High Noon.

Review #2083: High Noon.

Cast: 

Gary Cooper (Marshal Will Kane), Thomas Mitchell (Mayor Jonas Henderson), Lloyd Bridges (Deputy Marshal Harvey Pell), Katy Jurado (Helen Ramírez), Grace Kelly (Amy Fowler Kane), Otto Kruger (Judge Percy Mettrick), Lon Chaney Jr (Martin Howe), Harry Morgan (Sam Fuller), Ian MacDonald (Frank Miller), Eve McVeagh (Mildred Fuller), Morgan Farley (Dr. Mahin), Harry Shannon (Cooper), Lee Van Cleef (Jack Colby), Robert J. Wilke (Jim Pierce), and Sheb Wooley (Ben Miller) Directed by Fred Zinnemann (#1377 - The Men)

Review: 

"Sheriffs are people and no two people are alike. The story of High Noon takes place in the Old West but it is really a story about a man's conflict of conscience. In this sense it is a cousin to A Man for All Seasons. In any event, respect for the Western hero has not been diminished by High Noon."

It is never a bad time for a Western, particularly ones with interesting stories beyond the camera. The film is based on the short story "The Tin Star", as seen in 1947 in Collier's magazine that was done by John W. Cunningham. Carl Foreman (the credited screenwriter of the film) claimed later that he had written an outline that apparently seemed similar to Cunningham's story, which led to him buying the rights to the story. However, Richard Fleischer claimed in his autobiography (written decades after the fact) that he had helped Foreman develop the story while they had been working together in The Clay Pigeon (1949). Anyway, let's talk about Foreman for a bit. He had studied at the University of Illinois at Urbana–Champaign as a teenager, dropped out to seek out Hollywood, went back to Illinois to study at the John J. Marshall School of Law, and then dropped out of there to work a variety of jobs (writer, reporter, and even carnival barker) before eventually returning back to Hollywood by the late 1930s; during that time, he became a member of the Communist Party, which he left by the dawn of World War II, which saw him serve with the U.S. Army Signal Corps. Foreman had done his first writing in film with the 1941 film Bowery Blitzkrieg in an uncredited manner, but he got onto a more regular pattern of work with story/writing credits for Dakota (1945) and So This Is New York (1948) - the latter was the first Foreman made in association with Stanley Kramer (who he met when they both were serving in World War II). There would be a handful of films that Foreman made as a writer for Kramer's company, which included The Men (1950), as directed by Fred Zinnemann. At any rate, Foreman's career took a beating due to the House Un-American Activities Committee (HUAAC), who labeled him as an unfriendly witness after he admitted to being a party member but did not want to name names. He later called the film a parable against blacklisting, one that seems apt when considering that Kramer essentially shortchanged him when it came to having him sell his share in the company and even tried to get him booted off the production prior to the meeting with the HUAAC (because he feared he would be implicated by Foreman, assocation or not). Living mostly in London for the rest of his days, Foreman was given the cold shoulder from Hollywood for the rest of the 1950s that saw him either work on the side away from Hollywood or with modified credit that ranged from The Bridge on the River Kwai (1957); he also did a hand of producing in addition to writing for films such as Mackenna's Gold (1969); Foreman died in 1984 at the age of 69.

