Tag Archives: Robert Wise

#12 Favorite Film, 1961 Films, Best Picture Oscar Winners, Favorite Film of the Year, George Chakiris, Jerome Robbins, John Astin, Musical, Natalie Wood, Richard Beymer, Rita Moreno, Robert Wise, Russ Tamblyn, Top 100 Films, Top 25 Films, Top 250 Films, Top 50 Films

West Side Story-1961

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West Side Story-1961

Director Robert Wise, Jerome Robbins

Starring Richard Beymer, Natalie Wood

Top 250 Films #12

Scott’s Review #188

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Reviewed November 3, 2014

Grade: A

West Side Story is a musical from 1961 (based on the Broadway stage production from the 1950s), during a period in Hollywood where every other film released seemed to be a version of an enchanting musical.

This particular film version is much darker than most of its contemporaries within this genre. The dreary ending, fantastic and compelling in its dramatic elements, does not detract from the rest of the musical and its hum-along tunes.

West Side Story was crowned the 1961 Academy Award winner for Best Picture.

West Side Story is undoubtedly based on the Shakespearean tragedy of Romeo and Juliet- the Capulets and Montagues becoming rival teen street gangs of the Puerto Rican “Sharks” and the Polish”Jets,” with the lovesick teens Tony and Maria serving as Romeo and Juliet.

And yes, spoiler alert, the story does not end happily ever after.

Loads of suspension of disbelief must be taken- How many gangs sing and dance to each other, snapping their fingers in unison to perfectly choreographed beats?

Additionally, some gang characters do not look authentic, with clearly dyed hair, bronzed skin, or some other phony-looking get-up.

The film is a cherished friend, and these can be overlooked for my enjoyment of the film.

The story, set in 1950s New York City, pits the Sharks (a gang led by Bernardo) against the Jets (led by Riff), who have been bitter rivals for the turf of the rough streets of Manhattan’s west side for many years.

The gang’s girlfriends and one female, “Anybodys,” are in tow. She longs for the day when she can join the Jets and fight alongside the boys.

The other supporting characters primarily include various policemen (Lieutenant Schrank and Officer Krupke) who attempt to keep the gangs apart. They also include a local shopkeeper, Doc, who is the story’s moral compass. Doc encourages the gangs to get along and questions the logic of gang fights.

After a scuffle, the gangs decide to fight after an upcoming dance, and the Jets elect Tony to face Bernardo.

The story is surprisingly dark, especially in the inevitable final act. Amid all this darkness, however, lies a musical with cheery, catchy numbers (I Feel Pretty, Jet Song) and love-struck tunes (Maria and Somewhere).

A musical about diversity and rivalry, the story centers on lovesick Maria and Tony, a la Romeo and Juliet, and their struggle to be together despite adversity from their friends and family due to their significantly different backgrounds.

Throughout the film, we get to know other characters well- Anita, the girlfriend of Bernardo, for example, played by Rita Moreno, is the stubborn yet likable best friend of Maria, who thinks that Maria and Tony are wrong for each other and that things just are not supposed to be that way when you mix cultural diversity.

The film moves along quickly, featuring standoffs, fights, and plots to eliminate the other gang, a failed attempt at a dance to bring the two groups together, and Tony and Maria sneaking off to meet.

The lack of chemistry between Natalie Wood (Maria) and Richard Beymer (Tony) is noticeable, primarily upon multiple viewings. Still, decades later, it is also challenging to imagine anyone else in either role—so ingrained is the duo in film culture.

The cultural diversity of much of the cast (Rita Moreno was the only Puerto Rican) is fascinating, as is the fact that most of the singing was dubbed by other singers.

Yet, the film still manages to work very well.

