Category Archives: Sterling Hayden

1964 Films, Comedy, Dark Comedy, George C. Scott, James Earl Jones, Peter Sellers, Satire, Slim Pickens, Stanley Kubrick, Sterling Hayden

Dr. Strangelove-1964

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Dr. Strangelove-1964

Director Stanley Kubrick

Starring Peter Sellers, George C. Scott

Scott’s Review #958

Reviewed November 13, 2019

Grade: A

Dr. Strangelove, or How I Learned to Stop Worrying and Love the Bomb, more commonly known simply as Dr. Strangelove, is a 1964 political satire black comedy film that satirizes the Cold War and fears of a nuclear conflict between the Soviet Union and the United States.

The film, timely in the 1960s, is as relevant decades later amid the chaos during the 2016 United States Presidential election and the following tumultuous years.

The film is powerful, brave, and essential.

The story centers around an unhinged United States Air Force general (Sterling Hayden) who orders a first-strike nuclear attack on the Soviet Union.

The plot follows the President of the United States (Peter Sellers), the Joint Chiefs of Staff, and a Royal Air Force (RAF) officer as they try to recall the bombers to prevent a nuclear apocalypse.

The film also follows the crew of one B-52 bomber as they try to deliver their payload.

The Cuban Missile Crisis was fresh in viewers’ minds when this film was released, and President John F. Kennedy was recently assassinated. The United States and the Soviet Union were hardly best buddies.

The film was a robust offering because its political satire was fresh. The ironic controversy between the two leaders, nearly sixty years after the film was released, is unintentionally clever.

The acting is excellent. Peter Sellers plays three prominent roles. Each is quite different from the others. Group Captain Lionel Mandrake, a British RAF exchange officer, President Merkin Muffley (what a name!), the President of the United States, and Dr. Strangelove, the wheelchair-using nuclear war expert and former Nazi.

Each glistens with goodness as the actor chomps at the bit, making them precise and unique, careful never to stray too far overboard into ridiculousness.

Director Stanley Kubrick wisely chooses black-and-white cinematography with stellar results and prominent filmmaking techniques.

As creative and progressive as many 1960s films started to become as the decade blossomed, it feels like it could have been made in the 1940s.

Kubrick, well known for masterpieces such as The Shining (1980) and 2001: A Space Odyssey (1968), delivers perhaps the oddest film in his catalog with Dr. Strangelove.

The story does not feel dated, and the dialogue remains crisp and razor-sharp in its delivery and meaning. With fast dialogue delivery and a monotone vocal style, the film is entertaining and humorous. It does not take itself too seriously yet brings a poignant and vital idea to life.

The film keeps gnawing at the viewers that as far-fetched as events seem, the possibility they could become real is more than a bit scary.

Who can forget the final sequence of the looming nightmare of the mushroom clouds, set to Vera Lynn’s hopeful We’ll Meet Again?

Since the film has a 1940s cinema style, the rude awakening that the 1960s produced in nuclear weapons and insecurity hits home in this sequence.

Dr. Strangelove (1964) is pure satire but frightening in its realism and uncertainty about how one crazy leader could lead an entire nation to detrimental results.

The film highly influenced later satires and unique filmmaking styles—Wes Anderson’s creations immediately spring to mind.

One can wonder about the different possibilities offered—in a way, the situation’s absurdity and the unthinkable way it could quickly become a reality.

Oscar Nominations: Best Picture, Best Director-Stanley Kubrick, Best Actor-Peter Sellers, Best Screenplay Based on Material from Another Medium

1973 Films, Crime Thriller, Elliott Gould, Film noir, Robert Altman, Sterling Hayden, Thriller

The Long Goodbye-1973

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The Long Goodbye-1973

Director Robert Altman

Starring Elliott Gould

Scott’s Review #830

Reviewed November 14, 2018

Grade: A

Nearly a full-fledged character study of one man’s moral fiber, The Long Goodbye (1973) is an edgy piece of direction by famous mastermind Robert Altman.

The setting of the Los Angeles underbelly is fabulous and effective as is dim lighting and excellent camera work prevalent throughout. The film is not cheery and rather bleak which suits me just fine given the smart locale.

