The Towering Inferno.

Review #1447: The Towering Inferno.

Cast: 
Paul Newman (Doug Roberts), Steve McQueen (Michael O'Hallorhan), William Holden (James Duncan), Faye Dunaway (Susan Franklin), Fred Astaire (Harlee Claiborne), Susan Blakely (Patty Duncan Simmons), Richard Chamberlain (Roger Simmons), Jennifer Jones (Lisolette Mueller), O. J. Simpson (Harry Jernigan), Robert Vaughn (U.S. Senator Gary Parker), Robert Wagner (Dan Bigelow), Susan Flannery (Lorrie), Sheila Matthews Allen (Paula Ramsay), Norman Burton (Will Giddings), Jack Collins (Mayor Robert "Bob" Ramsay), Don Gordon (Kappy), Felton Perry (Scott), and Gregory Sierra (Carlos) Directed by John Guillermin (#726 - King Kong (1976) and #1231 - Shaft in Africa)

Review: 
"You know, there's really nothing like an exciting film on a big screen. Hopefully, I've made a few in my career."

Here's an idea: How about a film based on not one, but two books? No wait, here's one better, how about one released by two major studios? This film, adapted from The Tower by Richard Martin Stern and The Glass Inferno by Thomas N. Scortia and Frank M. Robinson, was released in the United States by 20th Century Fox and worldwide by Warner Brothers, as Irwin Allen (who would direct the action sequences) convinced them to make one film together rather than just adapting the novels separately for film. There were numerous disaster films of this era, but The Towering Inferno likely topped them all, despite attempts for others to try to raise the heights, considering 1974's output in this film, Earthquake, and Airport 1975 (the sequel to the original film with familiar disaster star Charlton Heston). Simply put, if something existed that had people nearby, by George would there be a disaster waiting to happen, whether that involved rollercoasters (with Sensurround!), football games (sniper or blimp, take your pick), or meteors. The one fitting to helm a big budget action adventure would be John Guillermin, noted for his intense perfectionist attitudes for his film that crept to his stars and producers for a varied career of distinct hits at times in a career that spanned over three decades.

This is an interesting duo for a film, since both Newman and McQueen apparently have the same amount of lines despite the latter not appearing until forty minutes into a 165 minute film (he actually was meant to star as the architect but lobbied for the architect role and got it). One thing this film certainly has enough of is ludicrous spectacle, a film that builds and builds and builds until it nearly becomes too much about a massive fire that engulfs its audience and stars to make for fair entertainment in parts with enough effects and silliness for a lifetime. It is arguable to say which Allen epic is better with The Poseidon Adventure or this, but it can't be denied that they have had their own types of lasting appeal, with both making plenty of money and receiving accolades (mostly technical awards along with title songs, oddly enough) that make them interesting pieces for their era. Newman (who apparently described the film later as a "turkey" before appearing in another Allen film years later in When Time Ran Out) is quite casual here, rolling with the occasional line about safety and exposition without trouble. McQueen (who appeared in three more films before his death after taking a four-year hiatus following this film) is calm and collected in leading the fire aspects that keeps your attention in a balance that favors the two stars without engulfing them in a scenery-chewing contest. Holden, who described his part as one that spends all the time talking on the phone (while clearly liking the money more than the script), does just fine with a role that doesn't really require too much besides just interacting with the occasional figure in a room - as long as he doesn't seem to be lost in the fun, it works out. Dunaway definitely gets close to being lost in all of this, since she only interacts with Newman for a few scenes before being mostly in the background. There are little highlights within the rest of the cast, such as the kindly professional Astaire paired with the equally kind Jones (in her last role), or a snidely Chamberlain, or even sprinkles of football star-turned-actor Simpson and his rescue of a cat (who then only reappears at the end to give the cat away to a survivor, naturally). One is here to see who will come out of alive, and while there may not be as much of a seeable count of vanquished stars, it still makes for a thrilling film at times, if only because of the thought of a building on fire from below does seem pretty scary. There are plenty of spectacle moments such as the stairwell rescue, the outsider elevator debacle and rescue, the daring attempts to rescue people (and cats) from fires, and a two million gallon water climax. For those who seek out something brimming with spectacle and stars that overflow the pot with mostly satisfaction, you can't quite go wrong with this film - a worthy disaster film highlight for its era.

Overall, I give it 8 out of 10 stars.

On the Beach.

Review #1402: On the Beach.

Cast: 
Gregory Peck (Commander Dwight Towers), Ava Gardner (Moira Davidson), Fred Astaire (Julian Osborn), Anthony Perkins (Lieutenant Commander Peter Holmes), Donna Anderson (Mary Holmes), John Tate (Admiral Bridie), Harp McGuire (Lieutenant Sunderstrom), Lola Brooks (Lieutenant Hosgood), Ken Wayne (Lieutenant Benson), and Guy Doleman (Lieutenant Commander Farrel) Produced and Directed by Stanley Kramer (#139 - Guess Who's Coming to Dinner and #228 - Inherit the Wind)

Review: 
"I take a very reluctant and conservative view on what a single film can do in affecting our lives. I don't make films to stir the world. I am not conscious of a responsibility to society or even to my own social consciousness when I make a film. My motivation can be as simple as saying, gee, this would make an exciting picture."

