Tag: Classic

THE STRAWBERRY BLONDE (1941)

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Directed By: Raoul Walsh 

Written By: Julius J. Epstein & Philip G. Epstein

Based on the play by: James Hagan 

Cinematography: James Wong Howe

Editor: William Holmes 

Cast: James Cagney, Olivia De Havilland, Rita Hayworth, Alan Hale, Jack Larson, George Tobias, Una O’Connor, George Reeves, Lucile Fairbanks, Edward McNamara, Helen Lynd 

Biff Grimes is crazy about Virginia Brush, but his “pal” Hugo Barnstead marries her himself and makes Biff the fall guy for his shady dealings. Though Hugo seems to have everything Biff wants, Biff learns that having what one wants and wanting what one has can be two very different things.

Part of this film’s charms is that it’s not a big story with high steaks, but more a character comedy that is charming and it’s own right Word not only the star shines, but the supporting characters help.

As the film is about romance and love, and what truly matters in it, so it is full, and we see its nurturing grace, with a note of the next stage, and never or rarely being disguised.

This was one of my first James Cagney films, and definitely my first James Cagney comedy, though not one of his more famous titles or not considered a classic amongst his other films. So far, it is one of my favorites of his, and truly shows he was a star who seemed to be able to do it all saying, dance act, he could be a hero or he could be a villain and quite scary.

This is only the third film of James Cagney that I have seen. I think I appreciate it because it’s not as talked about as his other films.

His performance, here is more as a romantic, and a man, with a quick temper, who threw out, seems to be taken advantage of by those around him yet never let his anger out on them but directed at Phantom threats and challenges whose ultimate goal is to become a dentist.

The way he plays it is genuinely his own as in most of his comedic performances it’s fast and he seems to get so worked up over nothing that the performance is grand, and half of it is watching his history as he gets himself more and more worked up, but gracefully, he also comes down or how much trouble his anger and fast-talking gets him into.

As he is such a force of nature that it seems like the film and characters, more or less revolve around him, and react only in this film, they all get their time to shine, even while he is huffing and puffing. 

As the one person who truly does care for him, and looks out for him, he is oblivious to Eventually he wakes up and opens his eyes as he realizes what he has, or what he could lose.

The best thing for him was not getting what he wanted, as it also showed him what was important, which seemed to be the moral of the story.

The film has an earnest story and it’s quite simple but gets so much mileage out of it that it’s no shock that it’s the James Cagney of his films and the Director of the film Raoul Walsh also says it’s his favorite that he made.

The intentional comedy of his character being a hothead, yet always losing fights until it truly matters is a quality the film seems to try to introduce subtly. This also showcases that his character is not that smart, but is good with quips. Is that the character who ultimately is the villain of the story? Did his actions seem intentional, but always seem to take advantage of Cagney’s character or lead his character to ruin.

This also leads to one of the few problems of the film is that his other friend played by Jack Larson, is not that good-looking nor charismatic, So it’s hard to believe him as his rival as the only thing that he seems to have over Cagney is maybe a certain smoothness, which I guess is what works as it is obvious and is really the defining point of his character.

Later, it seems like he envies his friend’s life but eventually can see why it’s best. He didn’t get the girl and had the fate of his friend. 

Rita Hayworth’s character is a gold digger but has a soft spot for James Cagney which is romantic, but troublesome as she is the one who has her husband get him a job that proves to be his undoing.

There is even a chance that the romance between him and Hayworth could have worked, but and wouldn’t have been ideal or true. She ultimately buries herself and her chances later in the film. She shows all the things in her character that his character doesn’t like in a woman, yet is more ravishing in her lead scenes physically, though always shows why her character and Cagneys could work especially early in the film when they go on a forced date.

James Cagney and Olivia de Havilland’s chemistry is not the flashes they have so much chemistry and Rita Hayworth is truly his even in comedic scenes with her talking about her ideals and her strange flirtation with some Lothario (Played by Herbert Anderson, who played the father on the show DENNIS THE MENACE) who keeps winking and she can’t help winking at them with Chelsea her character is looking for love and excitement and is just as open to making the wrong decisions.

Though it’s hard to believe that she’s so passive when finding out we’re figuring out that her married friend Rita, Hayworth kissed James Cagney and the lights-out spaghetti scene 

Cagney’s character played by Alan Hale, is hilarious steals all of his scenes, and proves to have great chemistry with the star. As well as George Tobias, who plays his Greek friend, and who ends up being his only true friend, they are both hilarious. 

