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.

Home of the Brave (1949).

Review #1797: Home of the Brave.

Cast: 

Jeff Corey (Doctor), James Edwards (Private Peter Moss), Lloyd Bridges (Finch), Douglas Dick (Major Robinson), Frank Lovejoy (Sergeant Mingo), Steve Brodie (T.J. Everett), and Cliff Clark (Colonel Baker) Directed by Mark Robson.

Review:

1949 was an interesting year for showing Black Americans. A quartet of features came out with varying levels of interest from Hollywood in telling an interesting story involving African Americans that differed from previous years (i.e. roles percieved as demeaning): Intruder in the Dust (1949), Lost Boundaries (1949), Pinky (1949), and this film. The first film was a crime drama adaptation of a William Faulkner novel, while the second one was based on a nonfiction account of a doctor who had passed for white in the 1930s/1940s, and the third was a drama adaptation incolving a woman passing for white that finds purpose in the South while re-claiming her identity. It should be mentioned, of course, that the latter two featured white actors in the starring roles. Home of the Brave (1949) does not do that here, if only because it is a film with a small cast that utilizes James Edwards with enough screen time to essentially make him the star focus in a medical war drama, filmed on modest sets over the course of a month.  The film is adapted from the 1945 play of the same name, which had been written by Arthur Laurents. He had served in the United States Army under the Pictoral Service. While the play did not run well with audiences to merit a long run, critics liked it and its themes of friendship, loyalty, and dealing with antisemitism. Producer Stanley Kramer latched onto making a film about the play, although it was the decision of screenwriter Carl Foreman to change the main character from being a Jewish person to an African American in an attempt to avoid comparisons to recent films such as 1947's Gentlemen's Agreement and Crossfire (ironically, that movie only had a theme of racism/anti-Semitism because the novel's theme of homophobia was not allowed to be shown for a film). Mark Robson had started directing with Val Lewton's unit at RKO Radio Pictures in 1943 before he directed Foreman's script in Champion (1949).

Of course, one thing that seemed to slip by at the time was the fact that the U.S. Army was segregated until 1948. At any rate, I should not be surprised that Kramer and Foreman were behind this film, because they would do another film involving the plight of recovering from the scars of war with The Men (that film dealt with paralyzed veterans as opposed to psychoanalysis), particularly when stuff like The Best Years of Our Lives (1946) was an audience favorite. Atbany rate, this film ended up being a modest success by making over $2.5 million. This was the first starring role for James Edwards (who had appeared in The Set-Up earlier in the year); the Indiana native had studied psychology at Knoxville College before moving onto Northwestern University in drama, and he served in the Army as a first lieutenant. While it ended up being his most well-known role, Edwards would appear in over two dozen feature films while also writing a number of books before his untimely death in 1970 at the age of 51. Edwards proves to be the highlight of the film, wrapped with encompassing sensitivity and tension that doesn't buckle when with a crowd (read: group of five). Basically, he makes a solid lead to follow with for a war movie with semi-effective accuracy in trying to draw raw emotion onto the screen when it comes to treating folks the way one wants to be treated (particularly in war). Bridges is the warmest presence around the group (as one would expect from a sentimental favorite), but he still pulls attention without soft depth, at least when compared to the hard nosed guys like Lovejoy or the heavy in Brodie. Corey makes a decent figure in the "analysis" parts, which don't drag the film longer than it needs to go in flashback before its 88 minute runtime is up. One could see why this certainly seemed more fitting for the stage than film (setting aside one character reading poetry at times), but it manages to be just entertaining enough with its sense of interest in making a worthwhile hard-hitting story that doesnt fall prey to soapbox moments. Among a year filled with attempts at telling different stories involving African Americans, this is a solid winner that tackles prejudice with dutiful conviction and a solid lead in Edwards to make it work.

Overall, I give it 8 out of 10 stars. 

Next Time: No Way Out (1950)

Blown Away (1994).

Review #1214: Blown Away.