Perhaps a more obscure Altman offering, but the film sizzles with zest and authenticity.

The film is based on a story written by Raymond Chandler in 1953.

Altman, however, opts to change the setting from 1950 to present times- 1970s Los Angeles and present a film noir experience involving deceit and shenanigans where all is not as it seems.

I think this is a wise move and I could not help but draw many comparisons (mainly the overall story) to Chinatown (1974), released the year after The Long Goodbye, but a film much better remembered.

Elliott Gould is wonderful as Phillip Marlowe, a struggling private investigator, and insomniac. He is asked by a friend, Terry Lennox, for a ride to the Mexico border one night and agrees to do the favor.

This leads to a mystery involving police, gangsters, and Eileen and Roger Wade after Phillip is questioned regarding his connection to Terry, who is accused of murdering his wife Sylvia.

The seedy side and complexities of several characters are revealed as the story unfolds and the plot gradually thickens.

My favorite aspects of The Long Goodbye are not necessarily the primary storytelling, though the writing is filled with tension.

As the film opens an extended sequence featuring a “conversation” between Phillip and his cat is both odd and humorous. The finicky feline refuses to eat anything other than one brand of cat food. As Phillip tries reasoning with the cat through talking and meowing, he is forced to venture out in the middle of the night to an all-night grocery store.

Altman, known to allow his actors free-reign for improvised dialogue, appears to allow Gould to experiment during this scene.

Phillip’s neighbors, a bundle of gorgeous twenty-something females, seem to do nothing except exercise on their balcony, get high, and request he buy them brownie mix for a “special occasion”.

As they stretch topless, usually in the background and almost out of camera range, they are a prime example of an interesting nuance of the film. The girls are mysterious but have nothing to do with the actual plot adding even more intrigue to the film.

In one of the most frightening scenes in cinematic history and one that could be straight from The Godfather (1972), crazed gangster, Marty Augustine (Mark Rydell), slices the beautiful face of his girlfriend to prove a point to Marlowe.

In a famous line, he utters, “That’s someone I love. You, I don’t even like.” The violent act is quick, unexpected, and fraught with insanity.

Finally, the film’s conclusion contains a good old-fashioned twist worthy of any good film noir. In the end, the big reveal makes sense and begs to raise the question “why did we trust this character?”

In addition to the viewer being satisfied, Marlowe also gets a deserved finale and proves that he cannot be messed with nor taken for a fool.

The Long Goodbye is undoubtedly the best film of Gould’s career. With a charismatic, wise-cracking persona, the chain-smoking cynic is deemed by most as a loser. He is an unhappy man and down on humanity but still wants to do what is right. He lives a depressed life with few friends and the company of only his cat.

While he is marginally entertained by his neighbors, he goes about his days only barely getting by emotionally. Gould is brilliant at relaying all these qualities within his performance.

The addition of the title theme song in numerous renditions is a major win for the film and something noticed more and more with each repeated viewing. The ill-fated gangster’s girlfriend hums along to the song playing on the radio at one point, and a jazz pianist plays a rendition in a smoky bar.

This is an ingenious approach by Altman and gives the film a greater sense of mystery and style.

There is no question among cinema lovers that Robert Altman is one of the best directors of all time.

In his lengthy catalog filled with rich and experimental films, The Long Goodbye (1973) is not the best-remembered nor the most recognizable.

I implore film fans, especially fans of plodding mystery and intrigue to check this great steak dinner of a film out.

1954 Films, Ernest Borgnine, Joan Crawford, John Carradine, Mercedes McCambridge, Nicholas Ray, Sterling Hayden, Western

Johnny Guitar-1954

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Johnny Guitar-1954

Director Nicholas Ray

Starring Joan Crawford, Sterling Hayden

Scott’s Review #655

Reviewed June 15, 2017

Grade: B-

Johnny Guitar (1954) is an interesting film to review for several reasons, but its challenge to the traditional Western mold is the most distinct. Front and center is an aggressive and strong-willed woman, a saloon owner no less, engaged in an antagonistic feud with another woman of a similar disposition.

Of course, since the film stars legendary screen actress Joan Crawford, she is a strong character.

