Jean Simmons | Scott's Film Reviews-1,425 + Reviews posted so far!!!

Guys and Dolls-1955

Director Joseph L. Mankiewicz

Starring Marlon Brando, Frank Sinatra

Scott’s Review #887

Reviewed April 19, 2019

Grade: B+

The interesting pairing of Marlon Brando and Frank Sinatra in the playful musical Guys and Dolls (1955) provides enough bombast and playboy inclinations to make the music lively and entertaining.

Though not one of my all-time favorites in the genre the film keeps up the pace with a nice flow and hearty musical numbers that successfully transfer the Broadway show to the big screen with an endearing production.

Nathan Detroit (Sinatra) is a full-fledged gambler, living and breathing the sport although commonly taken to task for his deeds. As the police clamp down on the shenanigans around town he is desperate to obtain a deposit for use of a secret venue allowing gambling.

Spotting acquaintance and fellow gambler Sky Masterson (Brando) the duo embark on a ridiculous and hilarious bet involving Sky’s invitation to dinner in Havana, Cuba with Sarah Brown (Jean Simmons) a devout religious figure and non-gambler.

Predictably, events spiral out of control with romance, misunderstandings, and charming musical numbers.

The setup is plot-driven but forgivable given the fun involved. We are certain that Masterson will fall head-over-heels for missionary and seemingly unobtainable Sarah.

Will he get the girl? Will she be able to forgive him when she realizes the scheme that Masterson and Nathan have hatched at her expense? Of course, the fun is in the revelations as the film goes along.

Naturally, Nathan has his own set of antics; he must marry his years-long intended Adelaide (Vivian Blaine) because of losing a different bet.

The premise, the plot, and the conclusion all feel rather frivolous and a bit chauvinistic in the modern world as many 1950s productions do.

The film is a clear case of a naughty guy meeting a good girl, the guy pursues the girl, the guy gets the girl, guy, and girl ride off into the sunset, so the overall production is not cutting edge nor particularly progressive but is okay because of the fun and good chemistry among the characters.

Brando and Sinatra possess as much chemistry together as Brando and Simmons do.

The conclusion of the film is satisfying and wrapped neatly like a tidy Christmas bow. To no one’s surprise, both couples tie the knot in beautiful style as all the misfires and misunderstandings end with a double wedding in the middle of Times Square, with Sky marrying Sarah, and Nathan marrying Adelaide.

A perfect climax and a way to show the bright and bustling New York City amid a romantic backdrop can forgive any other weaknesses the film may contain.

What makes the film rise above standard fare or mediocrity as an overall piece is the wonderfully adorable tunes and Sinatra and Brando as a duo. The actor-turned-singer Brando and the singer-turned-actor Sinatra crackle with harmony as they play off each other in style.

The clap-along “Sit Down You’re Rockin’ the Boat” never fails to get any audience on its feet and the clever “Luck Be a Lady”, a classic Sinatra standard, still resonates today.

The art direction, cinematography, costumes, and music all wrap the film together nicely allowing the film a tight and well-muscled extravagant feel with maturity and richness perfect for the decade the film was released in.

Guys and Dolls sits beside a plethora of other musicals with a style all its own. A handful of Oscar nominations followed though none for the top honors of Picture of any acting nominations.

The 1960s brought a decidedly darker texture to cinema which left many 1950s films feeling dated or superfluous compared to more important story directions.

While this is the case with Guys and Dolls (1955) there also exists an innocence in watching the pure and charming character relationships and the resulting fun and frolicking.

A lively musical score, the bright lights of New York City, and the unusual locale of Cuba make the film lovely entertainment.

Oscar Nominations: Best Scoring of a Musical Picture, Best Art Direction, Color, Best Cinematography, Color, Best Costume Design, Color

Black Narcissus-1947

Director Michael Powell, Emeric Pressburger

Starring Deborah Kerr

Scott’s Review #688

Reviewed October 5, 2017

Grade: A

A British film made in 1947 that is way ahead of its time, Black Narcissus is a brilliant foray into the mysterious entity of nuns and the bitterness, both from humanity and from the elements, a group of nuns must face as they attempt to establish a new school atop the hills of the Himalayas.

The look of the film is as fantastic as the story itself, with incredible cinematography, and a foreboding eerie quality.

Black Narcissus is one of the great treasures of classic cinema.

Based on the 1939 novel by Rumer Godden, Black Narcissus tells the story of revolving jealousy, rage, lust, and tension, amid a convent of nuns living in isolation.

Deborah Kerr, wonderful in the lead role of Clodagh, Sister Superior, and leader of the group, faces the temptations and anger of men while dealing with an unbalanced nun, Sister Ruth, played terrifically by Kathleen Byron.

The cinematography and the art direction must be praised as the lavish sets are just that- sets. However, the average viewer will be whisked away on a magical experience where it seems the sets are real locales- high atop the Himalayan mountains.

Scenes contain howling wind, mist, and fog that is believable- all of the sets are built and structured and Black Narcissus was filmed entirely on a set. This tidbit is unbelievable given the realism, especially since the film was made in 1947.

The lighting in the film is unique, specifically the vibrant colors of the pink flowers, and later, the closeups of Sister Ruth. A fantastic example of this is her descent into madness during the final act as her face, maniacal, yet lovely, is heavily featured. Her face appears bright and hypnotic.

The main event, though, belongs to the tales that the film tells, which are quite edgy for the year the film was made. The subject matter of religion is always risky, and the treatment of the nuns as real human beings with true emotions, even lustful ones, is brazen.

Specifically, Clodagh (Kerr), is an interesting study as the character teeters on a romance with the charismatic, handsome, local British agent, Mr. Dean (David Farrar) while attempting to forget a failed romance during her youth in Ireland.

Meanwhile, Sister Ruth spirals out of control leading to a dire climax involving an enormous church bell atop the restored structure.

A slight misstep the film makes is casting mostly white actors with heavy makeup in the Indian roles instead of actors with authentic ethnicity.

This detail is glaring because the makeup used is not overly convincing and especially guilty is the casting of the gorgeous Jean Simmons as Kanchi, a lower-class dancing girl, who the Prince becomes infatuated with in a subplot.

Still, this pales in comparison to the fantastic story and look of the film.

Black Narcissus is a classic film that contains a bit of everything- drama, thrills, intrigue, gorgeous sets, lavish design, even a bit of forbidden passion- and executes all aspects of the film in brilliant fashion.

A film admired by critics and directors through the ages, specifically championed by Martin Scorsese, the film has the unique quality of getting better and better with each viewing.

Oscar Nominations: 2 wins-Best Art Direction-Set Direction, Color (won), Best Cinematography, Color (won)