lombardo42 Reviews

Shane (1953)

One Of The Greatest American Westerns

[10/10 · 10 May 2009]

Alan Ladd portrays Shane, a retired gunslinger who wanders onto the Starrett ranch and befriends the family, eventually working for them. Right from the beginning the character of Shane comes across as a little strange and mysterious, and not much information is given as to his background or past affairs. The cast includes Van Heflin as Joe Starrett, Jean Arthur (in what is to be her final film appearance) plays his wife Marian and Brandon De Wilde as their little boy, Joey. The Starrett family alongside many others are living in the vicinity of a small community with no established law. In other words, trouble flows frequently and the peacemakers of the bunch find themselves and their property threatened by wild and stubborn cowboys, who harbor an intent to drive the settlers out of town.

Meanwhile, a cattleman named Ryker (Emile Meyer) wants to buy the Starrett property, but Joe is adamant in his decision and refuses. Leaving him with no alternative Ryker sends for an infamous gunslinger named Wilson to take care of Starrett, but Shane ultimately intervenes and saves the town from overpowering corruption.

"Shane" is a movie about conflict; about how one man, a stranger, can put a troubled town back on its feet and, at the same time, change the standing of one family. The showdown between Shane and Wilson, played by Jack Palance, is short, quick and to the point. Palance has such a strong presence as Wilson, yet all it takes is a single bullet. That scene looked and felt like a real showdown. It is a beautiful looking movie with wonderful cinematography, not to mention a story that really gets into your heart. Its classic ending really is what everyone says it is. Very few westerns get any better than this.

The Cincinnati Kid (1965)

Steve McQueen And Poker?

[8/10 · 10 May 2009]

Steve McQueen plays the title role of the Cincinnati Kid; a young, up-and-coming poker player. The backdrop of the movie is 1930's New Orleans where we are introduced to Lancey Howard (Edward G. Robinson), a famous master of the game and the best player in the country. Lancey is back in town and by word of mouth a game is quickly arranged for the two pro's. Kid's colleague Shooter (Karl Malden) is appointed the trusted dealer, but after an exclusive meeting with a head honcho named Slade (Rip Torn), Shooter is put into a corner and is forced to rig the game.

Meanwhile, when Kid's girl Christian (Tuesday Weld) is out of town visiting her parents, he begins an unsteady relationship with Melba Nile, played by the beautiful Ann-Margret. Joan Blondell rounds out this great assemble as Lady Fingers, a respected card dealer and old friend of Lancey Howard.

"The Cincinnati Kid" is a pretty entertaining movie. Although I don't know anything about the rules of poker, and not absolutely certain if it's imperative for the audience to have a thorough knowledge on, director Norman Jewison is a great substitute for Sam Peckinpah, who was originally slated to direct. Jewison's direction during the showdown between the Kid and the Man is very well done, creating suspense by the clean and natural turn of a card. The soundtrack is also really good here with Lalo Schifrin as the composer. Many viewers have already began to compare this movie with "The Hustler", the classic film about poolsharks made famous by Paul Newman just a few years before. "The Cincinnati Kid" could very well have been made to piggyback that highly acclaimed film.

One, Two, Three (1961)

Billy Wilder's Amazing Rapid-Fire Comedy

[9/10 · 10 May 2009]

Our setting is West Berlin, Germany, just after the Second World War where James Cagney plays C.R. MacNamara, a Coca-Cola executive assigned to look after his boss's daughter Scarlett Hazeltine (Pamela Tiffin) while her parents are away vacationing in Europe. As the story progresses Scarlett falls in love with an East German Communist named Otto Piffl, played by Horst Buchholz. When MacNamara finds out that the underage Scarlett is engaged to be married all hell breaks loose as he (with the help of his assistant Schlemmer) hastily undertakes the task of transforming Piffl into a respectable, presentable, and noble husband when Mr. and Mrs. Hazeltine arrive back to greet their daughter.

MacNamara's trouble doesn't end there, however. Phyllis MacNamara (Arlene Francis) is unhappy with her life in Berlin, and for the sake of their children she pleads with her husband to take back his old position in Atlanta and return to live in the United States. He refuses and she threatens to leave him.

Billy Wilder directs this fast-paced comedy with sheer brilliance it will leave your head spinning. The cast here is top-notch and James Cagney is non-stop hilarious. For a film that has at least a chuckle a minute it is nowhere to be found on AFI's Top 100 Laughs. Fans of Howard Hawks' "His Girl Friday" should enjoy and appreciate this highly underrated farcical gem.

Some Like It Hot (1959)

The Greatest American Comedy And One Of Wilder's Best

[10/10 · 9 May 2009]

"Some Like It Hot" is ranked number one on the American Film Institute's Top 100 Laughs; making the film basically the funniest movie of all-time. Yet, I couldn't refrain from asking myself if this movie really deserves the number one spot, or even "Tootsie" at number two; perhaps there IS something about transvestitism that appeals to the general public, mind you, if they're done skillfully. I feel I'm in no position to argue. With that said this delightful comedy has a little something for everyone to enjoy.

