Tag Archives: Laurence Olivier

1978 Films, Gregory Peck, James Mason, Laurence Olivier, Political Thriller, Steve Guttenberg, Thriller

The Boys from Brazil-1978

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The Boys from Brazil-1978

Director Franklin J. Schaffner

Starring Laurence Olivier, Gregory Peck, James Mason

Scott’s Review #1,391

Reviewed August 20, 2023

Grade: B+

The Boys from Brazil (1978) is a taut political thriller with a neo-Nazi focus and a weird cloning subject matter. It’s a bit of a tough follow but quite compelling all the way though and doesn’t lag at all.

Sometimes political thrillers get overly complicated or drag but this one doesn’t. The story is slightly hokey and impractical even bordering on ludicrous but since it’s so intriguing and action-packed these adjectives can be overlooked.

Surprisingly, I wasn’t blown away by either the performance of Laurence Olivier or Gregory Peck despite being a fan of both quality actors. Both actors overact and create stereotypes but especially Peck’s character is a bit too cartoonish.

It took me half the film to even recognize either man since both are heavily made up making them hard to recognize. It also took until the dramatic conclusion for either character to truly grow on me.

A brilliant one-scene cameo performance by Uta Hagen, a German American actress, as a former Nazi guard now imprisoned nearly steals the show and should have deserved an Oscar nomination.

The story surrounds Doctor Josef Mengele played by Peck who clones Adolf Hitler ninety-five times and raises the boys in Brazil, giving them childhoods identical to Hitler’s in various parts of the world.

His goal is to create a band of Nazi leaders that can continue where Hitler left off, forming the Fourth Reich. Their fathers will be murdered and the boys will be mothered as Hitler was.

Ezra Lieberman (Laurence Olivier), a Nazi hunter, learns of the plan from a young journalist (Steve Guttenberg) and is determined to thwart it.

The plot is a tough pill to swallow and takes some time to absorb exactly what is going on but it’s fresh and unique. I’m not sure if in 1978 people had had enough of Nazi and World War II films but both subjects are always worth dissecting again.

I’m not sure why it was so tough to get used to Peck as the evil doctor but it was. It’s probably because Peck usually plays characters with a strong moral compass and he was playing way against type.

His character looks weird and Peck seems to be overacting sometimes almost like he was playing a James Bond villain. It’s not exactly a role that measures up to Atticus Finch in To Kill a Mockingbird (1962).

Olivier is better and the main protagonist of The Boys from Brazil but I’m not sure he entirely wins me over. It’s not easy immersing in the prim and proper British aristocratic actor playing a Jewish man who kvetches so often.

Still, by the finale when Mengele meets Lieberman in a deadly showdown involving vicious Dobermans, a gun, and a Hitler clone I was cheering for Olivier all the way.

Supporting characters played by Guttenberg, Anne Meara (Jerry Stiller’s wife) as Mrs. Curry, one of the Hitler clone’s mothers, and the aforementioned Hagen is excellent. I wish that each character was explored better and given more screen time.

The same can be said for Rosemary Harris in a one-scene performance. While quality, I wanted more from her character of Frau Doring, the wife of one of the murdered fathers of the Hitler clones.

Finally, James Mason has little to do as Colonel Seibert other than serve as second fiddle to Peck.

But, The Boys from Brazil is the Olivier and Peck show.

The locales are a big win since they add an international vibe and relevance. Geographies such as Germany, Paraguay, Austria, and rural Pennsylvania, United States are featured which lofts the film up tremendously.

The taught nature of the film provides suspense, an ode to history, and an eerie measure of Trumpism in comparison to Nazi-ism. The Boys from Brazil (1978) isn’t prime steak but it’s not a bad watch either.

Oscar Nominations: Best Actor-Laurence Olivier, Best Film Editing, Best Original Music Score

1976 Films, Crime Thriller, Dustin Hoffman, John Schlesinger, Laurence Olivier, Roy Scheider, Thriller

Marathon Man-1976

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Marathon Man-1976

Director John Schlesinger

Starring Dustin Hoffman, Laurence Olivier, Roy Scheider

Scott’s Review #1,359

Reviewed April 29, 2023

Grade: A-

Writer, William Goldman, was involved in two politically charged, taut thrillers released in 1976 that can easily be watched back to back. Fast-paced and rapidly edited, thrilling action-packed offerings are on the menu.

The Academy Award-winning All the Presidents Men (1976) and Marathon Man (1976) are highly recommended since both are in the same vein. They are part of why I love 1970s cinema so much freedom and rich character development combined with a sole vision are admirable traits.

