2025 Blind Spot Series: A Star is Born (1954 film)

 

Based on the 1937 film written by Robert Carson, Dorothy Parker, and Alan Campbell from a story by Carson and its director William A. Wellman, A Star is Born is the story of a film star who meets and discovers a young singer/actress whom he would marry and make her famous only for his career to go downwards. Directed by George Cukor and screenplay by Moss Hart, the film is the 2nd version of the story from 1937 as it explores a woman who falls in love with an actor as her career goes on the rise while she struggles to watch her husband spiral into descent. Starring Judy Garland, James Mason, Jack Carson, Tommy Noonan, and Charles Bickford. A Star is Born is a majestically rich and intoxicating film by George Cukor.

The film is the story of a fading film star who meets a singer at an event as he is amazed by her talent as he helps make her into a film star where she would succeed beyond his expectations with his own career going on decline. It is a story that is a rise-and-fall story of sorts, yet the rise is towards this young woman trying to get a break to become a singer and the fall is towards the man who would fall in love with her with his own career going into decline. Moss Hart’s screenplay opens and ends with a ceremony that celebrates the film stars as the opening scene revolves around the fading film star Norman Maine (James Mason) who arrives late at the event, intoxicated on alcohol. Also, at the show there is a singer in Esther Blodgett (Judy Garland) who is also part of a band as she sings on the stage where she saves Maine from embarrassing himself. Realizing what she did for him, Maine would find her singing at a nightclub with the band as he is amazed by her singing talents as he would get the attention of a film studio head and longtime friend in Oliver Niles (Charles Bickford) to sign her as she would be known as Vicki Lester.

The script does have a traditional narrative structure where Hart show the signs of Maine’s decline as he would act in films that were successful for a time, but his alcoholism has made him a liability. The film’s second act is about Blodgett’s sudden rise and Maine becoming unemployed though Blodgett does want a simple life for herself and Maine without the demands of Hollywood. Even as Maine starts to lose his identity as a star with Blodgett rising as Lester to the point that she would eclipse him. The third act is about Blodgett rising further with Maine descending further as Niles offers to help him but one of Maine’s faults as a person is his pride as it is one of the reasons for his own self-destruction.

George Cukor’s direction is wondrous in its grand setting as it is shot on various locations in California including studio lots at Warner Brothers. The film opens and ends at the Shrine Auditorium where it will be 2 pivotal events for Blodgett. The opening sequence has Cukor using some wide and medium shots through the Cinemascope format where he captures the spectacle of this event. Even as he shoots a shot from Blodgett’s perspective where Maine is on the side of the stage about to make a fool of himself where the compositions and movements of the cameras have Cukor show a sense of suspense and drama in an otherwise lively and musical moment. Cukor also maintains simplicity in some of the musical numbers as well as the dramatic scenes with the usage of medium shots and close-ups. There are also these extravagant musical numbers where shots would linger for a while through dolly-tracking shots in some scenes. Aiding in the musical numbers is choreographer Richard Barstow where there is a lot that happens in the dance numbers.

Notably the scenes where Blodgett is doing dance numbers that are being filmed where there is a lot of detail into the overall presentation of the dancing and where Cukor would move the camera from one part of the location to another. Cukor’s approach to melodrama is also riveting in a scene late in the film where both Blodgett and Niles lament over Maine’s state as well as what to do. It adds poignancy to the conflict that is in Maine over his own pride and what he wants for Blodgett. The version of the film that is available widely to the public is a restored 178-minute cut (including a 2-minute intermission) in 1983 from the original 1954 182-minute premiere version of the film. A lot of footage was cut from its premiere version much to the dismay of Cukor but the 1983 restoration that includes a lot of still pictures and audio from lost scenes from much of the film’s first act does play into Blodgett’s own fears about making and what Maine wants to do for her. The small moments that got cut for the version many saw in the theaters in 1954 with a 154-minute running time does lose a lot of the weight into the drama that would loom for the second and third act. Overall, Cukor crafts a heart-wrenching yet exhilarating film about a fading film star sacrificing his own career for a talented singer/actress whom she would eclipse his own fame.

Cinematographer Sam Leavitt does brilliant work with the film’s colorful cinematography through the Cinemascope format as there is a vibrancy into many of the film’s interior shots for some scenes at night along with some subtle touches of naturalism for some of the daytime exterior scenes at the studio lots. Editor Folmar Blangsted, with additional work by Craig Holt for the 1983 restoration version, does excellent work with the editing in some rhythmic cuts to play to some of the musical numbers as well as in some of the dramatic moments in the film. Production designer Gene Allen, with set decorator George James Hopkins and art director Malcolm C. Bert, does amazing work with the look of the Maine house where he and Blodgett would live as well as the sets created for some of the musical numbers. Costume designers Jean Louis and Mary Ann Nyberg do fantastic work with the costumes with the clothes and gowns that Blodgett would wear being the major standout.

