MORE GOOD LOOKING THAN IT REALLY WAS

There are movies that were really significant in their time, but failed to withstand the course of time and ”Love with a proper stranger” is one of those classic Hollywood blockbusters.

Creating one of the most popular and good looking couples both on and off the big screen, the basically flat and emptyish storyline managed to circumvent its flaws and to enthrone Steve McQueen and Natalie Wood as sex symbols of the entire era.

”Love with a proper stranger” is a feast for an eye, both for men and women equally, but a boredom for the brain as well.

LOVE WITH A PROPER STRANGER – 4/10

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JAMES STEWART AT HIS BEST

James Stewart, being one of the most popular and successful ”good guys” of classic Hollywood was the perfect and obvious choice for the roll of the middle-aged man falling into a deep and disturbing identity crisis by imagining the 10-foot rabbit Harvey as his best friend.

To the awe of the society and to horror to his family, Stewart gives all he’s got to create one of the most memorable and hilarious stories of all times, earning the ”oscar” nomination for himself, but also a ”golden boy” for the character of his aunt for Josephine Hull.

Script moves smoothly all the way through the the end of the flick, where, by taking a strong u-turn questions the starting premise and also creates one of the more moving parting scenes in its era.

”Harvey” is a great movie from the time we were kids, but it’s not a kid’s movie at all.

HARVEY – 7/10


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COVERING ALL THE ANGLES

Coming back from the war is one of the most popular movie themes of all times, especially for the Americans, since they didn’t have the experience on fighting on the home ground for more than 200 years. Cultural and emotional shocks for both the veterans and their family and friends is the subject for one of the best movies that describes the returning of warriors after the WWII, William Wyler’s ”The best years of our lives”.

Centered around three totally different stories, the crafty director manages to cover all the angles and to show that the things and the people are not who and how they seem like at the first look. The toll of war is basically same for all three men and their families, regardless of their approach, mental posture and starting and ending points. Although basically tragic, this post war syndrome story ends with a strong positive message for the generation of ”baby boomers” it was meant in the first place.

”The best years of our lives” is a solid, real and strong script that manages to avoid most of its inevitable pathetic.

THE BEST YEARS OF OUR LIVES – 7/10

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DRAMA FOR ALL TIMES

Since the mid ’50s, Hollywood stood at the forefront of changing the public opinion and controversy that his movies brought were meant to appeal to the average viewer and make him/her think and/or question the deeply rooted  conservative attitudes.

Elia Kazan’s mastered the subject of forbidden love, social prejudices and tragic romance in his movies, while simultaneously managing to create some of the most famous male and female couplings in the history of western cinema.

”Splendor in the grass” has turned the public’s eye to a young and handsome Warren Beatty and also enthroned Natalie Wood as the tragic heroine of love stories in that era. The two actors perfectly clicked both on and off the screen and managed to guide the viewers all the way through one love story that started as a beautiful thing but resulted in one of the most heartbreaking ending scenes of all times.

”Splendor in the grass” is a real life, tough, beautiful and tragic love story for all times.

SPLENDOR IN THE GRASS – 8/10

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FOR A WHOLE FAMILY

James Stewart was always an actor that chose the roles in the films made for the entire family and they were, with almost no exception, positive ones.

In his cooperation with the famous Frank Capra, he chose to portray a character in a practically Christmas fairy tale made for the big screen. With the depiction of on two parallel possible stories, James with ease presents the world with and without his character, ending in a kinda sweetish, but nonetheless positive and touching way.

”It’s a wonderful life” is one of those movies we loved as kids and grew to love them even more when we have the kids of our own.

IT'S A WONDERFUL LIFE – 7/10

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OL’ SCHOOL DRAMA

When you combine Billy Wilder behind and Gloria Swanson and William Holden in front of the camera you can not get a mediocre result. Semi-autobiographical story about the fallen star of silent movies that struggles to catch up with the moving industry perplexed with a love story and a crime mystery, you get a really decent movie with some dramatic depth.

On the other hand, the praise it received were mainly due to the moment it appeared, thus being really up to date with its display of the changing cinematography.

”Sunset Boulevard” is a good ol’ school drama, but with a somewhat obsolete subject.

SUNSET BLVD – 5/10

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CLASSIC AGATHA

Agatha Christie is one of the most adapted writers for the big screen, but also rarely managed to deliver a bad movie script. Her crime mysteries were just too good in their core, offering endless plot twists, as did one of her first adaptations, ”Witness for the prosecution”.

William Wilder’s movie brought Marlen Dietrich’s charisma to the big screen, but also managed to keep the tension of a murder trial all the way through the entire movie, climaxing in a really unexpected and well hidden final twist. On the other hand, the acting and the development of characters won’t be revolutionary.

If you are into crime/mystery/trial movies you should not miss ”Witness for the prosecution”, a classical genre mainstream.

