Monday, January 30, 2017
"LIFE WITH FATHER" (1947) Review
Warner Brothers is the last studio I would associate with a heartwarming family comedy set in the 19th century. At least the Warner Brothers of the 1940s. And yet, the studio did exactly that when it adapted Howard Lindsay and Russel Crouse's 1939 play, "Life With Father", which happened to be an adaptation of Clarence Day's 1935 novel.
If I must be frank, I am a little confused on how to describe the plot for "LIFE WITH FATHER". But I will give it my best shot. The movie is basically a cinematic account in the life of one Clarence Day, a stockbroker in 1880s Manhattan, who wants to be master of his house and run his household, just as he runs his Wall Street office. However, standing in his way is his wife, Vinnie, and their four sons, who are more inclined to be more obedient of their mother than their father. You see, Vinnie is the real head of the Day household. And along with their children, she continues to demand that Mr. Day overcome his stubbornness and make changes in his life.
Thanks to Donald Odgen Stewart's screenplay, "LIFE WITH FATHER" focused on Mr. Day's attempt to find a new maid; a romance between his oldest son Clarence Junior and pretty out-of-towner named Mary Skinner, who is the ward of his cousin-in-law Cora Cartwright; a plan by Clarence Jr. and second son John to make easy money selling patent medicines; Mrs. Day's health scare; Mr. Day's general contempt toward the trappings of organized religion; and Mrs. Day's agenda to get him baptized. Some of these story lines seem somewhat disconnected. But after watching the movie, I noticed that the story lines regarding Clarence Junior and John's patent medicine scheme were connected to Clarence Junior's romance with Mary and Mrs. Day's health scare. Which played a major role in Mrs. Day's attempt to get her husband baptized. Even the baptism story line originated from Cousin Cora and Mary's visit.
Many would be surprised to learn that Michael Curtiz was the director of "LIFE WITH FATHER". Curtiz was not usually associated with light comedies like "LIFE WITH FATHER". Instead, he has been known for some of Errol Flynn's best swashbucklers, noir melodramas like "MILDRED PIERCE", the occasional crime drama and melodramas like the Oscar winning film, "CASABLANCA". However, Curtiz had also directed musicals, "YANKEE DOODLE DANDY" and "FOUR DAUGHTERS"; so perhaps "LIFE WITH FATHER" was not a stretch for him, after all. I certainly had no problem with this direction for this film. I found it well paced and sharp. And for a movie that heavily relied upon interior shots - especially inside the Days' home, I find it miraculous that the movie lacked the feel of a filmed play. It also helped that "LIFE WITH FATHER" featured some top notch performers.
William Powell earned his third and last Academy Award nomination for his portrayal as Clarence Day Senior, the family's stubborn and temperamental patriarch. Although the Nick Charles character will always be my personal favorite, I believe that Clarence Day is Powell's best. He really did an excellent job in immersing himself in the role . . . to the point that there were times that I forgot he was an actor. Powell also clicked very well with Irene Dunne, who portrayed the family's charming, yet manipulative matriarch, Vinnie Day. It is a testament to Dunne's skill as an actress that she managed to convey to the audience that despite Clarence Senior's bombastic manner, she was the real head of the Day household. Unlike Powell, Dunne did not receive an Academy Award nomination. Frankly, I think this is a shame, because she was just as good as her co-star . . . as far as I am concerned.
"LIFE WITH FATHER" also featured excellent performances from the supporting cast. Jimmy Lydon did a wonderful job portraying the Days' oldest offspring, Clarence Junior. Although Lydon was excellent portraying a character similar in personality to Vinnie Day, I found him especially funny when his Clarence Junior unintentionally project Mr. Day's personality quirks when his romance with Mary Skinner threatened to go off the rails. Speaking of Mary Skinner, Elizabeth Taylor gave a very funny and superb performance as the young lady who shakes up the Day household with a burgeoning romance with Clarence Junior and an innocent remark that leads Mrs. Day to learn that her husband was not baptized. Edmund Gwenn gave a skillful and subtle performance as Mrs. Day's minister, who is constantly irritated by Mr. Day's hostile stance against organized religion. The movie also featured excellent performances from Martin Milner, ZaSu Pitts, Emma Dunn, Derek Scott and Heather Wilde.
