Category Archives: 1957 Films

1957 Films, Audrey Hepburn, Comedy, Fred Astaire, Musical, Musical Comedy, Romantic Comedy, Stanley Donen

Funny Face-1957

July 7, 2023 scottmet99 Leave a comment

Funny Face-1957

Director Stanley Donan

Starring Audrey Hepburn, Fred Astaire

Scott’s Review #1,375

Reviewed July 7, 2023

Grade: B

The results of Funny Face (1957) are mixed, and the word ‘cute’ pops to mind on more than one occasion.

On the one hand, audiences are served a sophisticated look at the fashion industry and the sleek style of Paris, France, in the 1950s. The outfits and set design are fab, revealing the cultured and colorful modeling world, while the makeup and hairstyles match the time with fragrant gusto.

The screenplay is riddled with plausibility issues bordering on offensiveness and silliness. It also provides a good look at the patriarchal mindset of the time. The message is twofold: The fashion industry and Hollywood equally embraced these norms when the film was made.

In a word, the overall film is dated.

New York City fashion photographer Dick Avery (Fred Astaire) is tasked with finding a model for a new assignment. Discouraged, he is struck by the beauty of Jo Stockton (Audrey Hepburn), an intellectual bookstore employee he photographed by accident.

He convinces Jo to accompany him to France, where he continues photographing her against Parisian backdrops. At the same time, they scramble to pull together a fashion show along with crusty Maggie Prescott (Kay Thompson), a fashion magazine publisher.

Dick and Jo fall for one another, only to find hurdles to overcome along the way.

The musical numbers are plentiful but second-tier. Bouncy songs like ‘Funny Face’ and ‘On How to Be Lovely’ are decent but not memorable. The highlight is ‘S, Wonderful,’ which appears during the finale and perfectly wraps the Paris experience and the film in a shiny bow.

Comparisons can be made to An American in Paris (1951), not just because both are set in Paris, use the same tune (S Wonderful), and were composed by George Gershwin. There’s more buried beneath the surface that ties the two films together.

Both lead characters, Jerry and Jo, wind up with the wrong partners, who are, in reality, inappropriate for each other. Jerry should be with the comparable Milo, while Jo should be with the dashing and artistic Flostre (Michael Auclair). Instead, Jerry chooses the waifish Lise while Jo lands the ancient Dick.

Astaire is old enough to be Hepburn’s grandfather, which makes the romance odd.

Of course, Milo and Flostre are made to be the foils in An American in Paris and Funny Face. They are merely obstacles to be overcome by the preferred couple.

Another irritant is the demeaning nickname that Dick calls Jo, ‘funny face.’ Hardly a dog, Hepburn is quite beautiful, although the film makes the audience assume she is wrong for the modeling world. She fits right in, looking perfect in every dress or costume she dons or photograph she appears in.

A better casting choice would not have been classically beautiful singers or actors such as Barbra Streisand or Bette Midler, though admittedly, neither had surfaced at that point.

Though shot on a soundstage, Funny Face rebounds from implausibility with gorgeous ariel views of historic Parisian landmarks that envelope the glitter of the theme.

Shots of the Eifel Tower, Arc de Triomphe, and the broad Champs-Elysees are robust and made me rewatch this sequence again.

In parallel, the Greenwich Village, New York City setting, where other events in the film take place, is an intelligent choice to define the artistic and bookish characters.

The opening titles of Funny Face (1957) are creative and polished, reflecting the maturity of the subject matter and style of the 1950s.

With no chemistry, Hepburn and Astaire carry the film as best they can with a dated and tame screenplay.

Oscar Nominations: Best Writing, Story, and Screenplay-Written Directly for the Screen, Best Costume Design, Best Cinematography, Best Art Direction-Set Direction

1957 Films, Comedy, Doris Day, George Abbott, John Raitt, Musical, Musical Comedy, Romantic Comedy, Stanley Donen

The Pajama Game-1957

August 19, 2022 scottmet99 Leave a comment

The Pajama Game-1957

Director George Abbott, Stanley Donen

Starring Doris Day, John Raitt

Scott’s Review #1,292

Reviewed August 19, 2022

Grade: B+

Doris Day, the queen of the romantic comedy film during the 1950s and 1960s, was riding high in 1957 when The Pajama Game was adapted into film production. It had taken Broadway by storm in 1954 and achieved immeasurable success.