Fans of the Western know that Howard Hawks made Rio Bravo (1959) as a response to what he thought about this film that he felt didn't make much of a good Western, which naturally starred John Wayne (incidentally, he called High Noon "un-American", which is probably the silliest thing ever said by Wayne in the 1950s). Of course, Zinnemann years later responded by saying he wished Hawks would leave his films alone, so there's that. It seems only apt to have Cooper here, since the film that made him a key presence for bigger things in film was The Virginian (1929), which incidentally was a film that dealt with a man recently finding love in the West having to deal with the ramifications of an old foe coming into town for revenge in a shootout. The amusing point in all of this is that the two films are basically the same in quality anyways, ones that serve as being pretty good for what they are with distinct human qualities that make for a useful Western. The anguish and fear shown in its lead character (with credit going to Zinnemann and cinematographer Floyd Crosby) make a resounding effort to make a panicky piece of entertainment that makes a suitable morality tale that also is a sharp real-time thriller of conscience. In the end, a town may be a town, but it is nothing if there are no good people willing to stand side by side with folks in need of help, whether that involves men bound to their duty and honor or not. It is the kind of film that enforces the idea that beyond the one person bound to serve and protect folks sees them exposed for who they are (cowardice, resentment, jealousy, or bad timing) when the cards are down, which isn't always the easiest thing to confront when seeing human nature that leads to a man needing to make a decision (in Zinnemann's words) "according to his conscience." Cooper makes the ideal lead to make this grand quandary worth watching, which works pretty well when presented with a collection of various recognizable presences that make the lineup of human frailty (well, aside from the Quaker and an assertive presence of who stands by their man most) that even overshadow the outlaws (a quartet led by MacDonald), which somehow seems right. Kelly makes a decent pacifist in the middle, but really the most suitable presence to counter Cooper in pursuit is Bridges or Jurado, who each show the side of just what past loyalties mean when it comes to pride. The climax proves worthwhile in showing the chase of just how much pride and devotion mean when staring at a frontier where guns are in the picture rather than the idea of safety. As such, High Noon is a worthwhile effort in showing the nature of man and pride in a story that is distinct from the general Western tales and myths that arise from gunslingers and towns of man and dirt. Analyze all you want about just where the best Western lies, but this one is a pretty good one to go along with no matter where you encounter it in your travels.

Overall, I give it 9 out of 10 stars.

The Beast from 20,000 Fathoms.

Review #1899: The Beast from 20,000 Fathoms.

Cast: 

Paul Hubschmid (Professor Tom Nesbitt), Paula Raymond (Lee Hunter), Cecil Kellaway (Dr. Thurgood Elson), Kenneth Tobey (Colonel Jack Evans), Donald Woods (Captain Phil Jackson), Ross Elliott (George Ritchie), Steve Brodie (Sgt. Loomis), Jack Pennick (Jacob Bowman), Michael Fox (ER doctor), Lee Van Cleef (Corporal Jason Stone), and Frank Ferguson (Dr. Morton) Directed by Eugène Lourié.

Review: 

The creature feature is a fun one to think about in the Atomic Age, considering that you had films that ranged from ones attacking Tokyo to ones involving irradiated ants or octopuses. Sure, there were movies you might call "monster movies" beforehand such as The Lost World (1925) or King Kong (1933), but you have to consider how the dawn of nuclear paranoia with the 1950s made for a whole new element of creature terror, primarily as B-productions...and this one came in 1953, before Godzilla (1954) and others of its ilk.  The film is loosely based on the short story "The Fog Horn", written by Ray Bradbury (you may remember Bradbury as the writer of numerous short stories and novels such as Fahrenheit 451). That story involved a lighthouse with a horn that attracts the attention of a lone sea monster. The studio bought the rights to the story when the screenplay was in development, probably because of the lingering similarities between sea monster and creature from beneath the sea (besides, who wouldn't want to say they were based on a Bradbury work?). The screenplay was done by Fred Freiberger, Eugène Lourié, Louis Morheim, and Robert Smith. The career of its director is a bit fascinating. This was the debut of Lourie, who directed just three more films after this one: The Colossus of New York (1958), The Giant Behemoth (1959), and Gorgo (1961). The Russian-born Frenchman was first inspired by film when he saw his first cinema theater in 1911 as a six-year-old, and he even appeared as a bit player in films starting in 1919. By the 1930s, he would do work as an art director that spanned numerous directors such as Jean Renoir and Clint Eastwood. Of course, he noted later in life that he was typecast as a director of science fiction because of his work with this film (incidentally, he was nominated for an Academy Award for Best Visual Effects on Krakatoa, East of Java in 1969).