The film’s more comedic scenes aren’t as physical but more verbal and witty. 

It’s a comedy with dramatic moments, but a heart for romance.

Grade: A 

ONE, TWO, THREE (1961)

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Directed By: Billy Wilder

Written By: Billy Wilder & I.A.L. Diamond 

Based on the play “Egy, Ketto, Harom” By: Ferenc Molnar 

Cinematography: Daniel L. Fapp

Editor: Daniel Mendell 

Cast: James Cagney, Horst Buchholz, Pamela Tiffin, Arlene Francis, Lilo Pulver, Howard St. John, Hanns Lothar, Leon Askin, Ralf Wolter, Karl Lieffen 

C.R. “Mac” MacNamara is a high-ranking executive in the Coca-Cola company, assigned to the corporate office located in West Berlin. Mac’s dream are to climb the corporate ladder in the company to eventually become the head of Western European Coca-Cola Operations. One day, Mac receives a call from his boss, W.P. Hazeltine, to look after his 17-year-old socialite daughter, who is coming to West Berlin, while he is on a trip. Soon enough, Mac finds himself in the undesirable circumstances of trying to take care of this young whirlwind and manage all of the problems she causes.

The movie escaped me for many years as I missed seeing it and a recent Billy Wilder perspective at my local repertory theater. So finally getting to see this late Wilder movie was bittersweet even though I still have yet to see it on the big screen.

It’s a little more political than I expected. This film is still a joy only for the chaos that seems to be happening from the beginning to a comedic blizzard throughout. James Cagney’s character is the ringmaster. Who tries to keep it together and contained and usually bleeds into something else that causes another set of problems. 

As there are contained scenes that are filled with farce and all kinds of comedy from slapstick to physical to wordplay. That involves ridiculous characters who seem over the top but become endearing.

As James Cagney’s character is trying to get a promotion wishes as well seem to be a crumbling marriage, a dysfunctional family, a mistress who is his secretary, and other foreign dignitaries. All at once and once he has to babysit your boss’s daughter, and she sneaks out because of all sorts of problems he has to clean them up, especially when his boss decides to make a surprise visit. 

What are the interesting aspects that in all the people he tries to help even if it’s for selfish reasons. They always seem to battle against him even when it is for their own best interest. 

It truly is a film of its time. Wilder has never shied away from more of the controversial subjects and is maybe a bit bawdy. As well, it seems quaint. Now I can only imagine at the time this film, caused a mini uproar over the decision and the behavior of some of its characters.

At certain points, it does get a little bit too silly for its own good especially when it comes to the character of Otto. Cool comes off as more annoying and might’ve inspired Archie Bunker and Meathead a bit over a decade later on the sitcom ALL IN THE FAMILY. 

For me, the film is a laugh right as you’re just amazed that how much can go wrong and still work out not to mention how much how many plates can be spinning all at once in a scene and they may fall nothing ever seems to break and that is a perfect way to describe this film. There is so much going on, but you can easily follow it and it never truly lets you down.

It’s a shame that Cagney did not enjoy making this film, so much that he retired from acting after being in this movie and didn’t make another acting appearance until RAGTIME. which was his last role. It feels like we lost more performances From the man. Who is in top form here.

The film is fast-paced, and while there are all kinds of lunacy going on, if it were not for James Cagney‘s character being the ringmaster and handling all these disasters and trying to find an answer while putting out all these fires, the film truly would be lost.

Grade: B 

THE MAN WHO CAME TO DINNER (1941)

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Directed By: William Keighley 

Written By: Julius J. Epstein & Philip G. Epstein

Based On The Stage Play By: George S. Kaufman and Moss Hart

Cinematography: Tony Gaudio

Editor: Jack Killifer 

Cast: Monty Woolley, Ann Sheridan, Bette Davis, Jimmy Durante, Richard Travis, Billie Burke, Reginald Gardiner, Elisabeth Fraser, Grant Mitchell, Mary Wickes 

Sheridan Whiteside, an eccentric and acid-tongued radio lecturer, is disabled on the doorstep of a prominent Ohio family and must remain confined to the unwilling family’s home for a few days. Discovering what he believes to be problems within the household, hatches a plot to fix all of the household’s problems. 