Makeup artists Del Armstrong and Gordon Bau, along with hair stylists Helen Young and Sydney Guilaroff, do terrific work with the look of Blodgett in some of the musical numbers she does for the films she is acting in plus one key scene in the first act where she is given one of the worst Hollywood makeovers ever. Special effects supervisor Hans F. Koenekamp, along with the work of Lisze Bechtold, Eric Durst, Kevin Kutchaver, and Ken Rudolph in the 1983 restoration version, does nice work with some of the visual effects for a few dance numbers and rear projection for some of the driving scenes while the pictures used for the restoration allow the film to bring more weight into what Cukor wanted originally in the film before it got re-cut. The sound work of Charles David Forrest and Charles Lang is superb for the sound work in how sound is presented on set as well as how sound appears from another room and in that room for some of the dramatic moments.

The film’s music by Ray Heindorf is wonderful for its soaring orchestral score that plays into the excitement of Blodgett’s rise as well as themes that play into Maine’s decline. The songs by Ira Gershwin and Harold Arlen are incredible for the musical numbers that Blodgett performs in that include some of the songs she sings for the movies she is in as well as a song she sings at home and the ballad at a nightclub where Maine visits.

The film’s marvelous ensemble cast feature some notable small roles from an un-credited Strother Martin as a deliveryman, Hazel Shermet as Libby’s secretary, Irving Bacon as a singer in the film’s opening number Graves, Amanda Blake as the radio host Susan Etting, and Lucy Marlow as a young starlet in Lola Lavery who works for Niles. Tommy Noonan is fantastic as Blodgett’s bandmate, who is unsure about Maine’s claims into making her a star though he would be supportive of her as well as giving a great monologue towards the end of the film about everything that had happened. Jack Carson is excellent as the studio publicist Matt Libby who does what he can to clean up Maine’s mess and such until late in the film where he proves to be unsympathetic towards Maine’s own issues. Charles Bickford is brilliant as the studio head Oliver Niles as a man who is Maine’s best friend as he does what he can to make sure Maine gets work, but he also must run a studio where he later converses with Blodgett about how to help Maine.

James Mason is great as Norman Maine as a fading film star who laments over his decline as he discovers Blodgett and helps her becoming a big film/music star where he later copes with his alcoholism, wounded pride, and a career that is going nowhere. Mason does have moments where he is upbeat and full of energy as it highlights the man at his best, but it becomes fleeting where he is often faced with uncertainty in his life. Finally, there is Judy Garland in a spectacular performance as Esther Blodgett/Vicki Lester as a singer who wows Maine where she would gain a career only to unknowingly eclipse the man she loves. It is a performance where Garland displays a lot of charisma and energy as well as a vulnerability that plays into a woman that wants to help the man she loves to the point that she is willing to sacrifice her own career as it is one of her iconic performances.

A Star is Born is an outstanding film by George Cukor that features tremendous leading performances from Judy Garland and James Mason. Along with its supporting cast, a riveting screenplay by Moss Hart, a gorgeous presentation, and a dazzling music soundtrack with musical performances that are insatiable to watch. It is a film that is not just this compelling musical drama but also a film about ambition and love. In the end, A Star is Born is a magnificent film by George Cukor.

Related: A Star is Born (1937 film) - (A Star is Born (1976 film)) – A Star is Born (2018 film)

© thevoid99 2025

Cross of Iron

Based on the novel The Willing Flesh by Willi Heinrich, Cross of Iron is the story of an aristocratic Nazi officer who heads the army as he deals with non-commissioned officers who don’t agree with his methods. Directed by Sam Peckinpah and screenplay by Julius J. Epstein, James Hamilton, and Walter Kelley, the film is a World War II film set during the Battle of the Caucasus in 1943 as it is an exploration of class and duty. Starring James Coburn, Maximillian Schell, James Mason, Senta Berger, and David Warner. Cross of Iron is a gripping yet rapturous film from Sam Peckinpah.

Set during the 1943 Caucasus campaign at the Taman Peninsula, the film revolves a newly-arrived officer who leads a campaign hoping to get the prestigious Iron Cross as he has to contend with a cynical platoon leader whose main concern is to survive in the battlefield with his men. It is a war film that play into not just what is happening in the battlefield but also behind the scenes as those who fight are struggling to survive yet there are officers with aristocratic backgrounds who doesn’t just crave some form of validity into the fact that they fought a war but also return home as some hero while others did the dirty work for that officer. For Sgt. Rolf Steiner (James Coburn) who already earned an Iron Cross, it’s a medal that doesn’t mean anything as he’s survived many battles with a platoon he sees as brothers as they’re trying to fight for another day despite his own disdain towards Adolf Hitler.