Incidentally, Bradbury was a long-time friend of Ray Harryhausen. The Los Angeles native had an interest in animation since seeing King Kong (1933) numerous times, and he would study at the School of Cinematic Arts at the University of Southern California to hone skills in arts and sculpture. He would get a chance to work with his mentor Willis O'Brien as a technician on effects with the Academy Award awardee Mighty Joe Young (1949). When it came time for Fathoms, Harryhausen would get his first chance to do a film with himself in charge that saw him pioneering "Dynamation". The process required split-screen, rear projection, multiple pieces of glass between camera and screen with paint to black out the part that are meant to be in front of the creature required to be seen before using one that blackens out the reverse of the first glass. This required less building of miniatures that were apparent for stop-motion that could have a bit more interaction between creatures and actors. In total, Harryhausen would use the process for fifteen films from 1953 to 1981 as one of the most distinct effects people of the last half-century.

For an 80-minute movie made for roughly $200,000 (as produced by former Monogram associates in Jack Dietz and Hal E. Chester that saw distribution by Warner Bros.), it was a clear-cut success with audiences. It is a fun movie in its construction that pulls off spectacle with careful patience that never sells out for simply being a mash movie with no substance to it. Any movie that takes a little bit of time to cover how a nuclear weapons test goes. Sure, the actors aren't exactly doing stand-out performances, but making sure to not look goofy in the face of what is meant to be refreshing entertainment is something to give credit to, particularly since a handful of the actors were part of other monster movies besides being usual veterans of the screen, such as Tobey or Elliott. Hubschmid makes a solid lead in trying to make others believe a monster lurks while Kellaway works his charm in the "let's capture it alive" type to go with a soothing Raymond. They keep the edges at a fairly rounded level to make the scenarios work, whether that involves sharpshooting isotopes or trying to make people believe a monster exists. The effects are dazzling and effective in the moments required in making a capable threat, one seen terrorizing streets and even a lighthouse and rollercoaster ride with believability. My favorite part is the idea that the people can shoot the creature, which works for them shooting a hole in it before they find that the blood coming out from it is getting people really sick. That's one interesting way to have a scary monster that moves on four legs, one that can snatch police officers and chomp them and also get you sick if someone tries shooting holes in it. With a smooth monster, it is no wonder how this movie worked so well with audiences, because it is a fair treat that fit its era like a glove, pulling off entertainment with resourceful craftmanship fit for everyone.

Overall, I give it 8 out of 10 stars.

Sabata.

Review #1432: Sabata.

Cast: 
Lee Van Cleef (Sabata), William Berger (Banjo), Ignazio Spalla (Carrincha), Aldo Canti (Indio), Franco Ressel (Stengel), Antonio Gradoli (Ferguson), Linda Veras (Jane), Robert Hundar (Oswald, Stengel Henchman), Gianni Rizzo (Judge O'Hara), Spartaco Conversi (Slim, Stengel Henchman), and Carlo Tamberlani (Nichols) Directed by Gianfranco Parolini.

Review: 
"Bad guys have always been my bag . . . I look mean without even trying. Audiences just naturally hate me on screen. I could play a role in a tuxedo and people would think I was rotten. You can do much more with a villain part. Movies are full of leading men, most of whom aren't working. It's much harder to find a good villain."

Oh sure, why not another Western to the pile, one might think when it comes to a film called Sabata [Ehi amico ... c'è Sabata. Hai chiuso!]. One can tie a great deal of interesting things to come out of 1969, whether that meant an X-rated Best Picture winner or a unlikely motorcycle film to become a smash hit with the counterculture, or films willing to push the creative envelope in tone in Z and Medium Cool, or a mix of westerns with grand legacies in a slowing genre with key stars. This happens to be a decent spaghetti western with its own interesting star in Lee Van Cleef. After serving in the U.S Navy during World War II, Van Cleef turned to stage acting before receiving a break into film with High Noon (1952), which was a small villainous part due to his refusal to fix his nose to fit a friendly character. His sharp expressions, eyes and nose resulted in a string of villainous roles in Westerns, sci-fi and noir movies. He nearly had his life and career end in a severe car accident in 1958 (with a kneecap injury that could've led to him never riding a horse again), although he did continue work with television. On the verge of ending his career, he received a break with a key role in For a Few Dollars More (1965) after Charles Bronson rejected the part. He would also appear in the follow-up film The Good, the Bad and the Ugly the following year, with the resulting films helping to make Van Cleef an international star, with varying levels of anti-heroism in a collection of films (a good deal being spaghetti westerns). This was the first film in the Sabata trilogy, for which Van Cleef would star in the first and third films (Return of Sabata), all of whom were directed by Parolini. He had directed a number of sword-and-sandal films along with adaptations of Kommissar X while also the same one behind If You Meet Sartana Pray for Your Death (1968, the first of a five film series), which had featured the title character in a black suit with trick weapons and a motivation for money with a sense of mystery to him.

