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TM2YC's 1001 Movies (Chronological up to page 25/post 481)

TM2YC

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67 years ago...

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A Streetcar Named Desire (1951)
Director: Elia Kazan
Country: United States
Length: 125 minutes
Type: Drama

'A Streetcar Named Desire' was only Marlon Brando's 2nd job in the movies but an instant star-making role. As gruff factory worker Stanley Kowalski he's a muscle-bound hulk of a man, violent and tempestuous with a dangerous sexuality, a method-acting revelation next to most other 1950s stars. Vivien Leigh's transformation from one "southern belle", the determined and unbreakable Scarlett O'Hara who she played in 'Gone With the Wind', to another, the fragile and pitiable Blanche DuBois is so complete that I genuinely had a hard time believing it was the same actress. Harry Stradling's Cinematography makes expert use of light and dark, wherever the actors go they always seem to have shadows moving across their faces and bodies. Director Elia Kazan evokes the claustrophobic heat and humidity, the smell of sweat and rain and the noisy bustle of nights in New Orlean's French Quarter. On the downside, this never feels like anything other than a stage-play, the characters are rarely taken outside of one set and talk in long speeches.


Another Alfred Hitchcock masterpiece next.
 

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Strangers on a Train (1951)
Director: Alfred Hitchcock
Country: United States
Length: 101 minutes
Type: Thriller

Tennis star and future politician Guy (Farley Granger) meets Bruno (Robert Walker) on a train journey where Bruno appears to joke about doing a sort of murder swap, if Guy will bump off Bruno's disapproving father, Bruno will get Guy's troublesome first wife out of the way. Of course Bruno isn't joking and actually does kill the wife, to Guy's horror. Walker brilliantly dances around the line between charming and friendly and over familiar and creepy. Hitchcock paints Guy's wife as so contemptible that he invites the viewer to forgive her murder. There are many memorable shots including a reflection of a murder in a pair of glasses and a shot of a Tennis crowd, heads moving back and forth except for Bruno's face staring chillingly forward.

'Strangers on a Train' is one of Hitchcock's top thrillers but it does have it's problems. Guy's girlfriend is a flat-line in the way she's written and played. The merry-go-round finale gets a bit silly with the people acting as if it's going 200 miles per hour or something. Masses of screen-time and fuss is put into how and why Guy must get to the fairground fast but in the end his train is delayed, Bruno gets delayed too and he just waits for Guy to arrive anyway. The main problem I had was that I questioned whether Guy deserved to suffer no consequences and to be free to pursue a career at the top of Government after he has covered up for a deranged maniac who has killed once, almost strangled a lady in front of Guy and who has possible plans to kill at least two other people (including Guy's future sister in law). Plus Guy's actions directly contribute to the death of an innocent bystander.

I can't remember what version I've watched in the past but this time it was the "Preview Version". I'm not sure about the differences outside of the final scene, I prefer the comedy bow it puts on the Theatrical Cut.


Another Ealing Studios classic next.
 

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67 years ago...

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The Lavender Hill Mob (1951)
Director: Charles Crichton
Country: United Kingdom
Length: 81 minutes
Type: Comedy, Drama, Heist

The gentle and subtle Ealing comedy style masks what is actually a really tense, expertly paced heist-movie thriller. Alec Guinness and Stanley Holloway play two outwardly respectable and unremarkable old gentlemen who see a chance to commit the biggest robbery in British history and transform their humdrum lives. The tension is sustained throughout as they plan the job, pull it off and try to get away with it as the Police close in. The two main characters are so charming and likeable that you really want them to win. The script has a clever "cake and eat it" way of making the end a crowd-pleasing victory and a censor-pleasing defeat. It's impossible to tire of watching 'The Lavender Hill Mob' and just writing this makes me want to see it again already.


Another James Mason film next.

Well this semi-related clip I found on youtube is pretty f**king random and chuckle worthy:

 

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67 years ago...

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Pandora and the Flying Dutchman (1951)
Director: Albert Lewin
Country: United Kingdom
Length: 122 minutes
Type: Drama

'Pandora and the Flying Dutchman' follows the lives of a group of ex-pats in a sunny Spanish port town. Pandora (Ava Gardner) is the flame to which all the men are drawn. She seems incapable of loving them yet takes an almost sexual pleasure in the power she has over them. One poisons himself, one commits murder and she forces another to destroy his life's work to demonstrate his devotion, in exchange for her hand in marriage. A mysterious Dutch captain arrives played by James Mason and soon attracts Pandora's attention. The Technicolor cinematography (By Jack Cardiff) looks beautiful and the atmosphere is thick with eroticism but I couldn't really sympathise with the characters.