Oscar Nominations: 10 wins-Best Motion Picture (won), Best Director-Robert Wise and Jerome Robbins (won), Best Supporting Actor-George Chakiris (won), Best Supporting Actress-Rita Moreno (won), Best Screenplay Based on Material from Another Medium, Best Scoring of a Musical Picture (won), Best Sound (won), Best Art Direction, Color (won), Best Cinematography, Color (won), Best Costume Design, Color (won), Best Film Editing (won)

#18 Favorite Film, 1965 Films, Anna Lee, Best Picture Oscar Winners, Charmian Carr, Christopher Plummer, Drama, Eleanor Parker, Favorite Film of the Year, Julie Andrews, Musical, Musical Drama, Peggy Wood, Richard Haydn, Robert Wise, Top 100 Films, Top 25 Films, Top 250 Films, Top 50 Films

The Sound of Music-1965

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The Sound of Music-1965

Director Robert Wise

Starring Julie Andrews, Christopher Plummer

Top 250 Films #18

Scott’s Review #49

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Reviewed June 20, 2014

Grade: A

The Sound of Music (1965) is a film that almost everyone has seen multiple times. It is undoubtedly ingrained in most people’s childhood memories, especially around the holiday season, and is a treasure to watch.

It is tough to be objective, as I’ve probably seen the film dozens of times and continue to appreciate and love it with each repeated viewing.

Maria (Julie Andrews) is a pretty, young, free-spirited woman living in the gorgeous hills of Austria. We first meet her on a lush hilltop where she sings with the birds and enjoys life.

While very popular with other nuns, she does not quite fit in at the Nonnberg Abbey, where she studies to become a nun. She is sent to discover herself as the governess of seven nearby children. They are the children of well-known and now-retired Georg von Trapp (played by Christopher Plummer).

Since his wife died, no life or music exists inside the house. Maria brings life and music to all, transforming everyone into a happier existence. The threat of the powerful Nazis wishing to recruit a disapproving von Trapp adds tension.

Maria and the von Trapp family fall madly in love.

As a musical, it is top-notch and is the hallmark of all musicals. The songs are challenging to get out of one’s head (“The Sound of Music,” “Climb Ev’ry Mountain,” and “My Favorite Things” are personal favorites), but the list of gems goes on and on.

The political/Nazi story was lost on me as a child, but now I see the film does have a darker tone in the second half and becomes quite severe. Indeed, since it is a family film, the details are glossed over a bit, but so what? It is the wonderful music that makes The Sound of Music great and memorable.

The first half is wholesomely sugary, sweet, and safe, and, from what I’ve read, exceptionally loosely based on the real von Trapp family. However, this hardly matters, as escapism is sometimes needed.

I hate to dissect and overanalyze a film like this, a fantasy/musical extravaganza meant to be enjoyed—lighthearted and fun for everyone.

Oscar Nominations: 5 wins-Best Picture (won), Best Director-Robert Wise (won), Best Actress-Julie Andrews, Best Supporting Actress-Peggy Wood, Best Scoring of Music-Adaptation or Treatment (won), Best Sound (won), Best Art Direction, Color, Best Cinematography, Color, Best Costume Design, Color, Best Film Editing (won)

1966 Films, Candace Bergen, Drama, Emmanuelle Arsan, Epic, Gavin MacLeod, James Hong, Mako, Period Drama, Richard Attenborough, Richard Crenna, Robert Wise, Steve McQueen, War

The Sand Pebbles-1966

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The Sand Pebbles-1966

Director Robert Wise

Starring Steve McQueen, Candice Bergen, Richard Attenborough

Scott’s Review #1,257

Reviewed May 18, 2022

Grade: A-

The 1950s and 1960s can collectively be defined as the two decades representing the grandiose film epic, instantly recognizable cinematic sprawling, lengthy efforts, frequently encompassing a time.

The Sand Pebbles (1966) safely falls into this category, mainly because it’s a war film and one minute shy of a three-hour extravaganza.

The film was a critical and commercial success at its release and received several Academy Award nominations (see more below). Still, despite being a fantastic watch, it is not remembered as well as one might expect.

Something makes the film fly under the radar, and I’m unsure why. It might be that an anti-war message film was not as typical as it would become. In 1966, a United States movement had only begun to question the government and war in general.

It wasn’t fantastic or acceptable yet.

