Category Archives: Otto Preminger

1960 Films, Drama, Epic, Eva Marie Saint, Hugh Griffith, John Van Eyssen, Lee J. Cobb, Otto Preminger, Paul L. Smith, Paul Newman, Peter Lawford, Sal Mineo, War

Exodus-1960

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Exodus-1960

Director Otto Preminger

Starring Paul Newman, Eva Marie Saint

Scott’s Review #1,005

Reviewed March 30, 2020

Grade: A-

Creating a monumental epic about the modern state of Israel, director Otto Preminger’s vast project Exodus (1960) is a bold adaptation of the Leon Uris novel from 1958.

Starring stars of the day for added Hollywood spice and a romantic element, the result is a sprawling war drama with robust proportions and a hefty running time.

The film sometimes lags or even drags, but the message’s enormous importance and influence on stimulating Zionism should never be forgotten.

With the treacherous World War II barely in the rear-view mirror, Israeli resistance fighter, Ari Ben Canaan (Paul Newman), attempts to bring six hundred European Jewish Holocaust survivors from British-blockaded Cyprus into newly developed Palestine.

At the camp, he meets Kitty Fremont (Eva Marie Saint), an American volunteer nurse. The pair teams up with others to attempt to liberate the survivors.

The action eventually switches to Palestine, where other characters and motives come into play in a complex story. During this time, opposition to the partition of Palestine into Arab and Jewish states was heating up, leading to tension, bombs, and death among similar types of people.

Central to the main plot is a young love story involving spirited Dov Landau (Sal Mineo), a radical Zionist resistance group member, and Karen Hansen Clement (Jill Haworth), a young Danish-Jewish girl searching for the father from whom she was separated during the war.

Exodus has so much story going on and multiple plots to follow.

Besides the tense story, the main draw is the two love stories told amid the political turmoil.

Newman and Saint have marginal chemistry; he is an eye candy who electrifies the screen, and she seems too old for him and does not photograph well. Kitty, a widow, hedges on her romantic feelings for Ari, but they ultimately unite.

A gorgeous sequence occurs when the two share a delicious meal of fish and martinis amid a rooftop restaurant overlooking the dazzling landscape. She later dines with his parents and his mother, a classic Jewish mother who, in stereotypical fashion, cooks and fusses.

The fresh-faced pairing of Dov and Karen is reminiscent of Tony and Maria from West Side Story. Doomed from the start, the youngsters are opposites in many ways: hot-headed, sensible, and resilient. He is bronze and swarthy; she is blonde and blue-eyed.

I fell in love with the couple more than Ari and Kitty and rooted for their happily-ever-after moment, which sadly never occurred.

At nearly four hours, the film is best watched in segments, perhaps even four, to let the action marinate overnight. The sweeping cinematic photography and the lush exterior sequences aid the complex drama.

A drawback was not seeing the film on the big screen, which was almost a must in hindsight and limited by the DVD quality over Blu-Ray.

Nonetheless, the film is delicious in nearly every way. When tedium is about to occur, an event snaps the viewer back to immediate attention.

A notable fun fact is that Preminger boldly hired blacklisted screenwriter Dalton Trumbo, on the dreaded Hollywood blacklist for over a decade for communist leanings, to write the script.

Together with Spartacus (1960), made the same year, Exodus is credited with ending the practice of Blacklisting in the motion picture industry. The importance of what is written on the blank page is arguably surpassed by the man who wrote those pages.

Exodus (1960) nearly rivals the epic of all epics, Lawrence of Arabia (1962), in its cinematography of exotic and sacred landscapes in daring and forbidding lands.

Perhaps twenty minutes could be carved out when the action loses momentum. Still, with great direction, a top-tier cast, and a history lesson in the harshness of war and generations of conflict, the film resonates with the realism of the subject matter.

Oscar Nominations: 1 win-Best Supporting Actor-Sal Mineo, Best Music Score of a Dramatic or Comedy Picture (won), Best Cinematography, Color

1965 Films, Anna Massey, Carol Lynley, Keir Dullea, Laurence Olivier, Megs Jenkins, Otto Preminger, The Zombies, Thriller

Bunny Lake Is Missing-1965

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Bunny Lake Is Missing-1965

Director Otto Preminger

Starring Keir Dullea, Carol Lynley

Scott’s Review #877

Reviewed March 13, 2019

Grade: B+

Bunny Lake Is Missing (1965) is a taut psychological thriller that feels fresh and unpredictable, containing a mysterious, almost haunting quality throughout its running time.