Cast: 
Jeff Bridges (Jimmy Dove/Liam McGivney), Tommy Lee Jones (Ryan Gaerity), Suzy Amis (Kate Dove), Lloyd Bridges (Max O'Bannon), Forest Whitaker (Anthony Franklin), Stephi Lineburg (Lizzie), John Finn (Captain Fred Roarke), Caitlin Clarke (Rita), Christofer de Oni (Cortez), Loyd Catlett (Bama), and Ruben Santiago-Hudson (Blanket) Directed by Stephen Hopkins (#548 - Predator 2 and #1143 - A Nightmare on Elm Street 5: The Dream Child)

Review: 
Perhaps there was an interesting suspense thriller idea somewhere in the development process. After all, there are three writers (John Rice, Joe Batteer, and Jay Roach) listed in the credits while being released a month after Speed, another bomb action thriller that happens to be far more interesting with delivering suspense and capable characters. That's not to say that this film doesn't have anything going for it - pairing Bridges and Jones together does sound like a winning idea. Actually, I must amend that, since they are playing Irishmen, complete with attempts at Irish accents that likely won't be too accurate at the least. Actually, the basic idea of making a movie of two people affected by their experiences within bomb-making could have worked out fine. Make it an independent film or one actually shot in Ireland (or here's one better, cast Irish actors), and you have something that would stand out from other things. Heck, watching an actual bomb squad show or movie would likely prove better use of time. But hey, this is a film that wants to be an action thriller, so how can I blame them for aiming for explosive entertainment. It sure is a shame that this film isn't really that much fun, being fairly ridiculous with its execution over the course of its two hour run-time that can't quite provoke much in terms of actual suspense nor investment in these characters. They never seem to come alive, and the threat presented by the bombs seem more mundane than anything. One particularly ridiculous sequence involves Amis and Lineburg in which they arrive at their house just after Jones leaves it, having decided to call Bridges after blowing up two of his friends, while jumping on the bed and messing with some toys. Obviously the idea is try and make us think he put a bomb in the house, since the movie wants to try and inspire tension over where he may have put it. Things such as opening the fridge door or turning on the stove sure seem riveting if you think there's a bomb in there - actually not really. It's easy after a while to not really take this movie seriously and just have it sit there as background noise that makes moderate effort at getting attention, such as Jones playing with some crabs after fixing a kite. Bridges and Jones are both okay, but they each can't really elevate this film to anything other than generic with their respective roles. At least you get to see two Bridges in the same film, even if they are playing off an nephew-uncle dynamic. Whitaker and Amis are also okay, but not too particularly memorable. The climax isn't too entertaining either, save for a bomb that gets armed by a Rube Goldberg type of mechanism, which gets shown as a close-up to try and evoke suspense, I guess. At least you'll get a few explosions for your trouble, alongside attempts at Irish accents and occasional shots of Boston. On the whole, this is a movie too mild in what it wants to do to actually go anywhere interesting with action, lacking energy to make anything other than a way to kill time you'll forget about later.

Overall, I give it 5 out of 10 stars.

Movie Night: Airplane II: The Sequel.

Review #698: Airplane II: The Sequel.

Cast
Robert Hays (Ted Striker), Julie Hagerty (Elaine Dickinson), Lloyd Bridges (Steve McCroskey), Chad Everett (Simon Kurtz), Peter Graves (Captain Clarence Oveur), William Shatner (Commander Buck Murdock), Rip Torn (Bud Kruger), John Dehner (The Commissioner), Chuck Connors (The Sarge), Richard Jaeckel (Controller #2), Stephen Stucker (Jacobs / Courtroom Clerk), and Sonny Bono (Joe Seluchi) Directed by Ken Finkleman.

