffed in a drainage culvert. Sid also finds a pair of round lenses reading glasses with the body. The glasses fit neither Sid or the boy. So Sid calls his boss and the wheels start coming off the “dispassionate experiment”.

The body is identified by the boy’s father. Sid’s boss, Mr. Daley shows up at the morgue and is brought up to speed by Sid. The glasses are put in safe keeping before being turned over to the police. All the makings of a wonderful night of celebration for Sid. Even if his girlfriend, Ruth Evan (Diane Varsi) is in Judd’s company. Sid mentions the glasses and Judd’s hand immediately goes to his suit coat’s empty breast pocket. Artie asks for more details and nearly explodes when Sid mentions the ransom note’s broken, offset letter.

Made even worse as Artie discovers that Judd still has the typewriter! After three days of trying to misdirect the Chicago cops assigned to the case. Which causes a cascade of accusations and weak counter arguments from Judd. Another experiment is agreed upon to prove Judd’s dispassion for others. And Sid in particular. Artie would get rid of the typewriter and clean up Judd’s mess. If Judd sets up a date with Ruth and sexually assaults her at a secluded aviary. Artie holds up his end of the bargain, but Judd doesn’t know what to do with Ruth. Or how. And falls miserably.

The local District Attorney, Harold Horn (E.G. Marshall in fine form!) under pressure from above tells the local cops to bring Judd in for some questioning the next afternoon. And the real came of Cat & Mouse begins. With many questions as to Judd’s whereabouts on April 17th, the day of young Kessler’s disappearance, kidnap and murder. Judd starts out arrogantly and obliquely. Believing he has the upper hand until Horn brings out the reading glasses. A style of which over four thousand were sold in Chicago alone. But only a few with a new type of hinge. And one of those was sold to Judd months ago.

Judd talks into the evening as Artie is brought in to corroborate Judd’s story. Artie is well prepared. A much better liar. And mentions a family dinner and a guest who is a Federal judge an hour hence. Yet, Horn is not impressed. Politely, sometimes slyly asking questions about a rented black sedan and more details about the two women he and Judd supposedly picked up the night in question. Artie counters well and Horn is about to let them go when Judd’s chauffeur shows up. With toiletries and a change of clothes for Judd. Offhandedly mentioning that Judd’s Stutz Bearcat never left the estate’s garage that day, April 17th. Since he has changed the car’s worn brake shoes.

Round Two arrives without preamble as Horn goes after Judd with a vengeance! Shredding Judd’s many innocuous points of interest (Hot dog stand, park, chance meetings) before going after Artie. Unaware that Judd’s father has called famed attorney, Jonathan Wilk (Orson Welles doing his best Clarence Darrow) in the interim. Horn and his assistant, Mr. Padua (Gavin McLeod) go over each detail as Artie rebuts. Then decides to roll over on Judd in a classic “He said… He said” conundrum. Which only makes Judd’s loud and sometimes pitiful meltdown all the sweeter when informed of Artie’s cowardly treachery.

Judd and Artie are charged, arraigned and kept separate in County Lock Up as family retained psychologists and psychiatrists are called in. As Wilks prepares to go up against a city who wants to see his clients swinging beneath a gallows…

Now. What Makes This Film Good?

Watching a fresh on again, off again young talent in Mr. Stockwell mix so well with solidly ensconced contemporaries, Dillman, Milner and Varsi. Being confident and comfortable enough in their own skins to portray two spoiled and coddled, seriously sick puppies (Regarding Dillman and Stockwell) who would be right at home commanding a company of Hitler Youth in 1939 Germany. Both are near childishly juvenile in their assured arrogance that they are above the law and are righteous in their beliefs. Until they realize that the law does not give Brownie Points for genius.

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While Martin Milner stoically, reliably delivers the goods as Sid Brooks. With all the makings of a great reporter and newshound. Whose world is upended when someone he admires and envies a bit in Artie and his “odd duck” friend, Judd are revealed for
what they are. Offset by his girlfriend, Ruth’s perhaps tainted innocence. Ms. Varsi’s take on Ruth is odd to behold. In her moments with Judd, Sid. And later on the witness stand. Held far too tightly by her emotional naivete. In a very pivotal role for a
veteran of  “Peyton Place” and  “Ten North Frederick”.

High marks over all for director Richard Fleischer and his nearly standardized method of scenes averaging 11 to 14 seconds. Long enough to introduce a character, record an argument, move the plot along by planting a seed. Then watching it grow and expand to fruition later in the film.

What Makes This Film Great?

With just over an hour’s worth of build up through Judd’s sloppy performances in these “experiment”. Arguments and kind of creepy cat fights with his “superior”, Artie. The first glimmers of the paired serial killers of today (The Green River Killer(s), Henry Lee Lucas and Ottis Toole, Aileen Wuormos, etc) start making themselves known. With one Alpha (Artie) controlling the discussion and later situations. And a subservient (Judd) doing his best to please and be part of something bigger. A dynamic writ large while less than subtly hinting at a homosexual relationship. Heightened by Lionel Newman‘s horn heavy soundtrack.

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The film’s remaining thirty plus minutes belong to Orson Welles and his soft spoken, mumbled take on Clarence Darrow. His size and near Waltz gait command every shot as he fights small skirmishes with D.A Horn. Resists or ignores intimidation and a random cross burning by the Klan. Never ceding an inch as the drab, oddly homogenous and uniform looking jury hold Artie and Judd’s fate in the balance. Thanks to Mark-Lee Kirk’s moody lighting and William C. Mellor’s superb B&W cinematography.

The usual loud chest thumping one would expect from a Lee J. Cobb is deftly, emotionally eschewed. For up close and personalwords when needed to cajole the jury. Or whisper close, perhaps veiled threats are directed Horn’s way. Mr. Welles’ Wilk is perhaps the most un-Darrow like performance on film. But it works quite well in baring Darrow’s zeal in fighting the death penalty. Kudos for Mr. Welles’ bravery and for his offered and agreed upon, deft direction of the courtroom scenes.

Note: Available to view on You Tube.


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Thoughts on either one of these films? Let it be known in the comments.

Classic Actor Spotlight: Walter Matthau – Finding What Works

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Greeting once again!

Given the positive response to the early works of one of great ensemble character and lead actors of the latter part of the 20th century. I’ve decided to expound a bit upon the arena and offerings in which he is so fondly recognized, empathized with and remembered. Putting those roles and films in the forefront. Then adding the flip side of those curmudgeon, set in their own way characters in perhaps, a trio or quartet of films that emphasize range and his popularity during the 1960s and 70s.