WITNESS FOR THE PROSECUTION – 6/10

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A MONUMENT TO CROSS-EXAMINATION

James Stewart was one of those everlasting good guys of classic Hollywood, portraying honest and slightly naive characters fighting the system. His role as a inexperienced young lawyer that has to crack a murder case that doesn’t seem to look as easy and straightforward as it did when the trail began.

Director Otto Premminger isn’t letting anything slip by unnoticed, dissecting the trail process to the very smallest details with discreet, but fanatical persistency. Stewart and Remmick are dancing their dance of hunter and the hunted with ease, while the cross examinations flawlessly manage to raise the temperature of the plot until the very climax and the not so anticipated ending.

”Anatomy of a murder” laid down the foundation for many courthouse movies while simultaneously enthroning the cross examination as a foundation of the Anglo-Saxon law system.

ANATOMY OF A MURDER – 8/10

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„JUST” A GOOD DRAMA

Not seldom great actors are remembered not by their best roles, but the ones that went out into theaters at just the right time for a certain generation, like did ”On the Waterfront”.

Mid fifties were the time of change in the Hollywood and some fresh, new faces were hitting the big screen, bringing the spirit of rebellion with them. Brando fitted like a glove in that surroundings with his raw union muscleman Terry Malloy, earning his first nom, and so did the movie, winning a total of 8 ”oscars”, including all the major ones.

However, the movie itself brought ”just” an ok story, some good grim atmosphere and trademark Brando acting. Taking that into consideration, the praise it earned was somewhat overacted, since both Kazan, Brando and Malden had better movies.

”On the waterfront” was maybe an important movie in its time, but now  represents just a solid social drama.

ON THE WATERFRONT – 5/10

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A MASTERPIECE OF DRAMA

Marlon Brando was THE actor of the golden age of Hollywood, but often misleading the public with his looks and not his acting. Story about a possessive love and hate relationship between him and Vivien Leigh was precisely one of those scripts that grew more ripe over the decades, still being able to shock and move the viewer even long after its protagonists were gone.

Tennessee Williams was one of the most successful writers to be adapted into movie scripts in that era and Elia Kazan was one of the best directors to do such a task, which resulted into 12 nominations for ”oscars”, including all the major categories. Acting earned 4 of those noms giving the ”golden boys” to Malden, Hunter and Leigh, leading to some impeccable one-on-one scenes of pure intensity, unparalleled deep into the 21st century.

If you want to watch one of the Top 10 American movie dramas of all times, you should definitely watch ”A streetcar named desire”. 

A STREETCAR CALLED DESIRE – 9/10

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OL’ SCHOOL COOL

Crime and love story intertwined were a trademark in classic Hollywood thriller and Billy Wilder’s script about an insurance agent (MacMurray) falling for a seductive dame (Stanwyck) is no excuse.

All the usual elements of such a story are there, a basic simple, yet smart plot, some sharp turns in the script and a macho sweet and sour finale as well. When you combine all that together, you get a good, yet not unforgettable box office crowd pleaser.

”Double indemnity” is a classic within a classic era, a strong mainstream contender without any highs or lows.

DOUBLE INDEMNITY – 5/10

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NOT LIVIN’ UP TO THE EXPECTATIONS

Cary Grant, James Stewart and Katherine Hepburn together on the big screen was something you could see quite often even in the era of classic Hollywood. Pretty thin script, average movie and some flat lined acting from the famous threesome was even more exotic movie happening.

Yet, the creators of ”Philadelphia story” managed to do just that, filming a forgettable flick with megastar casting and that’s just a shame.

”Philadelphia story” is one of the more overrated oldies in the history of Hollywood.

THE PHILADELPHIA STORY – 4/10

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SLIGHTLY NAIVE, BUT STILL UP TO DATE

Americans are the nation of pathetic patriotism, but not rarely mixed up with some more or less strong criticism of their own system and the greed it is based on. When you combine all those elements together, you get a story about a small man’s struggle against the system and money called ”Mr Smith goes to Washington”.

James Stewart is one of those actors who can carry this kind of role with ease, creating the sympathy of an average viewer, while the story remains everlasting, despite some rather naive and pathetic outcomes and subplots.

”Mr Smith goes to Washington” was a classic movie for the entire family and still pretty much is just that.

MR SMITH GOES TO WASHINGTON – 6/10


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INTELLIGENT AND SUSPENSEFUL

Just because there were no blood and explicit sexual scenes doesn’t mean that the oldies couldn’t have produced a suspenseful and meaningful thriller about a blind girl caught up in a scheme by two scoundrels trying to take the advantage of her handicap.

We usually haven’t seen Audrey Hepburn in this kind of roles, but she managed to portray an innocent, yet capable blind girl pretty persuasive, as did once young Alan Arkin as her nemesis. As for the script, there will be some really great scenes towards the end and the overall sense of adequate approach to the plot will be present.

”Wait until dark” is one of those movies that will persuade you that all the great ideas were already used in classic Hollywood and that everything that followed represents merely a deja vu.