The film focuses on one big question: Is the main character’s interpretation of events real or imagined? The uncertainty makes the film intriguing to watch. Glimpses of London locales also make for fun viewing, as the chaotic and creepy children’s school is the film’s primary location.

Though not remembered well, the film is still worthy of a watch.

Ann (Carol Lynley) is a single mother recently transplanted to London with her well-kept brother Stephen (Keir Dullea). When she hurriedly drops off her unseen daughter, Bunny, at her new preschool and instructs the school cook to watch her, the girl soon disappears.

When the police were called to investigate, they discovered nobody on staff had any eyes on the young girl. The plot thickens when it is revealed that all of Bunny’s belongings have been removed from Ann’s residence and that Ann had an imaginary childhood friend named Bunny.

Has Ann concocted the entire scheme herself for attention, or could she be harmful or psychotic?

The film offers several subtle nuances that either work or do not work. The opening credits are a lesson in cinematic creativity as the words present as slivers of paper torn down the middle.

Though the musical score during this sequence is not necessarily eerie, the complexity and ferocity present an ominous and certainly intriguing element.

This point is a wise move because it sets the tone for such a thriller as the film presents itself.

Otto Preminger’s black-and-white style is upbeat, enhancing the overall look of the picture. The muted tones evoke an effective ghost story style with an ambivalent chilling technique.

As the mystery is ultimately resolved, the introduction of new and peculiar characters offset the tangled plot as the look of the film remains constant.

As Horatio Wilson, Ann’s landlord, and Martita Hunt, the retired school headmistress, Noel Coward lives in the attic, which does wonders for adding creepy ch. Butters, but are they meant to be red herrings or keys to the big reveal?

A few gripes are that incorporating the English rock band The Zombies serves little purpose, and the addition is perplexing.  I’m not opposed to the band’s music, but the songs have nothing to do with the plot.

Seen on the television during a pub scene and later heard on a janitor’s radio during an escape scene, the odd placement seems little more than a marketing tool product placement.

Another miss is with the casting of Sir Laurence Olivier as Superintendent Newhouse. His talents are wasted mainly with little more than a throwaway role despite arguably being considered the lead.

As the straight man handling the investigation, his performance is adequate but limited, especially given his Shakespearean stage actor talents. His performance is both phoned in and beneath the historic actor.

The other roles are well-cast, especially Lindley and Dullea in key parts. For the film’s first portion, I assumed the pair were husband and wife until it was revealed otherwise, which is a lovely, unexpected nuance. Their chemistry is sweet and easy, and both perform their respective roles with poise and charisma.

1965, both were relatively novice young actors on the brink of stardom, though sadly short-lived. Their acting chops are firmly in place with this film, which is fun to witness.

For fans of psychological thrillers with an implied ghost story enveloped within its clutches, Bunny Lake Is Missing (1965) is worthy and mysterious entertainment with a surprise ending.

The film is not stellar, with some weaknesses, and is less than a pure classic, reminiscent of a good, solid Twilight Zone television episode.

1954 Films, Brock Peters, Diahann Carroll, Dorothy Dandridge, Drama, Harry Belafonte, Musical, Musical Drama, Otto Preminger

Carmen Jones-1954

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Carmen Jones-1954

Director Otto Preminger

Starring Dorothy Dandridge, Harry Belafonte

Scott’s Review #736

Reviewed April 3, 2018

Grade: B+

It was pretty taboo at the time of release (1954) because it featured an all-black cast with no white members. Carmen Jones is to be celebrated for contribution to film history for this groundbreaking feat alone.

Directed by Otto Preminger (who ironically is Caucasian),  the film features legendary actress Dorothy Dandridge in a Marilyn Monroe-style performance worthy of the talents of the stars.

The film is a musical with an inevitable tragedy at the conclusion.