While this certainly doesn't rank as a particularly great western by any means, there is certainly a good time to be had here with the sum of its parts. Sure, it's a treasure hunt kind of film that has a fair body count and a mixture of action and light humor that make for a welcome curiosity. It might be a cheap western or one that looks made fast, but it sure isn't just a product to consume at the dime store, that much is for sure. Van Cleef excels in confidence when it comes to gravelly-toned dialogue to banter with other briefly or engaging in a drawn out drawdown. It isn't exactly a part befitting of someone wanting to win awards or a hammy turn, but Van Cleef gets the job done with professionalism. Berger, an Austrian-turned-spaghetti western character actor (who had also appeared in the first Sartana film, along with starring in a knock-off version), accompanies the film with quizzical appeal, seeming more out of place in the town as Van Cleef does, and that isn't counting the banjo gun. In that sense, he makes for a few welcome moments. Spalla proves fairly amusing, a formidable presence in wanting to keep him on screen with some mildly wry quip. Ressel proves quite silly in smugness as the main threat for the film, one who portrays avarice with the conviction of a dime-store book needing a few more pages. While the film definitely seems a bit much at 111 minutes when it comes to getting itself going, it ultimately proves a diverting time, with Marcello Giombini's music helping to set a tone of reasoned action with some touch of lightness go right, particularly with its catchy title theme. Ultimately, this is fine entertainment and a neat little gem, with a solid Van Cleef performance to make it an fair sixties film to have in the corner of your mind on a late night.

Overall, I give it 7 out of 10 stars.
And there we have it, the last one for the month - the first 30-review month since July 2013. As such, here is the listing for the month of June, as we move into the "Me Decade" with 29 films. Hopefully you will enjoy.

Kansas City Confidential.

Review #1381: Kansas City Confidential.

Cast: 
John Payne (Joe Rolfe), Coleen Gray (Helen Foster), Preston Foster (Tim Foster), Neville Brand (Boyd Kane), Lee Van Cleef (Tony Romano), Jack Elam (Pete Harris), Dona Drake (Teresa), and Mario Siletti (Tomaso) Directed by Phil Karlson.

Review: 
"This was so far ahead of itself that I say these pictures have been copied and recopied so many times. Unfortunately Phil Karlson never got the credit for it because I've never been a publicity hound. I come from the school where what we want to be judged by is up on the screen, not by how well I know so-and-so or so-and-so."

One can always find themselves in the mood for a hardboiled noir, whether it has a budget behind it or stars to look forward to. This falls right into the alley for producer Edward Small, who had a lengthy career of 53 years from his first Who's Your Neighbor? (1917) to The Christine Jorgensen Story (1970). Small produced a variety of genres and worked with various studios in his time through his production company, such as Eagle-Lion Films with Raw Deal (1948) and United Artists with films such as Witness for the Prosecution (1957). One particular director that worked with Small was Phil Karlson, with this being one of eight films that the two worked on together. Karlson worked on a variety of small films for a various group of studios from his start at Monogram Pictures to Columbia Pictures that worked for a variety of actors, such as John Payne, Elvis Presley, Dean Martin, and Joe Don Baker in a career of 31 years that had standouts such as The Phenix City Story (1955), The Silencers (1966), and Walking Tall (1973). Three further films were made with the Confidential title in New York Confidential (1955), Chicago Confidential (1957), and Hong Kong Confidential (1958), all of which were produced by Small.