With that preamble set aside. Allow me to continue at a comfortable saunter with.

Walter Matthau: Finding What Works

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Check out PART I of Walter Matthau Spotlight


After Mr. Matthau’s deft, often off putting, emotionless take on Dr. Groeteschele, in Sidney Lumet’s Fail Safe. Then being taken under the wing of Vincente Minnelli for the role of lecherous con man, Sir Leopold Satori in the switched sex romp, Goodbye Charlie. Opposite Tony Curtis and Debbie Reynolds. It was Mr. Matthau’s superb fortune to be cast by Billy Wilder as fast talking, conniving ambulance chaser, Willie “Whiplash” Gingrich in.

The Fortune Cookie (1966)

Where Mr. Matthau is given every opportunity to tread on the just budding rapid fire delivery of his client and co-star, Jack Lemmon. And his slightly injured sports photographer, Harry Hinkle. Who had been knocked dramatically backward during a professional football game at Cleavland’s Municipal Stadium.

Where Harry sees a plain and simple “Dust himself off and carry on” accident. Mr. Matthau’s Gingrich, urged by his sister and Harry’s greedy ex wife, Sandi (Judi West) sees the chance of a lifetime. A lawsuit to dwarf all others as Harry is put on a gurney and sent to St. Vincent’s Hospital. Where Willie takes control of everything. A private room. Specialist surgeons. Every test and exam imaginable. As he nearly bullies Harry into faking vertigo, sporadic amnesia, itches, twitches, tics and spasms.

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The interplay between Matthau and Lemmon is wonderful to behold. As Lemmon’s Harry struggles in fits and starts to make it all go away. Harry is literally going nowhere fast as Sandi is sent in to keep the pressure on. While Willie enters “negotiations” with the stadium and team owners. Holding just a small piece of folded paper with a number on it. The number Willie is ready to settle for. Between many drawn out glances and the snapping of fingers. And haggard, disappointed “Sorry. That’s not it.”s.

The farce continues as the team’s private insurance investigator, Purkey has his minions plant bugs and sets up a camera parallel to the room and across the street. Paranoia only make Willie more manic as Harry has finally had enough!!!

I’ll leave it here. Lest I possibly spoil things.

Overall Consensus:

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This is the film. Under the guidance of a Master who created that “beautiful friendship” Bogart only hinted at in Casablanca. Planting a seed that would take root and flourish in five later films. A teaming of equally matched talents. With the torch being passed to Neil Simon two years later in.


The Odd Couple (1968)

No one should answer an unexpected knock on the door after midnight. Mr. Matthau’s Oscar Madison learns that lesson all too well after the pleadings of just divorced Felix Ungar seeking a place to stay. Conceding to only a short “trial period” as Felix shuffles in. With all of his quirks, phobias and what looks like the first stages of yet to be diagnosed Obsessive Compulsive Disorder close behind.

In a classic “Oil and Water” combination born of small confrontations. Oscar and Felix begin to slowly mesh. Despite Felix’s finicky neatness and cleanliness butting heads with Oscar’s laconic slovenliness. The mixture hits simmer quickly. As Mr. Matthau’s silently endures Felix’s noisy clearing of his sinuses at a restaurant. Every one of Oscar’s facial muscles contort, twist and flex. While his eyes roll upward seeking solace.

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Things improve only slightly as both share an interest in the Pigeon sisters who live in the same building. A date, of sorts is set. Felix prepares the dinner. The Pigeon sisters arrives. And Felix, who is still hopelessly in love with his ex. Drinks too much and begins to blubber nostalgically….

I’ll stop right here for Spoilers’ sake.

Overall Consensus:

Though the magic is in Neil Simon’s dialogue. There is still enough for Mr. Matthau to create some splendid moments. Letting his facial expressions speak more loudly and eloquently than any written words in scene after scene. Though he has plenty of those as well. With his platter thrown argument closer “Now it’s garbage!”. The perfect punctuation closing Felix’s insistence of calling pasta prepared for dinner, “Linguini”.

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One of the reasons Mr. Matthau may have been so comfortable in his own skin playing Oscar. Is that he played the character for months on stage opposite Art Carney’s Felix. Though Mr. Simon wisely latched onto Mr. Lemmon for the role when his calendar could handle it. Adds heft and weight to an iconic pairing. Giving Billy Wilder six years to watch from the balcony. And tell the original tale Howard Hawks initially had in mind with His Girl Friday.

The Front Page (1974)

With Mr. Matthau’s conniving, scheming, fast talking Chicago tabloid editor, Walter Burns. Chief ramrod for ‘The Examiner’. One of many yellow journalism’s low rent rags that covers the police beat. When not luridly bending, buckling and distorting the crux of the story to increase sales.

And Walter has a story to tell. A Death Row inmate awaiting execution has escaped! His whereabouts unknown. What Walter needs is a Newshound! To sniff about. Ask questions and find clues. And one just happens to cross his path. In the form of an equally fast talking and focused reporter, Hildy Johnson. Delightfully underplayed by Jack Lemmon. Who is on his way to marry Susan Sarandon’s Peggy Grant. Though Walter proffers an intriguing detour.

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Hildy listens and takes the bait. Goes to the Cook County Jail and the Warden’s office. Where other reporters pepper the Sheriff (Vincent Gardenia) and the Mayor (Harold Gould). Where pandemonium ensues amongst a monsoon of ridiculous questions before the rabble is pushed back out. The office empties and Death Row inmate, Earl Williams (Austin Pendleton) is revealed hiding inside the warden’s roll top desk.

Hildy sneaks back into the office. Finds Earl and does what he does best. While Walter sends some reporters to find Earl’s girlfriend. A hooker with a heart of gold wondrously brought to life by Carol Burnett. Hildy digs and discovers the Sheriff and Mayor are conspiring to make the execution their tickets to reelection. As the story shifts slightly and ‘The Examiner’ is made to do what a paper is supposed to do.

I’ll close right here. Lest I tip my hand.

Overall Consensus:

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Though Mr. Lemmon is given many opportunities to shine. It is Mr. Matthau’s Walter Burns running this rodeo from afar. And up close. Rapidly rattling off demands one moment. Only to comment on a passing secretary’s gams the next to the crowded Bull Pen. Waiting for the earlier magic to bloom as Walter dictates by lines and stories beside a rapidly typing Hildy. Listening to their mingled expositions of events is well worth the price of finding out what a fluidly meshing team are capable of. In a film that Mr. Wilder may have unwisely written off after completion.