Another John Huston film next.
 

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The African Queen (1951)
Director: John Huston
Country: United Kingdom / United States
Length: 105 minutes
Type: Adventure, Comedy, Romance

'The African Queen' is one of those contenders for the title of "a perfect movie", one I loved re-watching. A UK studio Production but with an American Director (John Huston) and two Hollywood A-list stars (It's number 17 on the AFI's Top 100 but isn't included in the BFI Top 100 list). A British Missionary (Katharine Hepburn) and a Canadian steam-boat Captain (Humphrey Bogart) are suddenly flung together behind enemy lines when WWI finally intrudes on their secluded corner of Africa. She is chaste, pious and naive but fiercely determined, he is tough and worldly but rather laissez-faire and fond of the Gin. Almost the entire film is just this odd couple on a little boat learning to get along as they face the perils of the Ulanga River. Jack Cardiff's spectacular Technicolor Cinematography is a riot of golden light and vibrant green, an amazing achievement considering the huge cameras and jungle locations. The rich soundmix, full of the sounds of wildlife along the river feels quite modern and ahead of other 1950s soundtracks. I'm already looking forward to watching this again.


The first film in the book by Robert Bresson next.
 

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67 years ago...

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Diary of a Country Priest (1951)
Director: Robert Bresson
Country: France
Length: 115 minutes
Type: Drama

'Diary of a Country Priest' ('Journal d'un curé de campagne') follows a pale-eyed, inexperienced young Priest as he struggles to communicate with and to help his new parishioners. He is wracked by self-doubt, troubled by a crisis of faith and suffering chronic ill-health. Claude Laydu's performance is effortlessly conveyed through his baleful eyes and haunted face but a constant voice-over also imparts his most secret and troubled thoughts. The Priest's quiff haircut and propensity for doom-laden introspection made this feel like the inspiration for a lost song by The Smiths. Robert Bresson shoots long takes and moves the camera slowly and subtly but always with a narrative purpose. Even to an atheist there is a "je ne sais qua" about this story of quiet faith that I found very moving.

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Another Vincente Minnelli film next.
 

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67 years ago...

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An American in Paris (1951)
Director: Vincente Minnelli
Country: United States
Length: 113 minutes
Type: Musical

'An American in Paris' is very much a "Singin' in the Seine"  ;) trial-run for Gene Kelly's later and greater Musical. There is a riot of colour, effortless looking but highly intricate tap routines and romance in the Parisian air but all these pieces didn't quiet add up for me. I felt Kelly's painter character was mildly chauvinistic and his love interest was a bit drippy, so I didn't care for these two star-crossed lovers the way I was meant to. A couple of the subplots don't tie up in the end due to the last act being given over to a long dance spectacular. The best scene has Concert Pianist Oscar Levant performing a Gershwin dream-sequence in which he plays the orchestra, the conductor and the audience through some clever FX and editing.


The first film in the book starring Elizabeth Taylor next.
 

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^ Ha!

67 years ago...

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A Place in the Sun (1951)
Director: George Stevens
Country: United States
Length: 122 minutes
Type: Drama

There are touches of 'The Magnificent Ambersons' and Alfred Hitchcock thrillers in 'A Place in the Sun'. Montgomery Clift plays the poor relation of a wealthy family who yearns to reach the glamorous top of high-society and woe a beautiful heiress played by a young Elizabeth Taylor but a factory girl he got pregnant threatens everything. With modern eyes it's difficult to know exactly how I was supposed to feel for the characters and their predicaments. As a viewer, was I supposed to think sex outside of wedlock was just a fact of life, even if 1950s America thought it was immoral, or if I was supposed to be of that same opinion?  The film works as a strong indictment of Capitol-Punishment, showing how the weight of evidence against a person in a murder trial can be so damning and overwhelming that there isn't a judge, or jury in the world that wouldn't convict and yet it's only us the silent and solitary viewer of the death who knows the accused person is innocent. Raymond Burr has a small but standout role as a determined District Attorney over a decade before he played Perry Mason.


