Quite early on in The Purple Plain, I realized the main character was going to be a different Gregory Peck role than any other I had seen. Pilot Bill Forrester (Peck), a Canadian serving in the Royal Air Force during World War II, is suffering from suicidal tendencies and what we today call post-traumatic stress disorder (you’ll see why in a couple of seamlessly done flashbacks). He’s rude and reckless, having spent his RAF career trying to get killed. “You’d think that would be easy in a war,” he says, “but I just keep getting medals instead.” Despite being considered “a loony” by the rest of the squadron, he’s been promoted to squadron leader. They are stationed in Burma, fighting the Japanese, and the squadron physician Dr. Harris (Bernard Lee, familiar to millions as M in the James Bond films) has been ordered to gauge Forrester’s sanity and suitability for continued duty. But instead of conducting a physical or psychological exam, Harris takes Forrester to the home of an English missionary, Miss McNab (Brenda Banzie), where he meets Anna (Win Min Than), a quiet, beautiful Burmese girl.
It’s pretty much a given that if you watch movies, particularly classic movies, you either believe in love at nearly first sight or you are able to suspend whatever disbelief you may have. In this case, Peck and Than make it plausible that Anna would be calming to Forrester’s troubled soul, and vice versa. Anna also suffers from PTSD, as she, like many of the Burmese in the story, is a refugee from the Japanese destruction of Rangoon [per Wiki].
Forrester now has something, someone, to live for, and rather quickly, he begins to return to what was apparently his former, more genial, self. If Plain were a different kind of movie, it would just stop there. But Forrester and his new navigator Carrington (Lyndon Brook) are sent on what’s supposed to be a routine flight, with another RAF man, Blore (Maurice Denham), as a passenger. One of their plane’s engines begins to leak oil and bursts into flame; they crash land in the Japanese-controlled wilderness, with barely any water and limited everything else. Carrington is horribly burnt and can’t walk, and Forrester and Blore are at odds and can’t agree on how to survive — should they stay with the wreckage and hope to be rescued, or save themselves by walking toward the river miles away?
In short, after spending the first half of the film chasing death, Forrester now wants to live, only to find himself in the perfect position to die.
I am always reluctant to use biography to explain someone’s excellence (or lack thereof) in a particular role, because there’s no way to really know what was going on in their minds. But Peck was going through a tough divorce at the time this film was made and I wonder if he wasn’t able to use that experience. However he did it, he makes Forrester’s angst and recovery very real. When he first sees Anna, he slowly begins to relax. By the time the plane has crashed, his entire bearing has changed and he is no longer troubled, even when angry.
Director Robert Parrish uses visual motifs, subjective camera, and triangle setups to subtly suggest mood, imply alliances between characters, and foreshadow events. Parrish and cinematographer Geoffrey Unsworth particularly distinguish themselves when depicting the oppressive heat and light, and the gorgeous scenery of Burma (actually Sri Lanka). (The saturation of the color reminds me of another film set in South Asia, Black Narcissus, though that film incredibly was not shot on location.) There’s one pan shot about an hour in that shows both the beauty of the surroundings and the enormity of what the men are up against if they want to survive. The score serves to build the tension and hint at Forrester’s mood. There’s big Hans-Zimmer-style staccato horns in the wilderness and a serene theme reinforcing the stability that Anna represents.
The film invites contemplation on a few themes. A scene with a child and a lizard is a comment on the savage side of human nature that is made explicit elsewhere in the film. “To kill or not to kill…. Strange how fascinating death can be, isn’t it?” Forrester says. “The purple plain” is apparently a British nickname for Burma, but given the setting of the film around Easter, I also think it has religious significance as well. There is certainly some exploration of the role of faith — “God will provide” vs. “The Lord helps those who help themselves.”
Check out this amusing scene of the dinner scene with miss McNab and singing the Easter hym:
///
At any rate, none of the themes are heavy-handed. One person who watches may think the film is saying that God works in mysterious ways (that would be me); another may see it as a comment on the transitory nature of life; and yet another sees an anti-war statement; and the fact that all are correct, along with its excellent overall quality and really perfect ending, indicates to me that The Purple Plain, though under-appreciated, deserves a place in the “timeless classic” category.
I was 5 years old when this came out – about the same age as Damien, the demon child destined to be the antichrist. While I didn’t see this movie until the mid-eighties (thanks to the advent of video rentals), I read screenwriter David Seltzer’s novelization just right before. It was a good and creepy read and encouraged me to check it out on the screen.
Almost 20 years later, and now in glorious blu-ray format, the film retains its fairy tale quality and lustre. And as a father of 2 very young boys, The Omen brings a whole new perspective on the parental tragedy along the lines of Nicholas Roeg’s Don’t Look Now and later Lars von Trier’s Antichrist). This perspective also made the film effectively disturbing.
Robert Thorn (Gregory Peck), an American ambassador to the UK, and his wife, Katherine (Lee Remick), lose a child at birth while in Rome. A Roman chaplain/priest convinces Thorn the unthinkable: adopt another child born at the same instant – its mother apparently dying at the same time – as his own without Katherine’s knowledge. Things are perfect for a while until strange and macabre occurrences take place a few years later at the child’s 5th birthday party. A nanny’s suicide, a strange rabid dog and a journalist’s (David Warner in a non-villainous role) foreboding photographs of impending death. Add to that an evil and manipulative governess (Billie Whitelaw winning the Mrs. Danvers of the 70s award) and you have the Thorn family helpless and betrayed. Thorn discovers later that Damien holds the number of the beast on his scalp (it’s not a barcode though very graphic designed) and tries to kill the child.
Damien (Harvey Spencer Stephens) is very good as the toddler antichrist. In fact, some scenes, such as the meltdown at the Episcopal Church and the near fatal tricycle sequence are so matter of fact, you could mistake them for innocent child behavior – all the more creepy! Richard Donner keeps things simple here in a good way, letting the story which feels like a fairy tale (albeit a scary one), carry the movie. Donner, who is an alum of the classic Rod Serling Twilight Zone series, uses more atmosphere and light rather than fast-paced violence. The fight scene between an aging Gregory Peck and the governess is about as fast-paced as the classic fight scene between Peck and Charlton Heston in The Big Country.
However, the real anchor here is Peck, who just exudes humanity within every scene. While still acting in the classic Hollywood style, Peck’s Robert Thorn is a dignified but flawed everyman. Credit that, if you will, to the story, the pacing and direction – but none could have carried this into the ‘Classic’ category as well as Peck’s very believable performance. Belated happy birthday to the GP!
Having changed its title from The Antichrist to The Birthmark, the film seemed to fall victim to a sinister curse. Star Gregory Peck and screenwriter David Seltzer took separate planes to the UK…yet BOTH planes were struck by lightning. While producerHarvey Bernhard was in Rome, lightning just missed him. Rottweilers hired for the film attacked their trainers. A hotel at which director Richard Donner was staying got bombed by the IRA; he was also struck by a car. After Peck canceled another flight, to Israel, the plane he would have chartered crashed…killing all on board. On day one of the shoot, several principal members of the crew survived a head-on car crash. The jinx appeared to persist well into post-production… when special effects artist John Richardson was injured and his girlfriend beheaded in an accident on the set of A Bridge Too Far.
Harvey Stephens, as Damien, was largely chosen for this role from the way he attacked Richard Donner during auditions. Stephens screamed and clawed at Donner’s face, and kicked him in the groin during his act. Donner whipped the kid off him, ordered the kid’s blond hair dyed black and cast him as Damien.