Message films, with the right execution, can strike a chord with an audience. Stanley Kramer was a director-producer who liked to specialize in these type of films throughout his career in film. Kramer had written columns for his university paper and graduated with a business degree from New York University, and it was his zest for writing that led to a internship with 20th Century Fox (as opposed to his initial ambition for law), which led to a variety of small jobs around the Hollywood studios for over a decade, such as set furniture mover, writer-researcher, and film cutter. His plan to make his own independent production company was delayed due to Pearl Harbor, and Kramer served underr the Signal Corps to make training films. After the end of the war, he formed a partnership alongside writer Herbie Baker, publicist George Glass and producer Carl Foreman to form Screen Plays Inc. They set out to make films with stories they wanted to do that had something of value to say as per their personal taste without needing to rely on stars. Their attempts at producing independent films met with a few notable films such as Champion (1949), The Men (1950), and High Noon (1952). In 1951, Columbia Pictures signed Kramer and the company to a deal that would give them their own production unit within the studio that gave them free rein and increased budgets. It did not last the contracted five years, and Kramer felt that this one of the most dangerous moves of his career. In a three year partnership, he would produce films such as The Wild One (1953) and The Caine Mutiny (1954) before deciding to enter the foray of directing and producing with Not as a Stranger (1955). This was his fourth work, released between noted films The Defiant Ones (1958) and Inherit the Wind (1960), and it simultaneously premiered on all seven continents one week before Christmas Eve. Despite fair reviews, it was not a big hit with audiences, although it has found appreciation in later years.

Can you imagine what the world would look like after a massive event that affected people's lives and led to long-term consequences? Authors have written apocalyptic and post apocalyptic fiction for as long as people have been around on this Earth, with the modern age being no different in inspiring further looks into what a world would look like with disaster from nuclear fallout, or from something like disease or the environment. Nevil Shute wrote one such work on the apocalypse, writing his work in 1957 while residing in Australia (he also worked as an aeronautical engineer and pilot before his death in 1960). The novel has been turned into a film twice, with the other adaptation being a TV film in 2000. Shute found dissatisfaction with this adaptation when it came to certain aspects of the novel, particularly the romance between Peck and Gardner's characters being more pronounced than in the book when it came to the former's fidelity to his dead wife (Peck agreed with this privately). It certainly must have been an interesting film to view for the time (where this decade had seen war in Korea and continuing Cold War tension) - a bleak movie through and through, where blame is not given to any one side of the unseen war. While one is spared visual decay of vanquished people or even the effects of radiation on the survivors, the film manages to do well enough in maintaining itself in grim composure that makes one think about their future that could have been or the future that could be for what was the future of 1964, complete with filming in Australia. Peck handles himself with resolve in a mellow voice that can handle impending doom and conflicting feelings with care. Two actors playing against the type they were usually known for in film are femme fatale Gardner and song-and-dance Astaire, and each follow Peck fine, making light romance and guilt come out with some effectiveness. Perkins and Anderson give off a bit of intimacy and anxiety decently enough, although they don't stick out as much as they could when it comes to such a dreary quiet time. It is the sights and what one can see and doesn't see within the Australia landscape and beyond (such as a shot of the Golden Gate Bridge with no one present) that drives the film for 134 minutes with adequacy. It comes off with an urgency that warns for the future without becoming too much of a lecture to stand on its own as a film of oblivion that resonates still after over six decades since release.

Overall, I give it 7 out of 10 stars.

And now, an announcement for the month of May, comprised of 30 films.

Movie Night: Shall We Dance.

Review #508: Shall We Dance.

Cast
Fred Astaire (Peter P. "Petrov" Peters), Ginger Rogers (Linda Keene), Edward Everett Horton (Jeffrey Baird), Eric Blore (Cecil Flintridge), Jerome Cowan (Arthur Miller), and Ketti Gallian (Lady Denise Tarrington) Directed by Mark Sandrich.

Review
This is my first film review of Fred Astaire and Ginger Rogers, and what better way to do it then with one of their collaborations together (As they did ten films in 16 years), so that was a good sign, and I needed one after all the things that happened on Christmas (Santa Claus Conquers the Martians, Time of the Doctor, etc...), and this film is very cheerful indeed. Fred Astaire has so much grace, with his dancing and singing, he takes it all in stride, like a professional. Ginger Rogers also does a good job, dancing well with Astaire and being so charming, the two pair off well each other, which is probably why they made so many films with each other. The film is certainly charming and the dance sequences are interesting to watch and fun to look at, the supporting cast do well enough to keep the boat afloat, the film has a surprising length at almost 2 hours, but it certainly doesn't try to pad itself out, and it is an entertaining musical which is always nice. Happy Boxing Day and Happy Kwanzaa, everyone.

Overall, I give it 8 out of 10 stars.