The actress/singer did not star in it; Janis Paige did. The film version required a Hollywood star in one of the lead roles, and since Frank Sinatra turned down the male lead role, Paige was fired in favor of Day.

This hurts a bit, but how does the Hollywood world of box office receipts work?

Fortunately, Day can sing, as evidenced by her startling good rendition of “Que Sera, Sera” from Hitchcock’s The Man Who Knew Too Much, which won her an Oscar just a year earlier.

Set in the midwest, USA, the boss of an Iowa pajama factory hires superintendent Sid Sorokin (John Raitt) to help oppose the workers’ demand for a seven-and-a-half-cent raise.

Sid’s presence stirs the jealousy of foreman Vernon Hines, who is dating bookkeeper Gladys Hotchkiss (Carol Haney), and attracts worker “Babe” Williams (Day), a strong advocate for the pay increase.

Despite liking Babe, Sid resists the workers’ sabotage attempt and must decide whether to fire activist Babe. Predictably, the two fall madly in love amid catchy song and dance numbers.

I’m a massive fan of the musical genre, especially during the 1950s and 1960s heyday. The Pajama Game falls somewhere in the middle for me, inferior to the brilliant West Side Story (1961) and Gypsy (1962) but holding its own with other fun musicals like Guys and Dolls (1955).

Fun is a perfect adjective to describe The Pajama Game with its bright, fluffy, colorful pajama element, midwestern polite charm, and the romantic comedy bits between Babe and Sid.

This shouldn’t mean that The Pajama Game is juvenile or fluff because it’s solidly crafted and professionally made. Every musical number sounds good and is choreographed well.

It is unsurprising to learn that Bob Fosse is the choreographer, returning to the job he did on the stage production. The principal cast of the Broadway musical reprises their roles for the movie, except Paige and Stanley Prager, whose roles are played by Jack Straw.

As a result, it’s very similar to watching a stage production. Cinema performing is different from stage performing, so there are many giant voices and theatrical-style acting, which I didn’t mind at all.

This is never showcased better than when they all go on the factory picnic.

It’s important to remember that the singing and dancing shouldn’t let the viewer forget that a sneaky liberal slant emerges in the story and that a women’s liberation/progressive woman slant is exposed if the viewer looks carefully enough.

This is an excellent way to add a tidbit of worth to an otherwise story about romance.

Babe is a strong female character, but it’s not bashed over our heads; it’s simmering below the surface. Unfortunately, this may be missed by those focused only on the most prominent elements.

As entertaining as the film is, it lacks something that ranks it below other productions like West Side Story, Singin’ in the Rain, or The Music Man. This might be a lack of serious drama replaced by a corny element or the need for one significant, memorable music number.

The Pajama Game (1957) may not be the most fabulous musical, but it has enough songs and dances to satisfy a musical fan. Day envelopes the role just fine, but I’ll always wonder how Janis Paige would have done in the film role.

1957 Films, Bibi Andersson, Drama, Gunnar Björnstrand, Gunnel Lindblom, Ingmar Bergman, Ingrid Thulin, International, International Drama, Max von Sydow, Swedish, Victor Sjöström

Wild Strawberries-1957

February 10, 2021 scottmet99 Leave a comment

Wild Strawberries-1957

Director Ingmar Bergman

Starring Victor Sjostrom, Bibi Andersson

Scott’s Review #1,111

Reviewed February 10, 2021

Grade: A

A seventy-eight-year-old man (Victor Sjostrom) reflects on life, loss, and a million other emotions as he ponders his inevitable death in the Ingmar Bergman masterpiece Wild Strawberries (1957).

The film’s melancholy tone forces viewers to imagine themselves in the older man’s shoes and wonder how senior citizens view death. One significant point is that it represents the geriatric demographic, which has traditionally been lacking in cinema.

It’s cerebral and reminds me of A Christmas Carol since an older man struggles over his forgotten and sometimes misbegotten youth.

Bergman creates genius on par with his most famous work, The Seventh Seal, also released in 1957. I’d list these two films as his very best and most inspiring.

Do older people fear death? Do they whimsically revisit their youth from time to time, or do they live with regret and unfulfilled desires?

My hunch is that it’s probably a bit of all.

Wild Strawberries made me think like the older man and the effect was powerful. They made me worry about my death and relive my glory days.

