Part of a DVD set with three great British thrillers, The Upturned Glass stars James Mason as an ultra serious neurosurgeon who tells a college class about a case of a sane man murdering in cold blood. We soon figure out that Mason’s Dr. Michael Young is the “sane” murderer he believes exists. Dr. Michael Young meets Emma Wright whose daughter has a condition that will lead to blindness unless this talented surgeon can operate right away. As the case progresses and the girl improves, Michael and Emma grow close. Both have spouses far away and they continue seeing each other after the girl’s treatment ends. Of course, they fall in love.
So why the need for murder?
Emma is found dead and Michael attends the inquest. He can’t believe it’s an accident. He notices some strange glances between Emma’s daughter and her jealous, greedy sister-in-law, who learns that Emma has cheated on her brother. The two were never close and this was the sister-in-law’s reason to get even.
This superstar surgeon is soon taking matters into his own hands.
The film had lots of unpredictable turns and kept my attention from the first scene. Hitchcock drew upon it for some of his later films. It’s sure to entertain.
I’ve seen the 1966 Alfie before, but that was long ago and the film was well worth re-watching. Michael Caine plays a confirmed philanderer Alfie Elston, who shares his rather silly views on women and life directly with the audience throughout the film. The humor comes from Alfie’s preposterous ideas about women. Because he’s so daft, I felt sorry for him even though he left a train of pain in his wake.
It’s hard to keep track of all of Alfie’s liaisons, but his first main girlfriend was a cute, but mousy girl who decides to have his baby and raise it on her own. In spite of his cavalier philosophy, Alfie forms a bond with little boy. When the girlfriend decides to marry her dull, but reliable suitor to better her lot, Alfie’s soon forgotten. He’s surprised how much that hurts.
Yet he continues on with his womanizing. Women let him. He’d run from any commitment. He takes up with a sexy older woman played by Shelley Winters.
Though he’s so selfish and immature, there are times when Alfie’s rather kind — in his way. When he gets a spot on his lung and is confined to a sanitarium, he befriends his roommate and generously shares his useless advice. As only Alfie could do, he manages to seduce his roommate’s wife and still have the audience like him.
Yet there are consequences and Alfie meets his comeuppance, which gives the film its moral message.
I liked Alfie’s asides to the audience, which were both witty and foolish. I thought the film entertained while showing the real consequences of poor decisions. The film was remade on 2004, but I doubt I’d find it as charming as this version.
Buster Keaton’s first starring role in a feature film was playing Bertie Van Alstyne in The Saphead. Saphead sure is a disparaging way to refer to someone. It refers to a weak-minded stupid person. Is Bertie Van Alstyne really a saphead? His tycoon father certainly thinks so, but Agnes, Bertie’s adopted sister disagrees. She’s smitten. When she returns home Bertie defies his wealthy father and tries to elope with Agnes. Their plans are comically foiled and Bertie shows his father that he’s no wimp or fool (well not completely either) so the wedding proceeds until Mark, Bertie’s lazy, crooked, philandering brother-in-law plants a letter from his dead mistress on Bertie.
Bertie is framed. His father stops the wedding so that sweet Agnes isn’t married to a philanderer with an illegitimate daughter. Crushed, but noble, Bertie goes to the cosy house he bought for his new bride. His solo dinner amidst the wedding decorations is a sad scene indeed.
The next day Bertie tries to lift his spirits by going to the Stock Exchange where he’s recently purchased a seat. Of course, the traders laugh at his expense and play him for a fool. Yet the tables get turned when Bertie, inadvertently saves the day when he foils his brother-in-laws plot to take over the family fortune.
The version I got from the library needs restoration. Many of the outdoor scenes looked green, while the indoor ones were black and white.
The Saphead charmed me with it’s innocence and simplicity. Keaton’s facial expressions and physical humor stole the show. The plot took turns I didn’t expect and other than forgetting all about Henrietta’s poor orphan child, the story was a delight.
Part of a collection of Japanese noir films, Rusty Knife (1958) packs a punch. A relentless D.A. won’t give up on getting justice for a murder that was wrongly categorized as a suicide. He hunts down two reformed gangsters, who witnessed the murder as other yakuza (Japanese mobsters) killed a city official. One of the witnesses now owns a bar and has turned over a new leaf. However, the guilty and anger towards these gangsters who brutally raped and murdered his true love. As the D.A. urges him, the reformed gangster pursues the yakuza and seeks revenge.
The emotions run high and the plot has some great fight scenes. The plot offers plenty of surprises. I recommend this film and would certainly watch more of director Toshio Masuda’s films.
