Category Archives: 1952 Films

1952 Films, Comedy, Cyd Charisse, Debbie Reynolds, Donald O'Connor, Gene Kelly, Jean Hagen, Madge Blake, Musical, Musical Comedy, Rita Moreno, Romantic Comedy, Stanley Donen

Singin’ in the Rain-1952

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Singin’ in the Rain-1952

Director Stanley Donen, Gene Kelly

Starring Gene Kelly, Debbie Reynolds

Scott’s Review #874

Reviewed March 4, 2019

Grade: A-

Singin’ in the Rain (1952) is most closely associated with the entertainment industry in the oversaturated field of musicals released during the mid-twentieth century.

The battle between the transition of silent pictures to “talkies” is the basis of the story, giving the film an important, along with fun, subject matter.

Likable stars and sing-along tunes make the film memorable and decidedly All-American, though perhaps not the greatest in the crowded musical field.

During the late 1920s, Don Lockwood (Gene Kelly) was a famous and well-regarded silent film star. His co-star and studio-created romantic attachment is Lina Lamont (Jean Hagen), an annoying and shallow leading lady with a harsh singing voice.

As more successful “talkies” (films with sound) are produced, Don finds himself smitten with musical chorus girl Kathy Selden (Debbie Reynolds). The plot to dub Lina’s voice with Kathy’s leads to comical chaos and an idea to create a new musical amid a blossoming romance between Don and Kathy.

The fun and frolicking Singin’ in the Rain is lightweight but never silly nor superfluous, thanks to the overriding message of the change in Hollywood priorities.

Critically acclaimed from the get-go, this is unsurprising since Hollywood loves stories about Hollywood, especially since the film was made only slightly more than two decades since sound-laden films overtook the world.

Furthermore, in 1952, television was making its debut to legions of fans, and the accessibility presented a serious threat to the cinema, making the subject matter even more relevant.

Kelly and Reynolds make a nice enough pair, but I never thought they completely knocked it out of the park from a chemistry perspective.

One slight flaw is the lack of hurdles preventing the couple from an inevitable union. Lina is the transparent foil and ultimately played for laughs, so she is not a serious threat.

The plot-driven conflict involving Kathy’s initial dislike of Don because she values stage over film is cute, but ultimately revealed to be a sham since she has been a fan of his all along.

The musical is a comedy, but better hurdles might have made for a more interesting story.

Nonetheless, Singin’ in the Rain is a pleasure and a largely non-threatening experience. The hi-jinks involved as the characters strive and struggle to put on their production are comical, and Lina’s New York accent and shrill singing voice threaten to steal the show from the more grounded central characters.

The musical numbers are a dream, and I especially like favorites like “Make ‘Em Laugh,” “Good Morning,” and the epic title song.

Through no fault of the film’s title number, “Singin’ in the Rain” will forever not be associated with this film for me but rather with the dark and cerebral A Clockwork Orange (1971). As the villain beats and rapes his victim by cheerily singing this tune, the song will forever hold a much darker association for me.

The dramatic final act is the highlight as a lavish premiere of The Dancing Cavalier is unveiled to a live theater audience hungry for something good.

When the crowd chomps at the bit for Lina to perform live, the big reveal of Kathy being the truly talented singer is displayed as the wizard in The Wizard of Oz style as Don and Kathy kiss and ride off into the sunset together in a grand show biz fashion.

In the crowded genre of the 1950s and 1960s musical productions that ravaged American cinema at the time, I mainly chose to watch West Side Story (1961), Gypsy (1962), The Sound of Music (1965), and Oklahoma! (1955) for pleasure, but Singin’ in the Rain (1952), an earlier gem, is worthy of value, especially for the memorable musical soundtrack it offers.

The story is light but also relevant and, most importantly, highly entertaining.

Oscar Nominations: Best Supporting Actress-Jean Hagen, Best Scoring of a Musical Picture

1952 Films, David Miller, Film noir, Gloria Grahame, Jack Palance, Joan Crawford, Thriller

Sudden Fear-1952

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Sudden Fear-1952

Director David Miller

Starring Joan Crawford, Jack Palance, Gloria Graham

Scott’s Review #873

Reviewed March 3, 2019

Grade: B+

Sudden Fear (1952) is a gripping film noir thriller. The genre became commonplace in the early 1950s.

