Viridiana (1961)

Notes: 7/28/11

Fun music during opening.

Luis Bunuel directs Silvia Pinal and Fernando Rey.

Learning to milk the cow. Sexual in a non-sexy way.

Strange erotic relationship between uncle and niece.

The Last Supper scene is memorable. Hallelujah.
A bit slow-moving. Fails to get to a clear point.

Themes are clearly religious and sexual.

Great cinematography and images.

Not very surreal considering Bunuel's reputation.

Review: B-

The imagery of Luis Bunuel is impressively on display in an arguably slow-moving tale. Silvia Pinal plays Viridiana, an attractive young woman about to take her vows as a nun. After being forced to visit her bizarre uncle, played by Fernando Rey, Viridiana becomes involved in a series of strange encounters and corrupt behavior. Bunuel is more subtle here than expected, save for one marvelous set piece involving the Last Supper. This Spanish surrealism might take multiple viewings to sink in.

One, Two, Three (1961)

Notes: 7/23/11

James Cagney is perfect. Full of energy.

Arlene Francis has some genuinely funny lines.

Cagney and his secretary are very funny

Love the German language peppered about.

Great location shots. Brandenberg Gate.

Pamela Tiffin is hysterical.

Horst Buchholz is fun. Speaks German!

Rapid fire line delivery.

Marvelous 'Sabre Dance' music.

Very clever final scene. Less than four Cokes.

Review: B+

Rapid fire Billy Wilder script is performed with equal pomp by an excellent cast. James Cagney is perfection as Coca Cola's man in Germany. When faced with a hairy challenge concerning his boss's daughter and her new Communist boyfriend, Cagney must do everything he can to clean up the mess. Fun use of the the 'Sabre Dance' music throughout keep the energy high. Hilarious perfomances from Pamela Tiffin as the boss's clueless daughter, and Arlene Francis as Cagney's dry, patient wife. Certainly a lot of fun, particularly for Cold War enthusiasts.

West Side Story (1961)

Notes: 7/21/11

Buoyant energy. Eye-popping choreography by Jerome Robbins.

George Chakiris, Rita Moreno, Russ Tamblyn – all powerhouse.

The dance: Tony and Maria across the room. Others blurred out.

Outstanding collaboration between directors Robert Wise and Jerome Robbins.

George gets the best outfits. Love the reds and purples.

Terrific end credits with graffiti and street signs.

 

Review: A

Buoyantly entertaining musical updates the Romeo and Juliet story to 1950s New York City. Opposing street gangs threaten to rumble when Tony (Richard Beymer), a former Jet, falls in love with Maria (Natalie Wood), whose brother is leader of the Sharks. Unforgettable songs and eye-popping choreography make this a classic film. Wood and Beymer are fine, but the best performances come from Russ Tamblyn as Riff, George Chakiris as Bernardo, and, especially. Rita Moreno as Anita. Robert Wise and Jerome Robbins share directing duties, blending filmmaking artistry with tremendous dance numbers.

A Woman is a Woman (1961)

Notes: 7/16/11

Music cues scattered about to set the mood.

Lots of breaking the fourth wall.

Cool to see the streets of France in 1961.

Anna Karina is quite alluring.
Jean-Paul Belmondo is so cool.

Silly bits are rather charming.

Jean-Luc Godard clearly loves to experiment.

Lots of 180 degree camera pans.

Je suis une femme. Wink.

Review: B

Charming, experiemental little romantic comedy from Jean-Luc Godard. The alluring Anna Karina wants a baby, but her boyfriend Jean-Claude Brialy won't hear it. Karina then decides to ask Brialy's best friend Jean-Paul Belmondo. Godard plays with music and camerawork in a most playful way creating a frothy film that showcases Karina as a French beauty for the ages.

Return to Peyton Place (1961)

Notes: 7/11/11

Directed by Jose Ferrer. Not entirely sure why.

Carol Lynley is Allison trying to get her book published in NYC.

Tuesday Weld is almost as bright and pretty as Sandra Dee.

Everything in this movie seems a bit dull.

Mary Astor is the only part of the movie that stands out.

I sort of wish Lynley and Weld had switched roles.

Weld is so magnetic and not used effectively.

Review: C-

Dull follow-up to Peyton Place lacks anything truly scandalous or daring. The cast is easily overshadowed by Mary Astor as a local ghoul who causes trouble for everyone in town. Eleanor Parker does a fair job of filling in for Lana Turner, but her part is seriously underwritten. Carol Lynley is a bit of a bore, while Tuesday Weld is a rather pretty alternative. Fluffy and boring and lacks everything that made the first film so dramatic and fun.