The film’s screenplay is quite complex into not just Sgt. Steiner and his views on war and honor but also is someone who see things for what they are as there are officers he does respect like Colonel Brandt (James Mason) and Captain Kiesel (David Warner) who share his views on war. When Captain Stransky (Maximillian Schell) enters the picture with aristocratic background dating back to the days of Prussia. Cpt. Stransky would become Sgt. Steiner’s new leader as he hopes to lead soldiers into battle and push the Soviets back into Moscow without having to be on the battlefield. Instead, a bloody battle that left several dead including an officer that Sgt. Steiner’s platoon admires where the issue about whether Captain Stransky deserves this Iron Cross come into question. When Sgt. Steiner makes his report to Col. Brandt about what happened, things become complicated where Sgt. Steiner and his platoon are forced to fend for themselves during an evacuation as they didn’t receive the order. All of which would play into Sgt. Steiner’s own view on war and survival.

Sam Peckinpah’s direction is definitely intense not just for the graphic depiction of violence that occurs on the battlefield but also for the tension that is looming behind the scenes. With many of the film’s exterior locations shot on location in former parts of Yugoslavia in Slovenia and Croatia with some interiors shot at Pinewood Studios in Britain. Peckinpah does use a lot of wide and medium shots to capture the vast locations as well as that sense of terror that looms in the battlefield. Even as he would use close-ups and medium shots to play into the suspense such as an opening sequence where Sgt. Steiner and his platoon attack Soviet soldiers as they would later find a young Soviet soldier-boy whom they would take as a POW yet would treat him kindly as he would stay in their camp. It is among these little moments of sentimentality in the film that includes a birthday celebration for a respected officer as it shows a group of men trying to find some semblance of humanity during this chaotic period of war. Those moments are presented with an intimacy as it shows some of the good that is in war as opposed to the scenes where Cpt. Stransky is telling his own officer about his own plans as well as show that air of arrogance and entitlement that Sgt. Steiner would despise. The scenes of war and battle are quite extravagant as well as having a sense of style yet it’s the non-battle scenes such as a sequence of Sgt. Steiner at a hospital in the second act is a very surreal one where he isn’t sure what is going on.

It play into not just his disdain for officers and their lack of disconnect with the realities of war but also wounded soldiers with scars and amputated body parts being part of this air of decadence. There is also a scene towards the third act where Sgt. Steiner and his platoon try to return to their base through Soviet territory where they encounter Soviet women soldiers as one of them would try to have his way only to get a rude awakening. It’s a moment that shows Sgt. Steiner being aware of the inhumanity that he sees as well as what he doesn’t want to do. The dramatic moments that Peckinpah create are quite fascinating such as a meeting into the decision into whether Cpt. Stransky deserves the Iron Cross as it play more into not just an air of cynicism towards war but also the de-value of what honor means. Overall, Peckinpah creates a harrowing yet confrontational film about a class warfare from within between German officers and soldiers during World War II.

Cinematographer John Coquillon does brilliant work with the film‘s grimy yet intoxicating cinematography from the way many of the daytime exteriors are presented as well as the lighting for the scenes inside the bunkers as well as the sense of artificiality in the hospital sequence. Editors Michael Ellis, Murray Jordan, Tony Lawson, and Herbert Taschner do amazing work with the editing with its usage of slow-motion cuts, stylish transitional dissolves, jump-cuts, and other stylish cuts to play into the action as well as the drama. Production designers Brian Ackland-Snow and Ted Haworth, with art director Veljko Despotovic, do excellent work with the look of the bunkers and trenches as well as the look of the hospital and some of the ruined buildings where the Nazi officers do their politicking behind the scenes.

Makeup supervisor Colin Arthur does terrific work with the look of some of the wounded soldiers in the hospital sequence as it play into some of the surreal elements Sgt. Steiner encounters. Sound editor Rodney Holland and sound mixer David Hildyard do superb work with the layer of sounds in the film as it play into the chaos of the battlefield as well as the sense of fear in how shells and gunfire sound from inside the bunkers. The film’s music by Ernest Gold is fantastic for its bombastic orchestral score with some cadence-like drumming in the background as it play into the horrors of war while the soundtrack also includes some German folk pieces from those times.

The film’s marvelous cast include some notable small roles from Slavko Stimac as a Russian boy Sgt. Steiner and his platoon capture and let him become a loyal servant that they would care for, Veronique Vendell as a Soviet soldier whom Sgt. Steiner and his platoon would deal with as they would make a bargain with her after one of his soldiers would do something wrong, Michael Nowka as the young Private Dietz who is new to the platoon as he would gain their respect through his determination, Arthur Brauss as another newcomer in Private Zoll who is brought into the platoon by Captain Stransky as he raises many of the platoon’s suspicions, and Igor Galo as Lieutenant Meyer as an officer Sgt. Steiner and his platoon admire and respect as they would give him a birthday celebration. Other notable small roles include Burkhard Dreist, Vadim Glowna, and Dieter Schidor as a trio of privates that are part of Sgt. Steiner’s platoon who are all men of great skill.