The film is raised to lofty acclaim due to the casting of legendary Hollywood star Joan Crawford in the lead role. Her performance led to an Oscar nomination and is the main draw.

Sudden Fear suffers from cliches but is otherwise a solid watch, although largely forgotten.

Crawford stars as Myra Hudson, a successful Broadway playwright who rejects the suave and handsome Lester Blaine (Jack Palance) after he auditions for the lead role in her play.

Later, they coincidentally meet on a train headed for San Francisco as Lester manages to sweep the mature woman off her feet. When Myra impulsively marries Lester, his true intentions to manipulate and then kill her to inherit her money are revealed.

The suave Myra uncovers the plot and instead plans to kill Lester and place the blame on his scheming former girlfriend, Irene (Gloria Grahame).

As a rabid fan of Ms. Crawford and her talents, I lean towards the film’s being exclusively hers. With her expressive eyes and mannerisms, the role is tailor-made for her and not too far from the role she would later play in What Ever Happened to Baby Jane? (1966).

As a strong yet beleaguered character, Myra has been unsuccessful in the romance department. After a glimmer of hope, she is devastated when she realizes she is being played for a fool.

Thanks to Crawford, her pain and humiliation are palpable, and her subsequent paranoia is believable without overacting too much for effect.

Palance and Grahame are okay in their respective supporting roles, but Crawford outshines them, or the script becomes banal.

Regardless, the roles are one-note and not the best of either actor’s career.

The characters have little rooting value; we know their motivations and shenanigans from the start.

The conclusion produces a satisfying demise for each one as their comeuppance is in perfect form.

From a plot and pacing perspective, the film is never dull and contains many twists and surprises, which will undoubtedly keep audiences engaged. The action moves in stellar form and never tires as the viewer anticipates an incredible ending.

The final chapter is fraught with chase scenes throughout the streets of San Francisco. A terrified Myra runs through the streets clad in a black coat and a white head shawl, wearing high heels naturally, while being chased by a crazed Lester.

Sudden Fear adds clever camera angles and cinematography, making it slightly left of center and creative looking with cool shadows throughout.

Elements of Hitchcock emerge as a shaky hallway scene featuring a lumbering Lester approaches the camera. Closeups of the actors and the illuminating black-and-white lighting give the film a glowing look.

Shots of a gun, a pendulum swinging representing a clock, or a bottle labeled “poison” add elements of tension.

For fans of the illustrious Joan Crawford, Sudden Fear (1952) is a recommended watch and will please those seeking a good helping of the star. She does not disappoint and is the main draw in an otherwise by-the-numbers genre film.

The film’s conclusion is the high point, and while I wish Palance and Grahame had provided more layers and character development, Crawford shines in an otherwise forgotten offering.

Oscar Nominations: Best Actress-Joan Crawford, Best Supporting Actor-Jack Palance, Best Cinematography, Black-and-White, Best Costume Design, Black-and-White

1952 Films, Best Film of the Year, Fred Zinnemann, Gary Cooper, Grace Kelly, Harry Morgan, Lee Van Cleef, Lloyd Bridges, Lon Chaney Jr., Stanley Kramer, Thomas Mitchell, Western

High Noon-1952

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High Noon-1952

Director Fred Zinneman

Starring Gary Cooper, Grace Kelly

Scott’s Review #638

Reviewed April 28, 2017

Grade: A

Billed as a standard Western but much more complex than a film as traditional, basic Western, High Noon accomplished what no other Western did in 1952- adding complexities from different genres, such as suspense and drama, to a film form.

Additionally, High Noon challenged typical Western themes, such as male-driven fights and chases, in favor of a moral and emotional approach, and oh, is the film ever character-driven.

The results are astounding, and to understand and appreciate all its elements, the film should be studied in film school.

High Noon heartily breaks the mold. It was released when mainstream Western was quite popular in the film, adding enormous risk, and the results paid off in spades.

Marshal Will Kane (Gary Cooper) has just wed his beloved bride, Amy (Grace Kelly), in a small ceremony in a tiny town in New Mexico. He plans to turn over his badge and retire to the prairie land with his new wife.