A groundbreaking Sci-Fi film next.
 

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The Day the Earth Stood Still (1951)
Director: Robert Wise
Country: United States
Length: 92 minutes
Type: Sci-Fi

This is where all intelligent yet popular Sci-Fi entertainment begins. 'Star Trek', 'E.T.', 'The Twlight Zone/The Outer Limits' etc. Alien Klaatu arrives in Washington, announces that he comes in peace to the crowd and is immediately shot in the shoulder by a trigger happy soldier. After recovering he decides to secretly venture among the people and learn about Earth (specifically 1950s America) and it's violent ways.  Interestingly, just about the only rational people he can find to easily communicate with are a widow and her young son, the "grown up" men all seem to be running around in a panic waving guns everywhere. The story is rooted in then current fears of Atomic annihilation and Communist paranoia but it is also a retelling of the life of Christ for Atheists (take it whichever way you want)... although the MPAA did force one mention of God into the screenplay. The FX still look pretty convincing but the bendy rubber not-at-all-metal Robot costume looks rubbish. Composer Bernard Herrmann had the genius realisation that flying-saucers and Theremins would go together like strawberries and cream.


By the way, there is a level of ironic comment engendered by the sensationalist movie-poster (above) that was probably not intended :D .

Another John Wayne film next.
 

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66 years ago...

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The Quiet Man (1952)
Director: John Ford
Country: United States
Length: 129 minutes
Type: Romantic-Comedy,Drama

'The Quiet Man' is a Romantic-Comedy Drama with the emphasis heavily on the romance. John Wayne plays a stoic but amiable Irish-born American returning to the village of his birth, almost immediately falling for a hot-tempered local girl (Maureen O'Hara), starting an unintentional feud with her brother and generally struggling to fathom the arcane customs of the community. At first these are charmingly and comically old-fashioned but these beliefs get dangerously near to tipping over into unpleasantness on a few occasions. I know this a film portraying 1920s attitudes, made by people with 1950s attitudes but having scenes where our hero threatens the heroine with rape and later drags her 5-miles by her neck, would just not fly unquestioned today.


The doorway shot which was famously referenced in Steven Spielberg's 'E.T. the Extra-Terrestrial' is pitched at such a level of elemental romance, that it's no wonder it's become iconic. I loved the way John Ford shot the flashback sequence in a radically different pre-'Raging Bull' style to the body of the film. The (mostly) location Technicolor photography is so stunning that it's just a shame it often resorts to inferior studio footage. A wide variety of inebriated character actors keep the laughs coming and Victor Young's magical score fills your ears. Not without it's problems but still a crowd pleasing film that put a smile on my face.


What better way to finish the watch than with yet another listen to Steve Earle's 'The Galway Girl' (where the film was partly shot):


The first film in the book by René Clément next.
 

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66 years ago...

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Forbidden Games (1952)
Director: René Clément
Country: France
Length: 86 minutes
Type: War, Drama

A little girl is orphaned during the opening scene, depicting Luftwaffe planes strafing a column of fleeing Parisian refugees during the fall of France in June 1940. The 4:3 black & white aside, you'd think you were watching a modern war movie in the way this attack is shot and edited. The tragic girl cradling her dead puppy, stumbles into the farm of a peasant family and befriends their young son. 'Forbidden Games' ('Jeux Interdits') is about the random cruelties that war inflicts on innocent children and animals and how they try to make sense of the bewildering events. The child actor's faces and the sensitive Spanish-Guitar Score are heartbreaking. This is the only René Clément movie in the 1001 book but I shall have to check out some others.


A return to the Film-Noir Genre next.
 

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65 years ago...

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Angel Face (1953)
Director: Otto Preminger
Country: United States
Length: 91 minutes
Type: Film-Noir

'Angel Face' starts as a fairly typical Noir with Jean Simmons as the Femme-Fatale and Robert Mitchum in the role of the man drawn into her web. What sets it apart is how casually cynical Mitchum's character is, not caring if somebody is a murderer or not and Simmons plays a surprisingly sympathetic character. The plot also takes a turn down a less familiar path halfway through when the pair are on trial for murder and the audience has to decide if they'd prefer a guilty party to be punished, or an innocent party to be acquitted. The car crashes are some of the most violent looking I've seen on screen, mostly down to careful camerawork and good editing.