Fred Stillkrauth is terrific as Corporal Karl “Schnurrbart” Reisenauer as the second-in-command of Sgt. Steiner’s platoon whom Steiner goes to for suggestions while Klaus Lowitsch is superb as Cpl. Kruger as a wildcard solider who wears a Soviet cap as he despises the Soviets while knowing how to bullshit them. Roger Fritz is fantastic as Lt. Triebig as a closeted homosexual officer who is blackmailed by Captain Stransky to do his bidding as he would also make decisions that would impact the entire squad. Senta Berger is wonderful as Eva as a nurse who would watch over Sgt. Steiner during his time at the hospital as well as be a lover of him during that time. David Warner is excellent as Captain Kiesel as a hardened officer who has been in and out of the battlefield as he despises Captain Stransky while becoming quite cynical about war though still be loyal to Colonel Brandt.

James Mason is brilliant as Colonel Brandt as an officer who is upper class but understands the role he has to play in war as he is sympathetic to Sgt. Steiner’s views but is more hopeful about the future of life after war. Maximillian Schell is amazing as Captain Stransky as aristocratic Prussian officer who craves glory and prestige as he uses his influence and class status to get what he wants while dealing with the more grounded Sgt. Steiner whom he sees as an opponent as Schell definitely display that utter arrogance into a man that cares more about a fucking medal than the respect of his soldiers. Finally, there’s James Coburn in an incredible performance as Sgt. Rolf Steiner as a soldier who has fought a lot of wars and has gained a lot of respect where he copes with the many reasons to fight and the lack of honor that is emerging as it’s one of Coburn’s finest performances in his career.

Cross of Iron is a tremendous film from Sam Peckinpah that features great performances from James Coburn, Maximillian Schell, and James Mason. Along with a fantastic supporting cast, evocative visuals, a chilling score, and captivating themes on war, honor, and class. It’s a war movie that showcases what is happening behind the scenes as what some are willing to do and what they won’t do in and out of the battlefield. In the end, Cross of Iron is a phenomenal film from Sam Peckinpah.

Sam Peckinpah Films: The Deadly Companions - Ride the High Country - Major Dundee - Noon Wine - The Wild Bunch - The Ballad of Cable Hogue - Straw Dogs - Junior Bonner - The Getaway - Pat Garrett and Billy the Kid - Bring Me the Head of Alfredo Garcia - The Killer Elite - Convoy - The Osterman Weekend - The Auteurs #62: Sam Peckinpah

© thevoid99 2016

North by Northwest

Directed by Alfred Hitchcock and written by Ernest Lehman, North by Northwest is the story of a man who is being pursued by government agents of a microfilm he might be carrying as he is mistaken for being a spy. The film is a thriller where a man is on the run as he is mistaken for someone else as he tries to prove his innocence in a journey all over America. Starring Cary Grant, Eva Marie Saint, James Mason, Martin Landau, and Jessie Royce Landis. North by Northwest is a thrilling film from Alfred Hitchcock.

The film explores the world of mistaken identity where an advertising executive finds himself mistaken for a spy by a group of corrupt government agents as he later accused of murder where he goes on the run from authorities and the people that put him into this position. It’s a film that isn’t just a suspense-thriller where this man in Roger O. Thornhill (Cary Grant) wonders why he is mistaken for being a spy as his attempts to clear his name become troubling as he gets the help of a mysterious woman named Eve Kendall (Eva Marie Saint) whom he would be attracted to as she knows why he’s a fugitive as more complexities emerge. Especially in her association with the man in Phillip Vandamm (James Mason) who was the person that put Thornhill in this situation.

Ernest Lehman’s screenplay doesn’t just emphasize on this idea of mistaken identity where Thornhill is baffled for being involved something like espionage over some mysterious microfilm that had been stolen. Some of the situations and Thornhill’s reactions are quite humorous as it adds to the film’s suspense as Thornhill is often baffled for being mistaken for a spy. Still, Lehman takes his time to flesh out the characters as Thornhill is just an advertising executive who is devoted to his work as this case of mistaken identity forces him to live a little dangerously but also realize that he must take drastic action into these situations. The character of Eve is a complex one as she is revealed to be a mistress of Vandamm as she would tease and flirt with Thornhill while becoming aware that he isn’t a bad guy. Especially in someone like Vandamm who is someone that wants to cause trouble as he’s a character that isn’t fully realized but rather someone that is just a villain who is sort of weak and hungry for power.

Alfred Hitchcock’s direction is quite stylish from the opening title credits sequence created by Saul Bass to play into the sense of thrill that Hitchcock would create. Much of which involves some darkly comic moments such as Thornhill driving drunk since he was forced to drink an entire bottle of Bourbon. Much of the film is shot on studio sets as it would recreate some locations in New York City and Chicago plus the climatic scene at Mount Rushmore. Hitchcock’s usage of close-ups and medium shots are quite engaging including the way the relationship between Thornhill and Eve develops with some subtle references towards aspects of that growing relationship. Even as sex is implied where it used with subtlety in lieu of the production code of those times.