Two Women (1961)

Notes: 7/6/11

Sophia Loren as Cesira. Shopkeeper, mother, lover.

Nice, involving, romantic film set in war-time.

Jean-Paul Belmondo has a great character introduction at the dinner table.

Immediate sparks with Belmondo and Sophia.

Sudden, almost unexpected switch to war tragedy.

Sophia is commanding and heartbreaking.

Mother-daughter version of Bicycle Thieves. A bit more brutally tragic.

Review: B+

Shattering account of a mother and her young daughter attempting to flee from the violence erupting in Italy during World War II. As Cesira, Sophia Loren erupts with fiery moments of realism that maintain her unmatched beauty. Vittorio de Sica carefully directs a harsh depiction of the savagery of war from a civilian perspective. Jean-Paul Belmondo lends a strong performance as a scholarly activist that befriends Cesira and her daughter.

The Misfits (1961)

Notes: 7/3/11

Opening credits. Puzzle pieces not fitting.

Marilyn. Oh, Marilyn. Such a huge presence.

Clark Gable is a masculine hero.

Screenplay is full of good bits. Lots of thoughtful dialogue.

Montgomery Clift!! Rugged and handsome.

Exciting lasso scene. Murder of the horses.

Quiet performances. Nothing flashy or over the top.  

Poignant final scene. Stars will take us right home.

Review: B

A divorcee (Marilyn Monroe) and an ex-cowboy (Clark Gable), both struggling with the unfairness of life, meet in Reno and find comfort in each other's company. Together they are joined by a rodeo rider (Montgomery Clift) who has inner conflicts of his own. Gable, Monroe, and Clift each deliver strong, complicated performances that carry the film through some unfocused bits of an otherwise thoughtful and pointed screenplay by Arthur Miller. John Huston directs Gable and Monroe in what became the final film for each legendary actor. Eli Wallach and Thelma Ritter lend expert support and comic relief to this somber and delicate film, helped quite well by the great score by Alex North. Notable for the impeccable talent involved, but lacks a stronger level of emotional impact.

The Last Sunset (1961)

Notes: 7/3/11

Kirk Douglas and Rock Hudson seriously at odds with each other.

Dorothy Malone had pretty eyes.

Joseph Cotten is always a welcome presence.

Robert Aldrich directs.

Jack Elam! Neville Brand! True tough guys.

Carol Lynley looks very young.

Stars didn't seem to have much to do but bicker.

Douglas is such a party boy. He sings!

Review: C+

Curious Western drama finds a starry cast dueling it out near the Mexican border. Kirk Douglas is an outlaw running just ahead of sheriff Rock Hudson. Dorothy Malone is Douglas' former lover, now the wife of Joseph Cotten and mother of Carol Lynley. Romance ensues and tension builds as Hudson closes in on Douglas. Robert Aldrich assembles a perfect supporting cast (Jack Elam! Neville Brand!) but puts little concern into the storytelling. Scenes drag along and the cast doesn't possess the energy one should expect from such reliable performers. Interesting story could have been told with a bit more enthusiasm.

Through a Glass Darkly (1961)

Notes: 6/24/11

Four character chamber play. Fascinating character interactions.

Daughter suffered an illness and was hospitalized.

Ingmar Bergman's quiet moments are on display.

Harriet Andersson plays the mentally ill daughter.

Sven Nykvist does the cinematography – great lighting.

A bit uninvolving, unfortunately.

Not the most entertaining but still thought-provoking.

Review: B-

Quiet, experimental chamber piece from Swedish visionary Ingmar Bergman. Sven Nykvist photographs the film beautifully, capturing the contrasts in indoor and outdoor scenes. Harriet Andersson, a favorite of Bergman's, portrays Karin, a young girl falling deeper into mental illness while vacationing with her husband, father, and brother. The cast does well with their characters and Bergman's screenplay doesn't overdo it with the religious overtones. Despite Bergman's skills, this ranks as one of his least involving efforts.

The Children's Hour (1961)

Notes: 6/16/11

Two women are accused of 'unnatural behavior'.

The situation that the three leads are in is tragic and frustrating.

Fay Bainter has a few good scenes. Makes it clear she's the HBIC.

Karen Balkin has a bullying physical presence, but is an embarrassing actress.

Miriam Hopkins is memorable as MacLaine's aunt.

Wyler gets some solid performances and doesn't let things get too maudlin.

Review: B

Audrey Hepburn and Shirley MacLaine are close friends who run a school for young girls. When one of the girls decides to spread a false rumor about them, a frustrating and tragic series of events unfolds. Effective performances and a controversial subject are well-handled by director William Wyler. Audrey and Shirley are ideally matched in the lead roles, while Bainter and Hopkins are most entertaining in support.