Sherry then proceeds to find out that his leg is fine so he bribes the doctor to declare him unfit to leave for a few weeks so he can meddle with the lives of the members of the household. But has he made a mistake?

While you definitely notice the film’s theater origins as a play by George S. Kaufman and Moss Hart. 

The highlights of the movie are the main character of the movie played by Monty Woolley. Even in a film with two female superstars of the time Anne Sheridan and Bettie Davis. He is the one who is given the most screen time and the best laughs.

Ann Sheridan at least gets chances for her character to join in on the comedy. Bettie Davis plays an important character but barely gets anything to really do. As she is more of a straight woman throughout. 

Woolley’s character is acid-tongued and insults almost everyone around him. He is an intellectual snob who believes he is better than everyone. While it is never particularly said he seems to also be homosexual. The film makes it seem that he is different in taste and class than his wealthy benefactors whose house he slips in front of and is forced to put up with him. While they put him up.

Throughout he causes all sorts of trouble for the family particularly the matriarch and in true selfish fashion. When his assistant played by David falls in love. He tries to sabotage it not because he is in love with his assistant but for her companionship. One could see it as he has been made to feel like an outsider all of his life because of his style, intelligence, and decor. 

So now he is taking it out on everyone who is considered normal and hetero to a degree. As no one is safe from his tongue lashings. Most accept them as they aren’t aware they are being insulted, others who do can only bluster as they know they can’t do anything about it. Those Who try to verbally spar often lose. Even his accomplices tend to switch sides or he turns on them at least once or twice.

He is technically the villain but also the centerpiece and most interesting character that you end up loving to hate him or hate to love him.

It might as well be a one-man show. As Monty Woolley shines in every scene and takes over. Most characters in this movie talk a mile a minute and so does the action and jokes at times. As it is a kind of screwball comedy. He is the main focus even telegenic the film tries to throw some sight gags and physical comedy in the mix it feels like leftover from the fresh and sharp dialogue. So that anytime it leaves him or focuses on another character. It slows down and becomes a bit dull.

The only other person in the film who truly steals scenes is Jimmy Durante and his antics who come into the film in the third act as another accomplice of Woolley’s He gives the film much-needed energy. As Durante on screen is so energetic it’s like he drank 12 lattes before each take. His appearance is a late great surprise. 

Ultimately the film is entertaining and can see why It’s Considered a classic. Though It’s not as strong as one would hope if it wasn’t for the main role. This film would feel rather basic. It might be the direction or presentation overall. 

Grade: B 

WEEKEND (1967)

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Written & Directed by: Jean-Luc Godard Based on the short story “LA  AUTOPISTA DEL SUR” By: Julio Cortazar  Cinematography: Raoul Coutard  Editor: Agnes Guillemot

Cast: Mireille Barc, Jean Yanne, Jean-Pierre Kalfon

A supposedly-idyllic weekend trip to the countryside turns into an endless nightmare of traffic jams, revolution, cannibalism, and murder as French bourgeois society starts to collapse under the weight of its own consumer preoccupations.

Throughout this film, we follow a truly unlikeable couple on an endless journey/trip. Who terrorize or are terrorized by all they come across. It gets a bit meta as they know they are in a film. They continually wander into different narratives, scenes, or stories.

They keep coming across more dead people throughout the road and it feels a bit post-apocalyptic at certain points.

The film is episodic that stays with the couple and their various interactions with others. It gets continually ridiculous. As it feels like a stylistic comedy with deeper ramifications with plenty of unexpected philosophy and what feels like satire.

Thought this would be one of his more divisive movies. Where it’s an experimental concoction, but this ends up becoming an almost film. As it was one of Jean-Luc Godard’s films I might actually like and dare I say almost enjoyed it completely.

Though his films fascinate me and keep me coming back to discover. As he or the films usually have something to say or present.

Either that or more commonly he and his films fit the case of the tale of the emperor’s new clothes. Where there is nothing really there, yet people pretend there is, which can be said of a lot of celebrated directors by many people. 

One can admit to being more of a fan of Francois Truffaut’s films. His fellow film enthusiast, reviewer, and co-worker at the legendary film magazine Cahiers De Cinema. 

Godard is a director I can truly call an auteur. As no matter what there is a discussion to be had at the end of his films and no one can call them simple. There is no other director like him though many have tried. one can see how he has inspired so many. 