Hitchcock’s approach to suspense and thrills definitely showcase a master at work such as the very famous scene of Thornhill being chased by a crop duster in the middle of a plain fields near Chicago. Hitchcock also uses some humor in a notable scene at an auction house where Thornhill decides to make an ass out of himself so he can get the attention of the authorities as he’s being watched by Vandamm’s henchmen. The film would then lead to the climatic moment at Mount Rushmore where a lot of revelations occur as well as Thornhill’s decision to really take action against Vandamm and his goons. Overall, Hitchcock creates a very sensational and engaging film about a case of mistaken identity.

Cinematographer Robert Burks does amazing work with the film‘s colorful cinematography with its use of wide shots for some of the film‘s locations as well in some of the lighting interior/exterior scenes at night. Editor George Tomasini does brilliant work with the editing with its stylish use of dissolves as well as some rhythmic cuts to play into some of the film‘s humor and suspense. Production designer Robert F. Boyle, with set decorators Henry Grace and Frank R. McKelvy and art directors William A. Horning and Merrill Pye, does fantastic work with the set pieces such as home of Vandamm near Mount Rushmore as well as the estate where Thornhill meets Vandamm.

The special effects work of A. Arnold Gillespie, Lee LeBlanc, and Doug Hubbard is terrific for the backdrops in some scenes set in cars as well as the climatic showdown at Mount Rushmore. Sound editor Van Allen James does nice work with the sound from some of the sound effects that occur including the crop dusting plane as well as some scenes where sound plays key to the story. The film’s music by Bernard Herrmann is incredible for its thrilling orchestral score with soaring string arrangements to play into its suspense and terror along with some lush themes for the dramatic moments.

The casting by Leonard Murphy is superb as it features some notable small roles from Adam Williams and Robert Ellenstein as a couple of Vandamm’s goons who would kidnap Thornhill, Josephine Hutchinson as Vandamm’s housekeeper, and Malcolm Attenbury as a man Thornhill meets at the crossroads. Leo G. Carroll is terrific as a mysterious professor Thornhill meets in the film’s third act as he is aware of Thornhill’s innocence while Jessie Royce Landis is very funny as Thornhill’s mother who believes that her son is just screwing things up as usual. Martin Landau is fantastic as Vandamm’s right-hand man Leonard as this very creepy guy who manages to take care of anything Vandamm does as it’s a very chilling role from Landau.

James Mason is pretty good as Phillip Vandamm as this antagonist who displays a sense of charm in his demeanor although he’s sort of weak as a villain where he just commands and rarely takes action into his own hands. Eva Marie Saint is brilliant as Eve Kendall as this woman who is intrigued by Thornhill as she seduces and charms him for Vandamm while eventually falling for him as it’s a role full of beauty and grace. Finally, there’s Cary Grant in a remarkable performance as Roger O. Thornhill as this advertising executive who becomes a victim of mistaken identity as he deals with his situations as there’s some humor in his performance as well as the ability to be quite tough in handling his situations.

North by Northwest is a marvelous film from Alfred Hitchcock that features great performances from Cary Grant and Eva Marie Saint. The film definitely features some Hitchcock’s finest moments in suspense as well as unique approach to humor. Especially in his exploration of mistaken identity and a man’s unique reaction to his situations. In the end, North by Northwest is a tremendously exhilarating film from Alfred Hitchcock.

Alfred Hitchcock Films: (Number 13) - (The Pleasure Garden) - (The Blackguard) - (The Mountain Eagle) - (The Lodger) - (A Story of the London Fog) - (The Ring) - (Downhill) - (The Farmer’s Wife) - (Easy Virtue) - (Champagne) - (The Manxman) - (Blackmail) - (Juno and the Paycock) - (Murder!) - (The Skin Game) - (Mary) - (Lord Camber’s Ladies) - (Rich and Strange) - (Number Seventeen) - (Waltzes from Vienna) - (The Man Who Knew Too Much (1934 film)) - The 39 Steps - (Secret Agent) - (Sabotage) - (Young and Innocent) - The Lady Vanishes - (Jamaica Inn) - Rebecca - (Foreign Correspondent) - (Mr. & Mrs. Smith) - Suspicion - (Saboteur) - (Shadow of a Doubt) - Bon Voyage - Lifeboat - (Spellbound) - Notorious - (The Paradine Cage) - Rope - (Under Capricorn) - (Stage Fright) - Strangers on a Train - I Confess - Dial M for Murder - Rear Window - To Catch a Thief - (The Trouble with Harry) - The Man Who Knew Too Much (1956 film) - (The Wrong Man) - Vertigo - Psycho - the Birds - Marnie - (Torn Curtain) - (Topaz) - (Frenzy) - (Family Plot)

© thevoid99 2014

Lolita (1962 film)

Based on the novel by Vladimir Nabokov, Lolita is the story of a middle-aged professor who becomes obsessed with a teenage girl as he deals with the consequences of their relationship. Directed by Stanley Kubrick and screenplay by Kubrick, Nabokov, and James Harris, the film explores the world of obsession as it revolves around a man’s relationship with an underage girl. Starring James Mason, Sue Lyon, Shelley Winters, and Peter Sellers. Lolita is a captivating drama from Stanley Kubrick.