Suddenly, the town receives word that a dastardly villain, Frank Miller, whom Kane once sent away, has been released from a Texas prison and plans to exact revenge on Kane.

Miller is to arrive on the noon train as his three accomplices await his arrival, much to the chagrin of the rest of the town, who become panicked with each passing moment.

The film begins at approximately ten-thirty in the morning and ends shortly after Noon.

High Noon has subtle political themes and clear examples of McCarthyism. However, some dispute this McCarthyism was a campaign launched by Senator Joseph McCarthy, which ended up blacklisting many artists suspected of communism.

The central theme is how people become frightened and blame the attack on one another because of this fear. Our main protagonist (Kane) faces the dire feat of facing four angry gunmen, with revenge on their minds, alone, as an entire town of people chooses not to get involved.

Brilliant is that High Noon more or less takes place in real-time. The inclusion of clocks in the film, and specifically of pendulums swaying back and forth, creates a defined level of tension as character after character nervously glances at the time, knowing full well that with each passing minute, they inch closer and closer to a fantastic and deadly showdown- much blood will be shed.

Cooper, old enough to be Kelly’s grandfather, is noticeable if one chooses to be nitpicky, but the couple works well together, and I bought the happily wedded couple as genuine.

I adore the character of Helen Ramirez, played by actress Katy Jurado. A Mexican character, Ramirez is a prominent businesswoman in the small town, owning a saloon. She is empowered and confident, a character to admire regardless of gender.

A strong female character of Mexican heritage in a 1952 film was relatively uncommon, considering the film is set in the Wild West.

Equally impressive and completely backward for the time, the events of Amy coming to the rescue of Kane, instead of the standard, gender-specific, “man rescues woman,” challenge the norm. Further groundbreaking is that Amy is written as a Quaker woman, not the traditional Christian woman, nor is she skittish or silly.

Western stereotypes are entirely turned upside down, which is arguably way ahead of its time.

Eerie yet highly effective is the use of a “theme song” either sung or in another form (musical score or background music) throughout the film—the song is “Do Not Forsake Me, My Darling,” which became a hit for Texas Ritter.

It is worth mentioning that the success of this added “theme song” encouraged subsequent Westerners to add similar songs to their films.

Challenging the standard in many ways, High Noon sets the bar very high in its thoughtfulness, message, and conflict.

The film exemplifies people who take the world and turn it upside down with fantastic and inspiring results.

Oscar Nominations: 4 wins-Best Motion Picture, Best Director-Fred Zinnemann, Best Actor-Gary Cooper (won), Best Screenplay, Best Scoring of a Dramatic or Comedy Picture (won), Best Song-“The Ballad of High Noon (“Do Not Forsake Me, O My Darlin”)” (won), Best Film Editing (won)

1952 Films, Drama, Eddie Albert, Jennifer Jones, Laurence Olivier, Miriam Hopkins, William Wyler

Carrie-1952

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Carrie-1952

Director William Wyler

Starring Jennifer Jones, Laurence Olivier

Scott’s Review #240

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Reviewed May 3, 2015

Grade: B

Carrie, not to be confused with the 1976 horror classic Brian DePalma, is a 1952 drama starring Laurence Olivier and Jennifer Jones—two big Hollywood stars of the time.

Shot in black and white, the film tells the story of a self-titled ingénue (Jones) from a Midwest upbringing who travels to Chicago to make her fortune.

Attempting to launch her career, Carrie becomes immersed in a love triangle with Olivier, who is unhappily married and runs a restaurant with salesman Charles Drouet, played by Eddie Albert.

Directed by William Wyler, the film has a melancholy tone as one of the characters sinks into a world of despair.

The highlight of this film is Laurence Olivier’s excellent performance as George Hurstwood, who goes from being a successful restaurant manager with an affluent existence to a poverty-stricken, lonely, and broken older man.

Olivier is so effortless and believable in his performance, as he always was.

However, I felt that Jennifer Jones was miscast. While attractive, yes, I did not think that every man would lust after her on sight alone, as was needed for the character of Carrie. Her acting, while okay, is not on the level of either Albert or especially Olivier, with whom she shares much screen time.