Robert Anderson adapted the screenplay from Richard McKenna’s 1962 novel, which is very similar.

Robert Wise, famous for directing the memorable The Sound of Music just one year prior in 1965 and the legendary West Side Story in 1961, is at the helm, resulting in superior direction, especially in the exterior and lush, oceanic sequences.

Star Steve McQueen was at the height of popularity when this film was made, which undoubtedly helped get butts in the seats to drool over the blue-eyed actor in his Navy attire.

The Sand Pebbles has a heavier touch and promotes an anti-war viewpoint from its main character. Therefore, it has a solid message that goes with the expected aspects of a war film.

It’s similar to The Bridge on the River Kwai (1957), made nearly a decade earlier.

The Asian locales and the parallels with the controversial Vietnam conflict of the time will not be lost on the viewer.

We go back to 1926 when the USS San Pablo was patrolling the Yangtze River during the clashes between Chiang Kai-shek’s communists and Chinese warlords.

Eight-year veteran machinist Jake Holman (McQueen), new to the self-named “sand pebbles” crew, immediately draws deep suspicion due to his independent streak.

Ordered to protect Americans, including schoolteacher Shirley Eckhart (Candice Bergen), Jake and the gunboat crew are unwittingly drawn into a bitter nationalistic feud that holds grim consequences.

Besides his unforgettable turn in The Getaway in 1972, the role is McQueen’s finest, and I’m not the biggest fan of his, nor do I feel he is the most outstanding actor.

He has tremendous material to work with in The Sand Pebbles and hits all cylinders throughout. The character is rootable and relatable to the audience.

The film also presents a fascinating look at Navy life with the camaraderie and depth of the supporting characters. There is comedy and drama, and the additions of Richard Attenborough and Richard Crenna are stellar.

Naturally, Bergen is McQueen’s romantic love interest, as Shirley and Jake have fledging feelings for each other.

Though the film ends abruptly, there is enough pain, death, and confusion to leave the viewer thinking afterward, and I always champion that aspect of the film.

The Sand Pebbles (1966) is an underrated production that simmers beneath some other classics from the same decade but is a terrific watch for many reasons. Despite being extremely timely, it has an old-world feel, representing a foray into the dangerous early 1970s cinema history that is yet to come.

Oscar Nominations: Best Picture, Best Actor-Steve McQueen, Best Supporting Actor-Mako, Best Art Direction-Color, Best Cinematography-Color, Best Film Editing, Best Original Music Score, Best Sound

1951 Films, Michael Rennie, Patricia Neal, Robert Wise, Science Fiction, Stuart Whitman

The Day the Earth Stood Still-1951

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The Day the Earth Stood Still-1951

Director Robert Wise

Starring Michael Rennie

Scott’s Review #155

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Reviewed August 18, 2014

Grade: B+

The Day the Earth Stood Still (1951) is one of the best, most credible, original science fiction thrillers. It has stood the test of time, considering it is over sixty years old.

Made in 1951, the film is a message movie about a spaceship that suddenly arrives on planet Earth in the United States capitol of Washington, D.C.

Michael Rennie is fantastic as Klaatu, the calm, poised leader of the spaceship. Along with Gort, a 7-foot-tall robot, Klaatu intends to deliver a message of peace and humanity to the leaders of Earth.

The arrival sets off a panic, and Klaatu is captured, only to escape and meet local townspeople as he tries to pass himself off as human and deliver his message.

The Day the Earth Stood Still is a liberal-slanted, anti-war, pro-tolerance, and acceptance movie, but also a good, old-fashioned black-and-white science fiction thriller rolled into one.

It’s an important film.

It is an edgy, questioning film that can easily still be viewed and appreciated today (sad that not much seems to have changed in the world after all these years).

It is political, and the setting of Washington, D.C., is wise and symbolic.

While a handful of humans are portrayed as intelligent and accepting, most of Earth’s human beings, especially politicians, are portrayed as war-happy, foolish individuals.

The viewer will question the world around him or herself and, hopefully, begin to question political decisions and the horrors of war that continue unabated.