One can see the makings of an interesting little film with its semi-documentary look and a composed pace of 99 minutes that generates a neat noir worthy of consideration from the public domain. One film that seems to have taken some inspiration from this was Reservoir Dogs (1992) with its aspects of the robbery. The screenplay was done by George Bruce and Harry Essex, while Harold Greene and Rowland Brown did the story. Payne (known for his musical and noir roles) does a fine job in his weary urgency, capable of throwing a punch alongside casual criminal conversation. Gray accompanies the film once the film jumps to its real setting (Mexico, filmed in California), and she makes for a fair innocent presence in a film with plenty of shade around her. Foster proves to be a sharp careful presence as the film's big bad, one that differs from the usual in being a good cop gone bad. Brand, Van Cleef, and Elam make for adequate heavies to view alongside the blunt nature of the film, comprised of the perfect caper and the attempts to escape its consequences. It follows plenty of noir aspects to a T with its own blunt edge that overcomes some of its low-budget limitations. Sure, it is the kind of film that you can see coming with its endgame, but it is all in the chase that really matters in the long run, where darkness has a little light at the end of the tunnel. In that regard, this is a fair experience to behold, one with plenty of punches to pack in its little cynical world without becoming a parody of itself, filled with a carefully picked cast and capable directing to make a fair gem worth thinking about at least once.

Overall, I give it 7 out of 10 stars.

The Big Combo.

Review #934: The Big Combo.

Cast:
Cornel Wilde (Police Lt. Leonard Diamond), Richard Conte (Mr. Brown), Brian Donlevy (Joe McClure), Jean Wallace (Susan Lowell), Robert Middleton (Police Capt. Peterson), Lee Van Cleef (Fante), Earl Holliman (Mingo), Helen Walker (Alicia Brown), and Jay Adler (Sam Hill) Directed by Joseph H. Lewis.

Review:
When it comes down to film noirs, there is always something interesting about their appeal, whether it be due to the cast (or supporting cast), the way that it is shot, the way that it is structured, or even just the way that it is on an entertainment level. The Big Combo (produced by Theodora Productions and Security Pictures while distributed by Allied Artists Pictures) stands out in how nifty it operates with the cast and pacing. It isn't a great movie, but it certainly is a good enough movie that works on enough entertaining levels. It has a raw edge to it (particularly with one scene involving tonic) that underlies a fairly well-moving gangster movie. Wilde and Wallace (who were married at the time) have their fair share of moments together that work due to how they balance each other and their roles simply and coherently. Conte is a capable villain, giving this character the professional touch required for the movie. Donlevy does a fine job as the right-hand man to Conte, and they do a fine job balancing out their nefarious operation. The rest of the cast are serviceable in their supporting roles, not doing anything to ruin the balance or tone. The latter half of the movie is well executed, with Conte's fate being particularly memorable to watch; the climax in a foggy hangar is done quite well. At 87 minutes, it certainly has a good pace to it that is readily accessible. It's the final scene, with Wilde and Wallace standing in the airport with fog and shadows around them that stands out among the rest, with the credit going to John Alton and his cinematography that resulted in such a nice shot in a movie that works best as a neat little film noir gem.

On a different note, I graduate from my local college (South Texas College) today, with an Associate's Degree in Secondary Education in hand. What a ride it has been for four semesters, especially with how Movie Night has operated around it. With any luck, the reviews will keep coming, no matter what the next step is for me as long as I continue to enjoy doing them, which I still do. Thank you.

Overall, I give it 8 out of 10 stars.

Movie Night: It Conquered the World.

Review #684: It Conquered the World.

Cast
Peter Graves (Dr. Paul Nelson), Lee Van Cleef (Dr. Tom Anderson), Beverly Garland (Claire Anderson), Sally Fraser (Joan Nelson), Russ Bender (General James Pattick), and Taggart Casey (Sheriff N.J. Shallert) Directed by Roger Corman (#368 - The Little Shop of Horrors)

Review
With less than three days left in the year, why not review a monster mash flick from the 1950s? And from Roger Corman, no less. Only this time the monster draws laughs not because it's meant to, but because it looks like an ice cream cone with dopey looking eyes for good measure. At least the cast tries to seem less than ready to laugh at the monster (Garland notably laughed at the monster when she first saw it on the set, kicking it over, which led to it being made 3 feet taller...which only made it about 5 feet). I like Peter Graves in this film, though no one could make the last line "man is a feeling creature, and because of it, the greatest in the universe" sound anything but overblown, though the lines that precede and follow it aren't as silly. The movie is quick (save your complaints about me saying that all the time), which makes for an easy film to breeze through. It's tough to determine if this is a good movie, but if you're looking for a 50s monster mash movie to gawk (or laugh) at, I'd recommend it. Or the MST3K version.