Another Gene Kelly film next.
 

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Singin' in the Rain (1952)
Director: Gene Kelly & Stanley Donen
Country: United States
Length: 103 minutes
Type: Musical

A few decades since it all started and we have a Hollywood film celebrating and mocking itself in equal measure. It opens with our hero Silent-Film star Don Lockwood (working for the fictional "Monumental Pictures" studio :D ) answering questions on the red carpet, cheerfully telling lie after lie about his career through the most dazzling smile you've ever scene. The main plot is about the arrival of the Talkies and how Don and friends manage to adapt to the new medium by converting their latest doomed Silent movie into a hit sound Musical.


I first saw 'Singin' in the Rain' a good few years ago in London when it was re-released in a stunning new Digital restoration, seeing it on the big screen in an old-timey "Picture Palace" could not have been a better first experience. Gene Kelly's film is brimming with exuberant joy, catchy songs, romance, humour, jaw dropping dance choreography and radiating rainbow colour. A while back I showed the magical title-song dance sequence to my little niece and she seemed just as enthralled in 2019 as I'm sure kids (of all ages) were back in 1952. I defy anybody to not be in a better mood after viewing 'Singin' in the Rain'.


One of Kurosawa's non-Samurai films next.
 

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66 years ago...

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Ikiru (1952)
Director: Akira Kurosawa
Country: Japan
Length: 143 minutes
Type: Drama

I think 'Ikiru' ("To Live") is the first Akira Kurosawa film I've seen that is not a period Samurai drama. Set in (then) present-day Tokyo, we witness the last days of a pointless Town-Hall bureaucratic (played by Kurosawa regular Takashi Shimura) who finds out that he has stomach-cancer and 6-months left to live. In the first-half he flails around for a few weeks trying to remember how to live and grasping for meaning. Then the film suddenly cuts to his wake and the second half is a series of flashback recollections by the mourners of what he did with his last months. It's an unusual structure but for this story, it works very well. The slow elegant camera constantly moves in to Shimura's sad crumpled face, barely speaking but saying so much with his eyes. At nearly 2.5-hours 'Ikiru' is probably too long for such a small intimate story but I found it powerful nonetheless.


Another Ingrid Bergman film next.
 

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Europe '51 (1952)
Director: Roberto Rossellini
Country: Italy
Length: 113 minutes
Type: Drama

Director Roberto Rossellini ponders how a real life "saint" would be received by post-war Rome. Ingrid Bergman plays a wealthy wife who is too preoccupied by entertaining party guests to notice her son's misery. He throws himself down the stairs to get her attention and subsequently dies. Utterly devastated, she finds solace in helping the poor of Rome's slums accompanied by her staunchly Communist cousin but she gradually becomes disillusioned with his ideas and due to her out-of-character behaviour, her "respectable" family have her committed.

Even a Catholic priest begins to stare at her in bewilderment when he realises she embodies true "Christian" values, looking on as if to say "You're not supposed to take all the stuff Jesus said about caring for the poor literally!?!". Since she neither associates herself with a political movement, or a religious doctrine she is rejected by everyone in society, except the poor and downtrodden that have fallen out of it. I found the film slow to get to it's point but it's very powerful when it does reach the conclusion of it's argument.


Another Kirk Douglas masterpiece next.
 

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I've reached the 250th film in the book!

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66 years ago...

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The Bad and the Beautiful (1952)
Director: Vincente Minnelli
Country: United States
Length: 118 minutes
Type: Drama, Film-Noir

I first saw a 35mm print of Vincente Minnelli's masterpiece 'The Bad and the Beautiful' perhaps a decade ago and I've loved it ever since. I'm always amazed at how dark and nihilistic it is for a product of 1952 Hollywood. A 'Citizen Kane' style flashback structure is used to tell the life story of fictional movie Producer Jonathan Shields (Kirk Douglas) and how he helped create the careers of three industry stars and former friends (who now despise him). The whole cast from top to bottom is incredible but it's Douglas' manically-depressed tyrant that has the most impact (the scene where he is screaming is terrifying). 'The Bad and the Beautiful' puts the worst aspects of Hollywood on display, the egos, the betrayals, the sexism, the hubris but we also see loyalty and compassion, exemplified by Lana Turner's "Gus is still my agent" line.