I am going to shift gears now. And hopefully not grind the clutch. To focus some attention to Mr. Matthau’s understated talent for drama, tension and suspense on either side of the law.

Starting with a tight little caper film under the direction of Don Siegel. Working from a screenplay by Howard Rodman based on John Reese’s novel The Looters. We find Mr. Matthau playing.


Charley Varrick (1973)

His business card reads, “Last of the Independents”. Charley is a non-conformist. Set in his ways. Makes a decent enough living as a crop duster pilot for his trailer park life. In, around and sweeping far beyond Reno, Nevada. But, Charley has ambitions too. One is to make a large amount of money. Quickly. The other is to survive long enough to spend it.

This comes about with the daring daylight robbery of small bank in Tres Cruces, New Mexico. With a disguised Charley, his wife, Nadine (Jacqueline Scott) and friend, Harmon Sullivan (Andrew Robinson, still damp from Dirty Harry) taking the place down quickly with pistols, shotguns and explosives.

A guard become heroic. A shoot out occurs. Two cops are killed and Nadine is badly wounded and dies shortly thereafter. The haul is counted. And it is a lot more than expected. About $700,000 more. And most of it is to be laundered Mob Money!

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The Mob’s front man, Maynard Boyle (John Vernon. Rarely nastier!) is righteously upset and calls in collection agent, Molly (Joe Don Baker in smiling, full Good Old Boy, Psycho Mode) to get the money back. Using whatever means necessary. Charley’s friend, Harmon is the first to fall. And Charley starts connecting dots quickly as friends meet vicious beating or untimely ends.

Flying back to Reno, Charley finds the whereabouts of Boyle. And through a recently seduced secretary, Sybil Fort, (Felicia Farr. Easy sultriness, personified) sends a message for a meet. Knowing Boyle is clever and ruthless. And that Molly may be there to bird dog and tidy up loose ends. Charley slyly preps the site for the exchange. A large, middle of nowhere junk yard. Which Charley flies down to. Lands his aged, modified Stearman bi plane. And rolls the dice.

Spoilers are flashing. So, I’ll pull over right here.

Overall Consensus:

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In one of the few roles as a not so amiable bad guy. Mr. Matthau excels! Bringing out out the clever and the sly as his back is pressed against the wall by Boyle and Molly. With Don Siegel fully entrenched in his element of compact, frill free suspense. That starts out with a little bit of comfortable slack. That disappears and stretches as the story is wound tighter and tighter. Definitely one of Mr. Matthau’s best, though little known roles!

Which may have caused a script to be delivered to Mr. Matthau a few months later. An adaptation of the popular Stockholm novelist, Sjowall and Per Wahloo. Transplanted from their home turf and set in the Mission and Castro districts of early 1970s San Francisco.

The Laughing Policeman (1973)

Mr. Matthau is in full world weary, hang dog, long jowled mode as Homicide Sgt. Jake Martin. Who catches a late night, machine gun murder of twenty plus passengers aboard a Mission district bus. A sensational crime, to say the least. Which would be world wide, non stop and completely misdiagnosed by the media today.

Given the task of solving this “Whodunit?” without warning, head’s up or Task Force. Mr. Matthau’s Sgt. Martin and his new assigned partner, Inspector Leo Larsen, (Wondrously underplayed Bruce Dern at his sarcastically wise cracking best!) plow through interviews and try to come up with a common denominator. From a pool of victims that covers every race, religion, ethnicity and sexual predilection.

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An off duty detective and former partner of Martin’s. Dave Evans ranks high on the slowly pared down list. Having worked with Martin on a case where shady, possibly mob connected Henry Camarero (Albert Paulsen, ego-driven slime in expensive tailoring) murdered his wife, Teresa two years earlier. Deeper investigation reveals that Evans was gathering fresh evidence and testimony from business associate, Gus Niles. Who provided Camarero with an alibi and is also a victim of the massacre.

The journey from Point A to B is a driving and walking tour of San Francisco. From corporate steel and chrome. To low income, just above the jammed together, urban poverty line. Well known and often revered landmarks trade places with neon lit Discotheques and shadowy Castro rough trade. As Martin and Larsen close the noose around Camarero.

Overall Consensus:

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Mr. Matthau is finally getting comfortable finding his element. As a man given a monumental task while doggedly whittling it down. Relieving the weight on his shoulders as retirement seductively beckons. With and sometimes without the aid of Mr. Dern’s Larsen. Who’s stuck in the middle. Wants nothing more than to work the case without getting hurt. And catch the next one. The interplay between the two. In a car, on foot, following leads or questioning suspects and snitches is well worth the price of discovery and admission.

Aided greatly by a “Who’s Who” of solid character actors (Anthony Zerbe, Louis Gossett Jr., Joanna Cassidy, Gregory Sierra). And Stuart Rosenberg’s post Cool Hand Luke deft touch for capturing less than polished to a high luster parts of San Francisco in daylight. And making them seamy and downright scary at night.

Which may have raised the eyebrow of director, Joseph Sargent. To proffer the role of New York Police Lieutenant, Zack Garber to Mr. Matthau for his superb on-location hijack epic.

The Taking of Pelham One Two Three (1974)

Which takes on a crime never contemplated or attempted before. The hijack and ransom of a subway car with 17 passengers under the streets of Manhattan. Something so off the wall, that it is first met with skeptical derision by the Transit Authority’s Lt. Garber. Who ditches his present tour of Japanese Public Transit officials as Robert Shaw (Never so properly calm, sociopath, and dryly British) lays down the ground rules. One million (Around 6.5 million, today) dollars to be delivered in one hour just beyond the 28th Street terminal. Or one hostage will be killed each minute past the time limit.

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Together with Police Lieutenant, Rico Patrone (Jerry Stiller. Surprisingly good in a dramatic role!). Scant leads are followed as the demand goes to the Mayor (Lee Wallace), sick in bed with the flu. Trains are rerouted or delayed as Garber tries his hand at negotiation, stalling and discreet interrogation.

It seems that Shaw (Mr, Blue) may be a British mercenary with a muddy past. Who put together this “Get rich quick!” scheme with the aid of two gun thugs ( Slimy Hector Elizondo, Mr. Gray. Earl Hindman, Mr. Brown) and slowly deduced, retired Transit worker, Mr. Green. (Martin Balsam, rock solid despite a cold).