The 1954 feature is based on a 1943 stage production of the same name, based on the music of the famous 1875 Georges Bizet production of Carmen. These facets add to the richness of the film as it is layered with good history, and the well-known tragic elements make the conclusion unsurprising.

Brazen and beautiful, Carmen is a seductress who works in a parachute factory in North Carolina during World War II. After trading fists with a co-worker, Carmen is jailed and assigned handsome Corporal Joe (Harry Belafonte) to escort her to the authorities.

While Carmen is not shy about pursuing the young man, his fiancee, virginal Cindy Lou, fumes and schemes to keep her man.

The result is a triangle. Carmen and Joe eventually fall madly in love, leaving poor Cindy Lou behind, but their love faces hurdles.

The somewhat lighthearted first portion of the film, with coquettish humor mixed in, is offset by a much darker path the film takes. As Carmen and Joe finally profess their love and share a night of passion, she leaves him in the middle of the night, unable to endure prison time.

This results in Joe being imprisoned as the couple ultimately cannot stay away from one another despite repeated obstacles to their happiness. An additional character, a boxer named Husky, with designs on Carmen, is introduced, complicating matters.

In sad form, much like the opera Carmen, the final scene is devastating and startling as Joe treads down a dark and gloomy path of destruction. The character of Joe is nuanced- at first, a “nice guy”; the character is an example of complexity and what a man will do for love.

The viewer wonders what will become of Joe and how he could risk his life performing an act in the heat of passion.

In 1954, what a profound and fantastic role for a female, let alone a black female. Typically cast in roles such as maids, servers, or even less glamorous parts, how wonderful for Dandridge to capture a challenging role of this caliber.

She is a vixen as she sinks her teeth into the meaty and flirtatious Carmen. Dandridge’s pizzazz, flare, and singing and dancing performances made her a star, and she is forever known as a groundbreaking talent.

There cannot be enough said about the importance of casting all-black actors in Carmen Jones. Monumental, of course, given the time. The result is a film of significance to black culture, showing that they no longer needed to appear in “white films” as supporting players but could carry a movie on their own.

How profound and remarkable this was!

My only criticism of the film is undoubtedly related to the progress made for black actors and characters, though there is still plenty more work.

At times, the filming feels a shade dated (presently, there are more great roles for black actors) and has a slightly grainy look.

Some of the supporting characters’ acting is also not the strongest, but as Carmen Jones is a historical film, liberties must be taken.

Thanks to the genius and the funding of Preminger, who needed to produce the film independently due to lack of interest, the result is a film that has gone down in history as worthy, edgy, and open-minded.

Wisely casting talented stars with great pipes, the film is a solid success.

Oscar Nominations: Best Actress-Dorothy Dandridge, Best Scoring of a Musical Picture

1954 Films, Jean Negulesco, Marilyn Monroe, Otto Preminger, Robert Mitchum, Rory Calhoun, Western

River of No Return-1954

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River of No Return-1954

Director Otto Preminger

Starring Robert Mitchum, Marilyn Monroe

Scott’s Review #385

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Reviewed March 15, 2016

Grade: B-

A departure in genre and character from the iconic Marilyn Monroe, most notable for playing “bubble gum” roles, in the 1954 film River of No Return, she plays a dance hall singer living in 1875 northwestern United States.

The film is in the Western genre and features gorgeous scenery, some authentic and some staged. The look of the film is a great selling point for me, as is Monroe’s performance and appeal.

However, the story has significant negatives, mainly that it is not very compelling or engaging, not to mention existing plot holes.

The crux of the story is as follows- A widower, Matt Calder (Robert Mitchum), arrives in a tent city in pursuit of his ten-year-old son, Mark, left in the care of Kay (Monroe), while the man who delivered the boy to the town has taken off for the hills.

What follows is a mishmash of the storyline involving Matt, Mark, and Kay being chased by Indians, a love triangle between Kay, Matt, and Kay’s fiancé Harry, and the father/son reconciliation between Matt and Mark.

The story is not the strong point of the film. Nevertheless, it is undoubtedly where the high drama exists.  Despite being characterized as a Western, a stark contrast to most Marilyn Monroe films, it appears a soft Western with a romantic slant.

There are some kills, to be sure, with vicious wild animals, guns, and knives prevalent, giving it an outdoorsy, naturalistic feel.