Isak Borg (Sjostrom) begins to reflect on his life after he takes a road trip from his home in Stockholm to the distant town of Lund to receive a special award. Along the way, a string of encounters causes him to experience hallucinations that expose his insecurities and fears.

He realizes that his choices have rendered his life meaningless, or so he perceives it.

He is accompanied by his daughter-in-law Marianne (Ingrid Thulin), who doesn’t like Isak too much, is pregnant, and plans to leave her husband. They meet a trio of friendly hitchhikers led by Sara (Bibi Andersson), who reminds Isak of the love of his youth.

A bickering couple reminds him of his unhappy marriage, while his elderly mother reminds him of himself.

The best part is when the group stops at Isak’s childhood seaside home and imagines his sweetheart, Sara, with whom he remembered gathering strawberries but who instead married his brother.

Anyone who has returned to their childhood home or neighborhood can easily relate to the powerful memories. I pretended I was in Isak’s character, and several emotions occurred.

Sjostrom infuses a natural range of emotions. At first, crotchety and distant, I admired his sentimentality as he fondly recalls innocently picking strawberries on a summer day. How glorious and innocent it is to reminisce in a mundane yet monumental act.

Although he was an older man, he was once young. How quickly the years pass. I took this as a lesson to appreciate each day and experience. Sjostrom had me mesmerized.

Some find Izak unsympathetic. I found him incredibly likable.

Relationships are a strong element of Wild Strawberries. Izak muses over past loves, his mother, daughter-in-law, housekeeper, and hitchhikers. Peculiar is his relationship with his housekeeper, Agda, who is played stunningly well by Julian Kindahl.

Are they secret lovers or platonic friends? They seem like husband and wife.

While the story is astounding, the visual qualities of Wild Strawberries are exceptional.

The video content is crisp and clear, with very bright black-and-white photography. Each shot is mesmerizing and reminiscent of paintings.

There is so much going on in Wild Strawberries. The closest adjectives to describe the experience are hallucinogenic and mesmerizing.

The people gathered over a meal were young, fresh, and carefree. They all have lives ahead of them, and almost every viewer can recount a time when they felt that way.

It’s both nostalgic and sad to realize it doesn’t last, as Bergman makes so painfully evident.

The scene where Isak witnesses a hearse approaching is terrifying. When he realizes it is himself lying in the casket, it gives one a chill. The scene is creepy and powerful in tone and effect.

Wild Strawberries (1957) explores many facets of the human experience, including sorrow, joy, depression, acceptance, frustration, and fulfillment.

This is a work of genius and is highly recommended to anyone who appreciates excellent experiences in cinema.

Oscar Nominations: Best Original Screenplay

1957 Films, British, British Horror, Dana Andrews, Horror, Jacques Tourneur, Peggy Cummins

Night of the Demon-1957

June 25, 2020 scottmet99 Leave a comment

Night of the Demon-1957

Director Jacques Tourneur

Starring Dana Andrews, Peggy Cummins

Scott’s Review #1,037

Reviewed June 25, 2020

Grade: B+

There is something very soothing about 1950’s British horror films. Whether it’s the intelligence, the accents, or the elements, they differ from American horror films of the decade.

Arguably, they are just better. The horror genre, which has existed in cinema for decades, creates a clever story about a curse.

Night of the Demon (1957) has excellent visual effects and effective black-and-white cinematography, which makes the look work well. That said, the hype surrounding this film as one of the greatest horror films is unwarranted.

When I think of the greatest of all horror films, selections such as Halloween (1978), The Shining (1980), and Rosemary’s Baby (1968) come to the forefront on the American front, while Peeping Tom (1960) and Frenzy (1972) must be mentioned as for British films.

Night of the Demon, while above-average and has risen to prominence and rediscovery as a cult classic, doesn’t ultimately deliver the goods.

To provide a bit of contextual background, the film was plagued with issues and differences of opinion that are plausible proof of messiness upon dissection.

The original ninety-five-minute British feature was trimmed to eighty-three minutes and retitled Curse of the Demon for the United States market. It played there in 1958 as the second half of a double feature.

Additionally, the director and producer disputed whether to show the creature on-screen. The producer edited footage before release, which resulted in continuity issues.

Night of the Demon is the pure British version.