According Gregory Peck’s biography by Gary Fishgall, he took this role at a huge cut in salary (a mere $250,000) but was also guaranteed 10% of the film’s box office gross. When it went on to gross more than $60 million in the U.S. alone, The Omen became the highest-paid performance of Peck’s career.
Today’s always a special time for me, a reminder how each day is a gift from the Lord and I’m always thankful for the Christ’ unparalleled sacrifice on the cross on my behalf and every creature living on earth.
Last year, I posted three film recommendations for Easter if you’re in the mood for some spiritual-themed films to watch not just this weekend, but any other time of the year. I don’t know if people have any Easter movie-viewing traditions the way they do around Christmas. I might watch parts of Ben-Hur Sunday afternoon after church, it’s been a while since I saw it and reading Max’s review recently made me want to see it again.
Another one I might actually watch is David and Bathsheba, which is fitting considering this past Thursday was Gregory Peck’s birthday. I have mentioned that film last year on one of my GP marathon updates, it’s one of Peck’s lesser-known films that was actually pretty huge back in the day, earning five Oscar nominations including Best Screenplay and the biggest box office success of 1951. Though the title role suggests where the film’s focus, that is the romance between the two leads, it’s Peck’s David that carry the whole film. The highlight for me is towards the last 20-min of the film, a solemn sequence of David is praying in front of the Ark of the Covenant, it packed an emotional punch and as Martin Scorsese once said, that scene”…showed Peck’s ability to convey the darkness of the human soul.” I do think that scene is truly the heart of the film. I highly recommend that one if you’re looking for an alternative to The Ten Commandments.
Ok, now on to the scene spotlight… this time it’s from Peck’s most underrated WWII drama The Purple Plain.
…
I’ve mentioned this film before here — Peck played a suicidal squadron leader who found a new purpose in life when he met a Burmese girl Anna, at a Christian missionary camp near his base. In this scene, Forrester is introduced to Miss McNab, the Christian missionary Anna’s family is living with. The most amusing part of the movie is seeing Peck singing the Easter hymn ‘Hallelujah,’ all the while he couldn’t take his eyes off the girl. Definitely a small indie that’s worth your while, it also boasts one of the most-unexpected yet heart-warming movie endings ever.
Have a blessed Easter, everybody! What film(s) are you watching this Easter weekend?
The Hollywood icon would’ve turned 96 years old today. Though he has passed away for almost a decade, I do think his legacy lives on. I feel like I’ve been preparing to pay tribute to Mr. Peck for over a month now, but suddenly when the time comes, I find it ever so daunting a task as I feel like there’s so much to say I don’t know where to start!
Most of you who’ve read my Spellbound post knew I fell head over heels for him in that Hitchcock film. It really was like ‘lightning striking‘ when I first beheld the 6’3″ lanky then-29-year-old man with magnificent cheekbones, melancholy eyes, and THAT deep, rich voice that can be as commanding as it is soothing. Anna @ Defiant Success said in her email to me that the “Gregory Peck bug” didn’t bite you. It pretty much ate you alive. Ahahaha, well I can’t refute that. I mean how else would you explain the plethora of Gregory DVDs all over my basement, ordering multiple sheets of Atticus’ Forever Stamps, AND devote a Tumblr all to just to this one man?
But really, can you blame me?
Peck in a promo pic from one of his early theater productions
Few actors possess the kind of charisma, looks and talent that Gregory had. But what makes me respect him more is that he never capitalized on his looks, far from it. After reading his biography by Gary Fishgall, which is such a fascinating read that I kept going back to it repeatedly, I’m struck by such a humble beginning he had, especially his years as a struggling theater actor trying to make it on Broadway. Theater work was really his first love, so much so that when Hollywood beckoned, he wasn’t easily swayed. He even made MGM’s famed producer Louis B. Mayer cry when Peck refused to sign his offer of seven-year contract — promising the then unknown to be the next Clark Gable — as he wanted to fit in more theater work in between films. He was the first actor of that era who refused to be ‘bought’ by the studio. Clearly he didn’t need such a contract to succeed!
I have even more respect for his intelligence and exemplary work ethic. His preparation for every role was a labor of love, beginning with committing every line to memory, he then ‘assembled the character to the best of [his] ability.’ That dedication shows in every single film he did, and he continually challenged himself with every role in various genres, from drama, thriller to westerns. After reading every available articles on Peck known to man, as well as that biography, it’s clear that he’s a hero on and off screen. Just take a look at the TRIVIA info I put up on the sidebar, all the honors (both acting and humanitarian) and legacy he’s achieved, including the Presidential Medal of Freedom from President Lyndon Johnson. Truly, a beautiful man inside and out.
Just yesterday I read that President Obama will introduce a screening of To Kill a Mockingbird, both at the White House Family Theater and also on the USA network airing on April 7 as part of the 50th Anniversary celebration of that iconic film (per THR). I do think that Atticus Finch — voted by AFI as the greatest hero in American film — is a rare occasion where the actor and the role meets. Just as effortlessly he had fought against anti-semitism in Gentleman’s Agreement, Peck championed for racial equality with such integrity and grace.
“…[Peck] embodied the best in all of us… He gave idealism a good name, made it seem possible in the flawed state of this human condition,” stated this msnbc article titled Gregory Peck, the last noble breed. On the year he died, TIME magazine ran this article citing “…Peck was the sonorous pitchman for movie humanism. He showed how a strong man could also be a gentle man.”
No doubt he earned the respect of not just critics, moviegoers, but also his peers. Liza Minnelli called him “the ultimate movie star.” His co-star in Designing Woman, Lauren Bacall, said it best I think:
“His values and his standards are very high, which is why Bogie respected him so much. You don’t meet many people, much less actors, who have that kind of character.” (per Films42 tribute post)
His Forever Stamp inauguration was attended by the likes of Sidney Poitier, James Darrin, Morgan Freeman, and hosted by Sharon Stone. It’s Freeman’s story of meeting Peck that made me grin ear to ear, “… he told of sitting in the very same Academy theater, seeing Peck walk up the aisle and jumping from his seat to stop him dead in his tracks as Freeman dropped to knees in front of him and mumbled something about the honor of being in presence of Captain Ahab.” Oh my, would I love to be a fly on the wall at that moment!
What few people know though, that this regal and elegant man has a dry wit and great sense of humor. “He can be funny,” said Peck’s Paradine Case costar Louis Jourdan, “which is fortunate. Otherwise, such perfection would be unbearable.” (per Peck’s Kennedy-Center bio) If you’ve seen Designing Woman, you too would wish he had done more comedic roles. The scene where his ex-girlfriend dumped a plate of ravioli on his lap, his deadpan expression made the scene even more hilarious, especially as he calmly asked the waiter for a pair of pants! “George Burns used to call it the funniest take he ever saw on the screen,” Peck told the msnbc writer.
Need proof? Check out this clip of Peck appearing on the Jack Benny show with the host himself and George Burns!
… For his birthday festivities, I invited a few of my friends to participate by sharing their posts on Mr. Peck, be it a tribute or reviews of his films. As you can see below, this ever so versatile acting legend covered pretty much any genre and he’s always convincing in every one of them. That’s why I picked him as one of the Then Best Actor of All Time in this relay race blog-a-thon.
So to those of you who have NOT seen any Gregory Peck movies (you know who you are, *cough, cough* Castor), you no longer have any excuses not to watch at least one or two. We’ve got all kinds of suggestions out the wazoo here!