The ransom is gathered, but the police car delivering it crashes as the moments tick down. Garber goes into full stall mode as a motorcycle cop passes on the heavy gym bag full of cash. The money is distributed amongst as bad guys as the “McGuffin” kicks in. A shiny, stainless steel device that over rides the train’s Dead Man Switch. The train starts moving with its hostages still aboard. A plainclothes, undercover undercover cop jumps out and a gun fight ensues as Blue and his team disperse to various exits.

I’ll leave it here. Lest I ruin some of the most suspenseful, well edited and scored minutes in film!

Overall Consensus:

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This is the film and character that most clearly defines Mr. Matthau at his curmudgeonly. Seen it all. “Been there. Done that.” best! Seasoned and cynical as his rumpled, shapeless trench coat as he moves from the Transit Control Center to blocked off intersections and subway entrances. Trying his best to stay a step or two ahead during a city wide media blackout. As dots are connected during and after. And Garber starts to think like the emotionless Mr. Blue.

Offset by a sterling group of villains. Wonderfully defined on location cinematography by Owen Roizman under the guidance of television and film veteran, Joseph Sargent. Working from and staying notably faithful to John Godey’s superior novel and screenplay by Peter Stone.

Very high marks for David Shire’s rather simplistic, though moving soundtrack. And editing by Gerald B. Greenberg and Robert Lovett. Who cut so smoothly, you don’t notice the tension building and exploding until the final reel!.

Aided greatly by a “Who’s Who” of solid character actors (Anthony Zerbe, Louis Gossett Jr., Joanna Cassidy, Gregory Sierra). And Stuart Rosenberg’s post Cool Hand Luke deft touch for capturing less than polished to a high luster parts of San Francisco in daylight. And making them seamy and downright scary at night.

Which may have raised the eyebrow of director, Joseph Sargent. To proffer the role of New York Police Lieutenant, Zack Garber to Mr. Matthau for his superb on-location hijack epic.


Check out Jack’s other posts and reviews



Well, that concludes Part II of Mr. Matthau’s spotlight. Thoughts on any of his roles mentioned above?

Classic Actor Spotlight: Walter Matthau – Showing his Chops

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Greetings and all sundry!

Given the success of my earlier three article arc on the career of Jack Lemmon. And to steal a suggestion from Nostra. Allow me a few moments of your time to focus some attention and love towards a consummate character actor. Utilized and cozily comfortable as part of an ensemble or team. Who earned his stripes and reputation in the fledgling years of television. Gathering attention and notoriety. While honing his talents for the better part of a decade before his stars finally aligned. To that end. Allow me to introduce.

Walter Matthau: Finding What Works.

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Not many actors can claim esteemed director, Nicholas Ray on their early Curriculum Vitae. Though Mr. Matthau can. Given a small but important role as Wally Gibbs. Concerned co-worker, teacher, friend and neighbor of Manic-Depressive, Bi-Polar and soon to be self medicating Cortizone addict, Ed Avery (James Mason). In a little 1950s, suburban ‘Fathers Knows Best’ from Hell masterpiece:

#1: The Fortune Cookie: (1966)

Mr. Matthau’s Wally is content early on to sit on the sidelines and watch as Mason’s Ed Avery grows ever more distant, manic and eventually dangerous to himself, his family and the “Ain’t life swell!” facade of the white picket fences, manicured lawns of the perfect suburban ‘Atomic family’.

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Granted, the film is Ray’s and Mason’s to build a slowly frightening, often shadowy foundation upon. And some may argue that Matthau’s Wally responds with too little and too late. Especially with an undercurrent of an evening dinner scene with Ed, his wife, Lou (Barbara Rush) and son, Richie (Christopher Olsen) that leaves the same seen used in American Beauty forty plus years later far in the dust. The Olsen family is afraid to breathe. Lest delusional daddy, Ed goes into an Old Testament shouting, dinner and silverware throwing and smashing tirade.

But that is what makes Bigger Than Life near essential viewing in the small, yet frightening  realm of ‘Suburban Horror’. All the parts mesh together. Humanly and with errors. Through confrontations, denials and lies stacked upon lies from Ed. Which makes you not believe for a second the triumphant, dried out and rehabilitated Ed’s joyous, tearful, family hugging, “Happily ever after” return to family, hearth and home before the film’s final credits!

Overall Consensus:

To be given even a small part in a memorable and ground breaking film that dared to mess with the well marketed and maintained myth of opulent “perfection” of Post War America would be any actor’s dream. Especially if that film’s director had just delivered Rebel Without a Cause a year earlier. A very heady task. To be a small cog inside a much larger machine.And Mr. Matthau delivers! Quietly and with reserve. Letting his concern and emotions show through his face and gestures. Until it is almost too late.

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Which may piqued director Elia Kazan to contact Mr. Matthau for another slightly larger supporting role. As Mel Miller. The quiet, smitten, unassuming assistant to roving radio radio reporter, Marcia Jeffries (Patricia Neal) in Kazan’s Magnum Opus to the power of charisma and media in culture and politics.

#2: A Face in the Crowd (1957)

Which begins back in the Ouachita hills of Arkansas. Where roving reporter and hostess, Marcia Jeffries records her human interest stories for A Face in the Crowd. And finds smooth talking, itinerant hobo and spinner of yarns, Larry “Lonesome” Rhodes (Andy Griffith. Never better!) behind bars and sweating out a hangover from a night of carousing. “Lonesome” is also full of down home humor and charm. When not belting out Gospel tunes with the aid of his guitar. Which gets him out of jail and into popularity amongst the locals. And the hosting radio station. Where “Lonesome” starts to come under the scrutiny of Mel. Who knows bad news when he sees it. And tries to warn Marcia as Rhodes starts growing in popularity and starts believing his own hype. Marcia is swept away as events start controlling events and actions.

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A local Senator up for re-election, Worthington Fuller needs a bump in the polls and used “Lonesome”, radio and television to fill that void on stump speeches. Where Rhodes shows a proclivity for a naive, teen aged baton twirling Majorette, Betty Lou Fleckum (Lee Remick in her first film role). Things start going bad as “Lonesome” pursues Betty Lou. Indulges in too much booze and letting his mouth rum while his brain is not engaged. Marcia catches him after a fundraising soiree. Stupid drunk and showing contempt for all the hicks, hayseeds and rednecks that make up his audience. Marcia’s tide starts to change and takes a decision to ambush her creation after an episode of “The Lonesome Rhodes Show” featuring the Senator.