Dana Andrews, best known for The Best Years of Our Lives in 1946, stars as Doctor John Holden, an American psychology professor who visits Britain to attend a conference led by the deceased Professor Harrington.

Harrington is killed by electrocution after seeing a creature emerge from the trees. His niece Joanna (Peggy Cummins) also arrives to attend her uncle’s funeral and teams with Holden to determine a connection between Harrington and satanic cultist Dr. Julian Karswell (Niall MacGinnis). The cultist lives with his mother in a lavish, stately manner.

Let’s outline what works best in Night of the Demon.

The visual aspects are superb and deserving of accolades. During a party at the Karswell home, the cultist wills a swirling windstorm to develop that is as frightening as it is realistic.

I wonder whether Alfred Hitchcock studied this scene as a similar one in The Birds (1963), in which the female star shuffles a group of children at a party in danger. The scene is professional and authentic.

The climax, amid a dark train track, is one of the best. The ambiance is frightful and well-paced, just what a finale to a film is supposed to be. Karswell, eventually followed by a piece of parchment with runic writing on it, supposedly part of an ancient curse, is terrifying.

It’s like he is being chased and pursued. Holden can pass the curse (meant for him) back to Karswell, who is inevitably ripped to ribbons by a speeding train. Why is a scene of peril amid a train always so compelling? The sense of adventure, dread, horror, and the macabre all reconvene in this crucial scene.

Naturally, the creature reappears.

The romance between Holden and Joanna is mediocre at best and unnecessary to the main plot. It’s as if someone decided a romance between the male and female principles was needed, and Holden and Joanna were it.

There is little chemistry, nor does the duo need to be romantically intertwined- it serves little purpose other than providing a reason to sleuth together. The decision seems more like a measure of the cinematic tradition of that time than any actual story purpose. It’s not an irritant, nor is it a positive.

The creature is not scary, and the film would have been better leaving it out. Sometimes, especially in horror, what is not seen is more terrifying than what is seen. The creature is preliminary and amateurish at best and provides no fright value. It appears to be made of clay or plastic.

Night of the Demon (1957) is a horror film I would like to see again and perhaps study more deeply. Its rich special effects and outstanding black-and-white cinematography enhance the visual treats.

The story of an ancient curse and a riveting speeding train climax that would make Hitchcock take notice are praiseworthy. But I still do not understand the categorization of the greatest of the horror greats.

1957 Films, Drama, Ed Begley, Henry Fonda, Jack Klugman, Jack Warden, Lee J. Cobb, Martin Balsam, Robert Webber, Sidney Lumet

12 Angry Men-1957

June 14, 2019 scottmet99 Leave a comment

12 Angry Men-1957

Director Sidney Lumet

Starring Henry Fonda, Lee J. Cobb

Scott’s Review #910

Reviewed June 14, 2019

Grade: A

A fond memory of Junior High School was reading the play and then being treated to a viewing of the film version of 12 Angry Men (1957), a bristling and suffocating film that infuses progressive thought and thinking for oneself in animosity.

A valuable lesson for a teenager to learn, or anyone else, the film is essential, providing life lessons and tremendous drama, holding up well and still brimming with texture.

The film begins as the audience is introduced to twelve men as they deliberate the conviction or acquittal of a defendant based on reasonable doubt. The defendant is an eighteen-year-old Puerto Rican male living in a poor neighborhood, accused of fatally stabbing his father.

The witnesses are an older man and a lady who lives across the street. The juror’s instructions are evident; if there is any reasonable doubt, they return a verdict of not guilty. If found guilty, the accused will receive a death sentence.

Henry Fonda plays Juror # Eight, who initially is the only juror to vote “not guilty” when the others assuredly vote “guilty.” He adamantly questions how reliable the two witnesses are and disagrees with the argument that the knife used in the death is an obscure brand as he produces an identical knife of his own.

Juror # Eight can convince one juror to change his vote, allowing discussions and analysis to reconvene, much to the chagrin of a few men, especially Juror # 3 (Lee J. Cobb), the main antagonist.

Director Sidney Lumet provides a dynamic atmosphere in his debut film with astounding results. The black and white cinematography is brilliantly mixed with the humidity of a scorching New York summer day as the one set used is claustrophobic, bringing the audience into the action and suffocating along with the men.