John Schlesinger, famous for Midnight Cowboy (1969) and other films, directs.

Both films are written by Goldman and each stars actor Dustin Hoffman so the similarities are endless. And yet, each has its own identity.

In Marathon Man, Thomas “Babe” Levy (Hoffman) is a Columbia graduate student and long-distance runner, residing in New York City. His older brother, Doc (Roy Scheider), is a government agent chasing down a Nazi war criminal named Szell (Laurence Olivier).

Babe does not know Doc’s career until a tragic event finds him involved in a plot of stolen gems and sadistic madmen. Even his girlfriend, Elsa (Marthe Keller), becomes a suspect as everything Babe believes to be true is suddenly turned upside down.

At over two hours there is not a slow moment in the film.

We meet Babe as he runs throughout New York City so that the audience learns his obsession with running could correlate to his need to escape from something.

This proves to be true when we learn the brother’s father committed suicide after being investigated during the Joseph McCarthy era when civilians were suspected and accused of being communists.

So, the backstory made me sympathize with Babe and Doc and fleshed them as characters. Hoffman and Scheider are superb and show the different nuances between the personalities of the brothers. Doc is sophisticated and Babe is common, though highly intelligent.

The musical score, created by Michael Small must be mentioned. Oftentimes in film, the score serves as more or less ‘background music’ and can go unnoticed. This is not the case in Marathon Man and several times I noticed the music-enhancing sequences, especially when peril was involved.

I was pleased when I learned that the iconic Laurence Olivier plays the villain, Szell, in the film. He is believable as a vicious German Nazi who specializes in a unique brand of dental work. First blonde and then bald, the physical nature of the role is showcased. He also calmly performs torturous tactics using dental tools.

Marathon Man is made up of a series of scenes that will either enthrall, make the audience squirm, or in some cases both.

Speaking of dental work, any viewer who has a phobia or dislike of going to the dentist may want to fast forward past the sequence when Babe is forced to endure some stylized poking and prodding. Szell and his henchmen are convinced that Babe knows more than he is letting on and are determined to make him reveal all.

Early on, a terrifying scene centering on road rage in Manhattan is as good as it gets and reveals the gist of the plot. Nazis, anti-semitism, and a fiery gasoline truck encompass a speedy and argumentive car chase scene.

The sequence is heart-racing, nail-biting, and revealing.

Others flesh out the film like a quiet lunch at a lovely French restaurant. Doc takes Babe and Elsa out where they dine on lavish courses of creamy, sophisticated cuisine and wine. The richness of the food and culture enhances the earlier scenes set in Paris.

The final thirty minutes of Marathon Man are the best part. A series of shootouts in the suburban rural farmland and foot chases in downtown Manhattan culminate in a showdown between Babe and Szell near a water tank in Central Park.

A strong appeal for viewers is experiencing scene after scene in New York City as many exteriors were shot there.

The plot of Marathon Man (1976) is sometimes too complicated and all events do not add up satisfyingly. The who’s who and realism is a tough sell but it hardly matters. The film entertains and is a high-energy thrill ride and that is more than enough for me.

Oscar Nominations: Best Supporting Actor-Laurence Olivier

1960 Films, Adventure, Drama, Epic, Kirk Douglas, Laurence Olivier, Nina Foch, Peter Ustinov, Stanley Kubrick, Tony Curtis

Spartacus-1960

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Spartacus-1960

Director Stanley Kubrick

Starring Kirk Douglas, Laurence Olivier, Jean Simmons

Scott’s Review #1,250

Reviewed April 30, 2022

Grade: A

Typically, when influential director Stanley Kubrick’s name is uttered, films such as The Shining (1980), 2001: A Space Odyssey (1968), and Barry Lyndon (1975) are immediately thought of, and for obvious reasons.

The haunting, moody musical score, the long camera shots, the dark humor, and the clever camera tricks are easy to pinpoint.

Rewinding to 1960, the director was brought in to grab the reigns and direct the gorgeous epic, Spartacus, after Hollywood star Kirk Russell had unceremoniously fired the first director.

None of the previously mentioned elements are easy for me to notice and are more or less absent, but a grand battle scene in a luscious green field is very reminiscent of Barry Lyndon. This is likely because Spartacus was not Kubrick’s film entirely instead it belonged to others with more clout.

Throwing out the director issues, Spartacus is a brilliant film for many reasons. Some epics suffer from a hokey, cliched feel and can be overwrought, predictable, and tired.

The rebellious Thracian Spartacus (Russell), born and raised a slave, is sold to Gladiator trainer Batiatus (Ustinov). After training to kill for the arena, Spartacus turns on his owners and leads the other slaves in rebellion.