The writing is not brilliant, and other Western stereotypes abound, but Johnny Guitar is a decent watch for Crawford.

In the middle of an Arizona cattle town circa the Wild West, Vienna (Crawford) is a gorgeous woman who owns the local watering hole, which less-than-savory men frequent.

Vienna welcomes the men mostly because one of them is a former boyfriend. The rest of the town, led by Emma Small (Mercedes McCambridge), despises Vienna and her support of the incoming railroad, which makes Vienna rich.

After a bank robbery, Vienna is pursued by Emma and the town into a standoff, in which lynchings, shootings, and fires encompass the rest of the film.

Mixed in with the drama is a romance between Vienna and handsome guitarist Johnny Guitar (Sterling Hayden), and some musical numbers, but mostly, the film is a shoot ’em up led by women.

Let’s take the good with the bad surrounding the film—in my book, any picture starring Joan Crawford gets some credit, and the role of Vienna is undoubtedly uncharted territory for the glamorous star.

Tough-talking, gun-slinging, and with a short hairdo, rumors abounded that the character of Vienna was gay and in love with her arch-enemy Emma.

This might have happened decades later, but this was 1950s Hollywood, after all. Crawford still dazzles with heavy makeup and bright red lips and is feminine despite the masculine outfit.

Clever, especially for 1954 westerns, is a tough female character in the central role, bolsters Johnny Guitar above middling. Typically, in a genre that sticks to the tried-and-true, the main female rivalry between Vienna and Emma is the best part, but sadly, the back story is never fully explored.

Why do they hate each other? Were they in love with the same man? Is their hatred simply because they are the only women in the town?

The chase scene and the climax of the film are also quite good. How delightful to see Crawford prancing around in peril, riding a horse, and swimming in a creek.

The film turns into a good, old-fashioned adventure, and the cinematography and exterior sets are not bad.

Two aspects of Johnny Guitar stood out to me as negatives. First, the romance between Vienna and Johnny Guitar does not work. Crawford seems too old for Hayden as Johnny, and I never felt any chemistry between the characters. Second, the backstory scene revealing that they were once an “item” is weak.

There are no other female characters besides Emma (a coincidence?), which is a strange aspect of the film. Does one wonder if this was Crawford’s demand? (But I digress.)

The romance between the duo is lackluster, though admittedly, I did feel a rooting factor for them as the final chapter commenced and the pair was in danger.

The storytelling is mediocre, as I never felt invested in the writing, and the entire script feels silly and cheap. The story is laid out in an introductory way- Vienna is told by (arguably) the leader of the town, Ward Bond, to close up shop and leave town within twenty-four hours or else there will be hell to pay.

When some of the men rob a bank and plan to depart for California, Vienna is blamed for a sloppy, contrived plot device and is set to be hanged.

The script is not the high point of the film.

Johnny Guitar (1954)is worth watching for a gender-bending experience and the fabulous addition of Ms. Crawford. However, do not expect a masterpiece in storytelling or to be dazzled by character development.

Fans of the classic Western may be disappointed.

1972 Films, Al Pacino, Best Film of the Year, Best Picture Oscar Winners, Diane Keaton, Drama, Epic, Francis Ford Coppola, James Caan, John Cazale, Mario Puzo, Marlon Brando, Mob, Robert Duvall, Scott's Top 100 Films, Sterling Hayden, Talia Shire

The Godfather-1972

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The Godfather-1972

Director Frances Ford Coppola

Starring Marlon Brando, Al Pacino, James Caan

Top 100 Films #10

Scott’s Review #196

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Reviewed November 24, 2014

Grade: A

The Godfather (1972) is one of the most identifiable and brilliant film masterpieces of all time. It is so ingrained in pop culture and film history and was such a blueprint of 1970s cinema that its legend deservedly lives on.

The film has not aged poorly nor been soured by over-exposure. It is as much a marvel today as it must have been when originally released in theaters.

The film revolves around the Corleone family- a mob family living in New York. They are high-powered, wealthy, and influential with politicians and law enforcement alike. They are the cream of the crop of organized crime families.

The patriarch of the family is known as “The Godfather”, the real name is Don Corleone, played by Marlon Brando.