Much fun can be had by trying to guess which real figures all the characters are based on. A Director couple is clearly the Hitchcocks, Shields is probably an amalgam of David O. Selznick (he considered suing the film for defamation) and Orson Welles, a monocled Director is close to Erich von Stroheim, a writer is maybe Dalton Trumbo and a dead silent star is reminiscent of John Gilbert. The lead actress is said to be based on Judy Garland (who was the ex-wife of Minnelli), complete with all the talent and all the alcoholic flaws. It's interesting how much Turner physically resembles the sexuality and tragedy of Marilyn Monroe, although of course Monroe was not yet a star in 1952. Two of Shield's films are clearly analogous with 'Cat People' and 'Gone with the Wind'.


Another Kirk Douglas film next.
 

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The Big Sky (1952)
Director: Howard Hawks
Country: United States
Length: 122 minutes
Type: Western

A group of determined fur trappers in the 1830s set out on a perilous venture 2,000 miles up river to trade with the Blackfoot tribe. Not the most flashy, dramatic, or action-packed Western but it still sucks you in with an ensemble of rich characters. Arthur Hunnicutt is the stand-out as one of the leaders of the expedition, a wise grizzled old gentleman of the trail. He delivers this beautiful and wistful camp-fire speech about his love for the Blackfoot country and it's people. By the standards of other Westerns of the period, the film is quite sympathetic and respectful of Native Americans and their culture.


A famous Gary Cooper film next.
 

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High Noon (1952)
Director: Fred Zinnemann
Country: United States
Length: 85 minutes
Type: Western

I'd never seen this iconic Western before but I had seen countless homages and parodies without knowing it. There is barely a shot that didn't make me think of Sergio Leone's films in particular (or other Westerns in general), not least because of the image of three gunmen waiting silently at a station... one of whom is a young Lee Van Cleef. It can be taken as either an allegorical repudiation of McCarthyism, or as just a damn fine Western about a lone small-town Sheriff facing up to a band of killers. Marshall Kane (Gary Cooper) learns that his nemesis is coming in on the noon train and then the film plays out in real-time as he makes his desperate preparations for the showdown. Everybody he turns to for aid shuns him, his closest friends, the old Marshall, his deputies, the town officials, the Judge, the church congregation and even his new bride. They all have their own good reasons for why they can't, or won't help, preferring to turn a blind eye. Cooper's careworn face constantly vacillates between determined courage and creeping terror (winning him the Academy Award in 1952).


Tex Ritter's Country song 'Do Not Forsake Me, Oh My Darlin'' is the constant theme of the film, woven into the score in many subtle arrangements and even played on the saloon piano in the background of scenes:


Another Vittorio De Sica film next.
 

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TM2YC said:
66 years ago...

40450376123_b27ce16bcb_o.jpg


High Noon (1952)
Director: Fred Zinnemann
Country: United States
Length: 85 minutes
Type: Western

I'd never seen this iconic Western before but I had seen countless homages and parodies without knowing it. There is barely a shot that didn't make me think of Sergio Leone's films in particular (or other Westerns in general), not least because of the image of three gunmen waiting silently at a station... one of whom is a young Lee Van Cleef. It can be taken as either an allegorical repudiation of McCarthyism, or as just a damn fine Western about a lone small-town Sheriff facing up to a band of killers. Marshall Kane (Gary Cooper) learns that his nemesis is coming in on the noon train and then the  film plays out in real-time as he makes his desperate preparations for the showdown. Everybody he turns to for aid shuns him, his closest friends, the old Marshall, his deputies, the town officials, the Judge, the church congregation and even his new bride. They all have their own good reasons for why they can't, or won't help, preferring to turn a blind eye. Cooper's careworn face constantly vacillates between determined courage and creeping terror (winning him the Academy Award in 1952).

LOVE this film.  I have watched it dozens of times and it has never grown old or tired.

By Bionic Hero did a tv sequel in 1980 written by none other than Elmore Leonard...
http://https://www.youtube.com/watch?v=GnefPSD1SBM[/video]


...and Tom Skerritt did a remake in 2000....
http://https://www.youtube.com/watch?v=Y0-NCDV1NNk[/video]

:D
 
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