As the rebels move from town to town, their numbers increase as escaped slaves join their ranks. Under the leadership of Spartacus, they make their way to southern Italy, where they intend to cross the sea and return to their homes.

Spartacus is grand, sweeping, cinematically great, and everything else you’d expect from a 1960s Hollywood epic with enormous stars of its day. Looking beneath the surface, the film is riddled with interesting tidbits like bisexuality, homoeroticism, and violence more in tune with an art film or modern war film than the safety of a film made during this time.

Particularly noteworthy is that Dalton Trumbo wrote the screenplay. One of the Hollywood Ten, he refused to testify before the House Un-American Activities Committee in 1947 during the committee’s investigation of alleged Communist influences in the motion picture industry.

After the release of Spartacus, it marked the beginning of the end of the Hollywood Blacklist for Trumbo and other affected screenwriters.

Thank goodness.

In a famous scene, recaptured slaves are asked to identify Spartacus in exchange for leniency; instead, each slave proclaims himself to be Spartacus, thus sharing his fate.

The suggestion is that this scene was meant to dramatize the solidarity of those accused of being Communist sympathizers during the McCarthy era.

Besides the political importance, Spartacus also showcases a beautiful romance between Spartacus (Russell) and Varinia (Jean Simmons), a gorgeous slave girl. The tenderness and authenticity are palpable as many of their early scenes involve no dialogue but only longing and expression through both actors’ eyes.

I celebrated the connection between the actors who are at the forefront of much romance. Russell carries the film with a calm, masculinity that easily makes him heroic and likable.

He is the charismatic good guy who has been wronged and ill-fated.

A sequence oozing with machismo and homoeroticism occurs when evil Crassus (Olivier) is bathed by his slave boy Antoninus (Tony Curtis). He seductively explains that while sometimes he prefers snails, he also likes oysters too. The implication is that he is bisexual, brazenly so, and expects the youngster to become his sex slave.

The warmth of the bathtub and the luxurious atmosphere are juxtapositioned against the proximity and touch of both male characters.

In 1960, this scene was way ahead of its time.

The conclusion of Spartacus is melancholy and surprising. The expectation might have been to happily see Spartacus and Varinia ride off into the sunset having bested the cruelty of Rome.

This doesn’t happen and the film is all the richer for it. There is pain and despair as there were in real life. Wisely sparing complete doom and gloom, the ending is satisfying as one major character is allowed to escape a deadly demise and conjure ahead with their life.

Spartacus (1960) is one of the greats. It has muscle, texture, and many below-the-surface nuances ripe for discussion. It’s a must-see for many reasons.

Oscar Nominations: 4 wins-Best Supporting Actor-Peter Ustinov (won), Best Art Direction-Color (won), Best Cinematography-Color (won), Best Costume Design-Color (won), Best Film Editing, Best Music Score of a Dramatic or Comedy Picture

1965 Films, Carol Lynley, Keir Dullea, Laurence Olivier, Otto Preminger, 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- whether the main character’s interpretation of events is real or imagined. The uncertainty makes the film intriguing to watch. Glimpses of London locales also make for fun viewing as is the chaotic and creepy children’s school that is the film’s main 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 without a trace.

When the police are called to investigate it is discovered that nobody on staff has lain 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 themselves as slivers of paper being torn down the middle.

Though the musical score during this sequence is not necessarily eerie the complexity and the ferocity of the scene nonetheless 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.

The black and white style that director Otto Preminger uses is also positive to the overall look of the picture. The muted tones elicit 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.

Noel Coward as Horatio Wilson, Ann’s landlord, and Martita Hunt as the retired school headmistress who now resides in the attic of the school, do wonders for the addition of creepy characters, but are they meant to be red herrings or key to the big reveal?

A few gripes are that the incorporation of the English rock band The Zombies serves little purpose and the addition is perplexing.  It’s not that I am opposed to the band’s music, but the songs themselves 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 largely wasted 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 the talents that the Shakespearean stage actor possesses. His performance is both phoned in and beneath the historic actor.

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

In 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 all the way around with some weaknesses and is less than a pure classic, more reminiscent of a good, solid Twilight Zone television episode.

1941 Films, Alan Mowbray, Alexander Korda, Drama, Gladys Cooper, Laurence Olivier, Romantic Drama, Vivien Leigh

That Hamilton Woman-1941

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That Hamilton Woman-1941

Director Alexander Korda

Starring Laurence Olivier, Vivien Leigh 

Scott’s Review #779

Reviewed June 27, 2018

Grade: B+

That Hamilton Woman (1941) is an obscure, black, and white gem that stars legendary actors and real-life couple Vivien Leigh and Laurence Olivier.