I only knew Maurice Chevalier from “Thank Heaven for Little Girls” from Gigi. However, I discovered his much earlier film The Smiling Lieutenant, 1931 a grand farce. If you like silly old time films with romance, you’ll like this. Chevalier plays a young lieutenant who’s quite a flirt. At the start of the film, his superior comes to him bemoaning how he loves a sweet young thing in spite of loving his wife. Chevalier’s Niki advises him to stick with his wife, and shortly thereafter Niki is wooing the sweet young Franzi, played by Claudette Colbert. Franzi is a modern woman who’s fine with “free love.” I hadn’t seen a 1930s woman with such a character.
Niki and Franzi fall madly in love, but trouble ensues when Niki accidentally waves at a sheltered princess from a small province. Her father a prince feels disrespected and immediately interrogates Niki. Before you know it, Niki saves his skin by talking his way into a shotgun wedding to the princess. What to do?
On the wedding night and during the honeymoon phase, Niki breaks the princess’ heart by keeping his distance from her and slipping off for rendezvous with Franzi.
It’s not the usual romance. I kept wondering how the story would end happily. While the film was a little sillier than I like, it was fun and different. There are several light-hearted songs which enhanced the film. I did think it was odd that Chevalier is supposed to be a native of Vienna though he speaks with his usual distinct French accent.
All in all, it was a fun film, though not a masterpiece.
With one of the best car chases I’ve ever seen, W.C. Fields’ The Bank Dick was a nice change after watching Russian drama. Fields plays Egbert Sousé, the head of the house full of women who constantly complain. He’s no angel, but you sympathize with him because his family treats him awfully. As the name without the accent grave suggests, Sousé drinks a lot and is a layabout. By accident, he thwarts a bank robbery and is hailed as a hero. As a reward, the bank president makes Sousé is given a job as the bank detective. Soon he gets his daughter’s boyfriend into financial trouble through a hare-brained scheme to buy bonds. As he’s basically a decent fellow, he tries then to save his future son-in-law, but everything goes wrong.
The film was at times clever and at times corny in a way that delights. Not only did I smile, but I learned a host of new words like adscititious and several others (below). The characters are stock and the humor often just plain silly, but The Bank Dick is fun and entertaining. I hadn’t seen a W.C. Fields’ film in years and will look for more.
I hadn’t heard of director Andrei Tarkovsky before. Nor had I ever heard of actor Nikolay Burlyaev. I haven’t seen many Russian films and I wasn’t particularly looking for a difficult film but something about Tarkovsky’s WWII film Ivan’s Childhood (1962) grabbed me though it took a while.
Around 12 years old, Ivan dreams of his idyllic childhood playing at the beach, chatting with his young mother, running freely. Then he wakes up. He’s in a dark, war-torn, God-forsaken landscape. He trudges through a murky river (which looks like a marsh, but it’s a degenerated river and a symbol the effects of war) before he’s captured by Russian soldiers. Back at the soldiers’ post, Ivan is fierce and orders the soldiers about. He orders the soldiers to call “Number 51 at HQ.” They try to put him in his place, but you’ve never seen a fiercer 12 year old. Played by Nikolay Burlyaev, Ivan is like no character you’ve ever seen. In the dream sequences he’s pure and innocence; once he’s orphaned and becomes an army scout Ivan’s transformed to a force of nature on par with a hurricane.
Ivan prevails in convincing his comrades in arms that he should continue his reconnaissance work and not get shipped off to the much safer military school. Viewing the film, I knew that the soldiers should not have agreed, but that’s where the suspense comes in.
Tarkovsky gives us amazing images like none I’ve ever seen. He believed in using the environment like the murky river, a bombed peasant farm house and a white birch forest speak volumes. I’ll never forget the dream sequence when Ivan and a little girl are riding in a pick up truck filled with apples. The sky and trees are shown in the negative, which was mind-blowing.
There’s a lot of intense emotion. One example is a scene with an officer flirting with a female junior officer who’s very tentative. He wants her; it’s not clear what she wants. Without graphic nudity or direct language Tarkovsky gives us a powerful scene of cat and mouse in the birch forest that goes on forever.
The Criterion Collection DVD comes with fascinating extras including an interview with the now grown (i.e. middle aged) Nickolay Burlyaev, who recalls how hard Tarkovsky made him work to get the part and then how kind and sensitive the director was during the filming of this emotionally intense story.
I found the film challenging to watch. It’s no day at the beach, which is fitting for a war film. Yet Ivan’s Childhood is well worth watching.