Mirage …
Ruth’s guest review @ The Focused Filmographer …
Note: The one with the * (asterisk) is a FlixChatter post
…
I think I will forever be a Gregory Peck fan. You know that old saying ‘they don’t make ‘em like him anymore‘? Well in the case of this one Hollywood icon, it’s not a cliché at all. …
Be sure to stay tuned to my top 10 ranking of favorite Gregory Peck films, up sometime next week
Please join me in celebrating this wonderful man by reading one of the posts listed above. What are your thoughts of Mr. Peck and his work? I’d love to hear ‘em in the comments! …
Greetings, once again! It isn’t often that I’ve been given the opportunity to indulge in a Trifecta or triple play regarding one of Hollywood’s premier Tough Guys, Robert Mitchum. I covered his Scary attributes in The Night of the Hunter. His being made for the genre of Noir in Out of the Past. Now, I want to delve into the actor’s ability to basically write the book for being a malevolent nemesis in one of, if not the first, great Psychological Thrillers in film!
Cape Fear (1962)
Made in 1962 and directed by J. Lee Thompson. With a screenplay by James R. Webb from the John D. MacDonald novel, The Executioners. The film begins in bright, sunny Savannah, Georgia. In and amongst the city’s square whose busy, intersecting streets are full of some of the finest big, shiny, bullet bumpered and finned cars of that time. Weaving between them is Max Cady. Recently released convict with a Gibraltar-sized chip on his shoulder after spending eight years for a rape charge in Baltimore, Maryland.
Tall, broad and obnoxiously brooding. With a Panama Hat and a large, vile cigar stuck in his face. Robert Mitchum’s Max Cady confidently, nonchalantly revels in a role that reeks and sweats of malevolently boiling evil. Cady climbs the steps of the court house. Knocking some books from the arms of a female clerk, without a backward glance on his way up the stair case. Cady finds the proper court room for a look at defense attorney, family man and pillar of the community; Sam Bowden. Magnificently played by Gregory Peck. With hints of General Frank Savage in Twelve O’ Clock High and just beginning to gently grasp the mojo of Atticus Fitch in To Kill A Mockingbird. Equal parts stoic and humane. Peck is in superb form as the man whose testimony had put Cady away.
Cady takes a seat in the back of the court and sizes Bowden up as the counselor argues against a continuance and finds Bowden wanting. Outside the court house. Cady reacquaints himself with the good counselor. Hinting that he is going to be around for a while and they have some catching up to do with typical non-threatening, Jailhouse Lawyer hubris. Bowden takes this all with a grain of salt as he returns to hearth and home. Dinner and bowling afterwards. While at the lanes, Bowden senses more than sees Cady having a beer and eying his wife, Peggy. Well and dutifully played by Polly Bergen in one of her rare cinematic roles. And his daughter, Nancy. All of fifteen and deftly played by Lori Martin. No longer a child, but not a woman. With about one one hundredth of the angst and drama associated with that age today. Definitely Daddy’s little girl.
Bowden feels a chill go up his spine. Misses an easy spare and decides to call his friend, Police Chief Mark Dutton to see if there might be a way to persuade of roust Cady into leaving their fair city. Terrain very familiar to Dutton. Realized with a career cop’s mindset and perseverance by always reliable Martin Balsam. Who suggests checking on Cady’s finances and parole officer to possibly gain some leverage. The following morning becomes evening and finds Cady in a smoky basement bar quietly flirting with a stunning brunette with a taste for slumming. Barrie Chase, whose time and scenes are brief, but part and parcel of what is to come.
As if on cue, Dutton and a clutch of cops arrive and take Cady downtown. Where Cady is surprisingly prepared for evening’s events. Down to a bankbook with $5,400 and the business card of Cady’s personal physician, should blood or a physical be needed. Vagrancy and drunk and disorderly go out the window as Cady leaves to up the ante and pick up where he left off. Tormenting his quarry the next afternoon by poisoning the Boden’s dog. Then taking off that night in his pickup truck. With the brunette from the previous night by his side. Discovering too late the dangers of walking on the wild side.
A phone call brings Dutton, his entourage and recently hired private detective, Charles Sievers. Telly Savalas being Telly Savalas with hair and a seersucker suit to a flea bag hotel. Where Ms. Taylor doesn’t say much of anything useful as she packs her things and wants to get far, far away. Frustrated, Sievers suggests using some off the books talent to find and possibly punish Cady. Bowden balks and the next afternoon, his wife and daughter go into town to shop. Nancy wanders off towards the library and finds Cady in slow ominous pursuit. Nancy panic. Runs through halls and out into traffic and is almost struck by an oncoming car. Her mom finds her and Sam returns from work to close to sheer pandemonium. Peggy is close to freaking out while Nancy is in bed, sedated.
Close to being at his wits’ end. Bowden finds Cady at a rather upscale bar. Where Cady details his life immediately after being released from prison. Where he found his wife who had divorced him while in stir. Kidnapped her for a ‘Second Honeymoon’ that lasted about two weeks. Then had her write her new husband a ‘Dear John’ letter full of dirty words. Hinting that he may have beaten his ex half to death in the process. Cady slyly photocopied the letter before it was mailed and had the copy mailed to his lawyer.
Bowden calls Sievers and tells him to unleash the hounds. To no avail. Cady is attacked under a pier by what looks like three leg breakers with appropriate accessories. Bicycle chain. Meat hook and switchblade. Cady takes a shot below the ribs from the chain. Gets really mad and sends the three to the hospital, but not before they talk. Now with the upper hand, Cady hires himself a nice bleeding heart, liberal civil rights lawyer to have Bowden disbarred. Then calls Bowden and tells him that he has something in special in store for his wife and daughter. Knowing that Sam will be in Atlanta on other business.
The good counselor gets clever and creative. Arranging for his wife and daughter to be on their house boat on the Cape Fear River. While Sam flies to Atlanta and doubles back by rental car. To lay an ambush with his family as bait while he and an off duty stand guard.
I’ll leave it right here, so as not to violate Spoiler Territory.
What Makes This Film Good?
A well assembled cast of proven A-List talent telling a tale under the masterful touch of director, Thompson. Who had held the reins previously for Mr. Peck in The Guns of Navarone. Working from a tense, compact screenplay derived from the novel by John D. MacDonald, of Travis McGee fame. A writer well versed in the illicit goings on along the southern seaboard.
Reinforced by mood drenched, shadowy, sometimes sweat-sheened B&W cinematography by Samuel Leavitt, who knows the value of darkness. And an ominous cello rich and brass soundtrack by Bernard Herrmann. If you are one of those who think the opening tracts of John Williams’ work in Jaws is the yardstick by which others are measured. Sit back to be swept away on a roller coaster by a true master!
Film editing by George Tomasini is fluid with no wasted scenes. Set direction by tried and true Oliver Emert works with nary a flaw. Wrapping the city of early 1960s Savannah, Georgia. Heat, cloying humidity and all, around those watching. While never letting on that three different locations were being utilized.
What Makes This Film Great?
Gregory Peck at the top of his game. Playing a character steadfastly loyal to the law. Living an idyllic, sedate life until fate rears its ugly head in the form of Max Cady. Who taunts, flaunts and intimidates until Peck’s Sam Bowden finds himself hamstrung by those same laws it when his family is threatened. First obliquely. Then overtly and profoundly.
Robert Mitchum towering over any and all. Completely content in his own skin. And that of his character. Holding the whole world in complete contempt as he flat out frightens many. Those foolish enough to not be impressed, he stares down and grimaces until they wise up. I’d mentioned in previous reviews how Mitchum can be scary. As his Reverend Harry Powell in The Night of the Hunter and intimidating as Jeff Bailey in Out of the Past. As Max Cady, Mitchum enters an whole and entirely new arena. Arrogant. Impervious and oozing with slovenly creepiness. Creating an iconic character until Martin Scorsese tried his hand at it. And created a film that stands alone, but still comes up short.