Providing a story of an old-fashioned style romance, war battles, and dazzling cinematography, the film succeeds as a classic film that should be better remembered than it is.

The overall theme here is a tragic love story with a sad ending.

One of the best aspects of That Hamilton Woman is witnessing the super-couple team of Leigh and Olivier act opposite one another. The actor’s talents are reason enough but makes a fascinating viewing experience.

The curiosity of the pairing of big stars in their heyday is a delight, and highly appealing and both actors do not disappoint. One wonders whether they were acting or otherwise enjoying the experience.

That Lady Hamilton begins with a jarring scene in which the title character, known as Emma, Lady Hamilton (Vivien Leigh) is thrown into debtor’s prison after stealing booze in France.

The rest of the story is told via flashbacks as she regales her fellow prisoners with how she wound up in her current state. Her former life starkly contrasts as Emma appears as a young woman with hope, promise, and riches.

It is hard to imagine how her life turned out so badly which gives the film quality of strong intrigue.

The film then has a “riches to rags” element as the story is told in reverse. Full of energy, British Emma moves with her mother to the Kingdom of Naples where she marries the affluent (and much older) Sir William Hamilton (Alan Mowbray), presumably for his money.

When handsome Admiral Horatio Nelson (Olivier) appears on the scene, the pair fall madly in love. They face tremendous hurdles, however, as the war rages on and each is unfaithful to their respective spouses.

Since the film was made scarcely two years after the epic romance Gone with the Wind (1939), one cannot help but compare Leigh’s portrayal of Emma to Scarlett O’Hara.

Emma comes across as a British version of the southern lass, especially as she is clad in gorgeous gowns or romancing men.

However, as the film develops she becomes a much more sympathetic character and certainly less of a vixen. Still, there are plenty of similarities for viewers to draw from.

The role of Lady Frances Nelson (Gladys Cooper) is completely one-note so the rooting value is never in doubt. The audience is firmly in the corner of Emma and Horatio and this is the film’s intention.

With that said, Cooper does a fantastic job of making her character completely unlikeable. Her icy, vengeful spirit is in perfect balance with the sympathetic lead characters. The fact that Horatio and Emma are adulterers, especially for the year the film was made, is not fully explored.

To be critical, and presumably, because the film is old, the video quality is not the greatest. If the film were in color the gorgeous Italian landscapes and Leigh’s lovely costumes would have appeared even more lavish and picturesque.

But due to the age of the film, not much can be done about it unless it is decided to repackage the disc or make it a Blu-ray offering.

Still, the luminous mountains and the lush oceans of southern Italy are frequently featured throughout the film, which is a real treat.

Purely a showcase for newlyweds Olivier and Leigh to dish their real-life romance for mainstream audiences, That Hamilton Woman (1941) must have been a big deal at the release.

While suffering from lackluster film quality, the story is quite hearty featuring romantic scenes combined with loud, bombastic battle scenes and a bit of British and Italian history.

Sadly, this film is largely forgotten, but is a good watch for fans of the legendary stars.

Oscar Nominations: 1 win-Best Sound Recording (won), Best Art Direction-Interior Decoration, Black-and-White, Best Cinematography, Black-and-White, Best Special Effects

1940 Films, Alfred Hitchcock, Best Film of the Year, Best Picture Oscar Winners, George Sanders, Gladys Cooper, Joan Fontaine, Judith Anderson, Laurence Olivier, Leo G. Carroll, Nigel Bruce, Scott's Top 100 Films, Thriller

Rebecca-1940

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Rebecca-1940

Director Alfred Hitchcock

Starring Laurence Olivier, Joan Fontaine

Top 100 Films #63

Scott’s Review #345

895272

Reviewed January 9, 2016

Grade: A

The only Alfred Hitchcock film to win the coveted Best Picture Oscar trophy, Rebecca is a very early offering in the famous director’s repertoire.

His heyday being well ahead of this film (the 1950s and 1960s saw his best works), Rebecca is a blueprint of fine things to come and on its own merits is a great film.

Shot in black and white, the film is a descent into mystery, intrigue, and madness, with a gothic look to it.

Laurence Olivier stars as rich widower Maxim de Winter, whose first wife, title character Rebecca, died sometime before the story begins. In a clever twist, the character of Rebecca is never seen but takes on a life of her own through the tellings of the rest of the cast.

