He Ran All the Way.

Review #2253: He Ran All the Way.

Cast: 

John Garfield (Nick Robey), Shelley Winters (Peg Dobbs), Wallace Ford (Mr. Dobbs), Selena Royle (Mrs. Dobbs), Gladys George (Mrs. Robey), Norman Lloyd (Al Molin), Bobby Hyatt (Tommy Dobbs), and Clancy Cooper (Stan) Directed by John Berry.

Review: 

Remember John Garfield? Tough guy actor, Method acting pioneer, martyr for the cause of not naming names, one probably should remember this actor. He had made his debut on Broadway at the age of nineteen in 1932 after rising from a tough upbringing to honing his craft in New York theatre (such as the Group Theatre). Six years later, he appeared in his first film with Four Daughters (1938) and garnered an Academy Award nomination to start his first couple of years in the Warner Bros. studio system before he decided to venture out with his own production company in the mid-1940s; Body and Soul (1947) was the highlight of the three-year run. Garfield died at the age of 39 from long-term heart problems (he had scarlet fever as a child while missing service in World War II because of his heart) in 1952. One year earlier, he appeared in his last feature film with He Ran All the Way, which was based on the 1947 novel of the same name by Sam Ross. Hugo Butler and Dalton Trumbo wrote the screenplay adaptation. Two months before this film was released, Garfield was asked to testify before the House Committee on Un-American Activities. He was a member of the Committee for the First Amendment, which was in support of ten individuals that were cited for contempt of Congress and blacklisted when they didn't answer questions of alleged involvement with the Communist Party, which included Trumbo; being a part of that committee, combined with a wife who actually was a member of the Communist Party in America and testimony that did not "name names", led to Garfield being ignored by studios. Incidentally, John Berry was also wrapped up in the HUAC witch-hunt, because Edward Dmytryk (a member of the aforementioned "Hollywood Ten") decided to testify and named Berry as a communist (Berry had indeed been in the party for a time). Berry would have to move away from America to find work to direct for a time; Berry returned and eventually got to direct features again, most notably with Claudine (1974). Butler himself was chased out of working in Hollywood for a number of years because of the HUAC. The film, distributed by United Artists, made $1 million on original release.

Seemingly, you can find a noir classic if you know where to go. There is a great sense of claustrophobia present for a movie with such a delicate sense of self for 78 minutes. Garfield as a whole deserved better, but he really pulled it all in with this performance of a scared creature that is exposed to the elements when you see him opposite other people. Sure, you might wonder what he is doing interacting with a mother in the intro where he looks a bit old to still be around living with her, but then I think that even there it seems clear that we are dealing with someone who lives only to use people and things as much as he tries to do because of how alone he really is. Imagine the depths one has to go to make people be around you and all one can come up with is aggression. Garfield just sells that desperation in such a quick amount of time that makes one realize that some Method guys really could just lock in when they needed to. Incidentally, this is the same year that Winters was nominated for her first Academy Award for her performance in A Place in the Sun. Interestingly, she was so into the idea of being into this film with Garfield and Berry that when faced with the idea of having to turn down the film for some contract costume drama (Little Egypt), she intentionally went on an eating habit (apparently over a week and a weekend) to gain weight to get out of that film, which worked. It is easy to see her talent, because she plays opposite Garfield with such worthwhile timing that makes the drama of collaboration with a kidnapper-turned-accomplice so fascinating. Ford provides the usual character actor stuff that is reliable in terms of apprehension, as one would expect from someone in the middle of a growing shaky bond between man and woman. As a whole, this is a damn good movie, with Berry and Garfield leading the way in worthwhile tension in the portrait of a scared creature and the personality that comes out in such a rapid-fire and terse way for such a grim and devastating film, particularly in its climax in those last few minutes.

Overall, I give it 9 out of 10 stars.

The Best Years of Our Lives.

Review #1368: The Best Years of Our Lives.

Cast:
Myrna Loy (Milly Stephenson), Fredric March (Platoon Sergeant Al Stephenson), Dana Andrews (Captain Fred Derry), Teresa Wright (Peggy Stephenson), Virginia Mayo (Marie Derry), Cathy O'Donnell (Wilma Cameron), Hoagy Carmichael (Uncle Butch Engle), Harold Russell (Petty Officer 2nd Class Homer Parrish), Gladys George (Hortense Derry), Roman Bohnen (Pat Derry), Ray Collins (Mr. Milton), Minna Gombell (Mrs. Parrish), and Walter Baldwin (Mr. Parrish) Directed by William Wyler (#509 - Roman Holiday, #1022 - Jezebel, and #1360 - Mrs. Miniver)

