2023 Blind Spot Series: One-Eyed Jacks

 

Based on the novel The Authentic Death of Hendry Jones by Charles Neider, One-Eyed Jacks is the story of a bank robber who goes on a quest for revenge against his former partner who had abandoned him during a showdown with the Mexican mounted police. Directed by Marlon Brando and screenplay by Guy Trosper and Calder Willingham, the film is an exploration of a man trying to get revenge on the man who left him as well as hoping to rob a bank. Also starring Karl Malden, Katy Jurado, Ben Johnson, Slim Pickens, Pina Pellicer, Larry Duran, Sam Gilman, Miriam Colon, Timothy Carey, Margarita Cordova, and Elisha Cook. Jr. One-Eyed Jacks is a gripping and evocative film from Marlon Brando.

Set in 1885, the film follows a bank robber, whose partner reluctantly abandoned him during a showdown between them and Mexican mounted police forces, who escapes a Mexican prison with a fellow cellmate as they travel to Monterey, California with a couple of men to rob a bank as well as get revenge on his former partner. It is a film that explores a man who felt cheated by his former partner who had ended up making a decent life for himself as a sheriff in Monterey while he spends five years in prison waiting to get revenge. The film’s screenplay by Guy Trosper and Calder Willingham, with un-credited contributions from Sam Peckinpah and Rod Serling, follows the journey that Rio goes through as he is first seen taking part of a bank robbery with his partner Dad Longworth (Karl Malden) and another robber in Doc (Hank Worden) in Mexico that is successful until Rio and Longworth are chased by the mounted police as they’re stuck on a hill with Longworth leaving to get new horses yet he never returned as Rio gets captured and spent five years in a prison which he would escape with Chico Modesto (Larry Duran).

Upon meeting Bob Emory (Ben Johnson) and his partner Harvey Johnson (Sam Gilman), Rio and Modesto travel to Monterey, California upon learning that Longworth is the sheriff in the town as he has married a Mexican woman in Maria (Katy Jurado) who has a daughter of her own in Louisa (Pina Pellicer). Though the plan is to rob the bank in Monterey, Rio decides to meet Longworth without stating his intentions while falling for Louisa as he spends time with her during a fiesta the next day. Yet, things get complicated where Longworth learn about what the two did where Rio gets punished as he and his gang are forced to leave as they shelter themselves in a beachside village as it plays into Rio’s sense of uncertainty about wanting to rob a bank. Even as Maria learns more about her husband’s past as well as what happened with Rio and Louisa that would complicate matters.

Marlon Brando’s direction is filled with gorgeous compositions as it is shot on various locations in California with Big Sur and the Monterey Peninsula being key locations along with Sonora, Mexico for the scenes set in Mexico including its mountains. Brando’s approach to wide and medium shots add to the beauty of these locations with all of these meticulous attention to detail in the ocean waves that Brando captures to play into a world that feels new to Rio as it is also this escape from the rugged nature of Mexico that Longworth wants to leave behind. Brando also maintains some intimacy in the close-ups and medium shots in the first meeting in five years between Rio and Longworth as it play into the tension as Brando creates unique compositions in these moments. Notably in Rio’s infatuation towards Louisa as he would say some lies in order to woo her but eventually realize that she’s a good young woman whom he doesn’t want to take advantage of.

By the time the film moves into the second half where the tension between Rio and Longworth come to ahead despite the former’s action in saving a woman who is being abused by a man. It would allow Longworth to punish Rio in front of the town as revelations occur as it relates to Rio’s original intentions as he retreats to the beach as regrets come into play along with other revelations as it relates to Rio’s love for Louisa. Even as Maria begins to piece out Longworth’s issue with Rio during the film’s third act where a showdown would occur where the idea of vengeance shifts towards guilt with Rio realizing of what Longworth is trying to hold on to that only makes Longworth much worse. Overall, Brando crafts an exhilarating and mesmerizing film about a gunslinger going after his former partner for abandoning him following a bank robbery.

Cinematographer Charles Lang Jr. does incredible work with the film’s cinematography with its usage of Technicolor film stock to capture the beauty of the exteriors in the beaches and mountains while John P. Fulton provides some special photographic effects for some scenes on the beach as backdrops for a few of the film’s conversations including one between Rio and Louisa. Editor Archie Marshek does excellent work with the editing with its usage of straight cuts to play into the suspense and drama as well as knowing when to allow shots to linger to help amp up the suspense. Art directors Hal Pereira and J. McMillan Johnson, with set decorators Sam Comer and Robert Benton, do amazing work with the look of Monterey as well as the cantina in Sonora where Rio and Longworth went to after the robbery early in the film. Costume designer Yvonne Wood does fantastic work with the costumes in the dresses that the women wear along with the ragged look of Rio as well as the refined look that Longworth has as sheriff.

The makeup work of Yvonne Wood and Wally Westmore, with hair stylist Nellie Manley, do terrific work with the makeup from Longworth’s rugged look early in the film to the mustache he would have as sheriff as well as the look that Rio would have including the aftermath of a beating he would take from Longworth. The sound work of Hugo and Charles Grenzbach do superb work with the sound as it play into the natural elements as well as the sounds of gunfire from afar or up close. The film’s music by Hugo Friedhofer is wonderful for its bombastic orchestral score as it plays into the sense of adventure and suspense as the soundtrack also include a flamenco piece for a key moment in the fiesta sequence.

The film’s marvelous ensemble cast feature some notable small roles from Mina Martinez as a young woman Rio flirts with early in the film following the bank robbery, William Forrest as a bartender in Monterey, Hank Worden as Rio and Longworth’s robbery partner Doc, Philip Ahn as the owner of a beach hostel where Rio would recover in the film’s third act, Ray Teal and John Dierkes as a couple of deputies, Joe Dominguez as a corral owner, Tom Webb as the corral owner’s son, Joan Petrone as a flower vendor Rio flirts with to buy her necklace, Rodolfo Acosta as a Rurales captain, Margarita Cordova as the flamenco dancer, Timothy Carey as a local from Monterey who would be pushy towards the dancer at a bar, Miriam Colon as Longworth’s lover from Sonora whom Rio would meet five years later, and Elisha Cook Jr. as the banker who runs the bank at Monterey that Rio considers robbing. Sam Gilman is terrific as Harvey Johnson as a gunslinger Rio meets in Mexico as he is eager to rob a bank while Larry Duran is fantastic as Rio’s prison mate Chico Modesto who is sort of the film’s conscience as he is willing to help Rio while also knowing the conflict he’s dealing with.

Pina Pellicer is excellent as Louisa as Longworth’s step-daughter who falls for Rio though she is unsure about his intentions while learning about why he’s in Monterey where she begins to see things about Longworth that makes her uncomfortable. Slim Pickens is brilliant as Longworth’s deputy Lon Derrick as a man who doesn’t like Rio while is also infatuated with Louisa despite the fact that she thinks he’s a total creep. Ben Johnson is amazing as Bob Amory as a gunslinger Rio meets in Mexico who joins him on their journey to Monterey while also being someone who has issues with Rio over when to do the robbery as often finds a way to push Rio’s buttons. Katy Jurado is incredible as Longworth’s wife Maria as a woman who is given a great life in her marriage to Longworth only to become suspicious about Rio where revelations about Longworth’s past has her questioning things while discovering some things about Louisa’s relationship with Rio.

Karl Malden is phenomenal as Sheriff Dad Longworth as Rio’s former partner who had abandoned Rio following a showdown between him and Mexican mounted police forces as he creates a new life for himself only to deal with Rio where he is filled with guilt but also not wanting to reveal his own dark past that would eventually alienate him from his family. Finally, there’s Marlon Brando in a tremendous performance as Rio as a bank robber who seeks revenge on his former partner as he is hell-bent on getting revenge until he meets Louisa which complicates things. Brando brings this sense of restraint as a man that is conflicted in his actions but is also someone who is seeking justice of his own while also realizing the complications he is dealing with in his revenge plot as it is one of Brando’s finest performances.

One-Eyed Jacks is a sensational film from Marlon Brando that features incredible performances from Brando, Karl Malden, Katy Jurado, Slim Pickens, Ben Johnson, and Pina Pellicer. Along with its gorgeous visuals, its unconventional study of vengeance and guilt, and an exhilarating music score. The film is a fascinating western that doesn’t play by many of its tropes in favor of exploring the path of two men who were once partners as it leads to this eerie world of vengeance and the revelations of how the past can affect someone’s future. In the end, One-Eyed Jacks is a spectacular film from Marlon Brando.

