Father's Little Dividend.

Review #2225: Father's Little Dividend.

Cast: 

Spencer Tracy (Stanley T. Banks), Joan Bennett (Ellie Banks), Elizabeth Taylor (Kay Dunstan), Don Taylor (Buckley Dunstan), Billie Burke (Doris Dunstan), Moroni Olsen (Herbert Dunstan), Richard Rober (Police Sergeant), Marietta Canty (Delilah), and Russ Tamblyn (Tommy Banks) Directed by Vincente Minnelli (#405 - The Reluctant Debutante, #510 - Father of the Bride, #620 - Lust for Life, #878 - The Long, Long Trailer, #986 - An American in Paris, #1031 - Meet Me in St. Louis, and #1397 - Gigi)

Review: 

Admittedly, covering sequels don't always fall by the wayside so hard like this. I was surprised to realize that I had watched the original Father of the Bride (1950)...nearly eleven years ago. Having to look back at a review made before I could even vote honestly makes me cringe, but I can reasonably defend my assessment of the film now and then as one that, well, has an "always fun to watch" Spencer Tracy. He was a versatile actor that really could run the gamut from drama to comedy, and it showed pretty well in that aforementioned Bride (as adapted from the 1949 novel of the same name that had been written by Edward Streeter) film in showing the road of a man that has seen his one daughter become a married woman (the result was an Academy Award nomination, go figure). Both that film and this one were written by Frances Goodrich and Albert Hackett (a regular couple that did stuff such as The Thin Man and later the play/screenplay of The Diary of Anne Frank) to go with the return of cast and crew for one of those early examples of a studio sequel. Apparently, the movie was shot in just a bit over three weeks as the film made by Vincente Minnelli when he was taking a break from An American in Paris (also released in 1951). The movie was a fair hit with audiences and also one you probably encountered on public domain because due to a failed copyright renewal, one can easily see the 82 minute on the Internet or, well, on a cheap DVD.

Well, it may be a rushed product of a sequel, but it is a lightly entertaining film. It is a family film of the 1950s through and through, in terms of the positive realization that comes in learning to say the words "I am a grandfather". Tracy does narration at times just like the previous film, which here is about the same level of effective on a slightly smaller scale. He apparently had a bit of reluctance to do the film, but it doesn't show here as he remains fairly committed to playing the lead in wry commitment, you'd expect in a patriarch like him. Bennett did not get to do as many films as one would expect after this one, probably because of a scandal where her husband (Walter Wanger) shot her agent in the groin because he thought they were having an affair that occurred the same year that this film was released. She does about as well as she did in the previous film in warm support. The Taylors still make a neat pairing together as pieces that maneuver (and are maneuvered) just as much as one sees with Tracy's character when it comes to routine married life. The film doesn't go too ga-ga on baby jokes and eventually finds some footing for its climax (what else but a christening) because it is hard to really grind cynicism over useful routine like this about maintaining sense in a sometimes sense-less place, family or not. In conclusion, it certainly shows a few seams of strain when it comes to being anything more than what you might find in a sitcom of its ilk, but there is a general warmth that comes through in terms of the commitment of its cast and an overall hopeful message of maintaining oneself even with the inevitable passage of time and family. 

Overall, I give it 7 out of 10 stars.

Life with Father.

Review #1370: Life with Father.

Cast: 
William Powell (Clarence Day Sr), Irene Dunne (Vinnie Day), Elizabeth Taylor (Mary Skinner), Edmund Gwenn (Rev. Dr. Lloyd), ZaSu Pitts (Cousin Cora Cartwright), Jimmy Lydon (Clarence Day Jr), Emma Dunn (Margaret the Cook), Moroni Olsen (Dr. Humphries), Elizabeth Risdon (Mrs. Whitehead), and Martin Milner (John Day) Directed by Michael Curtiz (#125 - Casablanca, #416 - Yankee Doodle Dandy, #505 - The Adventures of Robin Hood, #529 - Mildred Pierce, and #719 - Mystery of the Wax Museum)

Review:
"I put all the art into my pictures that I think the audience can stand."