Perhaps Vivian Leigh, Teresa Wright, or Kim Novak might have been wiser choices.

The story itself is compelling and engaging. Here we have a woman- at the turn of the twentieth century- forging ahead to make it on her own- almost unthinkable for a woman, taking menial jobs as a sewing worker in a factory to scrape by.

Carrie resists the urge to become a rich husband-seeking gal and believes in marriage and true love. That is why she is devastated when she learns that George is married.

Will true love win out for them? This seems to be the central aspect of the film.

Behind-the-scenes issues may have contributed to the problems that appear onscreen. Wyler reportedly did not want to cast Jones, Olivier did not like Jones, Olivier was injured during much of the filming, and the film’s ending was changed to provide a “happier” ending.

Initially, George was to commit suicide, which might have successfully made the film more shocking and heartbreaking.

Containing beautiful costumes and interesting cinematography, Carrie has positives but might have been much better than the final product ended up being, but for poor casting and real-life dramas that hurt the film.

Oscar Nominations: Best Art Direction, Black-and-White, Best Costume Design, Black-and-White

1952 Films, Best Picture Oscar Winners, Betty Hutton, Cecil B. Demille, Charlton Heston, Cornel Wilde, Dorothy Lamour, Drama, Epic, Gloria Grahame, James Stewart

The Greatest Show on Earth-1952

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The Greatest Show on Earth-1952

Director Cecil B. DeMille

Starring Charlton Heston, Betty Hutton, James Stewart

Scott’s Review #204

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Reviewed December 14, 2014

Grade: B+

Considered by some critics to be one of the worst Best Picture winners of all time, The Greatest Show on Earth (1952) is quite an impressive Hollywood spectacle and tells the story of the world’s largest railroad circus as they launch a tour and travel throughout the United States, with plenty of drama to experience throughout the film.

The film stars Charlton Heston, Betty Hutton, and James Stewart as the general manager, acrobat, and clown of the show, respectively.

The film used over 1,400 real Ringling Bros. and Barnum & Bailey employees and hundreds of animals in its production, giving it an authentic circus feel.

Unfortunately, the film also has a schmaltzy quality and lacks the best acting, which surprisingly does not bother me and, strangely enough, works in a way.

Various characters have affairs with each other or fall in and out of love rather quickly- it makes for good drama, anyway.

Of course, the main appeal is the extravagant show. While the drama sometimes takes center stage, the lavish production and actual circus events shine through.

My favorite character, and arguably the only interesting character with any depth, in The Greatest Show on Earth is Buttons the Clown, played by James Stewart.

Buttons wears his clown costume, complete with full makeup, at all times. He is kind and mysterious. We learn that he “mercy killed” his dying wife and has joined the circus for protection from the police.

A wonderful human being, he was once a Doctor and tends to anyone in the circus troupe who needs assistance. Later in the film, he plays a vital role after a tragic accident.

His heartbreaking, tender conversation with his elderly mother, whom he only sees secretly once a year for seconds as she tearfully and discreetly visits him in the audience, is painfully sad to watch and is such a sweet scene.

The Greatest Show on Earth’s best scene by far still impresses today is the massive train wreck close to the conclusion.

Made in 1952, the special effects and direction of Cecil B. DeMille are brilliant. The train derails one night in a perfect way—it crashes into an approaching train and derails, highly effective in its enormity.

The scene does not look silly.

The way that all of the drama comes together in this scene—Harry, the crooked midway concessionaire and vicious elephant trainer, Klaus, who is responsible for the accident, Button’s true identity being revealed, and a significant character in peril—makes this scene top-notch and a satisfying conclusion to the film.

The stories involving Brad, Holly, Sebastian, and Angel are soapy and melodramatic and are the film’s weakest point. As a viewer, I couldn’t care less which character lusted after which or who wound up in bed together, but the movie itself is a spectacle, which is my main enjoyment.

The brightness, the revelry, and the circus performances are all wonderful.

Oscar Nominations: 2 wins-Best Motion Picture (won), Best Director-Cecil B. DeMille, Best Story (won), Best Costume Design, Color, Best Film Editing