Mel watches from the wings as Marcia opens a microphone and catches Larry in the middle of a particular nasty vent aimed at his unseen, but listening audience. Who are flabbergasted and angered that their media idol would think so lowly of them. Massive numbers of complaining phone calls flood both the radio and television stations as Larry and his entourage head towards a victory dinner where the Senator is supposed to announce his candidacy.

Or not. While Larry is en route. The radio and television stations start calling Senator Fuller’s campaign workers. As contributors and backers turn their backs and abandon ship on Fuller and Rhodes. Who arrives at a spectacularly decorated, nearly empty and opulent penthouse suite. Crestfallen, rambling and confused. Larry lashes out at everyone and everything. Until Marcia arrive and tells him that she opened the off stage microphone and helped Larry commit Celebrity Seppuku.

Marcia leaves and Mel lays into Larry most prophetically. Giving him a heads up to his immediate future with an appropriate cool down period and anonymity. A change of name and venue. And the long lingering aftermath of fallen, faded glory.

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Overall Consensus:

In another role of quiet fortitude, Mr. Matthau wisely saves his best lines (And he has many quickly, dryly delivered lines in this film!) until the final reel. And the moment “Lonesome” Rhodes realizes that the curtain is quickly, finally raining down on his present career. Mr. Matthau delivers the soliloquy matter of factly. Yet devastatingly. Without well deserved malice. Just a prediction on how the media system works, Often fails. And quickly repairs and re-imagines itself for continued contented consumer consumption.

Under the masterful, sometimes creepy touch of Elia Kazan. In a far ahead of its time film that prophetically, scathingly screams to the rafters about the dangers of charisma, charm, celebrity and mass, instant exposure. A roughly sketched and filled in canvas portraying sweetly played out seduction and love between “Lonesome” and Marcia (Essential for it all to work). Egos, power, back room deals for more of the same. And the foretelling of insidious mass marketed “Info-Tainment” as news we all either enjoy. Or tolerate and endure today!

Giving Mr. Matthau a few years’ respite to hone his skills in television and lesser known films. Before signing on to what many (myself included) believe is the favorite, most personal film of Kirk Douglas.

#3: Lonely Are the Brave (1962)

With a screenplay by Dalton Trumbo. From the novel “The Brave Cowboy” by Edward Abbey. Directed by veteran, David Miller and set in the rough country and mountains outside Albuquerque, New Mexico. Mr. Matthau finds himself as Sheriff Morey Johnson. The over seer and protector of many, many miles of sun bleached desert, scrub and terrain better left avoided. And slowly drawn into the manhunt for John W. “Jack” Burns. One of the last great non conformists Cowboys (Who doesn’t even have a Drivers License!) rebelling against the onset of changing times. Flawlessly brought to life by Kirk Douglas.

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It seems that Burns got himself arrested in a bar fight. So he could be put in the Duke City lock up to help his long time friend, Paul Bondi (Michael Kane) break out before being shipped to the penitentiary. The break out worked well enough. For Burns. With the aid of two hacksaw blades hidden inside his boots. After getting some payback for abuses delivered by Deputy Sheriff Guitierrez (George Kennedy) and discovering Bondi wants to just do his time. Burns slips through the weakened and pulled apart bars. Mounts his horse, “Whiskey” and starts riding towards the mountains and the Mexican border.

Sheriff Johnson is called to intervene. In a Jeep and with the help of his annoying, repetitive radio operator, Harry (William Schallert). A course is plotted. As far away, a semi tractor trailer full of toilets is driven by ‘Hinton” (Carroll O’Connor in full Archie Bunker mode) for an oblique date with destiny.

Burns uses every trick he knows to stay ahead of the law as he rides and walks Whiskey through soft soil, slick rocks and an ever increasing incline. To be glimpsed through binoculars by Sheriff Johnson. Who has Harry call the nearby Air Base (Kirkland, AFB) and ask to have a helicopter help out. Morey and Harry argument about everything and nothing as the glass bubble canopied Bell helicopter arrives on station, piloted by an uncredited, debuting Bill Bixby (‘My Favorite Martian’, ‘The Courtship of Eddie’s Father’). Who is too anxious by half. Flies too close and hovers too long dropping a rope ladder. And allows Burns to shoot at the helicopter’s tail rotor with his lever action Winchester rifle. Sending it screaming off to crash in the boonies.

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The sun starts to meet the rugged horizon as Burns crests one range and walks Whiskey down towards the wide and imposing super highway. Knowing that freedom lay just a short distance beyond. He mounts Whiskey for the hesitant trip across. As Hinton and his semi full of toilets makes up for lost time and Morey and Harry and many unseen police units head towards the same location.

I’ll end it here. Lest I venture too far into Spoiler Territory.

Overall Consensus:

Mr. Matthau is given more free rein and lines to expound upon his character. A career law man, who kind of empathizes with his quarry, Burns. Half understanding what motivates him. And using that knowledge to help track and estimate Burns’ responses and actions. Slowly getting used to his hang dog, long jawed visage. And letting it become part of his persona.

Again, not a large, singular role. More a part of an ensemble. In a film that would a lot of future talent if not on the map. Then certainly under some serious scrutiny.

More than enough to be considered for a kind of out of line of sight referee for the many juggling balls and plot twists under Stanley Donen’s whimsical touch in a splashy, location filled Parisian romantic variant of Hitchcock’s North by Northwest.

#4: Charade (1963)

An elegant, sophisticated and very cleverly written Cary Grant romance with Audrey Hepbuen filling in for Eva Marie Saint in and around The City of Lights. Where no one beside Ms. Hepburn’s recently widowed Reggie Lampert is who or what they proclaim to be. In a game of multiple easily forgettable names, low level treachery. And one goal in common. $250,000 in gold that had been bagged, tagged and slated to be delivered courtesy of the O.S.S.to the French Resistance in WWII. And never arrived!

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The surviving members of the O.S.S. team (James Coburn, George Kennedy, Ned Glass) whose leader was the recently murdered Charles Lampert show up at the funeral and go through ways fair and foul to verify the death. And smart guys that they are, determine Reggie must know where the swag is stashed!

Add to this mix suave, smooth, debonair Cary Grant in full Irresistible mode and a delightful full court press is on! As Reggie flightily accompanies Cary to one new hotel and another. Names and characters change at the drop of a hat. More and more of Mr. Matthau’s master puppeteer, CIA station chief, Hamilton Bartholomew is more than a Federal Super Grade looking for ancient loose change to bring back to its rightful Treasury coffers. Suspense is heightened as threats overt and covert are made and Cary Grant gets to play the knight in shining armor between shard flirtations with Reggie. While distrust and impatience seems to boil up within the survivors of the O.S.S. Jedburgh team as its members start showing up dead. Suspects and clues are winnowed down as romance fills the air. The topic of stamps is broached. Rare stamps that may be hiding in plain sight. Purchased by Charles and the $250,000 before being shot and dumped from a train leaving Paris.