The film lacks a streamlined direction and does not know where it’s headed. Is it intended to be an all-out Western, a romance, or some hybrid? Why does the story ultimately not work?

I sensed a snippet of chemistry between Mitchum and Monroe, though they were hardly Clark Gable and Vivian Leigh. One could argue that Matt does not treat Kay very well, and, surprisingly, Matt is portrayed as the hero in River of No Return.

Close to the middle of the film, while camping along the river, he attempts to rape Kay, where she struggles and ultimately submits. Then, almost as quickly, this fact is forgotten, and the story forages forward as a love story. Huh?

The film almost seems spliced together from a story perspective and is not compelling or memorable.

As an aside, and upon some research, River of No Return was riddled with problems and setbacks amid shooting, most notably drama due to Monroe’s needed on-set acting coach who conflicted with director Otto Preminger and star Robert Mitchum’s heavy drinking.

Then, there was Monroe’s broken ankle and numerous weather issues. Publicly, Monroe later stated that River of No Return was her least favorite film that she appeared in. Let’s say that the gods were not with this film.

River of No Return is undoubtedly an uneven film with a lackluster story and odd chemistry among the characters, which has a marginal appeal to me, mainly due to the talents of Monroe, who carries the weight of an otherwise lackluster and forgettable film.

1959 Films, Arthur O'Connell, Ben Gazzara, Drama, Duke Ellington, Eve Arden, George C. Scott, James Stewart, Lee Remick, Otto Preminger

Anatomy of a Murder-1959

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Anatomy of a Murder-1959

Director Otto Preminger

Starring James Stewart, Lee Remick

Scott’s Review #61

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Reviewed June 24, 2014

Grade: B+

Anatomy of a Murder (1959) is a thought-provoking courtroom/legal thriller that is not a black-and-white, good and bad story.

It is more profound and more complex than that.

Starring James Stewart as an everyman defense attorney, the film, shot effectively in black and white, pushed barriers for its time by using certain words such as “rape” and “panties” that were never spoken in films before this time.

Much of the action takes place inside the courtroom.

The film pushed the envelope and is still enjoyable today.

Throughout the film, which is admittedly slow at times, the audience is unsure of the defendant’s guilt and wary and suspicious of him from the start, which creates great drama.

The rooting value is with Stewart, the hero, and the interesting supporting cast provides deeper layers than similar type films that risk being wordy or preachy.

As each new fact or twist and turn arrives throughout the film, it becomes more and more engaging until it reaches a satisfying climax.

Oscar Nominations: Best Motion Picture, Best Actor-James Stewart, Best Supporting Actor-Arthur O’Connell, George C. Scott, Best Screenplay Based on Material from Another Medium, Best Cinematography, Black-and-White, Best Film Editing

1953 Films, Billy Wilder, Don Taylor, Otto Preminger, Peter Graves, Robert Strauss, War, William Holden

Stalag 17-1953

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Stalag 17-1953

Director Billy Wilder

Starring William Holden, Don Taylor

Scott’s Review #5

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Reviewed June 16, 2014

Grade: B

Stalag 17 (1953), a film by famed director Billy Wilder, tackles the theme of POWs during World War II.

This film reminds me of the acclaimed television show M*A*S*H (1972-1983) in that the comedy elements are similar (men in drag, a light subplot of one soldier’s obsession with Betty Grable).

However, this film is heavy on the drama side and a deep cynicism that network television shows cannot match.

A group of American soldiers is held in a POW camp by Germans. Somehow, the Germans realized an escape plan. A whodunit ensues to find out who the mole is and his motivations. Liberties are taken- I doubt the real German soldiers would be as lovely as the film depicts.

William Holden stars as the cynic of the camp and the likely suspect, but is he the culprit?

This film is a hybrid of other Wilder films- the cross-dressing theme in Some Like it Hot (1959) is depicted, and shades of the darkness of Sunset Boulevard (1950) (also starring Holden) appear.

The black and white are effective in eliciting the confinement of the camp.

It’s a quality film, though a predictable “seen this all before” element nagged throughout.

Oscar Nominations: 1 win-Best Director-Billy Wilder, Best Actor-William Holden (won), Best Supporting Actor-Robert Strauss