© thevoid99 2023

2021 Blind Spot Series: A Streetcar Named Desire

 

Based on the play by Tennessee Williams, A Streetcar Named Desire is the story of a woman who leaves her aristocratic world to live in New Orleans with her sister and brutish brother-in-law in a dilapidated apartment as her life starts to crumble. Directed by Elia Kazan and screenplay by Williams and Oscar Saul, the film is an exploration of a woman who wants to be something special but has a hard time dealing with the new world she’s in as well as the man who treats her terribly. Starring Vivien Leigh, Marlon Brando, Kim Hunter, and Karl Malden. A Streetcar Named Desire is a rich yet intense film from Elia Kazan.

Set in New Orleans, the film revolves around a woman who arrives to the city to live with her sister and brother-in-law in the hopes to regain her aristocratic lifestyle after some major losses in her life though her brother-in-law becomes troubled by her presence as he treats her cruelly. It is a film that explores a woman trying to maintain this illusion of being a Southern Belle as she left her hometown to find riches and such in New Orleans but she has to contend with this force of nature that is her brother-in-law. The film’s screenplay by Tennessee Williams that is based on his own play with contributions from Oscar Saul play into the plight that Blanche DuBois (Vivien Leigh) is enduring as she hopes to retain this identity even though she lost a lot as she had quit her job as an English middle school teacher. Blanche’s arrival at the apartment home of her sister Stella (Kim Hunter) would have Blanche deal with the fact that Stella lives in this dilapidated apartment with her husband Stanley Kowalski (Marlon Brando).

The script also includes Kowalski’s friend Mitch (Karl Malden) who takes a liking to Blanche where he even considers marrying her so that neither of them would be lonely yet Kowalski thinks the relationship is a bad idea as he has suspicions about Blanche though his brutish behavior towards her doesn’t help matters. Even as Blanche is critical towards both him and Stella as it adds discord to their relationship where some of Williams’ dialogue do play into these emotions but also into Blanche’s own disconnection with reality as if she is imagining about the world she wants to be in. Notably as it adds to this contrast to the world that Kowalski and Stella live in that is lively but also simple where not everyone has everything.

Elia Kazan’s direction definitely has this theatrical presentation as it is set largely in this apartment complex in the middle of the French Quarter in New Orleans with part of that area and other nearby places are shot. While there’s a few wide shots in the film to get a scope of the location as well as the apartment in its cramped and claustrophobic feel as it does serve as a character in the film. Kazan’s direction is focused more on intimacy with the usage of close-ups and medium shots as the latter is used to play into the tension between Blanche and Kowalski. It’s not just this claustrophobic atmosphere that adds to the drama but also in how it plays into Blanche’s own mental state as the walls would close in around her as it play into her refusal to accept the reality of her situation. Even as she wears these stylish and glamourous clothing that is a total contrast to the simpler yet ragged look of Kowalski as the latter is this symbol of sexual ferocity. Kazan also uses the location as well as heat as this intense atmosphere that adds to the drama including some of the tension between Blanche and Kowalski.

One key scene outside of the apartment is a party scene where it’s focused on this conversation between Blanche and Mitch where the latter gets to hear her story as it play into the former’s old life but also her past as Mitch would fall for her unaware that of her troubled mental state. Kazan’s compositions and usage of long shots play into the drama as well as scenes of Blanche trying to play up this façade of a world where everything is lit a certain way and everything has to be glamourous yet she still has to contend with this more cynical reality that is Kowalski. Even as the tension would boil into the third act as even Stella becomes tired of both of them as she is caught in the middle yet she loves both her husband and sister. The climax that relates to this boiling tension of Blanche’s fantasy and the harsh reality of Kowalski would finally collide as it lead to some harsh revelations as well as a real sense of loss for everyone. Overall, Kazan crafts a riveting and exhilarating film about a fallen Southern Belle trying to start a new life only to collide with the dark reality that is her brutish brother-in-law.

Cinematographer Harry Stradling does brilliant work with the film’s black-and-white photography with its stylish usage of shadows and lights for many of the interior scenes to help set the mood as well as play into Blanche’s refusal to see the reality of the world and who she really is. Editor David Weisbart does excellent work with the editing as it is straightforward with some rhythmic cuts to play into the dramatic suspense. Art directors Richard Day and Bertram Tuttle, with set decorator George Hopkins, do amazing work with the look of the apartment as well as some of its exteriors as it help play into the atmosphere of the film as well as the claustrophobic tone whenever Blanche deals with reality. Costume designer Lucinda Ballard does fantastic work with the ragged look of Kowalski including his ripped t-shirts as well as some of the more glamourous look of Blanche that would become more ragged as the film progresses.

Makeup artist Gordon Bau does nice work with the look of Blanche from this attempt at a clean and refined hairstyle as well as the makeup to make herself look younger as it only play into this idea of a fantasy that she wants to hold on to. The sound work of Nathan Levinson and C.A. Riggs is superb for the atmosphere that it creates as it help play into the dramatic tension that occurs in the film that also includes sparse sounds of what is happening outside of the apartment. The film’s music by Alex North is incredible for its rich and eerie orchestral score that includes this theme for Blanche that is only heard by her as it’s chilling and offbeat while the rest of the music is soaring with its string arrangements that is mixed in with bits of New Orleans jazz.

The film’s wonderful ensemble cast feature some notable small roles from August Kuhn as a sailor Blanche meets upon her arrival to New Orleans, Richard Garrick as a doctor who appears late in the film, Ann Dere as a mysterious matron that only Blanche sees, Wright King as a young collector that Blanche meets in the middle of the film, Rudy Bond and Nick Dennis in their respective roles as Kowalski and Mitch’s poker buddies Steve and Pablo, and Peg Hillas in an excellent performance as the apartment complex landlady Eunice who often takes Stella in whenever Kowalski gets intense as well as someone who doesn’t like him much at all. Karl Malden is brilliant as Mitch as a friend of Kowalski who served in the war with him as he becomes fascinated by Blanche as he hopes to be with her as it’s a role that has Malden display some vulnerability and sensitivity but also someone who doesn’t take shit from anyone although he’s unaware of the trouble he’s in when it comes to Blanche.

Kim Hunter is amazing as Stella Kowalski as Blanche’s sister who finds herself in the middle of this conflict as she deeply loves both her sister and her husband while also dealing with her impending pregnancy and the chaos at her home. Vivien Leigh is phenomenal as Blanche DuBois as this former English middle-school teacher who was once this revered Southern Belle as she is trying to retain whatever glory she had as she has trouble dealing with her new reality where Leigh displays this air of charm but also anguish in a complex and dangerous performance. Finally, there’s Marlon Brando in an outstanding performance as Stanley Kowalski as this force of nature who doesn’t just exude raw sexuality in his appearance but also a rage of a man who feels threatened by Blanche as he would treat her with cruelty and disdain. It is this performance that is intense where Brando and Leigh do display a great sense of rapport in this performance as well as bringing in two different ideas into their performances that makes them a highlight to watch.

A Streetcar Named Desire is a sensational film from Elia Kazan that features tremendous performances from Vivien Leigh, Kim Hunter, and Karl Malden as well as a breakthrough performance from Marlon Brando. Along with its claustrophobic setting, themes of fantasy vs. reality, its intense yet dark approach to melodrama, and Alex North’s exhilarating music score. It is a film that explore two different people having to live together as it explore some of the darkest aspects of human nature but also loss at its most extreme. In the end, A Streetcar Named Desire is an incredible film from Elia Kazan.

Elia Kazan Films: (A Tree Grows in Brooklyn) – (The Sea of Grass) – (Boomerang!) – (Gentleman’s Agreement) – (Pinky) – (Panic in the Streets) – (Viva Zapata!) – (Man on a Tightrope) – On the Waterfront - East of Eden – (Baby Doll) – (A Face in the Crowd) – (Wild River) – Splendor in the Grass – (America America) – (The Arrangement) – (The Visitors (1972 film)) – (The Last Tycoon)

© thevoid99 2021

The Missouri Breaks

Directed by Arthur Penn and written by Thomas McGuane, The Missouri Breaks is the story of a rancher who hires a regulator to hunt down a horse thief whose gang has killed one of his men in an act of revenge while his daughter is in love with the head thief. The film is an offbeat western that play into a pursuit with some eccentric characters as it revolves around a man wanting to kill a thief. Starring Marlon Brando, Jack Nicholson, Randy Quaid, Harry Dean Stanton, Frederic Forrest, John McLiam, and Kathleen Lloyd. The Missouri Breaks is a whimsical yet engrossing film from Arthur Penn.