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With the final piece of the puzzle in place (Or is it?). Reggie calls Bartholomew for a meeting on the Paris subway. I’ll leave it here, so as to not reveal and last minute spoilers.

Overall Consensus:

Director Donen may have out clevered and outdone himself in an attempt to tops Hitchcock’s North by Northwest. Coming very close with sublimely romantic locations. A light, often moody Henry Mancini soundtrack. And Cary Grant and Audrey Hepburn at the tops of their games. In a story that may become a bit convoluted if not not paid attention to early on. A little too egg crated with a few too many names to keep track of. Though Mr. Mathau delivers quite well as the man in the shadows. Never really fully fleshed out until well into the tale. In a pivotal role that moves him as far away from his previous “Nice Guy” category as possible.

A trait master director, Sidney Lumet may have noticed when giving Mr. Matthau the chance to expand on break a bit. As Presidential Adviser Groeteschele. An eerie, close to emotionless mix of Henry Kissinger and Professor Edmund Teller, the Father of the Hydrogen Bomb. In the 1964 Nuclear Doomsday thriller.

#5: Fail Safe (1964)

Where Mr. Matthau’s Groeteschele holds court at Washington, DC cocktail parties that run into the morning. Tossing around “Throw Weights” and the destructive power of Soviet warheads that can destroy a major city in a millionth of a second. As easily as the young, monied socialites in attendance ask for their drinks to be freshened. A man who has the President’s ear and is completely attuned and comfortable with the inside the Beltway idea of “Power as an Aphrodisiac”.

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While over at SAC (Strategic Air Command) Headquarters at Offutt AFB in Omaha Nebraska. A group of VIPs are visiting as a wing of B-58 supersonic bombers at put on alert. It seems that radar stations have picked up a UFO entering American airspace and the “Hustler” bombers are on their way to their “Fail Safe” points to orbit and waiting until the orders come to obliterate Moscow.

The UFO is revealed to be a non air breathing, reciprocating engine, propeller airliner strayed off course. The Recall Order is sent to the waiting bombers, but signal is scramble by either solar flares or something. And the bombers starts proceeding north towards Alaska. With every intent of turning west and doing what they’ve been trained to do.

The extended “Oops! Form” is sent to the Pentagon. The President (Henry Fonda) is called down to the Bunker. Three and four star generals start pondering the imponderable as fighters are dispatched to intercept. Communications are opened between the President and the errant wing commander. Even though SAC training and tenets demand radio silence once the bombers go beyond their “Fail Safe” points. Groeteschele shows up. Takes everything in. Starts discussing the numerical advantages of a First Strike and states the obvious. “Let the bombers to proceed their targets. And let he who is without sin cast the first stone.”

Which goes over as well as a lead balloon. Since US Nuclear Doctrine dictates that our weapons are only to be used defensively (Which is Iffy at best.) As a line of communication is established between the White House and the Kremlin. Where a young State Department translator named “Buck” (Larry Hagman) is on hand. While the intercepting US fighters are ordered to Afterburner. Only to fall from the sky and nowhere near missile range as their fuel expires.

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The Soviet Chairman is wary at first as The President explains to the Kremlin’s translator. SAM batteries pick up the encroaching B-58s and MiGs are sent to intercept, but as always. Some bombers get through. And Moscow is the target.

I’ll leave it right here. So as to not unsettle one of the great Freeze Frame endings in film.

Overall Consensus:

Mr. Matthau excels in playing a cold blooded, inhumane SOB. So enthralled with his expertise, numbers and statistics that he does not see beyond his own massive ego. While Henry Fonda’s President is much more like Solomon when dealing the horrors and ramifications of Mutual Assured Destruction. In a much more dramatic and humane way that Stanley Kubrick’s Dr. Strangelove: Or How I Learned to Stop Worrying and Love the Bomb only gives a humorous wink and a nod to. Courtesy of George C. Scott and his General “Buck” Turgidson.

Kudos to director Lumet in staying faithful to Eugene Burdick’s novel and staying in the realms of suspense and drama. Which his film seethes with. Even if the B-58 “Hustler” bomber was incredibly fast. It had short range and could not have hit its targets without at least one more mid air refueling. The fact is glossed over nicely by lighting, shadow and a taut sound score. High marks also to Mr. Matthau for his character’s ramrod straight posture. Slow gestures, measured speech patterns and inflection that heighten the tension. Holds the camera and gives Groeteschelle a less than human aura.


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Well, do add your thoughts on Mr. Matthau. And what’s your favorite film from his illustrious career?

Classic Flix Spotlight: Steve McQueen – Acting vs Reacting

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Greeting all and sundry! After the wonderful comments and responses to my previous ‘First Impressions from Second Stringers‘. I’ve decided to take a few moments to delve into the allure and mystique of an actor who for years applied his talent and trade into the consistent definition and refinement of his several characters on television. Before branching into films. To meticulously evolve into the absolute embodiment of rebellious cool during the 1960s and early 1970s.

To that end. Allow me to introduce a retrospective and hypothesis into the inner workings and machinations of the guy every kid and young man wanted to grow to be. And every contemporary girl and young woman wanted to be with.

Steve McQueen: Acting vs. Reacting.

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I first noticed Mr. McQueen as bounty hunter, Josh Randall in a repeated episode of the Sam Peckinpah written western series, ‘Trackdown’ from the late 1950s. In it, Randall helps Texas Ranger Hoby Gilman (Robert Culp) track down a philandering husband. The two don’t hit it off at first, since Randall seems to enjoy his job and its reward money a bit too much. Though there seemed to be an ease about this young unknown rookie as he traded lines and shared action with the more established Culp. A surety and lack of fear that was both refreshing and intriguing.

McQueen in The Magnificent SevenOthers must have thought so as well. Remembering Mr. McQueen as he slogged through an entirely forgettable take on Harold Robbins’ potboiler novel, ‘Never Love A Stranger’. And his B-Movie introduction in the Sci-Fi classic, ‘The Blob’. Before given the chance to romp and play with Frank Sinatra and assorted other heavy hitters in the John Surges directed, Burma/Thailand, OSS WWII film, ‘Never So Few’ in 1959. Only to return under Sturges’ protective wing for another classic that launched many careers, ‘The Magnificent Seven’.