A Raisin in the Sun (1961)

Notes: 6/16/11

Sidney Poitier, Ruby Dee, Claudia McNeil, Diana Sands – all excellent.

Daniel Petrie directs while Lorraine Hansberry adapted her own play.

Louis Gossett Jr. and his 'faggotty white shoes'.

John Fiedler says 'you people' a lot.

Great set design. Subtle music.

Claudia McNeil does great work as the family matriarch.

Great glimpse of African American life.

Review: B

Sidney Poitier stars as Walter Lee Younger in this film adaptation of Lorraine Hansberry's play about a black family getting by in their tiny Chicago apartment. The ensemble cast is quite talented with Poitier portraying the right levels of maturity and immaturity in Walter. Claudia McNeil is the standout as Walter's mother, while Ruby Dee and Diana Sands as Poitier's wife and sister, respectively, each deliver sparks. No signs of static or stagy elements keep the play's impact intact.

Splendor in the Grass (1961)

Notes: 6/16/11

Natalie Wood and Warren Beatty. Both young and beautiful.

Elia Kazan directs a William Inge script.

The music and cinematography are perfect for the time and place.

Bath tub scene! Fabulous. Electric. Natalie Wood is terrific.

Thoughtful, adult, well-written, and well-directed.

Kazan's direction, particularly in scenes with the parents, is vivid and superb.

Review: B+

The hopes of youth and the sacrifices of adulthood are bittersweetly conveyed by director Elia Kazan in this thoughtful film. Warren Beatty is Bud, a handsome upper class high school football star who is loved unconditionally by Natalie Wood's Deanie in simple 1920s Kansas town. Bud's oppressive father has greater things in mind, and Deanie's love for Bud turns unrequited. Beatty shows an early confidence in a complicated role, while Wood is marvelous as a young girl struggling through emotions far beyond her experience. Fine screenplay by William Inge, brought to life by a strong cast and expert direction.

Lover Come Back (1961)

Notes: 6/9/11

Ann B. Davis plays Doris Day's secretary.

'Just a touch' of more bourbon. Jack Oakie as Southern Mr. Miller.

Edie Adams has a a lot of fun as a wannabe actress.

The hats are ridiculous. At the beach Doris wears what looks like a party hat.

Great chemistry between Doris Day and Rock Hudson.

Tony Randall is very funny in support. Drunk on Vip.

If only everyone was as cute as Doris and Rock.

Review: B

Rock Hudson-Doris Day sex comedy sparkles with fun dialogue and cute 60s set pieces. Rock and Doris are advertising agents competing for a product that doesn't actually exist. Colorful and energetic with a fine supporting cast, including Tony Randall in a very funny performance. Best parts are the hilarious ways the screenplay touches upon taboo subjects like homosexuality and drug use.

La Dolce Vita (1961)

Notes: 6/8/11

Grotesque fun house of people.

Fellini offers little innocence in his vision of Rome.

One of those movies that you can't take your eyes off of.

Hypnotic and slightly nauseating visuals and characters.

Marcello Mastroianni is perfect.

Anita Ekberg is the best part of the film as Sylvia.

Anouk Aimee is beautiful as Maddalena..

Paparazzi. Like swarming vultures.

Review: A-

Decadently grotesque film from Italian maestro Federico Fellini offers us a hynotic and slightly nauseating view of Rome through the eyes of Marcelo, a journalist played by the magnetic Marcello Mastroianni. Fellini paints Rome in a lurid, passionate light, peppering it with strangely ponderous characters searching for fulfillment. Mastroianni's episodic encounters take him from a helicopter carrying a statue of Christ, to the Trevi Fountain with a buxom, brilliant Anita Ekberg, to a beach house of depravity, to who knows where else. Marcelo appears to be looking for a sense of purpose; perhaps something sweet as the title suggests. Unforgettable images, philosophical dialogue, and the dizzying style of Fellini make this a film to admire.

Mr. Sardonicus (1961)

Notes: 6/7/11

William Castle introduces this chiller. References Homicidal, his other 1961 film.

Oscar Homolka (with stitched-up eye) plays Krull.

Creepy black-and-white photography.

Castle is lit like a grinning skull.

Baron Sardonicus. He wears a mask?! What's up with his face?

Punishment Poll. Audience can decide the fate of Sardonicus.

Has Mr. Sardonicus been punished enough?