Professor Humbert Humbert (James Mason) arrives at a small town in New Hampshire looking for a place to live in the summer as he stops at house owned by Charlotte Haze (Shelley Winters). Haze is a widow who has rooms available at her home as Humbert isn’t sure about living there until he catches a glimpse of Haze’s teenage Dolores (Sue Lyon) who is also named Lolita. Humber lives at the home as he is amazed by Lolita’s presence as he decides to forge a relationship with Charlotte in order to be close to Lolita. Things seem fine in the household though Charlotte is often annoyed by Lolita’s presence as she sends her to summer camp in order to spend more time with Humbert. The two marry as Humbert becomes more infatuated with Lolita where Charlotte makes a discovery in Humbert’s diary.

After a tragic incident, Humbert leaves town to pick up Lolita at camp where the two go on a road trip across the country. At a stop at a hotel, Humbert meets a mysterious man (Peter Sellers) who is bewildered by their relationship. Humbert and Lolita live in another town for Humbert’s tenure as the relationship becomes rocky when Lolita wants to participate in a school play. Humbert refuses until a psychiatrist from Lolita’s school believes that Lolita should be in the play as Humbert finally acquiesces Lolita’s request. Yet, things get more troubling as Humbert and Lolita go back on the road as Humbert’s paranoia leads to health issues for the two of them. Yet, more problems start to emerge where Humbert gets a mysterious phone call that leads to Lolita’s disappearance as he wouldn’t see her until a few years later where would confront the man who picked her up at the hospital.

What happens when a man falls for a teenage nymphet as he tries to pursue a secretive relationship that eventually would cause a lot of trouble? That is the premise of this very provocative story that explore a middle-aged man’s infatuation with this young teenage girl. Professor Humbert is just a man who is intrigued by this young woman who is very unique and has this presence that is just fascinating to watch. Lolita is a young girl who is mature at times while just wanting to be a kid who likes to drink soda pop, chew gum, and do all sorts of things. The two together have this relationship that is strange as they hide it from the outside world yet they would raise question to the people they would encounter during their journey.

The screenplay that its writer Vladimir Nabokov would create explores this strange dynamic between these two very different people. Notably as it revolves around this middle-aged man’s passion with this young woman who feels controlled by her outgoing mother. For Lolita, having Humbert around gives her the chance to be with someone who cares about her and is willing to be attentive to her needs no matter how childish she can be. Then there’s supporting characters like Charlotte Haze who is essentially a widow who has been alone for a long time that is desperate to have a man in her life not just for her own social status but to have someone in her life that doesn’t involve Lolita whom she seems to resent.

Another character that comes into play in the story every now and then is this mysterious man named Clare Quilty. Throughout the film’s reflective narrative that is largely focused on Humbert’s perspective, Quilty is this man who seems to be everywhere as Humbert would only meet this man on a few occasions yet never really come face-to-face except in a confrontation near the end of the story. What becomes more intriguing is what does he have to do with Lolita where Humbert would start asking questions about some of Lolita’s activities in the film’s second half where it is eventually revealed towards the end.

Stanley Kubrick’s direction is definitely hypnotic in the way he presents the film as more than just a typical drama. Instead, Kubrick creates a film that blurs genres where there’s an element of dark humor, some suspense, some eerie film-noir devices, romance, and melodrama all mixed into one entire film. Yet, he opens the film with its ending where it does set-up a lot of what Humbert has to reflect on just as he’s about to commit a horrible crime against this mysterious man who had been around him during this strange journey. Throughout the film, Kubrick creates unique framing devices to present the characters and the situations that happens along some close-ups to help display the mixture of emotions running through these characters.

The direction also has Kubrick taking on some unique ideas of how he frames his actors in a scene. Notably this one moment where Humbert is outside the hotel having a conversation with this mysterious man as Kubrick places Humbert in the background while this mysterious man is almost in front of the camera. It’s Kubrick establishing Humbert’s clueless nature about this man whom is often talked about as he was seen dancing with Charlotte early in the film at a dance. Throughout its first two acts, the film plays off as a bit of melodrama mixed in with romance yet things start to shift towards something darker in the third act as it revolves around a paranoid Humbert and a more indifferent Lolita as their relationship starts to crumble.