It is this film where I believe Mr. McQueen began to find the benefit of being miserly with his words. Keeping his face placid or with a hint of annoyance should the need occur. Then responding to whatever actor with which he was sharing a scene. Using as few words as possible His moments as Vin with Yul Brynner’s Chris early on in the film is an homage to subtle up staging. With Mr. Queen using deft, remembered tricks. Like shaking the shotgun shells before chambering them in his borrowed 12 Gauge scatter gun . And taking off and angling his beaten, sweat stained hat to supply some needed shade on their caisson ride up to Boot Hill. Vin’s quick, quiet loss at the saloon’s roulette wheel. And his silent counting of their desired number of gunslingers on his fingers as it grows. These small gestures and glances would quietly outnumber Mr. McQueen numbers of spoken lines. Yet seemed to carry close to equal weight, Recurring again and again his later films.

SteveMcQueen2Which brings us back to Mr. McQueen getting his own television series, ‘Wanted: Dead or Alive’. That ran for three full seasons of 94 episodes from 1958 to 1961. And propelled Mr. McQueen’s bounty hunter, Josh Randall and his cut down Winchester lever action ‘Mare’s leg’ into house hold familiarity. Opening an opportunity for Mr. McQueen to try his hand at service comedy in ‘The Honeymoon Machine’. A 1961 compact minor gem where Mr. McQueen plays a Navy Lieutenant who uses his assigned ship’s computer to figure the odds and how to beat the many gaming tables of a Venetian casino. Sharing some great lines with civilian computer scientist, Jim Hutton and his fiance, Paula Prentiss.

Then being given the lead role and top billing amongst a plethora of proven character actors in a great, though oddly little known WWII drama, ‘Hell Is for Heroes’ from 1961. Directed by Don Siegel and written by Richard Carr and Robert Pirosh. Who would later achieve critical and audience acclaim for his long running WWII series, ‘Combat!’ for ABC television. In the film, it seems that all Mr. McQueen’s character does is react.

His Pvt. Reese has been under stress and combat for so long. It seems the only time he is relaxed is when he is on the front lines. Where he soon finds himself with the stalwart Sergent, Fess Parker. Veteran squad leader, Harry Guardino. Street wise hustler, Bobby Darin. Brainy southern Fix It guy, James Coburn. Always reliable Mike Kellin. And late arrivals Bob Newhart and Nick Adams.

Together, these soldiers have to keep a massively larger number of Germans occupied on the Siegfried Line prior to a major attack. The problem is that no one really cares for their situation or fellow man. And for Mr. McQueen’s Reese even less. They all just want to be somewhere else and go home. Those that are stopping them are the Germans. And if Germans need to be killed, that’s fine with Pvt. Reese. To facilitate this, Reese is equipped with the most phallic looking of sub-machine guns. An M-3 Grease Gun with flanking magazines taped upside down around the weapon’s main feed. Used propitiously through patrols and an aborted night attack on a bunker-ed German machine gun nest. As this gritty, character driven minor masterpiece concludes in a way that no one sees coming!

The Cooler King

Leaving Mr. McQueen in the WWII vein for an aerial stock footage laden quickie titled ‘The War Lover’. Where Mr. McQueen plays an Air Corp Captain and B-17 pilot with a near death wish. Opposite a very young Robert Wagner as his protege and co-pilot. Setting the stage for one Mr. McQueen’s most memorable roles. As Hilts, ‘The Cooler King’. Again under John Sturges’ direction and backed up by a ‘Who’s Who’ of young and established talent from both sides of the Atlantic. Amongst such company and with a propensity to be given some of the production’s best lines and scenes. Plus Mr McQueen’s ability and willingness to set up a near show stopping, groundbreaking motorcycle stunt cemented him firmly in the firmament of untouchable ‘Cool’.

Something he would easily maintain through three rather formulaic films. ‘Soldier in the Rain’ opposite Jackie Gleason in 1963. ‘Love with the Proper Stranger’ with Natalie Wood and Edie Adams. And ‘Baby the Rain Must Fall’ with Lee Remick. Aided by a theme song more popular than the film. Before given the chance to stretch his talents and romp and play with the then veteran big boys.

Eric Stoner in The Cincinnati Kid

As Eric Stoner. ‘The Cincinnati Kid’. A young and enormously talented player of stud poker. Who holds makers for half the players in Depression Era New Orleans and is very much a local legend. Until a player with an ever larger reputation, Lancey Howard; wondrously, confidently and resplendently played by Edward G. Robinson steps off the train. A showdown is to be had and the Kid starts gathering up markers for his buy in and stake. Getting sound advice from his mentor, Karl Malden as ‘Shooter’. While being used as a pawn by Rip Torn’s ‘Slade’. An arrogant and sleazy southern gentleman who wants payback for losing to Howard in previous games. Trying to stay true to Tuesday Weld’s ‘Christian’. And avoiding the sensuous clutches of Shooter’s far too young and beguiling wife, Melba. Wickedly played by Anne-Margaret. More than enough distraction to throw any mere mortal off his game, but this is Steve McQueen at the near top of his game. In a showdown that many have likened to the one between Paul Newman and Jackie Gleason in ‘The Hustler‘, but with a much higher cool factor. The stare downs between Mr. McQueen’s confidence and Edward G. Robinson’s placid poker face quickly builds palpable tension until the last card is played.

Mr. McQueen’s cool and penchant to react return in 1966′s ‘Nevada Smith’. Playing a half breed Indian looking to kill the three men who killed his parents. With the aid of Karl Malden as a traveling gun salesman, Mr. McQueen is taught how to shoot, read and learns enough tricks to keep him alive through a stretch in prison to find one of the killers during their escape. And the other two in cow towns across the West. In a fair adaptation of the Harold Robbins novel. Then onto one of his most under rated roles as Machinist Mate Jake Holman in Robert Wise’s ‘The Sand Pebbles’. Assigned to the USS San Pablo as it operates along China’s Yangtze River during the 1926 era of ‘Gunboat Diplomacy’. Butting heads with the ship’s captain, Richard Crenna. Holman breaks a lot of small, traditional rules around the ship’s engines which irritates the crew and the locals. While falling in love with a Missionary’s stunning daughter, Shirley Eckert. Played by Candice Bergen in a well thought out and executed period piece, history lesson and anti-war film.