Overall, I give it 6 out of 10 stars.

Movie Night: Escape from New York.

Review #634: Escape from New York.

Cast
Kurt Russell (Snake Plissken), Lee Van Cleef (Bob Hauk), Ernest Borgnine (Cabbie), Donald Pleasence (President), Isaac Hayes (The Duke), Harry Dean Stanton (Harold "Brain" Hellman), Adrienne Barbeau (Maggie), and Tom Atkins (Rehme) Directed by John Carpenter (#068 - Halloween)

Review
Some movies are just born to be awesome (the inverse is also true as well), and this is one of them. This is a dark movie, an unrelenting movie that never lets up on its dystopian outlook, with Plissken (played excellently by Kurt Russell) being the essential anti-hero for a movie such as this. The characters are jaded, but they still manage to be entertaining, such as Borgnine, he has a quirky charm in this movie, which contrasts well with Russell. The wire frame effect is in the movie for a few moments, but it does look impressive, and it is one of the highlights of the movie. That, and the fight between Russell and Ox Baker, or the car chase at the end, take your pick. This is at heart a thrill of a movie, it's an action movie that has fun in its own way, with a rouge gallery of characters and a good deal of sense. Now if you excuse me, I have some work to do. See you all soon.

Overall, I give it 9 out of 10 stars.

Movie Night: For a Few Dollars More.

Review #019: For a Few Dollars More.

Cast
Clint Eastwood (Manco (the "Man with No Name"), Lee Van Cleef (Colonel Douglas Mortimer), Gian Maria Volontè (El Indio), Mario Brega (Nino, Member of Indio's Gang), Luigi Pistilli (Groggy, Member of Indio's Gang), Aldo Sambrell (Cuchillio), Klaus Kinski (Juan Wild - The Hunchback), Benito Stefanelli (Luke 'Hughie'), and Luis Rodríguez (Manuel, Member of Indio's Gang) Directed by Sergio Leone.

Review
Under further review, it is determined that the Dollars Trilogy (#015, #017, #019) qualify as "World cinema" films due to being released in Italy. As such, they are retroactively the first world cinema films reviewed on Movie Night. Redux Reviews of these movies will happen by the end of this year - 2018.

The film, like the other two in The Dollars Trilogy is a good film with the same good story and acting decent. It's a memorable series that hasn't really aged badly, after 45 years (1964-1966) Not much to say, but that's how it is. I would review Hang 'Em High...but I need to lay off the westerns...

Overall, I give it 9 out of 10 stars.

Movie Night: The Good, the Bad, and the Ugly.

Review #015: The Good, the Bad, and the Ugly.

Cast
Clint Eastwood (Blondie), Lee Van Cleef (Angel Eyes), Eli Wallach (Tuco Benedicto Pacífico Juan María Ramírez), Aldo Giuffrè (Captain Clinton), Mario Brega (Corporal Wallace), Luigi Pistilli (Father Pablo Ramírez), Al Mulock (Elam), Antonio Casas (Stevens), Antonio Casale (Bill Carson/Jackson), and Antonio Molino Rojo (Captain Harper) Directed by Sergio Leone.

Review
Under further review, it is determined that the Dollars Trilogy (#015, #017, #019) qualify as "World cinema" films due to being released in Italy. As such, they are retroactively the first world cinema films reviewed on Movie Night. Redux Reviews of these movies will happen by the end of 2018. 

This is the first film I've done from the 1960s, and it's a good start. This film has a stunning musical score, and a long but great story as the actors, especially Eastwood do a great job acting, and this film is unforgettable in movie history with its stunning acting, story and musical score as the film is one that will stun you on your first watch. This was the first western I watched, and I don't regret it one bit.

Overall, I give it 10 out of 10 stars.