This film actually feels playful and fun despite the absurdity. As it is most and tends to turn in a dime at times. The first hour has so much craziness but keeps you engaged that when the second half comes along with that same craziness but it starts to feel like a philosophical lecture. Even if he leaves it to the audience to figure out or read into it. 

As always this happens just when I was ready to accept and enjoy. He then pulls the rug under you.

Like the recent film TENET at times the soundtrack is louder than the dialogue. Thankfully there are subtitles throughout. Though if they were left out it would rise to the challenge the director seems to desire. 

The opening scene is certainly erotic with just the power of words and suggestions.

The film Of course has the legendary amazing tracking shot of the endless traffic jam and what various cars and people are all doing during. While the main couple’s car tries to get along the way. Where there is violence and games It ends brilliantly. 

Grade: B

THE KING OF MARVIN GARDENS (1972)

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Directed By: Bob Rafelson
Written By: Jacob Brackman
Story By: Bob Rafelson And Jacob Brackman
Cinematography: Laszlo Kovacs 
Editor: John F. Link II 

Cast: Jack Nicholson, Bruce Dern, Ellen Burstyn, Julia Anne Robinson, Benjamin “Scatman” Crothers, Arnold Williams, John Ryan, Sully Boyar, Josh Mostel 

A daydreamer convinces his radio personality brother to help fund one of his get-rich-quick schemes.

Will admit it took me quite some time to finally sit down and watch this film. Once I did it was probably brought upon by the director of the film. Which is a shame as this is a very powerful film. Not perfect but astonishing fun in what it achieves and also tries to do. 

Stories keep going on with no endings as they lead to another one. Yet never drop what came before. This film isn’t so much plot-oriented as character Oriented and the film allows for each of them to have their own little stories and dramas going along with one another and the narrative. 

Jack Nicholson here playing against type. As here he is more subtle, quiet, and sad as a character. He is the thinker of the two brothers. Even though they are both storytellers. Bruce Dern plays the more loud charismatic one. The problem is that they both tend to believe each other’s stories too much and soon find themselves in over their heads.

The film allows Jack Nicholson to show his range fully. 

Some might find this film slow or maybe even dull, but there are moments when the film comes alive. Though the other moments that are slower, bear more character building and help to build and showcase the characters’ dynamic. As well as illustrate the story. 

The film does offer an unexpected ending. Not much of it or the film is too predictable, at first but seems to like to throw misdirection.

Like Bruce Dern’s character. As none of the characters seems to really want to admit to what is happening or truly talk about it. 

This film is an increasing rarity of acting indulgence and taking chances with professional actors. Where they get to develop a character. As this film is more of a character study with a story to guide them to their fates. 

So that we can see their full emotional spectrum. As well as their true colors by the end. 

As the film is made up of simple moments that are lived in. 

A scheme that seems to be an ideal built of their mutual dreams. A palace or idea that they keep feeding into and want to control. A pipe dream to escape into to break up the monotony they are trying to escape.

Slowly getting seduced against better judgment and dragging two females along who are eye candy and intimates. Dangling sex and partnerships in front of the other brother, but have their own drama going on. So that the situation seems like a cult at times.

Ellen Burstyn’s Character slowly has a mental breakdown. As she realizes she might be being pushed aside for the younger model. 

The illusions drift, as both brothers are natural liars. Storytellers of some sort, one does professionally one does naturally to survive. Though all built on lies. Only one chooses to believe his own until the end. While others around them fall for it almost. As that is how charming and strong their devotion is.

The film is almost a ghost story. As these characters are free yet seem bound to their surrounding which is Atlantic City before it got renovated. So everything looks worn and beat down like the character’s Souls

An added bonus to The film is watching now legendary Actors we are used to seeing older in their younger days here.

Grade: B-

THIEVES HIGHWAY (1949)

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Directed By: Jules Dassin
Written & Based On The Novel By: A.I. Bezzerides
Cinematography By: Norbert Brodine
Editor: Nick DeMaggio 


Cast: Richard Conte, Valentina Cortese, Lee J. Cobb, Barbara Lawrence, Jack Oakie, Millard Mitchell, Jospeh Pevney 


A war-veteran-turned-truck driver attempts to avenge the crippling and robbing of his father at the hands of an amoral produce scofflaw. What I like about this film is that inherently it is a simple film. It’s has a simple premise that has monkey wrench a thrown into plans that generally shock the audience as considering the time it came out. It has such a cynical heart and unpleasent scenes mixed in with some they are more jolly.

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