The film revolves around a horse thief whose gang kills a rancher’s foreman who hung their friend over angering a rancher as they would later buy land from that rancher just to piss him off. Yet, the rancher is trying to find out who killed his foreman as he hires an eccentric regulator who plays by his own rules and would later cause all sorts of trouble. It’s a film that is about a thief trying to maintain a life that is honorable and decent yet he also copes with this regulator being around him and causing trouble as well as having issues with a rancher whose daughter he falls for. Thomas McGuane’s screenplay opens with the rancher David Braxton (John McLiam) hanging a young man named Sandy (Hunter von Leer) whose friend is the horse thief Tom Logan (Jack Nicholson) who runs a gang of horse thieves as they learn about their friend’s death. The first act is about Logan and his gang robbing a train to buy land near Braxton’s ranch to start a ranch of their own yet Logan would be the one tending to the ranch while his gang led by Cal (Harry Dean Stanton) travel to Canada to steal horses from the mounted police force.

Logan would meet Braxton’s daughter Jane (Kathleen Lloyd) who is intrigued by Logan though their affair would be kept secret except that her father’s hired regulator in Robert E. Lee Clayton (Marlon Brando) is watching as he suspects Logan involved in the death of Braxton’s foreman. Clayton is this man who is a real oddball as he arrives to the Braxton camp holding on to his horse on the side as if he’s hiding while he has an Irish accent and wears strange costumes. Yet, there’s an aspect of him that is ruthless and cunning in his pursuits though his initial meeting with Logan with Braxton is based on curiosity yet Logan is aware of his reputation as he just tries to not get into trouble. Even as the third act is about Braxton realizing the trouble Clayton is bringing as it would lead to all sorts of chaos in his pursuit of Logan and his gang.

Arthur Penn’s direction is definitely mesmerizing in the way he presents the American West as it is shot on various locations in Wyoming to play into this world of the West and in areas near the Missouri River. Penn’s usage of the wide shots do play into the vast scope and the attention to detail into the landscape from the trees on the mountains as well as the rivers and other parts of the film while he would maintain an intimacy through medium shots and close-ups as it relates to the characters. Penn’s compositions play into moments that are comical such as the train robbery scene as well as the way Clayton introduces himself. Penn would also maintain that air of humor and low-key drama to play into the characters that are trying to do their work in stealing horses or Logan trying to tend to his land. The smaller moments showcase Penn putting time in the characters while letting the action take hold during the third act as it relates to Clayton’s methods and what he does where the violence is intense. Even as it would play into this confrontation between Logan and Clayton with Braxton having some part in playing to the chaos that he’s created. Overall, Penn crafts an exhilarating and quirky film about a horse thief being watched and hunted by an odd regulator.

Cinematographer Michael Butler does brilliant work with the film’s cinematography with its gorgeous yet natural look for many of the daytime exteriors with some stylish and low-key lighting for some of the interior scenes set in the day. Editors Dede Allen, Gerald G. Greenberg, and Steven A. Rotter do excellent work with the editing as it is largely straightforward for some of the dramatic and comedic moments while using some stylish rhythmic cuts for some of Clayton’s antics. Production designer Albert Brenner, with set decorator Marvin March and art director Stephen Myles Berger, does fantastic work with the look of the Braxton home as well as the ranch that Logan runs and the home that his gang live in.

Costume designer Patricia Norris does amazing work with the costumes from the ragged look of Logan and his gang to the odd clothes that Clayton wears including a dress that he would wear as part of his disguise. Sound editor Richard P. Cirincione does terrific work with the sound as it play into the atmosphere of the locations as well as some of the usage of gunfire and other weapons. The film’s music by John Williams is incredible for its offbeat approach to country and folk with some orchestral elements that add to the film’s odd yet enjoyable tone.

The film’s wonderful cast include some notable small roles from James Greene and Luana Anders as a rancher and his wife that Cy would hide out at, Danny Goldman as a baggage clerk during the train robbery, Hunter von Leer as Logan’s friend Sandy who gets hung by Braxton, John P. Ryan and Frederic Forrest as a couple of Logan’s friends in his gang in their respective roles as Cy and Cary, and Randy Quaid in a superb performance as a young member of the gang named Little Tod who gives Logan the idea to rob a train as he is an able though naïve hood who is always helpful. John McLiam is terrific as David Braxton as a rancher who wants retaliation for the death of his foreman as he is also suspicious of Logan buying land near him. Kathleen Lloyd is fantastic as Braxton’s daughter Jane as a young woman who is often caring for her father as she becomes fascinated by Logan whom she sees as someone who has a lot more to offer as well as an escape from her stuffy life. Harry Dean Stanton is excellent as Logan’s right-hand man Cal who gets some of the film’s best lines and dialogue as he’s kind of the conscience of sorts who often puts Logan in his place but also is aware of how dangerous Clayton is.

Jack Nicholson is great as Tom Logan as a horse thief that is trying to go straight and live a decent life while falling for the rancher’s daughter as he becomes aware of Clayton’s presence as it’s a restrained performance from Nicholson where he displays some charm but also a grounded approach of a man that becomes uneasy by what is happening around him. Finally, there’s Marlon Brando in a phenomenal performance as Robert E. Lee Clayton as this offbeat and odd regulator that has Brando sport an Irish-American accent as well as a twangy-western accent in one sequence as it’s a strange yet exuberant performance that has Brando be funny but also ruthless in the way he does his job as it’s one of his more overlooked performances of his career.

The Missouri Breaks is a sensational film from Arthur Penn that features incredible performances from Marlon Brando and Jack Nicholson. Along with its gorgeous visuals, top-notch supporting cast, John Williams’ exhilarating score, and a compelling screenplay by Thomas McGuane. It’s a western that doesn’t play by the rules while maintaining much of the visual tropes and plot devices expected from the genre with elements of dark humor. In the end, The Missouri Breaks is a spectacular film from Arthur Penn.

Arthur Penn Films: (Portrait of a Murderer) – (The Left Handed Gun) – (The Miracle Worker) – (Mickey One) – (The Chase (1966 film)) – (Bonnie and Clyde) – (Flesh and Blood) – (Alice’s Restaurant) – Little Big Man - (Visions of Eight) – (Night Moves (1975 film)) – (Four Friends) – (Target (1985 film)) – (Dead of Winter) – (Penn & Teller Get Killed) – (The Portrait (1993 film)) – (Inside (1996 film))

© thevoid99 2018

The Island of Dr. Moreau (1996 film)

Based on the novel by H.G. Wells, The Island of Dr. Moreau is the story of a United Nations negotiator who finds himself in a mysterious island where a scientist conducts strange experiments involving humans and animals in an attempt to create the perfect species only for things to go wrong. Directed by John Frankenheimer and screenplay by Ron Hutchinson and Richard Stanley, the film is meant to be a study of human nature and how animals tend to go into their own instincts where a man is forced to see a world that is just as complicated. Starring Marlon Brando, Val Kilmer, David Thewlis, Fairuza Balk, Daniel Rigney, Temura Morrison, Mark Dacascos, Marco Hofschneider, Peter Elliot, and Ron Perlman. The Island of Dr. Moreau is a horrible and messy film from John Frankenheimer.

The film is a simple story of a man who was found stranded on a lifeboat in the middle of the sea as he is taken to a mysterious island run by a mad scientist who conducts experiments in trying to create the perfect being by mixing human DNA with animals. Yet, it’s a film that explores not just madness but also human nature at its worst and what happens when these hybrids of human and animal rebel against their creator? That is pretty much the film as a whole where it raises a lot of questions but never gives out any answers that audiences will pretty much figure out as it ends up being very heavy-handed about the idea of human nature. The film’s script wants to be this mixture of adventure, sci-fi, human drama, and action but it never gels where it has no idea what it wants to be. Even as there aren’t a lot of strong character developments with the exception of Aissa (Fairuza Balk) who is the daughter of Dr. Moreau (Marlon Brando) as she is also a hybrid that is more human but is regressing to her animal origins.

John Frankenheimer’s direction is definitely chaotic and not in a very good way. It’s doesn’t just carry the problems that the script had in what it wanted to be but it also takes itself too seriously where it ends up becoming comical at times. There are also these quirks in the film that are just odd as it relates to the presentation of Dr. Moreau. Whenever he’s outside, he’s wearing makeup because he’s allergic to the sun while he’s accompanied by a miniaturized version of himself. He wears an ice bucket for a hat and speaks in a strange accent as it’s among these quirks that are odd. Shot on location in Australia, the film has an exotic look but Frankenheimer doesn’t really do much to flesh out the locations visually as he’s more concerned with the craziness that is happening. Especially as it relates to Dr. Moreau’s assistant Montgomery (Val Kilmer) who is just as eccentric as he would go off-the-wall much to the dismay of this outsider in Edward Douglas (David Thewlis).