The eldest son is hot-headed Sonny, played by James Caan. Middle son Fredo, played by John Cazale, is dim-witted and immature and the weak link in the family.

Finally, the youngest son is the central character in the film. Michael, played by a very youthful Al Pacino, has just returned home from World War II, a decorated and Ivy League-educated hero.

Throughout the film, Michael wrestles with either steering the Corleone family business toward the straight and narrow or continuing the death, blood, and corruption that currently encompasses the family.

Rounding out the Corleone family is Tom Hagen, an Irish surrogate son of sorts, who serves as the family attorney. Connie- the temperamental and emotional sister, and Mama Corleone, the passive wife of Don complete the main family.

The various supporting characters are immense, from family friends, relatives, corrupt mob figures, and characters introduced when Michael lives in Italy.

The brilliance of The Godfather is the richness of the enormous amount of characters on the canvas and the structure and pacing of the film.

Even small characters are vital to the film and every scene is important and effortlessly paced so that they neither seem rushed nor dragged, and the film is immeasurably character-driven.

My favorite character is Michael Corleone as he is the most troubled and complex. Pacino plays him to the hilt as, initially, a nice guy trying to do the right thing, going against the grain, and non-traditional- he proposes to a waspy woman who has no Italian heritage.

When events develop in a particular way, Michael suddenly becomes the leader of the family, despite being the youngest son, and the complexities of the character deepen from this point.

Specifically, the revenge killing sequence is brilliant as the viewer is kept on the edge of their seat through a car ride, a meal in a restaurant, and a men’s room scene, until finally, all hell breaks loose, all the while Michael is conflicted, unsure, and intense.

Has he veered too far from being a nice guy? Can he salvage the family business without being ruthless? Michael faces a battle of good vs. evil.

The scenes are brilliantly structured- the grand opening scene alone is beautiful as the audience is introduced to the entire family- cheerfully dancing and frolicking during a bright and sunny outdoor wedding (Connie’s) at the Corleone estate, while inside a dark interior study, a man begs Don Corleone to help avenge his raped and beaten daughter by having her attackers killed.

Several scenes in The Godfather are my personal favorites- the aforementioned restaurant scene, where Michael is faced with a dilemma involving a corrupt policeman and a high-powered figure, one can feel the tension in this extended scene.

The scene in a Hollywood mansion where poor, innocent, horse Khartoum meets his fate in the most gruesome way imaginable.

Later, Michael’s beautiful Italian wife, Apollonia, has an explosive send-off.

Towards the end of the film, the improvised tomato garden scene with an elderly Don Corleone playing with his young grandson.

Finally, the brutal scene involving Corleone’s son Sonny at the toll booth is mesmerizing, brutal, and flawlessly executed.

The lack of any strong female characters and how women are treated (either beaten or passively following their husbands) is bothersome, but unfortunately, circa 1940s mafia, this is the way things were.

One could make the argument that Kay Adams, played by Diane Keaton, is the strongest female character as she questions the Corleone family’s motives and attempts to keep Michael honest and trustworthy. She has little in common with the other female characters.

Lines such as “I’m gonna make him an offer he can’t refuse” and “Don’t forget the cannolis” are unforgettable and quote-worthy.

The finale of the film is breathtaking- a combination of bloody kills mixed in with a peaceful scene of Michael accepting the honor of becoming his nephew’s godfather. As he pledges his devotion to God and denounces Satan, the murders he orchestrated are simultaneously being executed.

The character, while complex, suddenly becomes a hypocrite.

Some view Michael as strictly a hero whose choices should not be questioned or analyzed- others view Michael as not a hero, but rather a complex, tortured, bad guy.

One simply must watch The Godfather and The Godfather Part II (1974) as companion pieces, as Part I is slightly more straightforward and easier to follow than the more complex and layered sequel.

The Godfather (1972) is storytelling and filmmaking at its absolute best and continues to influence films to this day.

Oscar Nominations: 3 wins-Best Picture (won), Best Director-Francis Ford Coppola, Best Actor-Marlon Brando (won), Best Supporting Actor-James Caan, Robert Duvall, Al Pacino, Best Screenplay Based on Material from Another Medium (won), Best Costume Design, Best Sound, Best Film Editing