McQueen & Faye Dunaway - The Thomas Crown Affair

Which brings the cool back to the fore in ‘The Thomas Crown Affair’. Where Mr. McQueen plays a handsome, rich, influential bank executive who decides to hire a crew of four specialists who do not know each other to rob Crown’s own Boston bank. The heist goes off smoothly and four bags are dumped in trash cans and picked by Crown in his Rolls Royce. Which brings in Paul Burke, a federal investigator who is out of his league. And takes umbrage when Faye Dunaway shows up as insurance investigator, Vicki Anderson. Who is much more than she appears to be. The game is afoot as she politely question Crown over a game of chess. That makes a splendid introduction. Shared in flirtatious silence before more adult entertainment is hinted at under Norman Jewison’s deft touch. The game of high end Cat and Mouse continues through resplendent Massachusetts locales. Until Crown comes up with another plan that no one would expect. In a wondrously opulent ode to conspicuous consumption and elegantly dressed ’60s cool!

SteveMcQueen BullittThat’s knocked down a few notches status wise for Mr. McQueen’s next venture into reaction in Peter Yates’ ‘Bullitt’ . As blue collar San Francisco Detective Lieutenant Frank Bullitt. Given the task of protecting an organized crime witness for an up and coming, politically cunning District Attorney, Walter Chalmers. Played with arrogant, near sneering glee by Robert Vaughn. Whose future and career depends on the informant, Johnny Ross testifying in court after the weekend. Creating a large enough burden on the shoulders of Bullitt. His boss, Captain Sam Bennett (Simon Oakland). And Bulltt’s partner, Delgetti (Don Gordon. Never better) as well as assorted underlings assigned to the flea bag hotel protection detail.

A weight that shifts precipitously when the informant, Johnny Ross (Pat Renella) unlocks the door for his and the detail’s demise via a team of shot gun assassins. A description is given by one of slowly dying detail detectives as Bullitt arranges for the deceased Johnny Ross to be listed in the morgue as a John Doe. Which doesn’t seem to slow the team of killers down as they try to find Ross and finish the job. Giving Bullitt a quickly glimpse at them. Annoying the heck out of Chalmers as Bullitt tries to put the pieces together and asks Bennett to be put in charge of the murder investigation. Bennett gives Bullitt close to carte blache and leads are followed the next morning. After waking with a hangover in the goofiest pajamas on earth. Waiting for his immursion unit to heat water for instant coffee. Giving Don Gordon’s Delgetti some of films better lines as motel managers are questioned and Ident-I-Kit drawings are put together. While Bullitt seeks out a cab and its driver (Robert Duvall) and dots are connected and snitches contacted. To determine Ross’s foot steps around San Francisco after fleeing Chicago with two million dollars stolen from his older, mob connected brother.

The pressure increases as Bennett is subpoenaed outside Sunday services by Chalmers and his milquetoast associate and Bennett’s boss, Captain Baker (Norman Fell). Something is not adding up as Ross’s trail ends at a middle of nowhere motel. On his way home, Bullitt sees the two shooters in their Dodge Charger and the great grand daddy of all car chases begins in amongst and over the many tight turns, narrow streets and hills of San Francisco. Then out on the highways. Weaving in and out of traffic at well over seventy miles per hour. Dodging shotgun blasts as Bullitt finally manages to nudge the killers’ Charger into the gas pumps of an off road gas station and a huge explosive fireball.

With Jacqueline Bisset in Bullitt

Shaken and stirred, Bullitt invites his girlfriend, Cathy (Jacqueline Bisset, never sexier!) to spend what is left of the weekend with him. Which includes a trip back to the motel. Where Bullitt discovers a murdered woman, Dorothy Simmons (Brandy Carroll). Along with two passports, travelers checks and two tickets from San Francisco International to Rome. Before the room becomes a taped off crime scene, Cathy stumbles in and is shocked to see what Frank deals with. And what he could become.

The passport numbers are faxed to both Customs and State as a pow wow of all the heavy hitters is brought together. As the question of who the John Doe in the morgue really is? And who leaked the information to Chicago about John Doe’s fleabag motel while under protective custody? Leaving Chalmers little else to do once the John Doe is identified as Albert Lee Rennick. Except try to smoothly lie and go into a defensive diatribe aimed at Bullitt. Who tolerates the rhetoric and replies, “You work your side of the street. And I’ll work mine.”

Unburdened of Chalmers, Bullitt and Delgetti go to SFX and open up Ross’s luggage and find that Ross exchanged his tickets for Rome for a same time flight to London. Calls are made and the 707 returns to the departure gate. Delgetti stays in the terminal and Bullitt gets on board. Sees Ross, who escapes through the rear exit door and runs for it. Bullitt gives chase. Finds Ross inside the crowded terminal. Catching Ross just feet away from freedom. Catching rounds from Bullitt’s .38 Colt Diamondback between the terminal’s sliding glass double doors.

McQueen and Ali MacGraw - The Getaway

Capping off a pinnacle of macho coolness that would run long after his death in 1980. Mr. McQueen would continue ti ride high as Formula race car driver, Mike Delaney in the near documentary style, ‘Le Mans’ two years later. Coming under Sam Peckinpah’s masterful touch as rodeo rider, Junior ‘JR’ Bonner in ‘Junior Bonner’ and as just released heist man Doc McCoy. In the ahead of its time, Walter Hill and Jim Thompson scripted heist gone bad film, ‘The Getaway’ with Ali MacGraw. Then turn in a very understated performance as petty thief, Henri Charriere who befriends a near unrecognizable Dustin Hoffman, Louis Dega in ‘Papillon’ on their way to a French Guyana penal colony (Devil’s Island) and their escape attempts from there.

Overall Consensus:

SteveMcQueen9I think Mr. McQueen may have struck onto something by remaining quiet and giving some more memorable lines away to others. Creating a sense of drama while letting his facial expressions do the talking. A trait I’ve noticed by other actors, particularly Clint Eastwood, Jeff Bridges, Joe Mantegna, and the late Jack Lemmon and James Coburn. Actors confident enough in their talent and abilities to let silence speak volumes.

Kudos also to Mr. McQueen for having the savvy to use credibility and cool as a commodity and bargaining chip in ‘Bullitt’. Especially his and Peter Yates’ behind the scenes negotiations to get Warner Brothers out of their studio and back lot confines. Venture down to San Francisco and shoot on location for how ever long a scene or the completed project required.


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What do you think of Steve McQueen and what’s your favorite McQueen movie(s)? Do share ‘em in the comments.