The direction’s usage of slanted camera angles, wide and medium shots, and these sequences of action and horror definitely go overboard. Especially in the film’s climax as it relates to Douglas trying to find a serum for Aissa while Montgomery has gone insane unaware that a group of human-beasts have rebelled. It’s all over the place, a lot of characters get killed and Frankenheimer tried to infuse so much as it just goes overboard. There are also these weird sequences that are shot in in a surreal fashion that doesn’t feel like it fits in anywhere as it feels like it is from a different movie or some variation of the film. Overall, Frankenheimer creates a film that is just absolutely fucking awful in every way.

Cinematographer William A. Fraker does some nice work in the cinematography as it does display some of the beauty of the locations though some of the scenes at night are over-lit in some parts of the film. Editors Paul Rubell and Adam P. Scott, with additional work by Thom Noble, does OK work with the editing as it has moments where it tries to establish what is going on as well as feature some nice dissolves but a lot of it plays too much into conventional fast-cutting. Production designer Graham “Grace” Walker, with art director Ian Gracie and set decorators Lesley Crawford and Beverley Dunn, does excellent work with the look of the base that Dr. Moreau works at as well as a few places where the man-beasts often go to. Costume designer Norma Moriceau does fine work with the costumes as it’s mostly casual as well as some stylish clothes for Aissa as well the look of Dr. Moreau.

Makeup supervisor Mike Smithson is fantastic for the look of the creatures as well as the strange makeup of Dr. Moreau. Special effects supervisor Mike Cox and visual effects supervisors Alex Frisch and Michael Z. Hanan do some good work on some of the visual effects in the design of some of the creatures though some of the visual effects aren‘t very good at all. Sound designers Harry Cohen and Ann Scibelli, with sound editors Marc Fishman and Cathie Speakman, do superb work with the sound in capturing some of the chaos as well as some of the insane moments in the film. The film’s music by Gary Chang is alright as it has its moments for its orchestral bombast though it never does enough to standout against everything that is happening.

The casting by Valerie McCaffrey is wonderful despite the fact that a lot of the talent in the film don’t really get much to do nor work with material that is any good. Small performances from Peter Elliott, with the voice of Frank Welker, as the baboon-like hybrid Assassimon who befriends Douglas, Mark Dacascos as a leopard hybrid named Lo-Mai who gets into trouble with Dr. Moreau over his actions, and Nelson de la Rosa as this miniature mutant who is a clone of sorts of Dr. Moreau as it’s one of the oddest things in the film as they’re not given much to do. Temura Morrison as the dog-like hybrid Azazello and Marco Hofschneider as M’Ling as the two hybrid sons of Dr. Moreau where the former has a love of hunting while the latter is about books as neither of them get a chance to flesh out their characters. Daniel Rigney is awful as the pig-hyena hybrid Hyena-Swine who would rebel against Dr. Moreau as he begins to asks a lot of questions as well as turn to violence for his answers.

Ron Perlman is badly wasted as a blind goat-like hybrid known as the Sayer of the Law as this film’s conscience who tries to understand all of the shit that is happening as he’s not given anything substantial to work with. Fairuza Balk is terrible as Aissa as Dr. Moreau’s daughter who is the most human of his children as she copes with regressing into her cat-like genes as she also befriends Douglas. David Thewlis is pretty bad as Edward Douglas as a UN peace negotiator who survives a plane crash as he is trying to get out of this island as well as find himself baffled by Dr. Moreau as Thewlis is just there to be a foil and react to things. Val Kilmer is awful as Montgomery as Dr. Moreau’s assistant who tries to imprison Douglas as well as create chaos and such where he would go insane. Finally, there’s Marlon Brando in an awesomely bad performance as Dr. Moreau where it’s Brando not giving a fuck where he’s wearing an earpiece in the film and doing all sorts of fucked up shit while wearing an ice bucket on his head. It’s a fucked-up version of the mad scientist where Brando hams it up and more while not giving a fuck whether or not he’s any good in this.

The Island of Dr. Moreau is a fucking awful film from John Frankenheimer. It’s a film that had the potential to be a lot of things but ends up being extremely stupid and ridiculously over-the-top. Especially where it never dares to ask big questions and provide answers that are just idiotic. In the end, The Island of Dr. Moreau is shitty film from John Frankenheimer.

Related: Island of Lost Souls - Lost Soul: The Doomed Journey of Richard Stanley’s Island of Dr. Moreau

John Frankenheimer Films: (The Young Stranger) - (The Young Savages) - (All Fall Down) - (Birdman of Alcatraz) - (The Manchurian Candidate) - (Seven Days in May) - (The Train (1964 film)) - (Seconds) - (Grand Prix) - (The Fixer) - (The Extraordinary Seaman) - (The Gypsy Moths) - (I Walk the Line) - (The Horseman (1971 film)) - (The Iceman Cometh) - (Story of a Love Story) - (99 and 44/100% Dead) - (French Connection II) - (Black Sunday) - (Prophecy (1979 film)) - (The Challenge (1982 film)) - (The Holcroft Covenant) - (52 Pick-Up) - (Dead Bang) - (The Fourth War) - (Year of the Gun) - (Against the Wall) - (The Burning Season) - (Andersonville) - (George Wallace) - (Ronin) - (Reindeer Games) - (Path to War)

© thevoid99 2016

Hearts of Darkness: A Filmmaker's Apocalypse

Directed by Fax Bahr, Eleanor Coppola, and George Hickenlooper, Hearts of Darkness: A Filmmaker’s Apocalypse is about the making of Francis Ford Coppola’s 1979 film Apocalypse Now and its notorious production as it was captured by his wife Eleanor. The film showcases many of the aspects that nearly troubled the production from weather to all sorts of illness as the film also features new interviews with the film’s cast and crew. The result is a fascinating yet evocative documentary film about the making of Apocalypse Now.

In early 1976, production for what would be Francis Ford Coppola’s re-imagining of Joseph Conrad’s Heart of Darkness into a film set during the Vietnam War begins but what happens would be one of the most troubled productions ever in the history of cinema. Coppola’s wife Eleanor arrived to the Philippines with their three children in Gian-Carlo and future filmmakers Roman and Sofia where Eleanor was supposed to make some promotional footage for United Artists on the making of the film. What happened instead is that she would capture is the unthinkable as well as record private conversations with her husband unbeknownst to him at the time of the film’s production. Much of it would involve delays due to a typhoon that destroyed a film set, military personnel forced to take their helicopters to fight rebels in the south of the country, and Francis trying to figure out an ending and be faithful to John Milius’ original script.

The film would feature new interviews with the Coppolas plus actors Martin Sheen, Laurence Fishburne, Frederic Forrest, Albert Hall, Sam Bottoms, Robert Duvall, and Dennis Hopper plus cinematographer Vittorio Storaro, producer Fred Roos, and production designer Dean Tavoularis as they talk about a lot that went on in the production. A lot of it is revealed to be true as it showed a lot of things that went wrong where a week into shooting, Francis decided to replace Harvey Keitel with Martin Sheen as it was just the first of many things. The film begins with a rare footage of Francis at the 1979 Cannes Film Festival where he premiered a work-in-progress version of the film where Francis declared that the film isn’t about Vietnam. It is Vietnam.

Through Eleanor’s footage with a few of her camera operators, she showcases a lot of the things that went wrong as well as some of the things that really made the production one of the most maddening where her husband would have meltdowns during the production. There’s also moments where Eleanor would capture some of the things that happened in the Philippines where some of it would be surprising such as its ceremonies and such to showcase some of the light-hearted moments in the production. With the new interviews shot by cinematographers Larry Carney, Shana Hagan, Igor Meglic, and Steven Wacks, the actors, crew, and the Coppolas reflect on the craziness that went on as Francis often wondered how the hell he managed to continue.

With the help of editors Michael Greer and Jay Miracle along with sound editor Brian Risner, the film compiles many of the footage that occurs in the making of the film plus some of the film‘s deleted footage that would later be restored for its 2001 Redux version of the film. Even as Risner would use some of Francis own conversations that Eleanor had recorded to play into his own madness and his difficulty with the production as he would deal with the press who were already calling the film a disaster before it even finished. Especially as some of the audio features recordings by Orson Welles reciting the Joseph Conrad novel which he had hoped to adapt for many years. With some original music by Todd Boekelheide that is mostly low-key in its ambient score, much of the music in the documentary is from the original film to play into much of its madness and setbacks.