This would lead to Lolita disappearing and an penultimate scene between the two that is melodramatic in terms of the revelations that are unveiled as it shows a full-on development between the two and their relationship. Then the film goes back to the very beginning where it would be followed by this epilogue revealed in text over what happened. It would reveal not just moments of tragedy but also the sense of loss that came into this very taboo relationship between a middle-aged man and a teenage girl. Overall, Kubrick crafts a very mesmerizing yet intriguing film about a man’s fascination with a young girl.

Cinematographer Oswald Morris does brilliant work with the stylish cinematography from the lush look of the daytime exterior scenes to more entrancing, noir-like lighting schemes for some of the film‘s interior and exterior nighttime scenes to help set the mood for these moments. Editor Anthony Harvey does wonderful work with the editing by using rhythmic cuts for some of the film‘s emotional moments as well as dissolving transitions to help the film move at a brisk pace. Art director William C. Andrews does fantastic work with the set pieces from the home of the Haze house to the lavish hotel that Humbert and Lolita stay in.

Sound recorders H.L. Bird and Len Shilton do terrific work with the sound from the atmosphere of the dance party Humbert, Charlotte, and Lolita attend to the intimacy of the scenes on the road. The film’s music by Nelson Riddle is amazing for its orchestral-driven score that features dramatic themes and suspenseful cuts along with a playful pop piece that plays to the film’s offbeat dark humor. Additional music by Bob Harris is for the film’s soaring orchestral theme that plays to the sense of romance that occurs in the film.

The casting by James Liggat is superb for the ensemble that is created as it includes some notable small roles from Lois Maxwell as a hospital nurse, Marianne Stone as Quilty’s companion Vivian Darkbloom, Shirley Douglas as Lolita’s piano teacher, Jerry Stovin and Diana Decker as a couple of Charlotte Haze’s friends, and Gary Cockrell as a young man named Richard that Lolita would be with late in the film. Shelley Winters is great as Lolita’s mother Charlotte who resents Lolita as she is desperate to cling to Humbert as she tries to woo him in every way while realizing the horrifying truth about Humbert’s fascination with her daughter.

Peter Sellers is outstanding as the very mysterious Clare Quilty who appears in very strange parts of the film such as the film’s opening scene where he tries to chit-chat his way out of a situation while also being very manipulative in every way as it’s definitely one of Sellers’ great performances. Sue Lyon is wonderful as the titular character from the presence that she creates to the complexity she brings as a young woman who is quite mature but also very childish as she deals with Humbert’s infatuation as well as her sense of rebellion. Finally, there’s James Mason in an incredible performance as the troubled Professor Humbert as he falls for the young Lolita as well as trying to ensure that what he’s doing isn’t wrong where he later becomes a man who descends into madness as he’s desperate to cling into the young woman that he’s in love with.

Lolita is an astonishing film from Stanley Kubrick that features marvelous performances from James Mason, Sue Lyon, and Peter Sellers. While it is definitely a very uneasy film to watch due to its subject matter and Kubrick’s approach to create a story that bends genres. It’s definitely a very engaging film that explores the world of taboo love as well as obsession in the eyes of a middle-aged man. In the end, Lolita is an intoxicating yet chilling drama from Stanley Kubrick.

Stanley Kubrick Films: Fear & Desire - Killer's Kiss - The Killing - Paths of Glory - Spartacus - Dr. Strangelove or, How I Learned to Stop Worrying and Love the Bomb - 2001: A Space Odyssey - A Clockwork Orange - Barry Lyndon - The Shining - Full Metal Jacket - Eyes Wide Shut

Related: (Lolita (1997 film)) - Stanley Kubrick: A Life in Pictures - The Auteurs #18: Stanley Kubrick

© thevoid99 2012

Julius Caesar (1953 film)

Based on the play by William Shakespeare, Julius Caesar is the story about the death of Rome’s great leader in the hands of conspirators as Romans seek revenge. Written for the screen and directed by Joseph L. Mankiewicz, the film is a homage to Shakespeare’s play as well as presenting it as a cinematic epic. Starring Marlon Brando, James Mason, John Gielgud, Louis Calhern, Edmond O’Brien, Greer Garson, and Deborah Kerr. Julius Caesar is a compelling film from Joseph L. Mankiewicz.

With Julius Caesar (Louis Calhern) rising into power, not everyone in the Senate is happy about this as Cassius (John Gielgud) conspires to rid of Caesar. After convincing Marcus Brutus (James Mason) to join in assassinating Caesar, Brutus isn’t sure as he adores Caesar though doesn’t agree with Caesar’s ambitions. After a series of meetings where Casca (Edmond O’Brien) joins the group, Brutus remains unsure as his wife Portia (Deborah Kerr) is suspicious about his behavior. After Caesar’s wife Calpurnia (Greer Garson) has a nightmare thinking that Caesar would be killed, Caesar decides to attend the Senate meeting where he is eventually killed and betrayed by Brutus. Mark Antony (Marlon Brando) witnesses the aftermath as he confronts Brutus and Cassius over what they did as he later vows revenge.