Review:
The most enduring films can be the ones that strike us in their poignancy. Emotional honesty can be the best policy, particularly when it comes to a film basked in real life, about soldiers coming home from war. One prominent person returning from the war was director William Wyler. The year that he had directed Mrs. Miniver (1942) to roaring success (although he subsequently called it an "incomplete" film that only scratched the surface about war), he had volunteered to serve in the US Army Air Forces; he shot footage that was turned into two war documentaries, and there were risks to filming footage over actual bombing missions, with Wyler losing a significant part of his hearing due to exposure to loud noise. It should prove no surprise that Wyler was the director to be for a film about veterans arriving home from war, with numerous touches done by the director to make an authentic piece of grand naturalness, such as having the actors buy their own clothing and having sets constructed at life-size level (as opposed to camera-friendly larger sets). To go alongside Wyler was a producer with the capable hands in Samuel Goldwyn. He had gone from bustling garments to salesman to being in a film company partnership in 1913 with Jesse L. Lasky and others to turn plays into feature-length films. They would later merge with Paramount (alongside Adolph Zukor's Famous Players Film Company), although Goldwyn would later resign in 1916 over disagreements, so he went on to partner with the Selwyn brothers to make the enterprise known as Goldwyn Pictures (with that leading to him changing his name to Goldwyn after being known as Goldfish that he had changed from Gelbfisz). It ran for eight years before being acquired by Marcus Loew to merge with Metro and Mayer to form Metro-Goldwyn-Mayer, although Goldwyn moved on to his own production company, and the company produced films for 36 years that would distributed through various studios such as United Artists and RKO. This was written by Robert E. Sherwood (four-time Pulitzer Prize winner and head of the Office of War Information from 1943 until the end of the war) as an adaptation of the novella Glory for Me (1945) by MacKinlay Kantor, which had been inspired by an article in Time Magazine.

One finds themselves wrapped right in with a film like this from the very first minutes, and it should prove no surprise that this film manages to accomplish this through capable storytelling, having a consistent and engaging focus for each of its veteran plots that weaves magnificently for 172 minutes, where one is absorbed in where the path may go next. March commands the film with great presence, a weary and dogged man that we can go along at any point, which matches Loy and her capable patience that makes for great established chemistry. Andrews pulls off a tremendous performance as well an evolving performance built on humility, with him and March both expressing trauma in their own respective ways (which is especially striking now as it was then). Wright proves fairly charming in a film wrapped in honest realism, where naivety and sentiment are behind for most if the film, while Mayo pulls off a conniving turn in her moments on screen, with the best highlight probably being the scene between the two when they are on a double date and talking to themselves privately. an Army instructor who had lost his hands due to a defective fuse when handling TNT) had been noticed by Wyler due to an Army film named Diary of a Sergeant, which was about rehabilitating veterans. He appeared in three total films, with Wyler having told him to finish his interrupted studies at Boston University. He pulls off his story with tremendous courage in a natural manner, where one is focused on him and his trouble like we would with others with more acting experience while not thinking about his hooks. Rounding out the cast is capable edge filling from singer-turned occasional actor Carmichael and an understanding O'Donnell performance. There is plenty that one can see when it comes to following natural pursuits in this film, one that eventually finds hope in the murkiness that could accompany such a hard readjusting that war can be. It isn't overly-sentimental or cynical to the point of irritation, finding an honest middle ground that lets these characters breathe for themselves. From the deep focus shots from Gregg Toland to highlights like the aircraft boneyard sequence, one will have an interesting time to spend with people that still seem relevant now.

One may not be surprised to know that this was a hit for its year with audiences and critics. It won seven Academy Awards, with Wyler, Sherwood, March, and Russell winning in respective categories of directing, screenplay, and acting while also winning for editing and original score. The night belonged to Goldwyn and Russell, with the former being awarded both an Irving G. Thalberg Memorial Award along with Best Picture (his one win in eight nominations as producer for Best Picture) for this film while the latter became the first and only actor to receive two Academy Awards for the same performance, having been awarded an Honorary Academy Award (since the Academy apparently believed his Oscar hopes were slim). In any case, it is easy to see why this endures as one of the best films of its era, where one will find themselves satisfied with going through the time to see something like this and not finding their patience tested at any real point.

Overall, I give it 10 out of 10 stars.

Movie Night: The Maltese Falcon (1941).

Review #081: The Maltese Falcon.

Cast
Humphrey Bogart (Sam Spade), Mary Astor (Ruth Wonderly/Brigid O'Shaughnessy), Gladys George (Iva Archer), Peter Lorre (Joel Cairo), Barton MacLane (Lieutenant Dundy), Lee Patrick (Effie Perine), Sydney Greenstreet (Kasper Gutman), Ward Bond (Detective Tom Polhaus), and Jerome Cowan (Miles Archer) Directed by John Huston.

Review
This is a classic film that should be watched at least once by people who like film. Yes, that's my first line. And it's truthful straight down to the last period. The acting is good, especially from Bogart. The film has a style to it that helps the film makes its case for a good film, if not already from the acting. The story's good, making you interested in it for the entirety of the film. This film is the stuff that dreams are made of...

Overall, I give it 10 out of 10 stars.