Hearts of Darkness: A Filmmaker’s Apocalypse is a phenomenal film from Fax Bahr, Eleanor Coppola, and George Hickenlooper. The film is something that anyone who loves Apocalypse Now must see over its troubled production as well as what happens when things can go wrong only for a director to persevere despite all of the obstacles he goes through. In the end, Hearts of Darkness: A Filmmaker's Apocalypse is a tremendous film from Fax Bahr, Eleanor Coppola, and George Hickenlooper.

Apocalypse Now/Apocalypse Now Redux

© thevoid99 2014

Sayonara

Based on the novel by James Michener, Sayonara is the story of a Korean war pilot who falls in love with a Japanese entertainer in post-war Japan. There, he deals with the prejudices about his relationship as one of his friends also fall for a Japanese woman. Directed by Joshua Logan and screenplay by Paul Osborn, the film is a romantic drama told during a period when tension still loomed towards Japan in the aftermath of World War II. Starring Marlon Brando, Patricia Owens, James Garner, Martha Scott, Miiko Taka, Miyoshi Umeki, Ricardo Montalban, and Red Buttons. Sayonara is a lush yet mesmerizing drama from Joshua Logan.

It’s 1951 during the Korean War as fighter pilot Major Lloyd “Ace” Gruver (Marlon Brando) has been transferred to be stationed at the Itami Air Force Base near Kobe, Japan. Joining him is Airman Joe Kelly (Red Buttons) who reveals to Gruver that he’s marrying a Japanese woman named Katsumi (Miyoshi Umeki) whom he’s fallen in love with. Though there’s laws about officers marrying Japanese women, Gruver decides to support Kelly for the marriage. Gruver meanwhile, is set to be engaged to Eileen Webster (Patricia Owens) whose father is Gruver’s superior Lt. General Mark Webster (Kent Smith). The two attend a Kabuki play that features the revered actor Nakamura (Ricardo Montalban) whom Eileen knows as she and Gruver have concerns over their engagement.

Still intrigued by the world of Japan, Gruver wanders into the bridge near a women’s only theater where he meets Army captain Mike Bailey (James Garner) as Gruver catches the eye of the troupe’s lead actress Hana-ogi (Miiko Taka). After watching her perform, Gruver falls for her as he tries to win her over with Kelly and Katsumi’s help as he is introduced to their home life. When Hana-ogi accepts Kelly’s invitation for dinner, she and Gruver officially meet where she reveals her disdain towards Americans over World War II but is intrigued by Gruver. The two form a relationship that blossoms only to become secretive when Eileen warns Gruver about a law that is being made by the prejudiced Colonel Crawford (Douglass Watson. Though Gruver maintains the secrecy of his relationship with Hana-ogi, Crawford’s laws starts to intensify when Bailey finds a notice for men to stay away from Japanese women.

The law would have an affect on Kelly who is asked to return to America and leave Katsumi. While Gruver tries to appeal to Lt. General Webster, he is unable to as he would later reveal his own intentions to marry Hana-ogi to the horror of Webster’s family. The shock only intensifies where Gruver encounters tragedy as well as the prejudice he faces from both Americans and Japanese.

The film is a romantic tale of an American air force officer who falls for a Japanese actress during the Korean War as it would get the attention of military officials. Meanwhile, the officer tries to support a fellow officer who marries a Japanese woman and wants to live the life of a Japanese man who is American. The exploration of prejudice is wonderfully told without being heavy-handed as screenwriter Paul Osborn also reveals about the world of duty. Notably for Hana-ogi who is a woman that loves her work but there’s much deeper reasons into why she has to do what she does. For Ace Gruver, it’s also complicated as he’s the son of a four-star general that is destined for great things but is unsure about what to do as he’s set to marry a woman that would help his rising status though the two prefer to be friends. The screenplay succeeds in building up Gruver’s relationship with Hana-ogi and falling for Japanese culture as well as the subplots about Kelly’s life and a smaller one involving Eileen’s attractions towards Nakamura.

Joshua Logan’s direction is truly exquisite to watch through the gorgeous compositions he creates for the film. Since there aren’t many close-ups in the film, a lot of the shots are either very far or simple medium shots to capture the actors in the frame as well as their surroundings. Featuring some amazing scenes involving theatrical plays and performances, it adds to the lavish and unique world that Gruver is entranced by while there’s a much smaller scene where Gruver, Kelly, Katsumi, and Hana-ogi watch a play that would foreshadow the tragedy that’s to come in the third act. Logan’s direction is also understated in playing up the melodrama to focus on the performances while keeping things simple for some of the less dramatic moments including the small moments of humor. Overall, Logan creates a very majestic film that is touching and powerful in its themes.

Cinematographer Ellsworth Fredericks does brilliant work with the film‘s vibrant and colorful Technicolor cinematography that captures the beauty of postwar Kobe from the rural canal streets to the various landmarks along some amazing lights for Hana-ogi‘s first performance that Gruver sees. Editors Arthur P. Schmidt and Philip W. Anderson do excellent work with the editing by utilizing wonderful rhythmic cuts to capture the intensity of the drama along with transitional dissolves to help move the film in a relaxed pace. Art director Ted Haworth and set decorator Robert Priestley do amazing work with the set pieces created such as Kelly’s home that Gruver starts to inhabit to the lavish stage productions that is filled with amazing lights and backdrops.

Costume designer Norma Koch does wonderful work with the American military uniforms as well as dresses that Eileen wears though the highlights of the costume are the Japanese robes that the men and women wear including Gruver later in the film. Sound editor Carl Mahakian does terrific work with the sound to capture the atmosphere of the rehearsal palace that Hana-ogi lives in to the broad atmosphere of the crowds in the stage scenes. The film’s score by Franz Waxman is superb for its mixture of bombastic and serene orchestral score to low-key yet evocative Japanese folk music to play up the atmosphere. The film’s title song by Irving Berlin is very good that is played in the background and at the film’s ending to emphasize the love between Gruver and Hana-ogi.

The casting by Sally Baiano is phenomenal for the ensemble that is created as it includes notable small roles from Martha Scott as Eileen’s mother, Reiko Kuba as Bailey’s Japanese girlfriend Fumiko, Douglass Watson as the prejudiced Colonel Crawford, and Kent Smith as Eileen’s father/Gruver’s superior Lt. General Watson. Ricardo Montalban is very good as the kind and sympathetic actor Nakamura who helps Gruver while becoming close with Eileen though the only drawback in Montalban’s performance is some of the make-up to make him look Japanese. Miyoshi Umeki is wonderful as Kelly’s kind wife Matsui whom Gruver grows to adore while comforting her over the orders Kelly is being asked to do. James Garner is excellent as army Captain Bailey who aids Gruver into the tense situations over Crawford’s law as he also finds attraction towards a Japanese dancer in Fumiko.

Patricia Owens is radiant as Gruver’s intended fiancee` Eileen who shows Gruver the world of Japanese culture while finding herself being drawn to the actor Nakamura. Miiko Taka is lovely as the enchanting actress Hana-ogi who falls for Gruver as there is a quiet yet engaging performance in this woman who has dealt with loss as she also finds comfort in this kind man. Red Buttons is fantastic as airman Joe Kelly who tries to deal with the prejudice over his marriage to Matsui while wanting to fight for the life he’s become accustomed to. Finally, there’s Marlon Brando in a remarkable performance as Major Lloyd “Ace” Gruver. Brando brings a wonderful charm to his character who tries to win over Hana-goi with a restrained sense of humor while going for a more low-key approach to the drama as he also sports a Southern accent. It’s one of Brando’s best performances as he also has some amazing scenes with Buttons that adds more weight to the film.

Sayonara is an extraordinary drama from Joshua Logan that features outstanding work from Marlon Brando and Red Buttons. Along with great supporting work from Miiko Taka, Miyoshi Umeki, Patricia Owens, and James Garner. It’s a film that is rich in its lush imagery while telling an engaging story about prejudice in post-war Japan that is driven by fear. In the end, Sayanora is a magnificent film from Joshua Logan.