What better way to accompany the 1940s than a family picture based on established material of the time? The film was based on the 1935 autobiographical book of the same name by Clarence Day, Jr, who had based it on episodes of humor in his family life, specifically his father in the 1890s. He died of pneumonia that year, but a follow-up book called Life with Mother was published posthumously in 1937. Two years later, the books were adapted into a play called Life with Father by Howard Lindsay and Russel Crouse, which ran for 3,224 performances in nearly eight years, and it still ranks as the longest running non-musical play on Broadway. The film was adapted to the screen by Donald Ogden Stewart (who you might recognize for his work on films such as Love Affair and The Philadelphia Story). It should prove no surprise that the film came from prolific director Michael Curtiz (who was 38 when he left Hungary for Hollywood, who could do a variety of genres through his own kind of visual style involving camera movement and lighting that combined with his intense style of activity (such as skipping lunch), with his friends nicknaming him "Iron Mike" for his fitness; in his 49-year career, he directed a total of 166 films before his death in 1962. 

It is evident from the roughly $4.7 million budget that Warner Brothers wanted to make a big achievement in making this book-turned-play-turned film an engaging one that draws on the humor that its brash patriarch inspires, with varying results. I can't necessarily say that this is a great comedy, since it does tend to veer on the edge of being dated, but there is a decent cast and useful production value that makes it a fair curiosity. Powell commands the film with fairly amusing results, drawing a few laughs in his attempts in family humor with his type of bluster that seems somewhat relevant for a family comedy. Dunne (in a role that she found rattlebrained that took coaxing to do from Curtiz) accompanies him with her own kind of charm, matching in dignity through fair chemistry with Powell. Taylor, who had risen to teen star earlier in the decade with National Velvet (1944), does well with grace whenever on screen, having the most presence among the teenagers and children despite having scattered focus. Gwenn contributes with warmth and dignity that is to be expected from him.  The film treads okay at 118 minutes, showcasing a 3-strip Technicolor tale of a comedy of manners that inspires chuckles more than yawns, even if it is entirely predictable (regardless of what era it was made in, I suppose). Life with Father is an average film with prominent talent and a prominent place because of its public domain status that makes it a decent gem worth looking for its look at a quirky family and the situations that come with them.

Overall, I give it 7 out of 10 stars.

Ivanhoe (1952).

Review #946: Ivanhoe.

Cast:
Robert Taylor (Sir Wilfred of Ivanhoe), Elizabeth Taylor (Rebecca), Joan Fontaine (Rowena), George Sanders (Sir Brian De Bois-Guilbert), Emlyn Williams (Wamba), Robert Douglas (Sir Hugh De Bracy), Finlay Currie (Sir Cedric of Ivanhoe), Felix Aylmer (Isaac of York), Francis de Wolff (Front De Boeuf), Norman Wooland (King Richard), and Basil Sydney (Waldemar Fitzurse) Directed by Richard Thorpe (#327 - Jailhouse Rock)

Review:
Based off the historical novel of the same name by Sir Walter Scott, Ivanhoe manages to shine as a fine piece of entertainment, filled with Technicolor spectacle and costumes to go with it. I can't say it's as good as The Adventures of Robin Hood (#505), for example, but it is at least a pretty interesting piece of work. Robert Taylor is a capable lead, managing to give off a commanding presence pretty quickly. An interesting fact is that Taylor, along with Thorpe and producer Pandro S. Berman, would later make two more films together in the next few years (Knights of the Round Table and The Adventures of Quentin Durward), forming an unofficial trilogy. Elizabeth Taylor does a fine job in this sweet but also capable character. Fontaine doesn't have as much to do, but she gives off a competent feel. The three form an interesting love triangle that does prove somewhat compelling, alongside the main plot, anyway. Sanders is the main adversary, and he does an alright job in making him somewhat three dimensional, particularly around the end of the film. The Norman-Saxon plot is decent, though nothing too special. Miklós Rózsa does a fine job with the music score, being quite heroic and quite fitting for the movie. The jousting sequence is well executed, and the battles are also pretty well done in capturing excitement and pacing.  Within its 106 minute run-time is a movie that balances a fine line between action and structure that does not drag itself too often, and while it may succeed more in the former than the latter, it definitely is worth consideration, with its spirit of thrills outweighing the risks.