The supporting cast of Polly Bergen, Lori Martin, Barrie Chase, Martin Balsam and Telly Savalas all turn in memorable, exceptional work. With the lion’s share of attention given to the ladies in attendance who advance the story along believably and briskly. While Balsam and Savalas reveal some of their greatness to be realized in future films.
All meshing together in a Classic that has solidly and frighteningly withstood the test of time and still grabs attention today!
The Film’s Mystique:
The proper amounts of Peck in Mitchum in a project produced by Mr. Peck’s production company, Melville, which bought the rights to Mr. MacDonald’s novel very early on. Creating copious buzz when Robert Mitchum was Peck’s first and only choice for Max Cady. Rod Steiger’s agent lobbied hard, but was turned down on several occasions. Though Mr. Steiger did get to dance close to Cady’s character. As serial killer with a make-up kit, Christopher Gill in No Way to Treat a Lady in 1968.
Cape Fear is a superbly tense amalgam of Action. Reaction and scarily bullying while messing with one’s mind. Distinctly sloshing around in the kiddie pool of What if? Attention should be paid in regards to how Max Cady reacts when his taunts and threats are ignored or challenged. Each of Cady’s reactions are more violent and brutal than the one before. All offset by Cady’s near serene, inhuman Frankenstein smile when he has a woman right where he wants her. …
My friend Nostra at My Filmviews started this back in mid March, as if he needed to prove to anyone that he lives up to the title ‘King of all Blog Series’ that I gave him What’s this relay race all about? I’ll let Nostra himself explain:
“So what’s the idea behind the relay? I’ve created a list of what I think are the best actors. At the end of the post I, just like in a real relay race, hand over the baton to another blogger who will write his own post. This blogger will have to remove one actor (that is an obligation) and add his own choice and describe why he/she did this. At the end the blogger chooses another blogger to do the same. The idea is to make this a long race, so that enough bloggers get a chance to remove and add an actor. We will end up with a list (not ranked in order) which represents a common agreement of the best actors”
Although he may not have had any roles that stood out in the last couple of years, he has proven what an amazing actor he is. Just think of his roles in Taxi Driver, Raging Bull, The Godfather: Part II, Goodfellas, The Untouchables, Heat and Cape Fear.
Daniel Day Lewis
Although he might not have appeared in as many movies as some of the other actors in this list he makes up for it in the amazing performances he gives. He really disappears in his roles. Some of his best work includes My Left Foot, There Will Be Blood, Gangs of New York, In the Name of the Father and Last of the Mohicans.
Charlie Chaplin
Now this might not be someone you’d immediately think of, but when it comes to comedy and silent movies he was perfect, funny and knew exactly how to make his audience care about the character he played. Some of his best work can be enjoyed in The Kid, City Lights, The Great Dictator and Modern Times.
Gary Oldman
He has proven that he is a true chameleon, with a very distinct look in every movie he appears in. His acting is always a joy to watch. Some of his best known work is that in the Harry Potter series, Leon, Tinker Tailor Soldier Spy, the latest Batman movies and Dracula.
Philip Seymour Hoffman
He started acting in 1991 and really has had a very versatile career appearing in movies that are loved in art houses, but in mainstream movies as well. His movies include The Ides of March, Synecdoche, New York, Charlie Wilson’s War, Capote and Magnolia.
Marlon Brando
Now I must admit that I haven’t seen many of his movies, but he was stunning in his most famous role in The Godfather, but also roles in Apocalypse Now, On The Waterfront and A Streetcar Named Desire he wowed audiences.
Robert Duvall
Robert Duvall has had an amazing career as well. I don’t know much about his early work, but I always enjoy to see him on the screen. His characters always are injected with something that grounds them into reality. He appeared in movies like Get Low, The Godfather, Colors, Apocalypse Now and THX1138.
Christian Bale
With quite the diverse range in roles, Oscar-winner Christian Bale goes to great lengths for many of his roles. From losing weight to almost unhealthy standards twice (The Machinist, The Fighter) to taking dance and martial arts lessons for 10 weeks for Newsies (a film which he dislikes), Bale consistently goes to incredible lengths to bring a role to life. Other examples of his great work include: Batman Begins, The Dark Knight, The Prestige, Empire of the Sun, Equilibrium, and 3:10 to Yuma.
Edward Norton
The star of one of the greatest films of all time; David Fincher’s Fight Club. He has made a career out of playing characters with two sides to their personalities. From an ‘innocent’ abused choirboy with a dark side in Primal Fear right up to his turn as The Incredible Hulk, Norton does Dr Jekyll and Mr Nutcase Hyde better than anybody! American History X and Fight Club are the standout performances of his career and though he might not have a huge filmography, his casting with Brando and De Niro in The Score was a significant baton-passing to the best actor of a new generation.
My Choice: Gregory Peck
Yes I realize my pick is quite predictable to most of you, ahah. But hey, we are talking about the best actors of ALL TIME here and after seeing twenty eight of his feature films in the last six months, I can confidently say he wasn’t just a great and versatile actor, he’s an acting legend! I think even fellow AFI Lifetime Achievement Award recipient DeNiro (and his co-star in the Cape Fear remake) would vouch for him. Interestingly, Mr. Peck passed away the night DeNiro received the AFI honor, and he called Peck “elegant, distinguished and a film icon” (per People).
Most of you know he won an Oscar as the quiet hero Atticus Finch in To Kill a Mockingbird, but few know that it was his fifth Oscar nomination. He nabbed the other four Best Actor nominations within the first five years of his career. Though he’s known for portraying serious roles and a lot of noble men, I think he’s as adept and convincing in his more comic roles such as in Arabesque, Designing Woman and Roman Holiday. He’s also fun to watch as an all-out bad guy, such as in Duel in the Sun and Boys of Brazil (based on what I read anyway as I haven’t seen it yet), though by his own admission he wasn’t as keen on playing. I really think Mr. Peck is the real deal, a quintessential movie star with enormous acting talent and strong screen presence to boot.
…
Who I Replaced: Paul Giamatti
Oh man, I am in tears that I have to remove Giamatti from the list because I really like this guy!! I’m so sorry Scott, since you’re the one who added him to this list but if it’s any consolation, I do think he’s excellent, excellent actor but I guess out of all the nine other actors on this list, I feel like Giamatti is the one who’s perhaps more successful as a character or supporting actor, but doesn’t necessarily have that ‘star quality’ to get people to see a film simply because his name is on the marquee. I guess you could argue that about Philip Seymour Hoffman as well (which was my second choice to take out), but I do think Hoffman is the stronger and more compelling performer one of the two.
…
Ok, since it’s been mostly guys who’ve been picked to do the relay, I’m going to pick another girl for the next one. So I’m handing the baton over to… Kristin @ All Eyes on Screen. All right Kris, you’ve got a week to take part in the relay. Looking forward to see who you’d add and replace! …
…
So what do you think of my pick? Who would you replace if you were me? Let’s hear it in the comments!
It’s Oscar Week, so today we’re taking a look at some of the past Best Picture films from each decade from the 20s to the 90s. With some help from my friends, below are a list of reviews they’ve selected from each decade.