After being nearly arrested for entertaining in an illegal backdoor dive and gambling club two musicians named Joe and Jerry, played by Tony Curtis and Jack Lemmon, flee the scene and quickly start looking for jobs elsewhere. After hearing that a certain opening is available for a saxaphone and bull fiddle player Jerry tries to convince an agent that he and Joe can qualify for the engagement -- the only catch is that they have to be women. Joe refuses the idea and suggests the alternative and play at a dance located 100 miles out-of-town. In an effort to provide themselves with transportation Joe charms his way with a woman to borrow her car located at a parking garage. While there Joe and Jerry witness a mob massacre; narrowly escaping death themselves. In fear of their lives the two flee the state, joining an all-girl band masquerading as women and head out by bus to Florida.

During this bus ride the two men encounter an attractive blonde named Sugar Kane Kowalczyk, played by a voluptuous, then pregnant Marilyn Monroe. From the very first meeting she comes across as a not particularly bright, bottle-sipping ukulele player who wants nothing more but to marry a nice, kind man with lots of money -- like a millionaire with glasses. As the story progresses Joe takes a fancy to Sugar and funny complications ensue. The band eventually arrive in Florida, and Joe and Jerry, now calling themselves Josephine and Daphne, instead of fleeing on arrival decide to play out their stint at a hotel lounge. Meanwhile, Joe attempts to win the affection of Sugar while pretending to be an English millionaire equipped with glasses and a yacht. But their amusing absurdities come to a halt when the mob from Chicago, headed by Spats Colombo (George Raft), catches up with them by odd chance at the same hotel.

There are two reasons why "Some Like It Hot" works and why so few of the same kind of movies that followed have been a success. 1) The cast. In addition to the superb character actors, Pat O'Brien and Joe E. Brown, you just can't go wrong with Jack Lemmon, Tony Curtis and Marilyn Monroe. The two men play off each other so well and they're a delight to watch. And to top it off you have Marilyn Monroe, in what I've always considered was the last triumph in her film career before making her final picture, "The Misfits", a year or so later. 2) Billy Wilder as director. Wilder has such a strong ability for comedy on screen it is unparalleled, HE is unparalleled; watch any or all of this man's movies and you'll understand why he's considered one of the greatest filmmakers of the 20th century. Presently, "Some Like It Hot" is working on being nearly 60 years old, and it doesn't seem dated one bit.

Hell's Angels (1930)

Howard Hughes Comes To Hollywood

[9/10 · 9 May 2009]

Brothers Roy and Monte Rutledge ditch their native Oxford for England's Royal Flying Corps at the onset of the First World War. One of the brothers (James Hall) is madly in love with a beguiling and attractive girl named Helen, played by Jean Harlow. Meanwhile, after the news that war has been declared on Germany, their German friend Karl (John Darrow) is ordered back to his country to enlist in the war and fight Britain; a sentence he resents on account that he considers the English his friends. Karl ultimately ends up on a Zeppelin (a German airship) with orders to bomb an area in London.

As the story progresses Roy and Monte volunteer for a risky mission: to bomb a German munitions facility using a German plane. Before they commence to their duty however, Roy and Monte decide to enjoy what could possibly be their last night together and Roy goes off and looks for Helen, only to find her in the arms of another man. (Sometime in mid-1934, The Motion Picture Association of America (MPAA) drafted a document that set the standards on what was acceptable to be shown on motion picture screens. A lewd scene in the movie involving Helen and a drunken man is a fine example of pre-code behavior).

"Hell's Angels" was really a movie ahead of its time. Howard Hughes, the director, wasn't afraid to do anything if he knew it would be beneficial to the picture, and cost certainly wasn't an issue because the results were sensational. The aerial sequences alone were convincing for its time, and even today, because it was achieved through the means of practical effects and obviously required an aviator's skill. The color sections of the film (the destruction of the Zeppelin in particular), were also well done, creating the right atmosphere for a highly elevated airship in danger of being compromised. And the sacrificing of the German airman falling down a darkened pit without even so much as a whimper was both frightening and unnerving; this scene is a sparkling example of how images can triumph over words. But what I found most wonderful of all in this film was an eight minute, two-strip Technicolor scene featuring Jean Harlow, the only color footage that exists of the actress.

Garbo (2005)

A superb documentary on the most mystifying actress in film history

[10/10 · 3 July 2008]

This is a feature-length documentary titled 'Garbo' and was hosted by Turner Classic Movies. I've seen this film before and the great thing about watching it a second time is that my feelings towards Greta Garbo have changed. I never really appreciated her the way I do now. Since my last viewing I've taken the liberty of finding out more about her -- reading what people had to say -- and how there was nobody like her before or after. This film is also great for newcomers, for anybody who wishes to know more about this legendary icon, or as one person referred to as a mythological figure.