As tensions mount and one juror attempts to kill another juror out of rage, a thunderstorm erupts outside, breaking the heat and changing the momentum in the jury room as the tide slowly turns in a different direction.

The story is wonderfully written as each juror’s backstory is slowly revealed, providing insight into why each man may think the way he does or perhaps have preconceived notions about the accused instead of giving him a fair shake.

Juror #3 is a bully estranged from his son, while Juror # 7 mistrusts “foreigners.” Some of the others “go with the flow,” intimidated by conflicts, and afraid to ruffle feathers.

12 Angry Men teaches the utmost importance of the power of change against all odds. By standing by his convictions, Juror # 8 influenced the other jurors to see what they were either unable to see or refused to see.

He forces them to question their morals and values.

By the time the film has concluded, the audience is smacked across the face with tremendous impact, perhaps questioning their views.

This is an example of the power of cinema.

Like the stage version, the plot requires the audience to think and determine along with the characters, the power of reason, and intense dialogue.

The fact that all the jurors are white males is never lost on me, but neither does it detract from my enjoyment. This is how things were done decades ago.

Fonda is charismatic and brilliant in the lead role.

12 Angry Men (1957) is a timeless story told and retold wonderfully on the live stage. Lumet brings the production to the big screen powerfully and effectively by using cinematic elements to produce the proper emotions from his audience.

The film holds up very well as, sadly, many of the stereotypes and beliefs that the jurors possess are still held by many Americans.

On the more positive scale, people with strong and empathetic wills, like Juror # 8, also exist and unquestionably influence more than they lose.

Oscar Nominations: Best Motion Picture, Best Director-Sidney Lumet, Best Screenplay Based on Material from Another Medium

1957 Films, Alec Guinness, Best Picture Oscar Winners, David Lean, Drama, Epic, Jack Hawkins, Sessue Hayakawa, War, William Holden

The Bridge on the River Kwai- 1957

June 11, 2019 scottmet99 Leave a comment

The Bridge on the River Kwai- 1957

Director David Lean

Starring William Holden, Alec Guinness

Scott’s Review #908

Reviewed June 11, 2019

Grade: A

The Bridge on the River Kwai (1957) is a war film that is an example of character-driven storytelling from each person’s perspective.

Films of this genre frequently do not steer too far from the straight and narrow, showcasing the war event perspective. This often becomes larger than the humanity piece. A key point is the American, British, and Japanese points of view, which turn the grand epic experience into a more personal one.

The film was awarded numerous Oscar nominations, culminating with the Best Picture of the Year victory.

The time is early 1943 amid the powerful and destructive World War II when a group of British prisoners of war (POW) arrives at a Japanese camp. Colonel Saito (Sessue Hayakawa) commands all prisoners, regardless of rank, to begin work on a railway bridge that will connect Bangkok with Rangoon.

Lieutenant Colonel Nicholson (Alec Guinness), the British commanding officer, refuses manual labor, and a battle of wills erupts between the two men. Meanwhile, Commander Shears (William Holden), an American also being held at the same camp, vows to destroy the bridge to avoid a court martial.

The complexities of the relationships between the men are the main draw and an aspect that can be discussed at length. Each possesses a firm motivation, but the emotions teeter back and forth as they face various conflicts.

Each of the three principles is an analytical juggernaut in the human spirit, ranging from courageous, cowardly, and even evil. We are supposed to root for Shears and supposed to not root for Saito, but why is that not so cut and dry?

Is Shears too revenge-minded? We cheer Nicholson’s resilience, but is he too stubborn for his own good?

The film’s whistling work theme nearly became famous when the film was initially released in 1957. Ominous and peppered with a macabre depression, the prisoners go about their work in a near ode to Snow White and the Seven Dwarfs’ cheerier “Whistle While You Work” anthem.

As they continue to build the bridge dutifully, the audience feels a sense of dread and a foreboding atmosphere. What will ultimately happen? When two prisoners are shot dead while attempting to escape, the film takes a different turn.

Given that David Lean, responsible for such epic masterpieces as Lawrence of Arabia (1962) and A Passage to India (1984), directs The Bridge on the River Kwai, should be telling as far as the sweeping exterior landscape treats in store for the viewer.

The lavish Asian landscape, so picturesque and beautiful, is peaceful amid the chaos and vile treatment of the prisoners. This imbalance is wonderfully rich and poignant against the robust storytelling.