Review
If you pretend the first movie doesn't exist, the movie would have a shot at being okay. But because we can't just pretend movies don't exist (contrary to popular belief), Airplane II: The Sequel is proof that some movies should have just stayed dead and buried. The first movie stands as a fun spoof that manages to utilize its surroundings and make for a wonderfully awesome movie. The second movie tries way too hard in some places while trying too little in others, which all boils down to a breeze of a movie that makes you yearn for the first film again. While it's true that some of the original cast comes back, it doesn't really make the movie all too better, given that it lacks Leslie Nielsen and Robert Stack, who made the original even more enjoyable with their portrayals. It's strange that this sets place in the "near future", yet the characters haven't seemed to age a bit. Oh yeah, and there's a lunar base on the moon and commercial space travel. 33 years later, and we have neither of those things, nor do we have Rocky XXXVII. The gags for the movie are okay, but they also reuse gags as well (not to mention using flashbacks to the first film), which only reminds me as well as you what you're missing out on. The best character in the movie is only there for the last quarter of the movie, and naturally is played by William Shatner, who amuses me with his talk of the blinking, beeping, flashing lights, or maybe it's because by the end of the movie you're wishing Captain Kirk would save these idiots. What amuses me is the post-credit scene "announcing" Airplane III, composted with a line of "That's exactly what they'll be expecting us to do!", because there never was an Airplane III, and I can't imagine why. I think you already know the answer to that one. Give yourself a round of applause. And don't watch this movie, unless you like stoic disappointment.

Overall, I give it 4 out of 10 stars.

Movie Night: Airplane!

Review #664: Airplane!

Cast
Robert Hays (Ted Striker), Julie Hagerty (Elaine Dickinson), Leslie Nielsen (Dr. Rumack), Peter Graves (Capt. Clarence Oveur), Lloyd Bridges (Steve McCroskey), Robert Stack (Capt. Rex Kramer), Lorna Patterson (Randy), Stephen Stucker (Johnny), Kareem Abdul-Jabbar (Roger Murdock), Frank Ashmore (Victor Basta), and Jonathan Banks (Gunderson) Directed by David Zucker, Jim Abrahams (#028 - Hot Shots! and #375 - Hot Shots! Part Deux), and Jerry Zucker.

Review
I knew I would eventually review this film, I just didn't know it would take so long to do so. It was worth the wait. When it comes to slapstick and having efficient gags, this is the movie people refer to for reference. But what also helps the movie is the fact the gags mesh with the story and not just outright overwhelm it. The movie is silly and also really, really, fun to watch. It's a breeze to watch, and watching how the actors react to all of this (hint: not very well) also helps. My favorite character isn't really a character, it's Otto, the inflatable balloon. It's just so amusing watching Otto, especially at the end, when he inflates...all by himself, with a inflatable girlfriend to boot. Hays and Hagerty do a fine job complimenting each other, their best scene is when they dance disco, or maybe I'm just amused of how people danced to disco (as opposed to now). Nielsen is a highlight as well, if it was anyone else playing that role, surely (see what I did there) the lines wouldn't be so memorable. The movie has dozens of gags, along with brief appearances by Ethel Merman (playing Ethel Merman) and Kareem Abdul-Jabbar...as a pilot. What I like is how the music sounds so serious, which is really funny given the tone, all due to Elmer Bernstein. The movie is quick and effective, and it's a good way to spend 90 minutes, along with being a really fun experience.

Billy...have you ever been in a Turkish prison?

Overall, I give it 9 out of 10 stars.

Movie Night: Rocketship X-M.

Review #618: Rocketship X-M.

Cast
Lloyd Bridges (Col. Floyd Graham), Osa Massen (Dr. Lisa Van Horn), John Emery (Dr. Karl Eckstrom), Noah Beery, Jr. (Maj. William Corrigan), Hugh O'Brian (Harry Chamberlain), and Morris Ankrum (Dr. Ralph Fleming) Directed by Kurt Neumann.

Review
Rocketship X-M was rushed into production after Destination Moon had production delays. This was made on a $95,000 budget, shot in 18 days, and released only 25 days before Destination Moon, with Lloyd Bridges heading the cast. So how is the movie? It's okay. It's evident that it's slightly rushed, and while the effects are just alright, at least the film manages to be passable. The cast is alright, Bridges is the best aspect of the movie, he just has a certain charm to him that's practically magnetic. The story is fine, even if it's rushed, the movie just feels like a breeze, it's surprising when you get through 30 minutes because it doesn't feel like 30 minutes has passed. It is what is, a sci-fi flick that goes fast and has a few quirks (who brings weapons on a trip to Mars?), but it is okay and easy to watch, though I'd stick to Destination Moon for its better quality. Take this for what it's worth, a sci-fi breeze.