Another aspect of "LIFE WITH FATHER" that I found admirable was its production values. When it comes to period films, many of the Old Hollywood films tend to be on shaky ground, sometimes. For the likes of me, I tried to find something wrong with the production for "LIFE WITH FATHER", but I could not. J. Peverell Marley and William V. Skall's photography, along with Robert M. Haas' art direction, and George James Hopkins' set decorations all combined to the household of an upper middle-class family in 1885 Manhattan. But the one aspect of the film's production that really impressed me was Marjorie Best's costume designs. Quite frankly, I thought they were beautiful. Not only did they seem indicative of the movie's setting and the characters' class, they . . . well, I thought they were beautiful. Especially the costumes that Irene Dunne wore.
As much as I had enjoyed "LIFE WITH FATHER", I could not help but notice that it seemed to possess one major flaw. Either this movie lacked a main narrative, or it possessed a very weak one. What is this movie about? Is it about Clarence Junior's efforts to get a new suit to impress Mary Skinner? Is it about Mrs. Day's health scare? Or is it about her efforts to get Mr. Day baptized? I suspect that the main plot is the latter . . . and if so, I feel that is pretty weak. If this was the main plot in the 1939 Broadway play, then screenwriter Donald Odgen Stewart should have changed the main narrative. But my gut feeling tells me that he was instructed to be as faithful to the stage play as possible. Too bad.
I see now that the only way to really enjoy "LIFE WITH FATHER" is to regard it as a character study. Between the strong characterizations, and superb performances from a cast led by Oscar nominee William Powell and Irene Dunne, this is easy for me to do. It also helped that despite the weak narrative, the movie could boast some excellent production values and first-rate direction from Michael Curtiz. You know what? Regardless of the weak narrative, "LIFE WITH FATHER" is a movie I could watch over and over again. I enjoyed it that much.
Tuesday, January 24, 2017
Below are images from the 1968 historical drama, "THE CHARGE OF THE LIGHT BRIGADE". Directed by Tony Richardson, the movie starred David Hemmings, Trevor Howard, John Gielgud and Vanessa Redgrave:
"THE CHARGE OF THE LIGHT BRIGADE" (1968) Photo Gallery
Sunday, January 22, 2017
Below is a list of ten of my least favorite movie period dramas:
LEAST FAVORITE MOVIE PERIOD DRAMAS
1. "Legends of the Fall" (1992) - Edward Zwick directed this dull and overrated adaptaion of Jim Harrison's 1979 novella about the lives of a Montana ranching family during the early 20th century. Brad Pitt and Anthony Hopkins starred.
2. "Barbary Coast" (1935) - Howard Hawks directed this turgid tale about an Eastern woman who arrives in San Francisco during the Gold Rush and comes between a corrupt gambler/saloon keeper and a miner. Miriam Hopkins, Edward G. Robinson and Joel McCrea starred.
3. "Mayerling" (1968) - Omar Sharif and Catherine Deneuve starred in this lavish, yet dull account of the tragic romance between Crown Prince Rudolf of Austria and his mistress, Baroness Maria Vetsera. Terence Young directed.
4. "Idlewild" (2006) - André 3000 and Big Boi starred in this confusing and badly written musical set during Depression Era Georgia. Bryan Barber directed.
5. "Becky Sharp" (1935) - Miriam Hopkins earned a surprising Best Actress nomination (surprising to me) in this unsatisfying adaptation of William Makepeace Thackery's 1847-48 novel, "Vanity Fair". Directed by Rouben Mamoulian, the movie is known as being the first full-length production in Technicolor.
6. "Gods and Generals" (2003) - Stephen Lang, Jeff Daniels and Robert Duvall starred in this adaptation of Jeff Shaara's 1996 Civil War novel and prequel to the much superior 1993 movie, "Gettysburg". Ronald Maxwell directed.