The climax is bombastic (literally!) and a nail-biting experience resulting in a stabbing, an explosion, and a heap of tension. A train carrying important dignitaries and soldiers is racing towards the newly constructed bridge as one man is intent on detonating a bomb and destroying another race against time to prevent the bloodbath.

The suspense, action, and cinematic skill are front and center during the final act.

Deserving of each one of the accolades reaped on The Bridge on the River Kwai (1957), the film is the thinking man’s war film.

Layered with an underlying humanistic approach and little violence given the subject matter, one can sink into empathy for each point of view presented instead of being force-fed a one-dimensional message film.

Fine acting and gorgeous cinematography make this film one to be forever remembered.

Oscar Nominations: 7 wins-Best Motion Picture (won), Best Director-David Lean (won), Best Actor-Alec Guinness (won), Best Supporting Actor-Sessue Hayakawa, Best Screenplay Based on Material from Another Medium (won), Best Scoring (won), Best Cinematography (won), Best Film Editing (won)

1957 Films, Art, Bengt Ekerot, Best Film of the Year, Bibi Andersson, Drama, Gunnar Björnstrand, Gunnel Lindblom, Ingmar Bergman, International, International Drama, Max von Sydow, Swedish

The Seventh Seal-1957

October 23, 2016 scottmet99 Leave a comment

The Seventh Seal-1957

Director Ingmar Bergman

Starring Max von Sydow, Gunnar Bjornstrand

Scott’s Review #497

Reviewed October 23, 2016

Grade: A

The Seventh Seal (1957) is an Ingmar Bergman Swedish masterpiece that, after three mere viewings, I am just beginning to appreciate and fall in love with.

It is not that I did not “get” the dark, artsy theme to begin with- I did, but The Seventh Seal is a savory dish meant for repeated offerings, and with each, I have loved it even more.

The subject matter of the plague and the Black Death is heavy.

It is a quiet yet powerful, dark art film about death.

The film is shot in black and white, which does nothing but enhance the cold, stark concepts of the film. The color would have certainly made the film cheery or bright- if that can be said, given the subject matter.

Instead, the filming is cold yet illuminating, and the whites seem very white, while the blacks seem very dark, which symbolizes the film’s concepts.

In the story, a disillusioned medieval knight, Antonius Block (Max von Sydow), returns home from war, disenchanted with life. He fought in the Crusades and returned home to Sweden to find it plagued by the Black Death.

He begins to play a game of chess alone- and is visited by Death- a hideous pale creature shrouded in black. Antonius challenges Death to chess- his fate is left so long as the game continues.

Throughout the film, Antonius is the only character who can see Death- the other characters cannot, making the film open to interpretations.

The other characters in the story are a troupe of actors that Antonius meets along the way to his castle, and a young, fresh-faced girl who has been branded a witch and is fated to be burned at the stake is featured.

Since she is close to death, Antonius takes a particular fascination with her.

Throughout the film, as well as the trials and tribulations of the characters, Death continuously lurks around, watching these characters, which is a fascinating part of the film. They cannot see him, so we can only assume their time in this world is limited.

What makes The Seventh Seal so powerful is its honesty—harsh as it is. The knowledge that death is coming for these people is fascinating. Many characters discuss God in length and pray, as religion is an enormous aspect of the film.

It almost contains a good vs. evil, God vs. devil component, and again, important to stress, highly open to interpretation. Great art films are.

Numerous scenes reverberate and are significant iconic moments in film history decades later. The scene of Antonius and Death playing chess on the beach is chilling and ghost-like. Death- his pale face and a black cloak would frighten anyone. This scene has been referenced numerous times over the years.

My favorite is the inevitable final shot of peasants being led to their fate by Death. They are pulled begrudgingly by a rope reminiscent of the Pied Piper titled “Dance of Death.”

The individuals are dressed in black and are atop a hill surrounded by the sky, making the morbid scene highly effective.

The Last Supper scene is powerful, and the group enjoys the final meal, unsure of what fate has in store for them the next day.

I anticipate more viewings of this brilliant piece of filmmaking.