The documentary includes interviews from a couple of Garbo biographers, including Barry Paris; her friend and walking companion, Sam Green; friends and living relatives, and a number of people who have their own stories to tell about their alleged Garbo sightings on the streets of New York. I especially loved the footage, however intrusive, and the charming recounts some of the people had to say.

Perhaps the most endearing recount is given by Charles Busch, who tells us about a time when he followed Garbo into a Japanese antique store and how there was nobody in there besides the clerk. He describes how he watched her but never dare approach her, and when he picked up a little green figurine, then moments later Garbo picked up that very same figurine. What a moment! Garbo enthusiasts can only imagine how he must have felt.

Marlene (1984)

A revealing film about the most alluring actress in film history

[10/10 · 6 June 2008]

Today I watched a documentary on Marlene Dietrich titled 'Marlene'. It was produced in 1984 and directed by Dietrich's "Judgment at Nuremberg" co-star Maximilian Schell. I don't know how many of you know this, but Marlene agreed to do the film only if the director was in compliance with her wish not to be photographed, and because of this she does not appear in the film. But her Paris apartment is recreated to give the illusion that the actress is really there. Her voice, however, is used as the narration through the film, which is aided with various clips of her movies, concert performances and newsreel footage.

To begin with, Marlene shows little interest in this whole film -- it's obvious -- and even less interest in the discussion of her movies -- that's, sadly, even more obvious. I'm convinced now more than ever that she never enjoyed working on a movie. Still, it's nice to discover that she is able to remember her experiences with a lot of clarity, sometimes using the German word "kitsch" (worthless) to describe most of her film work; although I may disagree with her on some. Marlene also talks about other things besides her films. Her singing career and personal life are briefly discussed, as well as Jean Gabin, Ernest Hemingway, Josef von Sternberg and her marriage to Rudolph Sieber.

It's a strange documentary that you can't help but like. And not everything you would like to hear (even if you consider them important in her life) is mentioned a whole lot in this; such as the war years, where Marlene's tireless efforts to entertain the allied troops stationed at the front, seemed neglected. I remember hearing Schell saying to Marlene in the beginning of the film that he didn't want this to be a typical A-B-C from childhood to present interview. Well, perhaps it would've worked better had it been that way. Much of it was a mess -- not difficult to follow necessarily -- just may have been easier on Marlene's temper had there been some kind of order to the whole thing. Maybe.

It gets a little heated towards the end of the film. Schell seems to have angered Marlene at one point by pressing her for a comment on one of her movies. I don't know how serious it was after the tape stopped rolling, but she evidently wasn't amused. In the end, it becomes apparent to the viewer how cranky Dietrich is at this point in her life. You could argue that it might have something to do with her age, but I think it has more to do with the fact that she was an incredibly disciplined woman who favored manners and intelligence over such common habits like idle gossip and unpreparedness. In fact, her attitude during this film is so overwhelming to the point where it's just sad. She may sound bitter, but she's a woman worth listening to regardless. Watching this documentary gives Riva's book even more credibility, in my opinion, especially in the final years of Dietrich's life where you wonder if all those incidents you read about were true.

La Vie En Rose (2007)

A mesmerizing film about a one of a kind performer

[10/10 · 4 June 2008]

What's the first thing that comes to your mind when you think of France? To some it might be the Eiffel Tower, and to others it might be the famous avenue, the Champs-Élysées. Initially, these were the only two that came to my mind, but now you can add Edith Piaf to the list. In short, this movie is about the life of the famous French singer Edith Piaf, known perhaps mostly to the public as the Little Sparrow, a nickname given to her by someone who could be considered one of the most important men in her life, Louis Leplée, and has remained with her to this day.

We learn from the film that she was born on a street corner and abandoned by her parents, and that most of her childhood was spent growing up within the confines of a brothel. We also see her as a peddler singing in the streets as well as in nightclubs before receiving her first break. She becomes an incredible sensation throughout France, touring and delighting people in many countries including the United States.

I went into this movie knowing very little about Edith Piaf and came out wanting to know more. Even when the end credits started I found myself still glued to the screen, waiting for the last bit of credit to roll off, and at the same time thinking what a truly fascinating woman Edith Piaf was. The tragedies in her life, the people she had met, and her death that came much, much too early. Marion Cotillard is fantastic and had me within the first ten seconds of her first line. Believe me, she's that good. Just watching her react to her lover Marcel Cerdan's death is incredible.

This film may not have done her life justice, but it can be agreed by everyone that she was one of a kind. If I may borrow a little of what Marlene Dietrich once said about Edith Piaf, and that, to me, listening to Piaf is like being taken on a journey. It is not necessary to understand the words, because it reaches everyone. It is understood by everyone. For me, it has little to do with the words; it's that voice, the spell she casts over her audience, and the images it projects.