7. "The Hindenburg" (1975) - Robert Wise directed this rather dull account of the Hindenburg air disaster. The movie starred George C. Scott and Anne Bancroft.
8. "Anna Karenna" (2012) - Joe Wright directed this stagey adaptation of Leo Tolstoy's 1877 novel. Keira Knightley, Jude Law and Aaron Taylor-Johnson starred.
9. "Glorious 39" (2009) - Stephen Poliakoff directed this slow and pretentious thriller about a young woman who discovers that her family are pro-appreasers who wish for Britain to seek peace with Nazi Germany on the eve of World War II. Romola Garai starred.
10. "Alice in Wonderland" (2010) - Tim Burton directed this dull and overrated adaptation of Lewis Carroll's 1865 novel "Alice's Adventures in Wonderland" and 1871 novel, "Through the Looking-Glass, and What Alice Found There". Mia Wasikowska and Johnny Depp starred.
Sunday, January 8, 2017
"APPOINTMENT WITH DEATH" (1988) Review
Agatha Christie's 1938 novel, "Appointment With Death" has proven to be a problem over the past 70 years or so. If I must be honest, it is not a great novel. Considering the topic of emotional abuse, it had the potential to be great. But I feel that Christie never achieved what could have been a memorable and haunting tale.
The novel also produced adaptations in the form of a 1945 stage play, a 2008 television movie and a 1988 theatrical release. Of the three adaptations, the 1988 film, "APPOINTMENT WITH DEATH" came the closest in being faithful to novel. Is it the best adaptation? Unfortunately, I have never seen the stage play and have no idea what changes to Christie's plot had been made. I have seen the 2008 television movie. And honestly? I consider it a colorful travesty. Do I harbor the same opinion of the 1988 film? Well . . . no. It is not a bad film. But I believe it is a far cry from some of the best of the Christie adaptations.
Directed by Michael Winner, "APPOINTMENT WITH DEATH" centered on Belgian-born detective Hercule Poirot's investigation into the death of a wealthy middle-aged woman named Mrs. Boynton. Actually, the story began several months earlier, in New Jersey, where the recently widowed Mrs. Boynton learned that her late husband left a second will would enable her stepchildren and daughter to enjoy a financially stable life, independent of her. Jealous of the idea of no longer holding any power over her family, Mrs. Boynton blackmailed the family attorney, Jefferson Cope, into destroying the second will, leaving her in charge of the family finances. The family embarks on a grand tour of Europe and the Holy Land during the spring of 1937. During the sea voyage between Italy and the Middle East, fellow passenger Hercule Poirot overhears two of Mrs. Boynton's stepchildren, Raymond and Carol, discussing the possibility of their stepmother's death. More importantly, Mrs. Boynton is surprised by the appearance of Cope, fearful he might inform her children about her husband's second will.
Following the characters' arrival in Petra, Poirot and some of the other characters become aware of Mrs. Boynton's domineering abuse of her stepchildren and daughter. One of the vacationers, a Dr. Sarah King, falls in love with one of Mrs. Boynton's stepsons - Raymond. But she becomes frustrated by his inability to break free of his stepmother's grip. Sarah's frustrations reflect those of Nadine Boynton, who is near the breaking point over her husband's inability to break free from his stepmother. Also, the old lady's stepchildren are becoming increasingly worried over Mrs. Boynton's poisonous influence over the latter's only child and their half-sister, Ginerva. Things come to a boil during a one day expedition to an archeology dig outside Petra. A few hours after Mrs. Boynton encourages her family to go for a walk, she is discovered dead. It does not take Poirot very long to figure out that the old lady had been murdered. And he is recruited by the region's British Army representative, Colonel Carbury, to investigate her death.
