Category Archives: Jack Hedley

Lawrence of Arabia-1962

Lawrence of Arabia-1962

Director David Lean

Starring Peter O’Toole, Alec Guinness, Omar Sharif 

Top 250 Films #139

Scott’s Review #355

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Reviewed January 9, 2016

Grade: A

Lawrence of Arabia (1962) is quite a grand film that must be seen on a large screen. This will ensure full appreciation of the enormous scale of the production.

Numerous shots of objects in the distance are featured, and the small screen dulls the experience.

An excellent film from top to bottom and groundbreaking at the time, due to the scope and vast proportions of the production, Lawrence of Arabia achieves its place in cinematic history.

It’s a treat to revisit from time to time.

The film is divided into two parts with an intermission, as with epics that last nearly four hours.

Peter O’Toole stars as T.E. Lawrence, a bored British Army Lieutenant who talks his way into a transfer to the Arabian desert.

As the film opens, it is 1935, and Lawrence has just been killed in a motorcycle accident. While this concept of revealing the ending and working backward is common in current films, it was novel in 1962 when the film was made.

While in Arabia, Lawrence successfully bonded bitter rival tribes to unite against Turkish oppression during World War I. He meets two young guides and other central characters there: Prince Faisal (Alec Guinness) and Sherif Ali (Omar Sharif).

Much of the film features the battles between the rival tribes and Lawrence’s struggle to achieve peace.

Many location sequences of Lawrence and company traveling miles and miles of hot desert are featured.

Some complain that Lawrence of Arabia is too slow-moving a film, but that is its selling point. I find the scenes of the group languishing across the desert incredibly lush and rich in meaning.

The intense heat and beating sun are fantastic in their cinematic grandeur. The film is meant to take its time—precisely what an experience in the Arabian desert would be like—and the mountainous dunes and swirling winds are brilliantly filmed.

David Lean is the king of the sprawling epic, and Lawrence of Arabia is his crowning achievement.

Lawrence is a well-written, layered, and complex character. He is not easy to describe or understand, which is also to the film’s credit.

The sheer weight loss that O’Toole underwent over the two years it took to film Lawrence of Arabia is impressive enough, but he was also a tortured soul emotionally.

The epic film Lawrence of Arabia (1962) requires a half-day of dedicated viewing, but it is worth every minute.

For a reminder of what an actual, breathtaking film looks like sans the oversaturated CGI and quick edits, one should take a deep breath and appreciate this work of art for its majestic look.

Oscar Nominations: 7 wins-Best Picture (won), Best Director-David Lean (won), Best Actor-Peter O’Toole, Best Supporting Actor-Omar Sharif, Best Screenplay Based on Material from Another Medium, Best Music Score-Substantially Original (won), Best Sound (won), Best Art Direction, Color (won), Best Cinematography, Color (won), Best Film Editing (won)

For Your Eyes Only-1981

For Your Eyes Only-1981

Director John Glen

Starring Roger Moore, Carole Bouquet

Scott’s Review #1,185

Reviewed October 10, 2021

Grade: B+

Following the outrageousness of 1979’s Moonraker, a film I nonetheless find enjoyable, the decision was made to bring James Bond back to earth in the next chapter.

For Your Eyes Only (1981) has matured well over the years and is an above-average entry among my all-time James Bond list.

The main Bond girl and the villain are not as top-notch as other Bond films but the action, suspense, and nods to Bond history are fantastic as is the grittier look and feel.

And, the locales of Italy and Greece are breathtaking.

The title song, a sleek and syrupy love ballad performed by Sheena Easton, is a favorite of mine and is instantly recognizable in association with the film. It charted at number one on the charts and sold a gazillion copies.

The plot is typical of a James Bond film.

After a British ship is sunk in foreign waters, the world’s superpowers begin a feverish race to find its cargo: a nuclear submarine control system.