Thanks to Iba, we’ve also got some Honorable Mentions from the 20s and 30s, see below:
1920s (Wings, 1927/8)
There is not much on offer for the span of the decade since the Academy Awards only began in 1927/8. So let’s take a look at that first awards ceremony. The WWI silent epic “Wings” took home the prize for Best Production (Picture). The William Wellman masterpiece, with its groundbreaking footage of in-the-air fighter plane battles is the first and only silent film to receive the Academy’s highest honor (this of course may soon change).
But wait, there is more; another film “Sunrise”, received an award for Best Picture (Unique and Artistic Picture/Artistic Quality of Production). This was the first and only year in which there were two separate categories for best picture. “Sunrise”, directed by F.W. Murnau, was the famed German expressionist’s first Hollywood feature and is considered by many to be one of the greatest films of all-time.
There is also symmetry with the Awards and the dawning of a new era in the motion picture industry. This first year of industry wide recognition for excellence in film production coincided with the advent of sound. As such, although Al Jolson’s “The Jazz Singer” was released in 1927, the Academy deemed it ineligible as it was claimed that its revolutionary use of sound gave it an unfair advantage.
Another major snub of this year was the Buster Keaton classic “The General.”
…
1930s (The Life of Emile Zola, 1937)
It is far too easy to mention the Golden Year of Hollywood, 1939 as one enters a discussion of one year to focus on in the decade. That year is the stuff of legend. It should be noted, however that the excellence in filmmaking goes beyond that one isolated ‘magical’ year. Overall the decade produced a bounty of escapist entertainment for the masses.
So let’s take a look at another year in the decade that produced equally stunning pictures – 1937. The winner of the Best Picture prize was the Warner Brothers’ biopic “The Life of Emile Zola,” starring Paul Muni as the crusading activist involved in the 19th century “Dreyfus Affair” in France. During the heyday of the studio system, Warner Brothers was the studio with the reputation of being the “socially conscious,” “realistic” studio; the win in this category marked the studio’s first win for Best Picture.
Zola beat out a diverse offering of films which included “The Awful Truth”, “Captains Courageous”, “Dead End”, “The Good Earth”, “In Old Chicago”, “Lost Horizon”, “One Hundred Men and a Girl”, “Stage Door”, “A Star is Born.”
Notable snubs from this year included the Garbo tearjerker “Camille”, the screwball comedy “Nothing Sacred” and Disney’s first full-length animated feature “Snow White and the Seven Dwarfs.”
…
Gentleman’s Agreement (1947)
Director: Elia Kazan Screenplay: Moss Hart, based on the novel by Laura Z. Hobson Cast: Gregory Peck, Dorothy McGuire, John Garfield, Celeste Holm, Anne Revere
Before I get to my in-depth review, I just want to share some interesting tidbits about this film. From the Gregory Peck’s biography by Gary Fishgall, it’s noted that this film was so controversial in its day that even major Hollywood moguls such as Samuel Goldwyn and Louis B. Mayer who are Jewish did not want this film to be made, not wishing to ‘rock the boat’ and prefer to deal with the matter quietly. In fact, they pleaded with Darryl Zanuck (who is NOT wish) to abandon the project. Even some of Peck’s fans and his own agent encouraged the actor to refuse the part. This film was also the first time the word “Jew” was used explicitly in a mainstream film. Well, this film not only won Best Picture and Best Director for Elia Kazan, but is also the highest-grossing picture of 1948.
Fifteen years before Peck dealt with blatant racism as Atticus Finch in To Kill A Mockingbird, he tackled the issue of anti-Semitism as a reporter who pretends to be Jewish to cover a story on the controversial topic. The film opens with Phil Green, a widower who just recently moves to New York City, hanging out with his son Tommy (Dean Stockwell) just before his appointment with a magazine publisher for his next assignment. Even for a seasoned writer like Phil, this assignment presents quite a challenge as his boss John Minify wants a fresh new take on the issue of anti-Semitism, not just mere facts-and-figures type of articles that have been written many times before.
After some soul-searching and weeks pounding away tirelessly at his typewriter, a eureka moment hits him that in order to really understand what it means to be Jewish, he must become Jewish himself. The fact that he just moves to NYC and practically nobody knows who he is should make his plan a cinch, and in a way it is, but by no means is it going to be a walk in the park. Inevitably, Phil encounters bigotry and discrimination first hand and discovers that the silent prejudices also exist amongst the people he holds dear.
It really makes me cringe to see the in-your-face bigotry displayed by seemingly ‘nice’ people Phil encounters in the day-to-day. His own doctor actually advises him against contacting a Jewish internist, his son Tommy is being called a ‘dirty Jew,’ and one of the most heart-wrenching scenes takes place at a resort where Phil actually has reservation for. As soon as he reveals he’s a Jew, the manager tells him the place is fully-booked but that he’d be happy to book him a room at another hotel! You can watch that clip on YouTube (starting at minute 6:00), it really makes my blood boil just watching it.
Phil hates anti-semitism with a passion, it makes him sick no matter who commits it, that’s what tells his Jewish secretary who admits that she too sometimes refers to herself as a ‘kike.’ He’s equally vehement with Kathy when she’s reluctant to fight against the ‘gentleman’s agreement’ about not selling her property to the Jewish people. He confronts her that the ‘nice’ people who choose to remain as bystanders are as guilty in fostering any types of discrimination.
“I’ve come to see lots of nice people who aren’t [antisemitic]…people who despise it and protest their own innocence help it along and wonder why it grows.”
This clip shows his interaction with both Tommy and Kathy, and also his army best friend Dave (John Garfield) telling Phil about what his and his family’s day-to-day life is like being a real Jew. Garfield himself is a Russian-Jewish immigrant who had to change his original name from Jacob Garfinkle, so he certainly could identify with his character very well here.
…
I’d like to think (hope) that we’ve come a long way since then but it doesn’t mean that this film is passé nowadays as we know that many forms of prejudices still exist, even if they may not be as blatant as it once was. The fact that this film also tackles the more ‘silent’ discrimination makes it all the more relevant and relatable.
Now, even though the subject matter is pretty heavy handed, at the heart of this human drama is a budding romance between Phil and Minify’s niece Kathy. The relationships between Phil and his mother and son, as well as his best friend Dave are also handled very well, which give you insights into his character. Perhaps Phil is a bit too solemn for his own good, even he admits that himself several times every time he gets into an argument with Kathy. I kind of think of Phil Green as Superman without a cape in some ways… fighting for truth, justice and the American way. Plus Peck has that Clark-Kent sensibilities about him
Now, another thing I like about this film is the character of Anne, the Fashion Editor, played wonderfully by Celeste Holm. She won a Best Supporting Oscar for her role as a sharp, spunky and strong career woman who shares his worldview and empathizes with Phil’s plight. I was quite taken aback in their scenes together towards the end as she makes it quite obvious how she feels about him. It’s quite modern in those days I’d imagine for her to do what she did. I actually kind of wish Phil would end up with her instead of with the more conventional Kathy.
Now the performances are just superb throughout. Peck deservedly earned his third Best Actor nomination in four years. I’ve always considered that Atticus Finch is where the actor and the role meets, I think the same could be said about Phil Green as I can’t imagine a more perfect match between the actor and the role. Peck shares a wonderful yet effortless chemistry with all the actors, but I especially love his scenes with his 11-year-old son. There’s an earlier scene where Tommy grilled his father about what anti-semitism is and why people treat the Jews differently, it’s certainly something every parent can relate to having to explain such a tricky subject. This is apparently the second time Dean Stockwell played Peck’s son, the first one is in The Valley of Decision which was his debut. The scene where Phil comforted Tommy after he’s been bullied at school reminds me of Atticus with Scout. As a father of young boys himself, Peck was such a natural as a dad and it made me wish I had such a loving dad like that!