© thevoid99 2012

The Fugitive Kind

Based on Tennessee Williams’ play Orpheus Descending, The Fugitive Kind is the story of a drifter who arrives in a small Mississippi town where he catches the attention of its local women as they all fall for him. Directed by Sidney Lumet and screenplay by Tennessee Williams and Meade Robert, the film is an exploration into a man escaping from his dark deeds where he would find trouble in the passion he ignites with the women in this small town. Starring Marlon Brando, Joanne Woodward, Anna Magnani, Maureen Stapleton, and Victor Jory. The Fugitive Kind is an extraordinary yet intense drama from Sidney Lumet.

After fleeing New Orleans in hopes to start clean, Valentine Xavier (Marlon Brando) arrives in a small Mississippi town on a rainy night where he seeks shelter at the home of Sheriff Talbot (R.G. Armstrong) whose wife Vee (Maureen Stapleton) lets him in. Though Xavier doesn’t want to cause or involve himself in any trouble, Talbot thinks he’s trouble though Vee thinks he’s a nice young man that is just looking for a job. After taking work at a five-and-dime store run by the ailing Jabe Torrance (Victory Jory), Xavier meets up with a young yet troubled woman named Carol Cutere (Joanne Woodward) who knows him from other places. Though Xavier reluctantly hangs out with her at bars she’s been banned from, he finds himself attracted to Jabe’s wife (Anna Magnani) whom he had just met earlier.

With Lady Torrance running the store, she still tries to deal with her husband whose paranoia starts to seep in as she finds comfort in Xavier. Though Xavier finds himself getting the attention of various women in town, he remains attached to Lady Torrance who had lost a lot in her life as the two fall for each other. Still, her husband remains paranoid about their affair as he sends Sheriff Talbot to confront Xavier. Realizing the trouble that he’s in, Xavier decides to flee until Lady Torrance reveals something that would cause more trouble.

The film is about a drifter that wants to start over only to deal with women who are into him as he would end up falling for one of them in this small town. Yet, he has to endure the presence of an angry husband as well as local authorities who are suspicious of him. Still, he just wants to do right in the world despite the two women he encounters in a young nymphomaniac and a married, older woman lost in a loveless marriage. The screenplay that Tennessee Williams and Meade Roberts is about redemption and passion as it follows a man caught in a world where he’s loathed by some of the men in this small town but adored by the women. Still, he tries to keep things to himself and do his job as the only the he cherish is his guitar.

Though the story doesn’t have much of a plot, it is carried by lots of stylish dialogue that is filled with monologues and stories that flesh out the characters more. Including smaller ones like Sheriff and Vee Talbot as the latter is a kind older woman who just wants to paint though doesn’t seem to be appreciated very much by her husband. The screenplay does succeed in just building up the suspense very slowly for the film’s climatic moment when Xavier decides to leave town only for Lady Torrance to reveal something where dark things start to happen. Notably as its aftermath would leave one of the film’s key characters to reflect on everything that’s happened.

Sidney Lumet’s very understated yet evocative direction is truly the highlight of the film. Shooting in a small town in the state of New York, he opens the film with this wonderful prologue where Xavier is in a courtroom given his release. It’s a simple one-take shot where the camera moves slowly for a close-up but it’s a key scene to set up what Xavier is motivating himself to do as he hopes to stay away from trouble. While the rest of the film features wonderful compositions to capture this hot Southern town with roadway shots and very intimate compositions featuring multiple characters. Notably some entrancing moments in the way Lumet moves the camera for close-ups or to follow the action remains very engaging and to the point. Overall, Lumet crafts a truly masterful yet entrancing drama that explores the world of temptation and redemption.

Cinematographer Boris Kaufman does amazing work with the film‘s black-and-white cinematography to exemplify the chilling atmosphere of the locations with some lush exterior shots for some of the film's sunny daytime scenes to the more entrancing nighttime interiors to set the tense mood of the film. Editor Carl Lerner does excellent work with the editing to display effective yet stylish cuts to play with the intensity of the drama while maintaining a leisured pace for the film. Art director Richard Sylbert and set decorator Gene Callahan do brilliant work with the set pieces created such as the five-and-dime store Lady Torrance runs to the beautiful backyard garden that Xavier restores for her.

Costume designer Frank L. Thompson does superb work with the costumes from the black clothes of Lady Torrance to the white dress that Carol wears and the snakeskin jacket that represents Xavier. The sound work of James Gleason is terrific for the atmosphere that is created as it includes the tense banging of Mr. Torrance‘s cane to the sound of rain from the interior sets. The music of Kenyon Hopkins is wonderful for the serene orchestral themes played for some of the film’s romantic moments along with bombastic orchestral cue for the film’s intense climax.

The film’s cast is truly incredible for the ensemble that is created as it includes small roles from John Baragrey as Carol’s brother and Emory Richardson as the mysterious mute Uncle Pleasant. Other notable small parts include R.G. Armstrong as the suspicious Sheriff Talbot, Maureen Stapleton as the very warm and helpful Vee Talbot, and Victor Jory as the paranoid and jealous Jabe Torrance. Joanne Woodward is phenomenal as the alcoholic yet vivacious Carol Cutere who tries to woo Xavier while trying to claw into her past as it’s a very wild yet charismatic performance from the actress who definitely steals the film from nearly everyone.

Anna Magnani is great as the intense Lady Torrance who is fascinated by the much younger Xavier who she sees as her way out in a loveless marriage as it’s a very entrancing yet terrifying performance from the actress. Finally, there’s Marlon Brando in a marvelous yet very understated performance as Valentine “Snakeskin” Xavier. Brando exudes a quiet intensity to his role as a man just trying to stay out of trouble as he remains this quiet observer who had led a very troubled life. Brando’s monologues in the film are true master-class in the art of acting while he also displays this sense of coolness to his character as it’s one of his essential performances.

The Fugitive Kind is a powerful yet engrossing drama from the late, great Sidney Lumet. Featuring towering performances from Marlon Brando, Anna Magnani, and Joanne Woodward, the film is an engaging story that is filled with sensuality and troubled characters that are all wanting some way to a better life. Notably as it involves all sorts of troubled passions set in a hot small town in the South. The Fugitive Kind is an outstanding film from Sidney Lumet.

Sidney Lumet Films: (12 Angry Men) - (Stage Struck) - (That Kind of Woman) - (A View from the Bridge) - (Long Day’s Journey into Night) - (The Pawnbroker) - (Fail-Safe) - (The Hill) - (The Group) - (The Deadly Affair) - (Bye Bye Braverman) - (The Sea Gull) - (The Appointment) - (King: A Filmed Record… Montgomery to Memphis) - (Last of the Mobile Hot Shots) - (The Anderson Tapes) - (Child’s Play (1972 film)) - (The Offence) - (Serpico) - (Lovin’ Molly) - (Midnight on the Orient Express) - (Dog Day Afternoon) - (Network) - (Equus) - (The Wiz) - (Just Tell Me What You Want) - (Prince of the City) - (Deathtrap) - (The Verdict) - (Daniel) - (Garbo Talks) - (Power) - (The Morning After) - (Running on Empty) - (The Family Business) - (Q&A) - (A Stranger Among Us) - (Guilty as Sin) - (Night Falls on Manhattan) - (Critical Care) - (Gloria (1999 film)) - (Strip Search) - (Find Me Guilty) - (Before the Devil Knows You’re Dead)

© 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

On the Waterfront

Originally Written and Posted at Epinions.com on 7/5/09 w/ Additional Edits.

Directed by Elia Kazan and written by Budd Schulberg, On the Waterfront tells the story of a former boxer working for a mob-controlled dock until he decides to rebel with the help of a young woman and a priest. In this fight against the corruption, the boxer faces his demons and his past where he finds himself in more trouble with the mob. A film that rallies against authority, it is considered to be one of Kazan's greatest films as well as one of his best collaborations with Marlon Brando. Also starring Karl Malden, Lee J. Cobb, Rod Steiger, and in her film debut, Eva Marie Saint. On the Waterfront is a powerful, engrossing drama from Elia Kazan and company.

A series of murders near the docks over resistance against a mob-connected union boss led by Johnny Friendly (Lee J. Cobb). Working for Friendly is a former boxer named Terry (Marlon Brando) and his older brother Charley (Rod Steiger) as Friendly's lawyer. Terry does duties for Friendly but is unaware of what is the consequences when a young man named Joey Doyle was pushed off the top of a building to his death. While the police tries to investigate, the locals and those who work at the dock remain silent in order to not say anything against Friendly. Not wanting to be silent is Joey's sister Edie (Eva Marie Saint) as she turns to local priest Father Barry (Karl Malden) for help. Barry reluctantly decides to help the dock workers to speak out while Terry becomes smitten by Edie who he had a scuffle with over some tabs that she needed for her father.

