Month: October 2021

Home of the Brave (1949)

At the end of a secret mission during World War II, black soldier James Edwards suddenly becomes paralyzed. He undergoes psychoanalysis to get to the root of his problem which has no physical explanation. It’s a quickly told story of one man’s experience dealing with racial prejudice in the Army and feeling like an outsider because of it. With a rather small cast, it often resembles a stage production, particularly during the actual psychoanalysis. There is an interesting camaraderie between Edwards and fellow soldier/longtime friend Lloyd Bridges, a relationship that epitomizes the difficulties James has experienced.   War

Man Wanted (1932)

Kay Francis is a hard-working magazine editor who falls in love with her new secretary, played by David Manners. Unfortunately she is married to a philandering playboy and Manners is engaged to Una Merkel. While not a terrible film, the plot is as thin as that and goes in all the expected directions as the two navigate their attraction to each other.

The Women of Brewster Place (1989)

While technically a miniseries, the version I watched was one DVD long and under 3 hours so seems close enough to be included here. The pacing on the set is a bit odd, spending a good chunk at the beginning on Oprah Winfrey’s character and all her life experiences that led to her living on Brewster Place before finally bringing in stories of the other women. I really enjoyed the portrayals of the various women of different ages and experiences and how they interacted with each other and their environment. There is amazing talent throughout the cast, including Cicely Tyson, Leon, Mary Alice, and Lonette McKee. I had a really hard time figuring out in which era the production was supposed to be set. There were some parts that seemed like a nod to the 1960s but the rest all seemed of the modern era. The ending is atrocious and unfortunately leaves a bad taste after superb earlier acts. I wish there was a way to reshoot those last couple of scenes to make for a perfect film.

The Invisible Woman (2013)

Felicity Jones, playing a teenaged young woman, is coerced into becoming the not-too-secret mistress of Ralph Fiennes in this story revolving around one chapter in the life of Charles Dickens. It’s a slow but beautiful looking period film detailing a fairly boring story. The one bright point aside from the visuals was Fiennes’s portrayal of Dickens at a point in his career where he was almost a rock star of the era.

Oscar Nomination: Best Achievement in Costume Design

The Slender Thread (1965)

I hadn’t realized before beginning this that it was set in Seattle, so I really loved the 1960s aerial scan across the city at the beginning of this film. Inspired by actual events, Sidney Poitier is an inexperienced student working for the new crisis clinic hotline when he receives a call from a woman, played by Anne Bancroft, who has taken a lethal dose of pills. He must do what he can to keep her on the line, trying to gather clues to figure out where she currently is. Over the course of the call, the viewer is given the story of how she found herself in her current situation. Telly Savalas plays Poitier’s supervisor at the clinic while Ed Asner is a detective trying to find her on the outside. It’s a compelling story, told in an interesting way, using flashbacks to illustrate the woman’s plight and drawing back to the present to portray the race against the clock mystery that must be solved in order to save her life.

Oscar Nominations: Best Art Direction-Set Decoration, Black-and-White; Best Costume Design, Black-and-White

Aguirre, the Wrath of God (1972)

Wikipedia mentions that Werner Herzog wanted Klaus Kinski for the role of the title character after remembering his ‘terrifying and deranged antics’ during the three months he roomed with Herzog’s family. That statement truly sets up the expectations for this film about a crazed conquistador who stages a coup to lead a doomed mission searching for the treasures of El Dorado. There’s not much to say beyond that. The film is never boring and ever other character is overshadowed by Kinski’s madman.

The Prisoner of Zenda (1952)

I wouldn’t have watched this, particularly so close to viewing the one from 1937, except it was included in the DVD set that I had borrowed and thought I’d see if it had anything to offer. I shouldn’t have bothered as it holds so close to the earlier version that it could be treated as a colorized copy, except the acting is not quite as good despite having a cast with the likes of Stewart Granger, Deborah Kerr, and Louis Calhern. James Mason is one bright spot, bringing extra villainy to the character of Rupert of Hentzau, but also is pale in comparison to Douglas Fairbanks Jr. from the other version.

They Call It Sin (1932)

Traveling salesman David Manners sweeps church organist Loretta Young off her feet when he visits her small town. After her adoptive parents chase her away with accusations of being the wrong type of woman, she follows Manners to New York where she discovers he is already engaged. George Brent completes the love triangle while Una Merkel fills in as the sassy best friend who shows her the ropes in the big city. The shoestring plot, which includes a hokey last-minute exonerating medical procedure, is all held up with Young’s acting. She manages to convey the whole range of emotions as a small town girl dealing with the highs and lows of young love and navigating the alien, big city filled with villains willing to take advantage of every angle.

Love Crazy (1941)

Myrna Loy and William Powell start off married in this slapstick romp. When the planned celebrations for their fourth wedding anniversary get waylaid through a series of mishaps and misunderstandings, they find themselves on the verge of divorce, an outcome that Powell will do anything, including dressing in drag and trying to have himself committed, to prevent from happening. The chemistry between the two is near its highest in this, their eleventh film together. They are helped along the way by Jack Carson and Gail Patrick, both trying in their own ways to pull apart the couple.

Now, Voyager (1942)

While just as melodramatic as Dark Victory, Now Voyager entails the much more compelling story of Bette Davis as a woman who has been completely trampled by her mother to the point where she’s close to a nervous breakdown. With the intervention of a psychiatrist, she manages to find herself and a real purpose to her life. Gladys Cooper is truly a piece of work in role of the controlling mother. Bette does a magnificent job transforming from the bitter, closed-off young woman to a warm and open guardian and her acting is ultimately what makes the story a success.

Oscar Win: Best Music, Scoring of a Dramatic or Comedy Picture

Oscar Nominations: Best Actress in a Leading Role; Best Actress in a Leading Role

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