John Garfield, Ann Revere and Dorothy Maguire are all equally convincing in their roles, Maguire perhaps has the least sympathetic role as the confused and weak Kathy but she sort of represents a lot of the ‘nice’ people in the real world who’d rather not speak up against bigotry because we’re afraid to stir things up. Thanks to director Elia Kazan for bringing out the best out of his actors, he’s known for being an actor’s director as many actors flourish under his directions. This is perhaps not his most famous film compared to A Streetcar Named Desire, On the Waterfront (which earned Marlon Brando his Best Actor Oscar) and East of Eden. Kazan won a total of three Oscars, five Tony Awards and four Golden Globes throughout his career but he’s also famous for his controversy for being an informer during the McCarthy era’s anti-communist movement.
Writer Moss Hart, Gregory Peck, Elia Kazan and producer Darryl F. Zanuck
The excellent script by Moss Hart, gorgeous cinematography by Arthur C. Miller and music by the celebrated composer Alfred Newman all make up for an astounding film that definitely merits its place amongst the best of Hollywood’s golden years. I love that many parts of the film was shot in on location in NYC around Radio City Music Hall and Rockefeller Plaza, it’s nice to see the characters walking amongst the crowd of New Yorkers and getting a glimpse of what the office of a major publication looked like.
I’ve seen this film three times just in the past six months and appreciate it even more each time. It’s a well-crafted and well-acted film that entertain as well as enlighten. …
Thoughts on this film? If you haven’t seen this yet, I’d love to hear your favorite film from the 1940s.
May love – romantic or otherwise – fills your heart and puts a smile on your face. Well, a movie that always makes me smile as well as tear up with heartache and joy at the same time is none other than William Wyler’s 1953 masterpiece rom-com Roman Holiday. And since I promised you here that I’d give a special tribute to this fine movie, well what could be a more fitting time than Valentine’s Day?
The number 59 isn’t exactly a random number, it was fifty nine years ago that this movie was released on September 2, 1953. Of course there are easily hundreds more reasons why I love this movie, but then I’d never be done with this post So without further ado, here we go:
1. Well you’ve got to start with the best part obviously… the cast… 23-year-oldAudrey Hepburn in her first feature film role is exquisite. I have no words for her delicate beauty, she’s the epitome of graceful loveliness and magnetic charm. She has a perfect blend of innocence and regal aura that is just perfect for the role of the bored Princess Ann. I really can’t imagine anyone else playing this role.
2.Gregory Peck in his most delightfully playful role as the American journalist Joe Bradley. Despite not being the go-to-guy for rom-coms, I really think Gregory’s comic timing is far better than people gave him credit for. It’s a shame he wasn’t at least nominated for his role as I really think the film works so well because of the genius pairing of these two. Plus, despite all the dashing leading men Audrey’s been paired with in her time, I do believe the tall, dark and ridiculously handsome Gregory was perhaps the only one who could match her beauty.
3.The simple but immensely charming original story by Oscar-winning screenwriter Dalton Trumbo, too bad he was blacklisted by the studios as part of the Hollywood 10 that he couldn’t receive credit for it.
4. William Wyler’s direction… It’s amazing how different three of my favorite films of his are, Ben-Hur, The Big Country and this one couldn’t be more different from each other yet they are all masterpieces of their respective genres. Under a less-capable director, this simple story would not have been the masterpiece of timeless classic the way Roman Holiday is now.
5.Rome… By all means, Rome. This city is as much a character in this movie than the human cast. Even in black and white, it’s impossible not to be enchanted by the Eternal City. No wonder Rome’s tourism business still benefits from this movie with all kinds of Roman-Holiday city tours such as this one to various locations depicted here.
6. The witty script.No matter how charismatic and gorgeous the cast is, the movie just won’t have such an enduring quality without the sharp and memorable dialog.
Princess Ann: Do you have a silk nightgown with rosebuds? Joe Bradley: I’m afraid you’re gonna have to rough it out tonight… in these [handing her his striped pajamas]. Sorry honey, I haven’t worn a nightgown in years!
7. Audrey’s regal look when she’s first introduced at the royal ball… hard to imagine she’s not an actual princess!
8.The whole scene of Princess Ann escaping her palace. If there is such a thing as comic suspense, then Wyler captures it beautifully. The cinematography captures all the wonderful detail of her palace’s interior, the Renaissance-style decor and that majestic bed, etc.
9.The opening scene at the Princess’ embassy when she is receiving guests. There’s so much humor even in this short scene, from the way the princess glance over at the announcer when he struggles to spit out an especially long and difficult foreign name, and when she lost one of her shoes under that giant dress!
10.Audrey’s adorable smile as she rides in the back of a delivery truck, waving giddily at a couple riding a Vespa.
11.Ann’s adorable state of wooziness. Audrey’s absolutely beguiling as she mumbles a poem and statements from her royal speeches…
What the world needs… is a return to sweetness and decency in the souls of its young men and… [dozes off again].
12. Joe’s chivalry as he offers to take a sleepy stranger back home and hearing Gregory utter some Italian words to the cab driver.
13.Gregory’s breathtaking good looks the moment he walks into the Roman Forum. I must say I breath a sigh every time I watch Audrey lean against Gregory’s strong shoulder
14. The way Joe catches Ann just in time as she was about to fall over from the park bench.
15.The part where Joe takes her up to her apartment… the more I watch this movie, the more I find that the dialog free and subtle gestures during the quiet scenes are hilarious, such as the part at the apartment’s front entrance as Ann leans on Joe’s back and he leans back to straighten her and when Ann almost knocks on the wrong apartment door and Joe catches her just before her hand touches the door. It’s the small things like this that make this film so fun to watch over and over again.
16.Joe’s scene with his boss Henessy. I LOVE the way he lies up a storm and pretend that he’s already got the Princess interview in the can, Gregory’s comic timing here is just spot on, it comes out so natural that I wish he’d done more comedic roles. When he discovered just what the Princess look like from the newspaper, his facial expression is priceless!
I plan to enter her sick room disguised as a thermometer.
– Joe telling his boss of his plan on obtaining an exclusive interview with the Princess
17.Via Margutta 51. Even the address of Joe’s apartment has such a romantic ring to it.
18. Princess Ann asking Joe to undress her…
“I’ve never been alone with a man before, even with my dress on. With my dress off, it’s most unusual.”
19.Audrey’s amusing wide-eyed expression as Ann wakes up, finding out she’s not in her room and that the man standing in front of her is NOT Dr. Bonnachoven…
20. … and her self-satisfied giggle following the wry Q&A with Joe as she realizes she’s broken every royal rule by spending the night in a male stranger’s apartment!
21. Audrey’s simple yet chic outfit, especially that long swing-y skirt that goes so well with her ankle-tie ballet flats. It’s the way she carries herself that make even the most ordinary outfit look so stylish and classy.
22.Ann’s darling haircut... only someone of Audrey’s beauty can pull off such a cut. I also love her Italian barber who’s so taken with her that he asks her out dancing afterwards.
23.Ann revealing her deepest wishes to Joe at Piazza di Spagna whilst eating Gelatto…
I’d like to do just whatever I like, the whole day long…
24.The lively music by George Auric… I love how perky and slightly mischievous-sounding it is as it’s playing during Ann’s first taste of freedom roaming around the city whilst Joe is secretly following her every trail.
25.The conversation at the sidewalk cafe as both Joe and Ann are lying profusely trying to cover up their true identity. Joe claims he’s a fertilizer salesman and Ann pretending she’s a student running away from school.