After a speech in which Antony talks about Caesar to the Romans, war emerges as Antony and Octavius (Douglass Watson) lead a revolt against Cassius and Brutus. Still haunted by his actions, Brutus deals with his own issues as the ghost of Caesar emerges. Wanting to move the army, they’re ambushed by Antony’s men prompting Cassius and Brutus to realize their fates.

The film is a dramatic telling of Shakespeare’s play of tragedy and political conspiracy that is created for the screen. While a lot of Shakespeare’s dialogue and setting is there, Joseph L. Mankiewicz’s screenplay tends to draw out some of the monologue a little too long in some scenes. Notably in the film’s first half where the conspirators make their plans where some of the monologue is engaging but at times, they tend to drag out the story. By the time the film moves into its second half, the story becomes much looser once battle starts to emerge as well as Brutus’ internal conflicts.

Mankiewicz’s direction is wonderful for the way he captures the actors with amazing close-ups and creating wide shots for some crowd scenes. Notably in the scenes where characters like Brutus, Cassius, and Antony give their respective monologues as the camera is always on them. While there’s some great direction in these monologues, the only problem is that at times. They go out for a little too long as there’s not enough interaction between characters in those scenes with the exception of Antony’s speech to the crowd. For the film’s second half involving the war, Mankiewicz does create some entrancing scenes where it involves cloudy grounds to express the sense of dread that occurs. Overall, Mankiewicz creates a solidly-crafted film that plays true to William Shakespeare’s theatrical setting.

Cinematographer Joseph Ruttenberg does excellent work with the film‘s black and white cinematography to capture the gorgeous setting of the Roman Empire along with wonderful interior shots of the Senate Halls in the film‘s climatic assassination scene. Editor John Dunning does nice work with the editing to use dissolves and fade-outs to help smooth out the transition while a lot of the cutting is very straightforward. Art directors Edward C. Carfagno and Cedric Gibbons, with set decorators Hugh Hunt and Edwin B. Willis, do brilliant work with the set pieces such as the Senate Hall and palaces the characters live in during the time of the Romans.

Costume designer Herschel McCoy does terrific work with the making of the robes many of the characters wear along with the armor for the climatic battle scene towards the end of the film. Sound mixer Robert Shirley does superb work with the sound from the way the swords move in the assassination scenes to the atmosphere of the crowd scenes. The film’s score by Miklos Rozsa is very good for its bombastic orchestral pieces for some of the film’s key intense moments along with more serene pieces for some of the film’s calmer moments.

The casting by Mel Ballerino is remarkable for the ensemble that is created as it includes appearances from John Hardy as Brutus’ young aide Lucius, Richard Hale as the blind soothsayer who warns Caesar early in the film, Alan Napier as Cicero, and Douglass Watson as Octavius. Other notable small roles include Deborah Kerr in a small but memorable performance as Brutus’ concerned wife Portia and Greer Garson in a very good performance as Caesar’s fearful wife Calpurnia. Edmond O’Brien is wonderful as Cassius’ friend Casca who takes part in the assassination plot while Louis Calhern is terrific in his small role as Julius Caesar.

James Mason is excellent as the conflicted Brutus who loves Caesar as he’s manipulated into killing him only to become consumed with guilt over what he’s done. John Gielgud is brilliant as the manipulative Cassius whose biting monologue about ambition and chaos has him stealing the film from nearly everyone. Finally, there’s Marlon Brando as Mark Antony where Brando gets a chance to show his skills as a theatrical actor while spouting great monologues with an intensity that is almost un-matched by everyone as it’s one of his essential performances.

Julius Caesar is a stellar yet engrossing film from Joseph L. Mankiewicz thanks in part to the thrilling performances of Marlon Brando, John Gielgud, and James Mason. While it isn’t a perfect film due to a few pacing issues, it is still a film that anyone interesting in acting must see. Notably for the monologues given by masters like Gielgud and Brando where they each give great lessons in the art of acting. In the end, Joseph L. Mankiewicz’s take on William Shakespeare’s Julius Caesar is a fantastic film for anyone that is interested in the art of acting.

Joseph L. Mankiewicz Films: (Dragonwyck) - (Somewhere in the Night) - (The Late George Apley) - (The Ghost and Mrs. Muir) - (Escape (1948 film)) - (A Letter to Three Wives) - (House of Strangers) - (No Way Out (1950)) - All About Eve - (People Will Talk) - (5 Fingers) - (The Barefoot Contessa) - (Guys and Dolls) - (The Quiet American (1958)) - (Cleopatra) - (Carol for Another Christmas) - (The Honey Pot) - (There Was a Crooked Man…) - (Sleuth)

© thevoid99 2012