Joan Fontaine plays a nameless, naïve young woman who meets the sophisticated Maxim and marries him, becoming the new Mrs. de Winter.

This development is met with disdain by the servants who work in the Grand de Winter mansion, named Manderley, a character in its own right.

Housekeeper, Mrs. Danvers (Judith Anderson) in particular, is cold and distant from Maxim’s new wife, and begins to reveal an obsession with the deceased Rebecca, creating jealousy and intimidation for Fontaine’s character- so much so, that, she begins to doubt her sanity and decision-making capabilities.

Rebecca is a fantastic, old-style film, that provides layers of mystery and wonderment thanks to Hitchcock’s direction. The mansion that is Manderley is central to the story as is the obsession that creepy Mrs. Danvers has with Rebecca.

She keeps the dead woman’s bedroom neat, a sort of shrine to her memory, so much so that, despite the time the film is made, 1940, a lesbian element is crystal clear to attention-paying audiences.

This aspect may have not been noticed at the time, but in more recent times, this is quite obvious.

The film is also a ghost story of sorts since the central character, Rebecca, is never seen.

Could she be haunting the mansion? Is she dead or is this a red herring, created to throw the audience off the track? Is the new Mrs. de Winter spiraling out of control? Is she imagining the servant’s menacing actions? Is Maxim in on the tormentor simply seeking a replacement wife for his true love?

The pertinent questions not only are asked of the character but the audience themselves as they watch with bated breath.

The climax and finale of Rebecca (1940) are fantastic.

As the arguably haunted mansion is engulfed in flames and the sinister Mrs. Danvers can be seen lurking near the raging drapes, the truth comes to the surface leaving a memorable haunting feeling to audiences watching.

Rebecca is a true classic.

Oscar Nominations: 2 wins-Outstanding Production (won), Best Director-Alfred Hitchcock, Best Actor-Laurence Olivier, Best Actress-Joan Fontaine, Best Supporting Actress-Judith Anderson, Best Screenplay, Best Original Score, Best Art Direction, Black and White, Best Cinematography, Black-and-White (won), Best Film Editing, Best Special Effects

1952 Films, Drama, Jennifer Jones, Laurence Olivier, Miriam Hopkins, William Wyler

Carrie-1952

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Carrie-1952

Director William Wyler

Starring Jennifer Jones, Laurence Olivier

Scott’s Review #240

60011689

Reviewed May 3, 2015

Grade: B

Carrie, not to be confused with the Brian DePalma horror classic from 1976, is a drama from 1952 starring Laurence Olivier and Jennifer Jones- two big Hollywood stars of the time.

Shot in black and white, the film tells the story of the self-titled ingénue (Jones) of mid-western upbringing, who travels to Chicago to make her fortune.

Attempting to launch her career, Carrie becomes immersed in a love triangle with Olivier- who is unhappily married and runs a restaurant, and salesman, Charles Drouet, played by Eddie Albert.

Directed by William Wyler, the film has a melancholy tone to it as one of the characters sinks into a world of despair.

The highlight of this film is the performance of Laurence Olivier. He is excellent, as his character of George Hurstwood goes from a successful restaurant manager with an affluent existence to a poverty-stricken, lonely, broken old man.

Olivier is so effortless and believable in his performance as he always was.

I felt, however, that Jennifer Jones was miscast. Attractive, yes, I did not feel that every man would lust after her on sight alone, as was needed for the character of Carrie. Her acting, while okay, is not on the level of either Albert or especially Olivier, with she shares much screen time.

Perhaps Vivian Leigh, Teresa Wright, or Kim Novak might have been wiser choices.

The story itself is compelling and interesting. Here we have a woman- at the turn of the twentieth century- forging ahead in an attempt to make it on her own- almost unthinkable for a woman at that time, taking menial jobs as a sewing worker in a factory to scrape by.

Carrie resists the urge to become a rich husband-seeking gal and believes in marriage and true love. That is why she is devastated when she learns that George is indeed married.

Will true love win out for them? This seems to be the main aspect of the film.

Behind-the-scenes issues may have contributed to the problems that appear onscreen- Wyler reportedly did not want to cast Jones, Olivier did not like Jones, Olivier was injured during much of the filming, and the ending of the film was changed to provide a “happier” ending.

Originally, George was to commit suicide, which might have successfully made the film more shocking and heartbreaking.

Containing beautiful costumes and interesting cinematography, Carrie has positives but might have been much better than the final product ended up being, but for poor casting and real-life dramas that hurt the film.

Oscar Nominations: Best Art Direction, Black-and-White, Best Costume Design, Black-and-White