1957 Films, Ben Gazzara, Drama, Film noir, George Peppard, Jack Garfein, Pat Hingle

The Strange One-1957

July 23, 2014 scottmet99 Leave a comment

The Strange One-1957

Director Jack Garfein

Starring Ben Gazzara, Pat Hingle

Scott’s Review #129

Reviewed July 23, 2014

Grade: B

The Strange One is a strange (no pun intended) obscure psychological drama from 1957 starring a very young Ben Gazzara and George Peppard.

The setting is a military academy where bullying and intimidation run rampant between the young cadets and some of the staff.

The sadistic lead bully is Gazzara, who is mesmerizing in his low-key yet frightening portrayal of a macho guy who gets what he wants and decides to destroy his victims.

The film reminds me of an extended Twilight Zone episode. It feels like a television thriller but is effective as a black-and-white shot.

Gazzara stands out in the cast as a charming, sadistic bully in a military academy who terrorizes and manipulates anyone in his path.

One flaw is there is no explanation for his behavior. How did he become so terrorizing? Was he abused? What is his motivation?

In a sense, however, this makes it all the more fascinating.

Some homoerotic scenes are surprising to find in films in 1957 when the Production Code was so strict.

The Strange One is an interesting little film.

1957 Films, Cary Grant, Comedy, Deborah Kerr, Delmer Daves, Leo McCarey, Romantic Comedy

An Affair to Remember-1957

July 12, 2014 scottmet99 Leave a comment

An Affair to Remember-1957

Director Leo McCarey

Starring Cary Grant, Deborah Kerr

Scott’s Review #105

Reviewed July 12, 2014

Grade: B

An Affair to Remember (1957) is an excellent example of how romantic comedies have changed.

‘rom-com’ is not my genre of choice as typically they are clichéd and predictable. The romantic comedies in years past were vastly different, containing a glamorous innocence lacking in today’s generic rom-com.

In An Affair to Remember, the charisma of Cary Grant and Deborah Kerr makes the movie. They portray two strangers who take a luxury cruise and inexplicably fall madly in love despite having significant others at home.

The couple wine and dine with each other, revel in merriment for a week and make a pact that if they don’t forget each other in a year, they will meet at the top of the Empire State Building on a specified day and time.

It does not get much more romantic than that.

The extravagance of the gorgeous sets on the cruise ship makes the film a visually satisfying experience. In my book, any movie set in New York City, as the second half does, is a plus.

An Affair to Remember is not a cutting-edge film, though for 1957, adultery may have raised a few eyebrows, but rather a pleasant, warm romantic comedy of the past.

It’s meant to sit back and escape with a sappy, sweet, fun romance.

Oscar Nominations: Best Scoring, Best Song, “An Affair to Remember”, Best Costume Design, Best Cinematography

1957 Films, Arthur Kennedy, Betty Field, Diane Varsi, Drama, Hope Lange, Lana Turner, Lee Philips, Leon Ames, Lorne Green, Mark Robson, Russ Tamblyn

Peyton Place-1957

June 17, 2014 scottmet99 Leave a comment

Peyton Place-1957

Director Mark Robson

Starring Lana Turner, Lee Phillips

Scott’s Review #6

Reviewed June 17, 2014

Grade: B+

Peyton Place (1957) is a scandalous soap opera but made well.

The sleepy, seemingly wholesome, quiet New England town is captured well, but secrets lie within its white picket fences (don’t they always).

Topics such as adultery, rape, murder, and suicide are tackled.

I’m not entirely sure I agree with the slew of Oscar nominations it received that year (1957), but Hope Lange was the standout actor for me.

It reminded me of the syrupy prime-time soaps of the 1980s, but better written and acted than they were.

This is not intended to demean the film, as it is interesting, engaging, and dramatic, with good characterization. However, when analyzed, it is fluff—just good fluff.

Oscar Nominations: Best Motion Picture, Best Director-Mark Robson, Best Actress-Lana Turner, Best Supporting Actor-Arthur Kennedy, Russ Tamblyn, Best Supporting Actress-Hope Lange, Diane Varsi, Best Screenplay Based on Material from Another Medium, Best Cinematography

Welcome to my blog! 1,450 + reviews posted! My name is Scott Segrell and I reside in Stamford, CT. My blog is a diverse site featuring tons of film reviews I have written since I launched my site in 2014. I hope you enjoy perusing the site for latest or greatest films or to search for your own favorites to see how we compare. Please take a look at my featured sections at the top of the page which change often! Utilize the tags and category links.