Charley hears about a meeting held by Father Barry as Friendly wants Terry to attend the meeting. Barry reveals what he hopes to do as members of the mob storm in as Terry saves Edie from a beating. While Edie's father avoids a beating, Terry and Edie become close as she reveals that she wants to be a teacher. After learning that Terry has the same love for pigeons like Joey, she gets to know him more while asking questions about what he knew about Joey's death which he evades in order to give her a good time at a bar. When a couple of Friendly's men ask Terry to meet him, Terry reluctantly meets with Friendly and Charley as they know what Terry is doing with Edie. Especially as a man named K.O. Dugan is about testify until a supposed accident at a ship happened where Father Barry pleads his case to the people about standing up to Friendly. At the ship where Barry was talking about all that is going on were Edie and Terry who becomes tormented where he finally tells Barry what happened with Joey.

After finally confessing to Edie about the night of Joey's death, Terry is now targeted by Friendly as Charley decides to get Terry to stop talking. In hoping that Terry wouldn't talk anymore and get into trouble, he bribes Terry into taking a job where he wouldn't do anything but get paid. Terry refuses where he reveals all the potential he could've had as a prize fighter making Charley feel guilty as he decides to handle things with Friendly. Unfortunately, trouble comes ahead where Terry turns to Edie for help where something tragic would force Terry to stand up against Friendly but at a huge price until he decides to make a move that would please all of the dockworkers around him.

The film is a tale about a man who is forced to do things for his boss unaware of the consequences. Yet, around those who know what he is doing. He's been called a bum to the community for just taking money to lose fights or do things that he would be unaware of. Thus comes the world that Terry Malloy is surrounded by where his only moment of peace and comfort is to feed pigeons up on the roof where nearby is a pigeon coop that belongs to Joey Doyle. When Joey is killed because he was about to stand up against Johnny Friendly and his goons. Terry becomes tormented as it would take Doyle's beautiful sister and a hardened local priest that would be the people to say enough is enough.

In many ways, it's a film about redemption and standing up against the wrongs with the world. At the center of this story is Terry Malloy. A man who was forced to do things and then be tormented by all that's around him. Once he meets Edie, he tries to tell her about the way the world works but Edie isn't so easily swayed as she is determined to find justice for her brother's death. Even a man like Father Barry wants justice so there won't be any wrongs in the world as he approaches this resistance with a powerful presence where he would smoke a cigarette and get his hands dirty when it comes to confrontations. Yet, he's a man of great morals while he has a great monologue where talks about a man's death and how it impacts an entire community and those who work at the dock.

The screenplay by Budd Schulberg which is based from a series of articles by Malcolm Johnson about the dirty corruption that is going on in the docks from mob-controlled unions. The screenplay is filled with great dialogue, amazing development, and lots of heavy drama that goes on throughout the film. Yet, it's Elia Kazan's direction that really shapes the story into something far more powerful with its imagery and grittiness. Shot on location in Hoboken, New Jersey, there's a beauty and ugliness to the location as Kazan doesn't sugarcoat it one bit. At the same time, the camera is engaging with its close-up of characters and the locations they're in. With striking compositions that are memorable, Kazan's direction is definitely top-notch. Even as he brings intensity to some heightened moments of action and drama, there's a theatricality to it that is quite intimate in some scenes as if the actors are performing in a theater. What Kazan does overall is create a film that is engrossing in every scene and performance that goes on as he makes a film that is truly solid.

Cinematographer Boris Kaufman is truly amazing in its black-and-white photography. Kaufman's photography is striking in some nighttime exteriors where everything is black and grey with white lights in the background to convey some kind of dark, eerie tone for those scenes. The daytime exteriors have a mixture of beauty and grittiness while it has amazing shots of the Hoboken docks. The interiors, notably the bar is filled with a brightness that is beautiful though something doesn't seem right once it's near the pool hall where it's dark. Kaufman's work is truly exquisite as it has some of the best photography work captured on film at that time. Editor Gene Milford does brilliant work in the editing with the use of fade-outs, fade-to-black, and rhythmic cuts to help capture the dramatic intensity of the scenes and moments of intense action. Milford's cuts are stylized but also straight-forward in its presentation as Milford's work is truly stellar.

Art director Richard Day does excellent work with the look of the film from the bars, the church, and the outside locations including the pigeon coops as the production of the film has a grittiness while making it look real for its Hoboken locations. The sound work of Jim Shields is wonderful for its location sounds including the clangs that goes on in the docks and all sorts of noises as it captures that gritty world of the Hoboken docks. The film's score by Leonard Bernstein is phenomenal from its somber yet swooning pieces in the romantic moments involving Terry and Edie to the more intense, sprawling arrangements of the action scenes that goes on. With a wonderful orchestra, Bernstein's score is definitely one of the film's highlights as it is truly memorable and one of the best scores ever made.

The casting is brilliant with small roles from Pat Hingle as a dock worker named Jocko, Thomas Handley as a boy named Tommy who helps Terry with the pigeons, Tami Mauriello as a thug of Friendly's, James Westerfeld as the dock supervisor Mack, Pat Henning as K.O. Dugan, and John F. Hamilton as Edie's father. Rod Steiger is excellent as Charley, Terry's older brother and Friendly's right hand man. Steiger has this presence where he could be the guy to get Terry to get his act together. Yet, underneath all of his tough guy exterior is a man wracked with guilt over the fact that he put Terry into this world of crime. Lee J. Cobb is phenomenal as Johnny Friendly, the no-holds-barred, hard-talking mob boss who wants to have total control of everything. Cobb's performance is just magnificent in his tough guy demeanor and that sense of authority as he's perfect in just being a hard-*ss who thinks he's the boss.

Karl Malden is brilliant as the tough but sympathetic Father Barry. A priest who likes to smoke and drink beer while being someone in the community that's not willing to be quiet. Malden's performance is just amazing in every scenes where he's soft-spoken but a man with a conscience and that can guide someone to do the right thing. His best scene is in the ship where he talks about a man's death and the monologue he brings with such authority and passion is definitely Malden's finest moment. In her film debut, Eva Marie Saint is great as Edie Doyle. A determined young woman seeking justice for her brother's death while finding the soft, caring side of Terry Malloy underneath his quick-talking, street-wise demeanor. Saint's performance is dazzling as a woman who is a bit tough but also who doesn't know much about the dark world of the streets as she has a lot going for her as Saint truly exemplify the complexity and warmth of Edie Doyle.

Finally, there's Marlon Brando in one of his iconic performances of his career. In the role of the tormented Terry Malloy. Brando exudes all of the charm, wit, and struggle of that character along with someone who is troubled by demons and the fact that people call him a bum. Brando's performance is filled with a tough guy attitude who can talk fast, be tough, and not be someone to messed with. Yet, there's a softness in him as he deals with guilt and the fact that there's someone like Edie who he wants to connect with. Brando has great rapport with all of his co-stars while he manages to make Terry Malloy an unlikely hero. What Brando brings to the screen is charisma and a vulnerability that makes him connect with the audience as he has one of the film's most famous lines in cinema about what he could've been. It's truly one of the most marvelous performances captured in cinema.

On the Waterfront is truly an amazing, engaging, and sprawling film from Elia Kazan featuring an iconic, sympathetic performance from Marlon Brando. Along with a great supporting cast including Eva Marie Saint, Karl Malden, Lee J. Cobb, and Rod Steiger. It's a film that is a must-see for those new to Elia Kazan and Marlon Brando as well as anyone looking for great cinema of the 1950s and American cinema itself. With some great dialogue, an amazing story, and characters that people can relate to. It's a film that is truly timeless as it still manages to hold up more than 50 years since its release. In the end, On the Waterfront is a brilliant and heroic film from Elia Kazan and star Marlon Brando.

Elia Kazan Films: (A Tree Grows in Brooklyn) - (The Sea of Grass) - (Boomerang!) - (Gentleman's Agreement) - (Pinky) - A Streetcar Named Desire - (Viva Zapata!) - (Man on a Tightrope) - East of Eden - (Baby Doll) - (A Face in the Crowd) - (Wild River) - Splendor in the Grass - (America America) - (The Arrangement) - (The Visitors) - (The Last Tycoon)

© thevoid99 2012

Last Tango in Paris

Originally Written and Posted at Epinions.com on 4/2/04 w/ Additional Edits.  (In Memory of Maria Schneider 1952-2011)

Directed by Bernardo Bertolucci from a screenplay he co-wrote with editor Franco Arcalli.  Last Tango in Paris is a psychological drama film set in early 1970s Paris as a middle-aged American named Paul anguished by the suicide of his wife seeking emotional refuge. He meets up with a young Frenchwoman named Jeanne in whom he engages a carnal, sadomasochistic relationship devoid of names, backgrounds, and questions. While Jeanne is finding herself confused in this newfound role and her devotion to her filmmaking boyfriend Tom, Paul uncovers the mysteries of his wife's suicide as it leads to perverse behaviors and tragedy.  The film filled with shocking antics and behaviors as well as vulnerable moments that is heartbreaking. While the film is really the mind work of Bertolucci, the film's greatness is led by a vulnerable, charismatic performance from Marlon Brando and an innocent, wandering performance from Maria Schneider.  Last Tango in Paris is a harrowing yet mesmerizing erotic drama from Bernardo Bertolucci.