WAIT UNTIL DARK – 6/10


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CLOSE TO THE POINT, BUT ALAS...

Wartime stories are kind a worn out genre, even in Europe, which tried to give them some more humane touch (”A very longengagement”, ”Atonement”, ”Enemy at the gates”).

”Frantz” is one of those humane dramas about the gallantry and knighthood between the enemies and a discreet love triangle that emerges among the hatred and fresh wounds after the ending of First World War.

Slow tempo and gradual building of tension will seduce the viewer in the first part of the movie, but will leave the story open and pretty much without the required climax and outcome.

”Frantz” is a solid piece of war/love drama, but not a special one as well.

FRANTZ – 5/10

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TOTAL ART

Nick Cave officially has no brakes.

One of the greatest songwriters and artists from the past couple of decades has elevated himself to a whole new level by filming a documentary about his last studio album ”The Skeleton Tree”, that simultaneously tells a story about his personal family tragedy, the one that no parent should endure in his/her lifetime, a loss of a child.

While the other artist only talk about total art with no boundaries between them and the viewer, Cave enforces it, without any hesitation or remorse. Literally falling apart in front of the camera, he tells the world about his feelings, trying to cope with them, transform them into music and lyrics, thus making one of the most personal albums of all times. And he does that in a profoundly sincere way, just like any other human being on this planet that is not a musical superstar.

”The Skeleton Tree” will move each and every human being, not just the fans of Nick Cave.

ONE MORE TIME WITH FEELING – 8/10

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CRAWLING UP YOUR HEART

Russian candidate for this year’s foreign ”Oscar” is a typical European hard to watch and almost empty European kind of dramas, directed by the best director of the largest country in the world at this moment, Andrey Zvyagintsev.

Naively praised in the West as a portrayalist of a stark and bleak life in Russia at the beginning of the 21st century, Andrey managed to film yet another universal movie story that everybody can relate to, painting the emptiness and absence of any kind of emotion for our youngest.

Fanatically persistent in his empty shots, Zvyagintsev used two brilliant movie rookies and told a frightening script about selfishness and vanity that consequently lead to tragedy.

If you are into real life stories and have no problem with slow pace movie scripts, you should definitely watch ”Loveless”.

LOVELESS – 7/10

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DISTASTEFULLY BIASED

Documentaries are always a dangerous weapon in the hands of a skillful director and this fact hadn’t missed the Canadian attempt to make a story behind the rise and fall of the last Soviet hockey team before the collapse of the Union.

Fetisov, Karpov, Kasatonov, Krutov. The mighty Four that terrorized the world on ice for almost a decade isn’t just a classic sport story and the makers of ”Red Army” wanted us to show the dark secret behind their success, the back side of communism and the controversy that followed with the departure of the Mighty Four in NHL. This was done in a poor, maniristic and propaganda kind of way, often highlighted by the persistently strict responses by Slava Fetisov himself.

Instead of educating ourselves, ”Red Army” tried to remind us how we were lucky not living in communism and it miserably failed to do so, making it a poor documentary.

RED ARMY – 3/10

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TYPICAL SPORT FLICK

Sport movies are pathetic and there is no way around that fact.

This can especially be said for the modern Russian sport movies, which tend to confront the Western culture by glorifying the past achievements in the sport arenas.

Hockey was the best Russian collective sport and it still is, mimicking the power and awe of USSR times. Among many stories that had been written on the ice pack, the one of Valeri Kharlamov is one the most dynamic, although not depicting the tragic ending.

All the elements of  a classic sport story will be there, the painful, but stellar uprising, the moral dilemmas and challenges that follow the glory and a triumphant resurrection in the legendary revial matches between USSR and Canada.

On the other side, little will be given on the depth of characters and the acting will be just mediocre, with an exception of ever versatile Oleg Menshikov, here portraying the legendary coach and the father of modern Soviet hockey armada and collective sport itself, Tarasov.

If you are into sport movies, ”Legend N.17” will please you in a really decent way.

LEGEND N.17 – 5/10

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RUSSIAN ”APOCALYPSE NOW” ON STEROIDS

Classic Russian cinema is THE ARTSIEST one in the world. It is built on basic graphic elements and a powerful symbolic of the simple and direct script.

On the other side, the Russian war movies of the past were quite often drowned in pathetic and overemphasized patriotism, which lead to a significant diminishing of their art qualities.

All of this can not be said for the one of the most powerful and most painful to watch war stories ever, ”Come and see”.

Elem Klimov filmed a merciless and never ending torment for the average viewer, bombarding him from the very start with unbearably intense editing of every imaginable war horror from the deepest levels of hell. Although basically empty in the script line, ”Come and see” will first extinguish your soul and then blow you away with one of the most powerful endings in the history of war cinema.

”Come and see” is one those movies you will watch only once, but will never forget.

COME AND SEE – 8/10

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