Overall, I give it 7 out of 10 stars.

Movie Night: Plymouth Adventure.

Review #484: Plymouth Adventure.

Cast
Spencer Tracy (Christopher Jones), Gene Tierney (Dorothy Bradford), Van Johnson (John Alden), Leo Genn (William Bradford), Barry Jones (William Brewster), Dawn Addams (Priscilla Mullins), Lloyd Bridges (First Mate Coppin), Noel Drayton (Miles Standish), John Dehner (Gilbert Winslow), Tommy Ivo (William Button), and Lowell Gilmore (Edward Winslow) Directed by Clarence Brown (#423 - A Woman of Affairs and #433 - Angels in the Outfield)

Review
In light of Thanksgiving, I decided to review this film, as I get to talk about Spencer Tracy once again (Along with mention this being Clarence Brown's last film, who directed films for five decades), which is usually fun. This...is okay. The effects are good for the time, and the model of the Mayflower isn't too shabby. The actors are alright, they certainly do look good in the costumes and Spencer Tracy is alright, though for some reason he looks better in black and white then in color, but that's just me. I'm not entirely sure on the film's accuracy, but at least it doesn't look like it takes severe liberty with the history. The film isn't that entirely interesting on its own, and that may be the reason this was a minor failure when first released, as it didn't recoup the budget. But if you want some sort of way to not have to read books about the Plymouth Adventure (which is a bizarre title to begin with, even for a movie), this sadly might work. That....or read books, as Movie Night (mostly) recommends reading a book at least once in a lifetime.

Overall, I give it 6 out of 10 stars.

Movie Night: Hot Shots! Part Deux.

Review #375: Hot Shots! Part Deux.

Cast
Charlie Sheen (Topper Harley), Lloyd Bridges (Thomas Benson), Valeria Golino (Ramada Hayman), Richard Crenna (Denton Walters), Brenda Bakke (Michelle Huddleston), Miguel Ferrer (Arvid Harbinger), Rowan Atkinson (Dexter Hayman), and Jerry Haleva. Directed by Jim Abrahams (#028 - Hot Shots!)

Review
It seems only yesterday that I reviewed the first Hot Shots! film. And if yesterday, I mean over 2 years and 347 reviews later. Oddly enough, this is the 375th Review. The first one parodied Top Gun, with the second being a parody of First Blood (#025), with may references to other films. But is the film funny even after 20 years (it being a parody and all) and such? Well...yeah. The puns and gags are endless and the lines may either make you go groan or chuckle, it depends. For me, it was the latter. The cast does a fine job of comedy acting, not too over the top. Sheen once again has a lot of energy that helps out in the action scenes. The action is over the top, as should be, given the parody material, but it manages to mix in the comedy in a strange blend that works well. Is it better than the first one? Not really, but it does at least come close enough, and it still entertains. And given the "parody" movies in recent years, this does the job of making you laugh, which given these days, it is a good thing.

Overall, I give it 8 out of 10 stars.

Movie Night: Hot Shots!

Review #028: Hot Shots!

Cast
Charlie Sheen (LT Sean "Topper" Harley), Cary Elwes (LT Kent Gregory), Valeria Golino (Ramada Thompson), Lloyd Bridges (RADM Thomas "Tug" Benson), Kevin Dunn (LCDR James Block), Jon Cryer (LT Jim "Wash Out" Pfaffenbach), William O'Leary (LT Pete "Dead Meat" Thompson), Kristy Swanson (Kowalski), Efrem Zimbalist, Jr. (Wilson), Bill Irwin (Leland "Buzz" Harley), and Ryan Stiles (Dominic "Mailman" Farnum) Directed by Jim Abrahams.

Review
This spoof of Top Gun might actually be better then Top Gun, with some good gags that might remind you of another spoof, Airplane! (That also had Lloyd Bridges) Anyway, the film is decent with performances, especially Sheen and Elwes. The film is decent enough to become good, making this a film to watch. While it may not be great-great, it at least is useful.

Overall, I give it 8 out of 10 stars.