Its early 1970s Paris as a middle-aged American expatriate named Paul (Marlon Brando) is anguished over the recent suicide of his wife Rosa (Veronica Lazar). Watching him in this vulnerable state is a young woman named Jeanne as she looks out for an apartment for herself and her boyfriend Tom (Jean-Pierre Leaud). With Jeanne finding the apartment she was looking for, also searching that apartment was Paul. They engage in talks on who will get the apartment as he decides to engage her sexually in which, he decides to rent the apartment with Jeanne returning to Tom where he's working on a personal film of his own about his relationship with Jeanne.

Tom then meets up with Catherine (Catherine Allegret) as she washes the blood of the room Rosa took her own life. Tom looks where he finds the razor that took her away from him. He later meets up with Rosa's mother (Maria Michi) where he confronts her about why Rosa killed herself. Rosa's mother is confused on why her daughter killed herself as she doesn't know what's going on only to know that Rosa had an affair with a man named Marcel (Massimo Girotti). Jeanne returns to the apartment where she meets with Paul where again, the two engage in sex. While emotions, names, and backgrounds aren't needed for this tryst, Paul and Jeanne talk about a bit of their past. Jeanne refers to the days of her first love and her father, who died in Algeria in the 1950s while Paul talks about his childhood days in the farm and his decision never to return to America.

In her relationship with Tom, Jeanne feels confused while Tom's indulgence as a filmmaker while Jeanne feels it's going nowhere and wants out of his movie. Paul meanwhile confronts Rosa's mother and later, Marcel where he tries to figure out more of his wife's suicide. Marcel doesn't know either where Paul returns to the apartment in which his relationship with Jeanne becomes more outrageous to the point of sadomasochism involving butter. Jeanne wonders if she's becoming an equal part of this relationship or being an object for his damaged emotions. Paul then confronts the dead body of his wife where all of his feelings on her is lashed out on her.

Jeanne shows Tom the apartment where he thinks it's too big while she wonders if the relationship is going somewhere while she's anguished over her tryst with Paul. One day, Paul finally introduces himself fully to Jeanne where Jeanne finds herself intrigued yet uncomfortable by his perverse charm as they go to a tango contest. Paul's perverse behavior becomes too much for Jeanne where Paul's blind devotion would lead to tragedy and exploration.

What makes Last Tango in Paris such an important film isn't in its sexuality or graphic behavior but the psychological aspects of the film itself. While films of sex had been done before in Europe prior to Last Tango in Paris, Bertolucci takes it further in graphic detail in when he released it in the U.S. in 1973, it shocked audiences. The film's screenplay is filled with ambiguities where the complex behaviors of its main characters are questionable while things don't get answered till the end. The dialogue between Paul and Jeanne are filled with raw emotions that it comes to the point where they restraint themselves as Bertolucci lets the script guide him into this emotional roller coaster.

If the screenplay brings strength to the story and characters, its Bertolucci's ability as a director that is spellbinding by letting things be improvised or play out in its outrageousness. Bertolucci plays up to the film with subtlety and emotional restraint while belting out these ominous camera close-ups for the heightened emotional scenes. In the more graphic sex scenes, what is shocking isn't what he shows, but what he doesn't show yet the audience know what is happening, including the infamous "butter" scene. It's not that the behavior is carnal and raunchy but the sadomasochistic tone plays up to the film's radical behavior as it still shocks to this day.

Even when he takes a look at Paris, its like the audience is back in time while looking real fresh. Helping Bertolucci in capturing the look of Paris is cinematographer Vittorio Storaro who brings in a lush, colorful tone to the film. Storaro's vast look of light, orange sunny colors in the film's apartment scenes heightened by production designer Ferdinando Scarfiotti's intimate production design. If Bertolucci helps bring the look of Paris at is perfection, its Storaro that enhances it by its sunny look and grand, intimacy in the apartment scenes.

One spectacular element to Last Tango in Paris is the film score by Gato Barbieri. With its mix of dreamy, sweeping string arrangements and bebop jazz, the film plays up to the raunchiness of 1970s Paris. Whereas the saxophone plays to the film's sensuality and wild scenes of Paris, the string arrangements gives the film a classic romantic feel though in the more perverse scenes, it intensifies. Clearly this one of the best film scores of the 1970s and every aspiring composer should hear this film for that score.

While the film's supporting cast is small, it plays well in its characters thanks to the actors. Standing out the most are Massimo Girotti, Maria Michi, and Jean-Pierre Leaud. Girotti as Marcel is excellent in a role of what Paul could've been but realized that it wasn't enough. The character of Marcel isn't like most lovers where Girotti just plays the role quietly with Brando watching at ill ease. Maria Michi as Rosa's mother is outstanding where she confronts her son-in-law about her daughter's death in which, he uses her for an outrageous scene where he calls out to the people in an apartment building in English.

Michi's tortured performance is heartbreaking as well as the role of Tom by Jean-Pierre Leaud. Leaud delivers a heartfelt performance as Jeanne's indulgent boyfriend whose aspiration to be a filmmaker takes its toll on their relationship. In many respects, the character of Tom is homage to the filmmakers of the previous decade whose desire was to make personal films, which was relevant throughout the 1970s.

In the role of Jeanne, Maria Schneider delivers a complex, heartbreaking performance. Though she hasn't been heard from since only doing films in France, Schneider's Jeanne is filled with heartbreak complexity as the character wonders if she's a sex object of exploitation or is exploring the perverse world of carnal sex. Schneider carries her performance with grace and vulnerability that is enchanting. Her scenes with Marlon Brando are also powerful as she wasn't afraid to reveal herself physically or emotionally. The two carry out with great chemistry as they seduce the audience with their vulnerability and a lovely if chaotic tango dance scene. Though Schneider will only be remembered for this often overlooked performance, at least it's a role she can be proud to call her own.

The film's greatest performance easily goes to the master thespian of Marlon Brando. Not since his breakthrough performance in A Streetcar Named Desire where Brando delivers a performance filled with ambiguity and humanity. Fresh off his Oscar win for Francis Ford Coppola's 1972 gangster masterpiece The Godfather, Brando proves himself as relevant in Last Tango in Paris. He plays the character as if he was this pathetic, lovelorn horn dog who craves for perverse sex. Brando really plays up to be outrageousness as he improves throughout the film. In the more emotional scenes, he really comes off delivering a performance that lives up to the legend where he breaks hearts while his character is doomed to the end learning about his wife's suicide and his blind ability to love. It's one of Brando's most enchanting performance where since then, he's become an inconsistent actor tarnishing his reputation for unsound methods despite a few great roles from time to time, including Coppola's 1979 film Apocalypse Now.

For anyone who wants a film of just traditional romance and nice moral issues, this isn't your movie. Last Tango in Paris is clearly one of the greatest films of cinema and the first real sex film that pushes boundaries as sex would later push further through independent films. With Bernardo Bertolucci's grand direction, Vittorio Storaro's vast cinematography, Gato Barbieri's raunchy score, and the enigmatic performances of Marlon Brando and Maria Schneider, it's one of the most shocking films that graced mainstream cinema. Today, its still shocking in its behavior and antics, for anyone who enjoy provocative films of sex will indeed find this film as a masterpiece. For anyone interested in European cinema and the work of Bertolucci will find Last Tango in Paris a fine introduction while everyone who is interested in this film should watch out. For anyone wanting to hold an erotic-art film festival should have this film in the list.

Bernardo Bertolucci Films: (La Commare Secca) - (Before the Revolution) - (Partners) - (The Spider's Stratagem) - The Conformist - 1900 - (La Luna) - (Tragedy of a Ridiculous Man) - (The Last Emperor) - The Sheltering Sky - Little Buddha - Stealing Beauty - (Besieged) - The Dreamers - (Me & You)

© thevoid99 2011