26.Eddie Albert as Irving Radovich, Joe’s carefree photographer friend… the way he secretly takes pictures of the Princess is fun to watch!
27.The not-so-courteous way Joe tries to hint at Irving about the Princess by spilling coffee on him, knocking him off his chair, etc. Gregory and Eddie has such a wonderful and effortless rapport, you totally believe they’ve been friends forever.
28.The riotous Vespa scene. It just never gets old… especially when Ann is behind the wheel with Joe riding behind her, wreaking havoc on the side streets.
… 29. Princess Ann smoking her first cigarette… and nonchalantly quipped, ‘There’s nothing to it…” Who can’t relate to that rebellious streak we all had at one point of our lives?
30. The delightful spontaneity of the Mouth of Truth scene. As you can read on my sidebar, thanks to Gregory’s genius idea of not telling Audrey what he was about to do, that scene of Audrey screaming was done in one take!
31.Night of Dancing on the Tiber River… I love this whole setting, the lights, the orchestra music, the romantic vibe… I love the fact that it was shot on location with Italian extras instead of a closed set.
32.Gregory Peck in a pajama… ’nuff said.
33.The extremely conspicuous men in black hired to retrieve the Princess… funny how they all stick out like a sore thumb!
34.The dance scene…
Ann: Hello
Joe: Hello
And in that moment, they suddenly realize there might be something there…
35. Joe’s completely guilty manner when Ann compliments him for being so selfless. This is when subtlety is so key in Joe’s role and Gregory pulls it off time and again beautifully.
36.Irving taking pictures from behind the bar… the whole set-up of having Joe covering up the camera and movie just in the nick of time for Irving to take the picture.
37.The barber fixing Ann’s hair right in the middle of the dance.
38.The way Ann calls on Bradley to rescue her from the secret service squadron… followed by that jolly good fight scene between that got everyone at the party fighting the secret police. The part of Ann hitting an agent with a guitar is such a hoot and failing to take a shot of that priceless moment, Irving tells her to do it again…
Hit him again, Smithy!
39.Audrey and Gregory looking so darn bewitching even drenched from falling into the river, which leads to…
40. … that impromptu first kiss… I’ve always wondered how long Joe’s been waiting to do that…
41. Joe’s world-weariness in contrast to Ann’s naivete…
Life isn’t always what one likes, is it?
Perhaps it’s this very comment that made Ann seal her decision to follow her duty instead of carrying on a romance with the man she loves.
42.The transformation of Joe Bradley from the rogue-ish, self-serving reporter to the sincere, compassionate, love-stricken man that he’s no longer had it in him to sell the Princess story for his own gain.
43.The amazing view of the city from Joe Bradley’s apartment’s balcony. Apparently the apartment interior and spiral staircase were a studio set, but the courtyard is real and the view from the terrace was shot from one of those courtyard apartments. I wish I had remembered this when we went to Italy a few years ago so I could pay a visit.
44.Joe trying to steal a little girl’s camera. It’s such a silly moment set against one of the most popular Italian setting, the Trevi Fountain.
45.The not-so-chivalrous way Joe moves Ann over from the bed to the chaise… I couldn’t believe it when I saw it the first time, but given that he had no idea who she was at the time, I guess you couldn’t really blame him.
46. Despite the age difference, Joe and Ann’s courtship never feels creepy or inappropriate… there’s something so decent and sweet about the manner of their romance but yet the impact is just as heartfelt as contemporary love stories, if not more so.
47.The way Joe stops Ann and takes her into his embrace moments before he drives her home. There’s so much emotion going on in this scene… Ann stops him from telling the truth, it’s as if the truth no longer matters as she knew they couldn’t be together.
48.Close-ups of misty-eyed Gregory in the heart-rending finale… that’s really what the pause button is invented for
49.Ann finally standing up for herself… refusing the milk and crackers her aide gives her in an assertive manner. The princess grows up in a matter of 24-hours and learn for the first time the joy and pain of falling in love.
50.The longing look as she gazes outside her palace’s bedroom window, and at the same time Joe is doing the same thing in his apartment just before his boss pays him a visit.
51.The no-fairy-tale ending. Though I very much want these two lovable creatures to end up together, I’m glad that the film ended the way it did. It’s a sobering reality that adds so much more meaning their short-but-sweet holiday together.
52.The Baroque bell tower that wakes Joe up the morning of the interview, and also looms in the background during the Gelatto-scene at the Spanish Steps… I love vintage clocks and this one was apparently built in the mid 1600.
53.The beautiful palace where Princess Ann holds the press junket… I love that shot of Joe and Irving amongst the crowd as Irving sarcastically quipped, “It ain’t much, but it’s home…”
54.The heart-rending finale. Joe walking alone in the empty palace corridor as everyone has left, his steps echoing as he reluctantly leaves the building. As he passes the two guards, he still takes a glimpse towards the stage once more. Empty. The music swells up, forcing us to realize they’re never going to see each other again. Joe keeps on walking towards the camera and disappears, carrying the memory of that day in Rome that he too will cherish for as long as he lives. Best. Finale. Ev-er.
55.Though filled with pathos, this scene was shot in the most stylish and artsy way. The glorious Palazzo Colonna and its wonderful paintings on its high walls inside Sala Grande Galleria did nothing to distract Joe from thinking of his lost love. Gregory looked like a fashion model in this last scene, beautiful beyond words. As someone who has seen dozens of his movies just in the last few months, I can easily say he never looked more dashing than in this movie and especially in this very scene. As I said in my tumblr post, in this movie Gregory did for suits what Cary Grant did for tuxedo.
56.Gregory’s undeniable chemistry with Hepburn. His eyes light up every time he looks at her… and a smile forms on his face almost instantaneously. It’s such a genuine rapport that clearly transcend beyond the movie as both became friends for life.
57.The way Wyler captures the every day sound and sights of the city… the market’s hustle bustle, the sound of traffic, people buzzing about, etc…. it adds so much charm to the already captivating scene of the Princess in the city.
58.The beautifully-scripted conversation of that tearful goodbye… tender and emotional without being overly schmaltzy.
Princess Ann: I have to leave you now. I’m going to that corner there and turn. You must stay in the car and drive away. Promise not to watch me go beyond the corner. Just drive away and leave me as I leave you. Joe Bradley: All right. Princess Ann: I don’t know how to say goodbye. I can’t think of any words. Joe Bradley: Don’t try.
… 59.And last but not least…. the timeless quality of Roman Holiday. This is one of those few movies with a great re-watchability factor. I’ve watched this so many times and manage to find something new to be enamored and enchanted by. …
I hope you enjoy my tribute to this classic rom-com. I REALLY recommend this if you haven’t seen it already. Those who have, what’s YOUR favorite scene(s)?
Happy Tuesday, all! Today’s post is in honor of my friend Terrence of The Focus Filmographer who’s traveling to NYC for a much-needed vacation.
Y’see I’m guest-posting over at his blog today with my review of MIRAGE (1965), a classic noir thriller set in New York City starring, you guessed it, Gregory Peck. Click on the image below to go to the review post.
There are tons of great photography of New York City in that film, so I thought it might be fun to post some of my favorite still photos from movies set in the Big Apple. Of course these are far from a comprehensive list, just a few that I could think of as I’m posting this.
Anyway, you probably know which stills these are from, but if not, just hover on each image and you should see the ALT tag revealing the film name.
……
So before you head down to read my review, please share your favorite movie(s) set in New York City. Photo links are welcome, too!