And 007 (Roger Moore) is thrust into the middle of the action as he aligns with Melina Havelock (Carole Bouquet), Milos Columbo (Topol), and others to thwart the fiendish plans of the villainous Kristatos (Julian Glover).

The story is rather secondary to the enjoyment of the film and I quickly stopped trying to follow every plot point or detail. It’s not that important to know who every bad guy is or their motivations. There is a plot to take over the world and there you have it.

I adore the opening sequence when Bond visits the gravestone of his deceased wife Teresa. This tender moment immediately made me reflect on the goodness of On Her Majesty’s Secret Service (1969) and the humanistic tone that the film brought.

Bond then engages in a thrilling helicopter chase with arch-rival Blofeld which parlays into the opening credits with the title song as a backdrop.

This first sequence has nothing to do with the rest of the film but fabulous is the London shots of Big Ben and other historical treats. And it’s just dessert to see Blofeld dumped into a massive chimney and presumably to his death.

Bond historians will love this.

The film is recommended to be watched in the winter months since the snowy and icy scenes fare better in the appropriate calendar months. It could be a warmup act to On Her Majesty’s Secret Service or From Russia With Love (1963) also cold-feeling Bond films.

I didn’t perceive much chemistry between Moore and Bouquet but neither did their lack of chemistry ruin the film for me. The thirty-year age difference didn’t help matters but at least James Bond had the decency not to bed the horny underaged figure skater, Bibi Dahl (Lynn-Holly Johnson).

Her character is played for laughs and her schoolgirl crush on Bond is cute.

Kristatos isn’t the most memorable villain either. His true colors aren’t revealed until late in the game and his motivations are a stretch. I didn’t buy him as a former war hero and ally turned smuggler.

Nonetheless, Glover plays him straightforwardly and a compelling sequence occurs when he attempts to kill Bond and Melina with his massive boat and hungry sharks.

Topol, well-known for his role as Tevye in Fiddler on the Roof (1971) is great to see as one of Bond’s allies. The actor’s distinctive voice is tough to miss though I half-expected him to break into “If I Were a Rich Man” at any moment.

The final sequence atop the Monastery of the Holy Trinity, and Eastern Orthodox monastery in Greece is terrific and quite justifiably the highlight. Bond dangles for his life as a henchman slowly breaks each of Bond’s rock climbing stakes is a nail-biting and suspenseful scene even though you know that Bond will find his escape.

Flying under the radar, For Your Eyes Only (1981) is delightful for the locales and action sequences alone.

Dragging slightly midway and not featuring a memorable Bond girl or villain, it offers a darker story and contains fewer cheeky moments. This is refreshing following a silly trip to the moon.

The villains are more dangerous than cartoonish and the extreme locales and throwback to history make this an appreciated effort.

Oscar Nominations: Best Original Song-“For Your Eyes Only”

The Anniversary-1968

The Anniversary-1968

Director Roy Ward Baker

Starring Bette Davis

Scott’s Review #52

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Reviewed June 21, 2014

Grade: B+

The Anniversary (1968) is a British film based on a play of the same name.

The story centers on the Taggert family reunion, celebrating the anniversary of the matriarch (Bette Davis) and the deceased patriarch.

The film is set like a play, and most of the action takes place inside the Taggert family mansion.

The film is all Davis, and she gives a deliciously over-the-top performance as a vicious mother intent on controlling her son’s life and terrorizing their wives or significant others with cutting remarks and insults.

Davis must have had fun with this role, as her storied career was clearly on the downturn, and this role allowed her to let loose.

One must wonder if Davis chewed up the actors in the cast as much as the characters- rumor has it she was pretty intimidating to her fellow actors and a terror to work with, which adds to the macabre enjoyment.

Her physical appearance, with an eye patch, wig, cigarette, and bright red lipstick, all work in her favor. Her maniacal laugh is incredibly campy and wonderful to watch.

Bette Davis is one of the greats, and The Anniversary (1968) serves as a late-career romp that is fun to watch.