Overall, I give it 8 out of 10 stars.

Cat on a Hot Tin Roof.

Review #871: Cat on a Hot Tin Roof.

Cast:
Elizabeth Taylor (Margaret "Maggie/Maggie the Cat" Pollitt), Paul Newman (Brick Pollitt), Burl Ives (Harvey "Big Daddy" Pollitt), Judith Anderson (Ida "Big Mama" Pollitt), Jack Carson (Cooper "Gooper" Pollitt), Madeleine Sherwood (Mae Flynn "Sister Woman" Pollit), and Larry Gates (Dr. Baugh) Directed by Richard Brooks

Review:
Can't say I expected to do this one (based off the play of the same name by Tennessee Williams, who already had his play A Streetcar Named Desire adapted into a film earlier in the decade), but sometimes college and this show mesh together (as opposed to being on different ends). At best, it is an alright movie, up to the standard of films of the time, though it isn't likely one of my favorites. Taylor and Newman certainly have fine chemistry together (even in scenes not so pleasant), with a fair amount of screen time dedicated to the two. It takes time to get interesting (with the plot and all, especially with lengthy scenes setting up the main characters), but the climax is fairly serviceable. The big highlight (and where it gets fun) is Burl Ives, who practically steals the show after he appears midway through. His insults are edged entertainingly, but he's not completely without some sort of humanity, and he does well to contribute the climax. The rest of the cast do an adequate job in their roles, having some sort of arc that works. The sets are also pretty fine, and the movie flows well at about 100 minutes. If you're looking for a fairly adequate adaptation of a play, I think this will work for you, as opposed to Williams, who reportedly told people waiting to see it that "This movie will set the industry back 50 years. Go home!" Regardless, while I don't think I'll watch it in the near future again, I think it is at least fine as its own thing. It has enough drama and atmosphere to work just neatly enough.

Overall, I give it 8 out of 10 stars.

Movie Night: Father of the Bride.

Review #510: Father of the Bride.

Cast
Spencer Tracy (Stanley T. Banks), Joan Bennett (Ellie Banks), Elizabeth Taylor (Katherine Banks), Don Taylor (Buckley Dunstan), Billie Burke (Doris Dunstan), Leo G. Carroll (Mr. Massoula), and Moroni Olsen (Herbert Dunstan) Directed by Vincente Minnelli (#405 - The Reluctant Debutante)

Review
Spencer Tracy is always fun to watch, how he acts towards events in the character's life, like what he does in this film. He at first is skeptical about his daughter's soon to be marriage, but at the end he is accepting of his daughter growing up. Tracy interacts well with the rest of the cast, especially with Taylor, the two interact well as father and daughter, especially when Tracy sees Taylor in her wedding dress for the first time, shown on 3 mirrors no less, which is probably why the shot and the scene work so well. Bennett is also effective, and Taylor (while not being in the film too much), is fine. The film has some chuckles and it never slows its pace, making for a quick, but effective film that would inspire a sequel the following year, and a remake with its own sequel.

Overall, I give it 8 out of 10 stars.

Movie Night: Who's Afraid of Virginia Woolf?

Review #175: Who's Afraid of Virginia Woolf?

Cast
Elizabeth Taylor (Martha), Richard Burton (George), George Segal (Nick), and Sandy Dennis (Honey) Directed by Mike Nichols.

Review
I must mention that this is the 175th Review. Now, this is a different film then usual, a small cast with big drama. The whole cast is perfect, with Taylor and Burton being the main standouts. This drama is devastating to the bone, with moments of uncomfortable moments that only keep the tension rise until it all explodes. Their are parts with humor that only add to its atmosphere. This film is like 12 Angry Men (#035), a bunch of people all cooped in one set with tension building until it ends in excellence. Truly recommended.

Overall, I give it 10 out of 10 stars.