Showing posts with label fred zinnemann. Show all posts
Showing posts with label fred zinnemann. Show all posts

Sunday, September 5, 2010

From Here to Eternity

1953.
#52 / Unlisted
Winner of 8 Academy Awards.

Hawaii, December 1941. Private Robert E. Lee Prewitt (Montgomery Clift) is treated harshly because he refuses to join the regimental boxing team. Sergeant Milton Warden (Burt Lancaster) has an affair with Karen Holmes (Deborah Kerr), the captain's wife. Meanwhile, Prewitt's best bud Private Angelo Maggio (Frank Sinatra) is getting drunk and chasing girls every chance he gets, earning the ire of Sergeant James "Fatso" Judson (Ernest Borgnine). Then the Japanese attack.

Eddie: I have a few important confessions to make.
  1. I missed a crucial title card at the beginning of this movie. I had no idea that it took place in Hawaii, 1941. For the first hour, I thought it was the most meandering, pointless war movie I had ever seen. Then, as I was growing bored, I read the back of the DVD box. "This movie's about Pearl Harbor?" I asked Sarah. That changed everything. I was far more forgiving of the film's wandering pace once I knew that it had a big bang waiting for me in the third act.
  2. I hate Frank Sinatra. I don't like his music, and I've never had any desire to watch his movies. But his performance in FROM HERE TO ETERNITY is jaw-dropping. He is natural and likeable. He fills the screen, and I found myself missing him when he wasn't around.
  3. I expected a little more oomph from the famous kissing-on-the-sand shot. It comes about twenty-eight minutes into the movie, and by the time you realize it, the characters are done kissing. Major let down.
That being said, I actually enjoyed the movie a great deal. I had never seen Montgomery Clift before, and I thought his sad, puppy eyes were a perfect snapshot of the undercurrent of despair that pervaded the movie.

Sarah: Eddie only hates Frank Sinatra because of some silly feud that Sinatra had with Elvis. I'm glad this movie changed Eddie's tune. I like the film, but it is a bit melodramatic for my tastes. Everyone is so entrenched in their own drama and foolishness that I couldn't wait for the war to start, just so the characters would have something better to do. Of course, once the Japanese attack, the rest of the story seems insignificant. Perhaps this was the point?

I like old films and Eddie is right about the film's strengths, but I'm not sure why it is on the list. It's a little too sentimental.

Why You Should See It: The scene in the rain between Sergeant Warden and Karen is filled with tension. He's trying to seduce her, and she's trying to size him up. It's played with a subtlety common in 1950s films. You can tell that they're trying to circumvent the censors, and it worked.

Monday, July 12, 2010

High Noon

1952.
#33 / #27
Winner of 4 Academy Awards

At noon, pardoned-convict Frank Miller (Ian MacDonald) is due to arrive in Hadleyville to seek revenge upon the town's marshal, Will Kane (Gary Cooper). Kane tries to find deputies to help him stand up to Miller's gang, but in the end, he has to face Miller alone.

Eddie: HIGH NOON isn't your average western, and maybe that's why it's one of my favorites. There are no silly duels (until the very end) or horse chases or yeehaws. Instead, the movie glorifies one individual who does what's right, what's expected of him, and what no one else will. God damn, this movie makes me love America.

The movie unfolds in real time, which builds the suspense at a constant, alarming rate. Gary Cooper plays one of the most decent characters in any film. And I'm not sure if the movie is an allegory for HUAC or not, but either way, it's probably more relevant today than the day it was made.

Sarah: Meh. This film underwhelms me. There are no surprises, and narratively it is too simple. Good guy fights bad guys with no complications. Yes the build of tension is well done, but after the movie is through, there is no great catharsis or food for thought.

I think Eddie is giving this film too high of a praise. I'd say SHANE or TRUE GRIT are better examples of courage and doing what is right in the Western genre. HIGH NOON is just too sunshine-y and apple pie.

Why You Should See It: The gunfight at the end. It's the reason Eddie's been biting his nails for an hour and a half.