As I had earlier stated, "APPOINTMENT WITH DEATH" is not a bad film. But it is certainly no masterpiece. Let me be frank. It is quite obvious that the look and tone of this production is more akin to television movie feature from "AGATHA CHRISTIE'S POIROT" than a theatrical movie. It is a bit cheap in compare to star Peter Ustinov's previous two Poirot movies and the 1974 one that starred Albert Finney. Some of cast members seemed to be going through the motions in their performances. This especially seemed to be the case for Carrie Fisher, Nicholas Guest, John Gielgud and sadly, Peter Ustinov. And when the star of the film seemed almost too relaxed or uninterested in his performance or the film, there is potential for disaster. What makes this sad is that Ustinov gave a funny and energetic performance for his next role as Detective Fix in the 1989 miniseries, "AROUND THE WORLD IN 80 DAYS". Adding to the film's second-hand look was Pino Donaggio's very disappointing score. Honestly, it was probably the worst movie score for any Agatha Christie's production I have ever heard. It seemed to be 1980s pop music at its cheesiest. And allowing a cheesy 80s pop tune to serve as the main score for a movie set in the late 1930s was one of the worst mistakes that Michael Winner and the other film's producers made.
But all is not lost. At least Winner can claim he directed the better version of Christie's 1938 novel. The television movie adaptation made twenty (20) years later seemed like a total disaster in compare to this film. And the 1988 movie had more virtues. Although the movie's production visuals seemed a bit of a comedown from the Christie movies between 1974 and 1982, production designer John Blezard's work in "APPOINTMENT WITH DEATH" still struck me as pretty solid. I was especially impressed by his work, along with Alan Cassie and Shlomo Tsafrir's set designs and David Gurfinkel's photography during the archeological dig sequence. John Bloomfield's costume designs also struck me as pretty solid, but not exactly mind-blowing. Despite Michael Winner's pedestrian direction and the less-than-spectacular production, I have to admit that Winner, Anthony Shaffer and Peter Buckman did a very admirable job of adapting Christie's novel. I am not saying this because it is more faithful than the 1945 stage play and the 2008 television movie. The three screenwriters made some changes to the plot - including the deletion of one or two characters - but those changes did not harm the story overall.
Most of the cast certainly injected a good deal of energy, despite Ustinov, Fisher, Guest and Gielgud's lethargic performances. I was especially impressed by Jenny Seagrove as the stalwart Dr. Sarah King, David Soul's sly performance as the Boyntons' slippery, yet charming attorney Jefferson Cope, and John Terlesky's earnest performance as Raymond Boynton. As far as I am concerned, both Lauren Bacall and Hayley Mills gave the funniest performances in the film. Bacall's hilarious portrayal of the rude and pushy American-born Lady Westholme almost reminded me of her performance as the verbose Mrs. Hubbard from 1974's "MURDER ON THE ORIENT EXPRESS". However, her Lady Westholme struck me as funnier. And Hayley Mills was equally funny as Lady Westholme's impromptu traveling companion, the obsequious Miss Quinton. But the engine that really drove "APPOINTMENT WITH DEATH" turned out to be Piper Laurie's performance as murder victim, Mrs. Emily Boynton. There were moments with Laurie's performance became somewhat hammy. But she did a great job in portraying a manipulative and emotionally sadistic woman with a talent for keeping her stepchildren in line. I found her performance very commanding.
Overall, I would not consider "APPOINTMENT WITH DEATH" to be one of the best movie adaptations of a Christie novel. Heck, I can think of several television movie adaptations that I would view as better. But I believe it is the better of the two adaptations of the 1988 novel. I wish I could say that director Michael Winner and Peter Ustinov's performance as Hercule Poirot contributed a good deal to this movie's production. But it was not that difficult for me to see that Winner is at heart, a mediocre director. And Ustinov's performance seemed at worst, lethargic. And yet, the rest of the cast (aside from two others) and a solid script prevented "APPOINTMENT WITH DEATH" from sinking into a mire of crap. At least for me.
R.I.P. Carrie Fisher (1956-2016)
Monday, January 2, 2017
Below are images from "THE STING", winner of the 1973 Best Picture Oscar winner. Directed by George Roy Hill, the movie starred Paul Newman, Robert Redford and Robert Shaw:
"THE STING" (1973) Photo Gallery