Greetings and welcome to all and sundry. It’s my great pleasure to offer a Guest Review of a film I grew up with and have seen many, many times on television. With and without commercials. Though only a few times on the big screen. One of the great World War II films.
Winner of two Academy Awards. From 1949. Directed by Henry King. With Gregory Peck, Dean Jagger and stalwart of many 1950s Science Fiction films, Hugh Marlowe the focus of a large cast of seasoned, well versed character actors depicting life in a B-17 heavy bomber squadron attached to the Eight Air Force in the thick of Daylight Bombing Missions in 1942.
The film begins with mild mannered Dean Jagger’s Harvey Stovall stepping out of a post war London Haberdashery after spending ‘A splendid hour and a half.’ selecting and purchasing a Bowler Derby. Satisfied, Harvey passes by an Antiques Shop and notices something in the front display window. A keepsake from a bygone era. Another purchase is made and Harvey rides his bicycle out along far off paths and roads. To what once was USAAF Archbury, home of the 918th Heavy Bomber Squadron.
The scene dissolves into the return of a group of B-17s. Fewer than had gone out. Some flying well. Others damaged and straining to keep in the air. Crash crews and ambulances are scrambled as one bomber bellies in. Slides and grinds and comes to a stop. Hatches open and the crew escapes. One seriously wounded airman is stretchered out and a medic enters the stricken hulk and brings out something wrapped in a blanket. Another bad day after another tough miserable mission for the 918th. One of the 8th Air Force’s ‘Hard Luck Outfits’.
Arguments ensue during a somber debriefing. While just outside London a newly promoted Brigadier General Frank Savage is in discussions with Generals of even higher rank. It seems that the 918th and other squadrons have hit the point of diminishing returns. Losses on bombing missions are bad to staggering. Unit cohesion is suffering. Savage’s new orders are to relieve the 918th of its Commanding Officer, Colonel Keith Davenport and do whatever is necessary to get the 918th back in the plus column.
Savage arrives with little aplomb to see just how bad things are. Lax security at the front gate. The squadron’s Executive and Air Operations Officer, Lt. Colonel Ben Gately, is Absent Without Leave (AWOL) after Davenport has been relieved. Savage orders Gately be put under arrest and goes over the assigned staff records until Gately arrives and reports for a private dressing down.
Savage demotes Gately from Air Exec to Aircraft Commander and orders him to paint ‘Leper Colony’ on the nose of his assigned bomber. To be crewed by Gately and any complainers, malingerers and those whose work is far below par. Because Gately rates them. The only way off ‘Leper Colony’ is improvement!
There’s a new sheriff in town and the officers and crew discover the next morning as Savage lays down the law. Leaves are canceled. No more combat missions until things improve. So, it’s back to fundamentals. Formation flying. Very tight. Very close. And lots of it! The crews gripe and groan as they are dismissed.
The crews revolt of course, and the Orderly Room is flooded with Transfer Requests. Enter Major Harvey Stovall. A lawyer in civilian life. Magnificently underplayed by Dean Jagger, who’s been sitting on the sidelines and slowly sizing up his new C.O. after having been earlier read the Riot Act. What he has seen, he likes so far. And an important alliance is formed as the bomber crews continue their griping and training.
Improvement occurs slowly but surely. Combat missions are scheduled. The officers’ Club is reopened and the keepsake from the Antique Shop takes its place on the O Club’s mantle. Facing those inside when there would be mission the next day. The missions go out and the crews practice what they’ve learned about tight box formations of eight planes and utilizing each plane’s ten machine guns to keep German fighters away. Military Air Doctrine at work when long range escorting allied fighters were still months away.
The missions go deeper and deeper into France and finally, Germany! By now the crews feel as though they are part of something bigger than themselves. Morale has improved and the squadron can hold its own with the enemy and takes bigger and bigger chances. Peck’s General Savage may still not be loved, but he is respected in spades! Men in unpressurized steel and aluminum bombers will tempt death for him. Which was the overall objective of Savage’s assignment in the first place.
Which sets the table for a strategically important mission to bomb a ball bearing factory in Germany. All parts of the squadron are functioning as a well-oiled machine. The planes are scarred, but are ready to go. The crews board their B-17s and…. I won’t go further than that. Lest we get into Spoiler Territory.
Now. What Makes This Film Good?
Ramrod straight, spit & polish Gregory Peck playing a by-the-book officer, much to the alarm and dismay of his newly-assigned squadron. Who believe they have it rough until Peck’s General Savage shows them what rough really is! Peck’s Savage knows he’s not been given the 918th to be loved. He’s been given it to punch holes in the sky until its B-17s stand a better than decent chance of survival against the Luftwaffe. Then punch more holes in the sky to bomb Fortress Europe. If that means closing the Officers’ Club until further notice. And telling your men to forget about going home or someplace better and consider yourself already dead.
Savage is more than willing to do that. Since Savage understands that he is but one large sprocket in a much larger machine. With even larger sprockets above and smaller ones below which all need to mesh for the machine to operate.
The film’s beautifully lit, B&W photography fuses subtly with the sunlight lit, spartan offices and adds to the overall power of the film. That meshes smoothly with the stock gun camera Dogfight footage of German Messerschmitts and Focke Wolf fighters for the brief times the 918th’s B-17s are airborne and over enemy territory. Some of the best aerial photography in film.
A large and impressive cast of secondary characters and their actors. Specifically, Gary Merrill’s Colonel Keith Davenport, Hugh Marlowe’s Lt. Col. Ben Gately and Paul Stewart’s ‘Doc’ Kaiser. Merrill’s Davenport is near to being burned out as the film begins. Only to return on a later visit to see that Savage starts showing small signs of being where he was before being relieved.
Marlowe’s Lt. Col. Gately is a spoiled, privileged son and grandson of Army generals as the film begins. Though through many weeks of the Savage Method, becomes his most ardent disciple. Even flying multiple combat missions with a chipped vertabra that later results in bed rest and Traction. His transformation is subtle, but intriguing to behold.
Paul Stewart’s ‘Doc’ Kaiser is the quiet one in the group, Watching and discreetly reporting to Savage and later, Air Exec, Major Stovall on the overall fitness of the crews and probably to the Big Brass in London on Savage’s fitness as well. Stewart is a past master of under statement and doesn’t disappoint.
What Makes This Film Great?
Everything that makes it good. Plus Gregory Peck firmly wrapping himself around a figure of authority that will be visited time and again in future films. Particularly Captain Horatio Hornblower and Captain Newman, MD. Though much more rigidly as General Frank Savage. The scenes Peck shares with Dean Jagger are sometimes humorous, though completely believable and a treat to watch. As is the dialogue and Technical Direction. Kudos to the film’s director, Henry King for making parts of Eglin Air Force base in Florida and its Auxilliary, #3, Duke Field, which is in the middle of nowhere, for filling in for USAAF Archbury.
On an historic note, Twelve O’ Clock High has been used for decades after its release as a case study and training aid in countless military and private sector leadership seminars throughout the United States and the world. Specifically used to stimulate discussions regarding authority and respect for the chain of command. The film was nominated for the National Film Registry in 1949 and was selected for the Registry in 1998. …
Another one I might actually watch is David and Bathsheba, which is fitting considering this past Thursday was 
Winner of two Academy Awards. From 1949. Directed by Henry King. With Gregory Peck, Dean Jagger and stalwart of many 1950s Science Fiction films, Hugh Marlowe the focus of a large cast of seasoned, well versed character actors depicting life in a B-17 heavy bomber squadron attached to the Eight Air Force in the thick of Daylight Bombing Missions in 1942.