Review: B-

Creepy black-and-white chiller from William Castle owes many elements to 1930s horror films. An English doctor is called to the home of Baron Sardonicus, an unusual masked gentleman, for an equally unusual favor. Castle's brand of audience interaction is clever this time around asking audiences to vote in a Punishment Poll to decide a character's fate. Oscar Homolka provides a memorable character role as Krull, the manservant to Sardonicus. Overall, the film is relatively on par with Castle's previous efforts, offering enough shocks to keep an audience amused.

Summer and Smoke (1961)

Notes: 6/2/11

Based on a Tennessee Williams play.

Eternity. It goes on and on.

Lots of Southern flavor. “I do declare!”

Geraldine Page plays Alma. Alma means 'soul'.

Laurence Harvey is the epitome of Southern hotness.

Una Merkel plays Alma's mother. It appears she is a nutjob.

Typically tragic, ironic, yearning Tennessee Williams drama.

Geraldine Page wears all of her emotion on her face.

Review: B

Well-acted Tennessee Williams drama focuses on Alma who is on the verge of a spinster's life while caring for her disturbed mother. Alma is in love with a young doctor who prefers a life of decadence to Alma's simpler ways. Geraldine Page wears every emotion on her face for her portrayal of Alma. Supporting cast is quite good, especially Una Merkel who makes her mother character sympathetic and believable in a handful of scenes. Not the most fascinating of all Williams adaptations but still entertaining.

Goodbye Again (1961)

Notes: 6/1/11

Ingrid Bergman is beautiful. Characters keep asking her when she was born. She looks quite lovely.

Yves Montand are Anthony Perkins are competing for her.

Directed by Anatole Litvak.

Cougar alert! Bergman and Perkins spark a romance.

Only Bergman could play this role successfully.

Diahann Carroll shows up as a songtress. Sings title song.

Ending in front of the mirror. Perfect Bergman.

Review: B-

Ingrid Bergman plays Paula, still attractive in her forties, who pines for classy, handsome Yves Montand, a ladies man with commitment issues. To complicate matters, suave young lawyer Anthony Perkins meets and falls in love with Bergman, who insists she is too old for him. Soap opera story is elevated by talented actors and the stunning beauty of Ingrid, who is marvelous.

The Deadly Companions (1961)

Notes: 6/1/11

Much different roles for Brian Keith and Maureen O'Hara after The Parent Trap.

Steve Cochran, Chill Wills, and Strother Martin have supporting roles.

First feature of director Sam Peckinpah.

O'Hara is a bit miscast. She's a bit old and doesn't deliver believable emotion.

A bit too much happening when the central story is the most interesting.

Review: C

Keith accidentally kills O'Hara's young son in a shoot-out and makes amends by escorting her through Indian territory to give the boy a proper burial. Dramatic Western veers away from the main plot a bit too much and misses an opporunity for true dramatic fireworks between the two leads. While Keith possesses just enough grit for his role, O'Hara is miscast and lacks the proper range for her complicated character. First feature by director Sam Peckinpah is OK and nothing more.

The Hoodlum Priest (1961)

Notes: 5/31/11

Irvin Kirshner directs. One of his first features.

Not much else of interest in this plodding crime drama.

Don Murray is charismatic and also wrote the screenplay.

Overblown, unfocused, and not entirely involving.

Kirshner delivers with directorial touches. Realism is achieved.

Downbeat conclusion is the film's highlight.

Keir Dullea is the whole show. So much sweat and fear.

Review: C

Don Murray co-wrote and stars in this slightly overblown tale of a city priest who ends up devoting his life to reforming young delinquents. Young Keir Dullea steals the film as a sensitive young 'hood' who is helped along by Murray's guidance. Irvin Kirshner directs with fine realism and a few gritty flourishes. Dullea manages to make the film's downbeat conclusion a must-see. Unfortunately, as entertainment, the film lacks focus and plods along aimlessly.

The Devil at 4 O'Clock

Notes: 5/30/11

Spencer Tracy is a priest and Frank Sinatra is a convict

Lots of serious issues and not enough humor.

Spencer just seems angry all the time.

Sinatra is too serious and doesn't get to flex his charm.

“I just felt the devil pass under my feet.”

Kerwin Matthews is a young priest. Sort of boring.

Turns into a volcano disaster film.

Still proves to be a bit dull.

Lots of religious talk. Tracy is, of course, a priest.

Review: C

Heavy religious themes and not enough humor make this film rather dull. Spencer Tracy is an aging priest who employs convict Frank Sinatra to rescue children from a leper colony when a volcano violently erupts. Too serious and self-important to capture viewer's attention and the stars are not given a proper showcase for their talents.