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Showing results for tags 'Dimitri Tiomkin'.
"Strangers on a Train," is regarded by many critics as one of the top five or six films by Alfred Hitchcock. Roger Ebert, in this review, says only three or four Hitchcock films are superior to it. Having seen most of the other films lauded as his "best," as well as some more obscure Hitchcock movies from his earlier days, I wanted to see for myself how this film stacked up against the others. The movie, based on the 1950 novel of the same name by Patricia Highsmith, tells the story of two strangers who meet on a train and discuss "swapping" murders. While I found this film flawed, there were some things I really enjoyed about it. ***SPOILERS FOLLOW*** There is stunning camera work in this film. I love the shot of the shadows as Bruno follows Miriam and her beaus through the "Tunnel of Love." Miriam's scream, as they exit the tunnel, enhances the suspense even more. Miriam's demise, shown through the reflection of her discarded eyeglasses, is brilliantly done. This is Hitchcock at his finest. When Bruno arrives at Guy's gate with news of what he has done, we see his face obscured by the shadow of the gate, while Guy stands on the other side, fully lit by a street light. Once Guy hears the news, and begins to feel complicit in the crime, he joins Bruno on the other side of the gate, both of their faces masked by prison-like bars. Another wonderfully shot scene is when Guy spots Bruno in the crowd at this tennis match. All of the spectators' heads are moving in unison, watching the match, except one. The camera locks onto Bruno's face, staring creepily ahead--at Guy, and at us. Another fun thing about this film is that much of the story takes place in the D.C. area, with several beautiful shots of the city. The plot, however, is quite implausible, which made it hard for me to get emotionally involved in the story. Some of the acting is top-notch, including a fine performance by the director's daughter, Patricia Hitchcock. Laura Elliott (also known as Kasey Rogers) is great as the unlikeable Miriam, and Robert Walker does a fine job portraying the creepy Bruno. Ruth Roman, on the other hand, a gives a one-note performance as Guy's girlfriend, displaying her full range of emotions by wiggling her lower jaw and exposing her bottom teeth. The film is melodramatic and dated, but I think any fan of filmmaking and of Alfred Hitchcock will find some things to enjoy in "Strangers on a Train."
Well, it looks like right now, I'm in a minority of one. I did some research into the 'Best Westerns of All-Time," and "Rio Bravo" is on many, if not most, lists. I love John Wayne as an actor in Westerns, and have enjoyed several films by Howard Hawks, notably "His Girl Friday" and "Bringing Up Baby" - two screwball comedies that are archetypes for "rapid-fire dialogue" - a technique that was employed around 1940. After one viewing, this is my least favorite of the five John Wayne films I've written about here on donrockwell.com, but I just can't reconcile my views of this film with seemingly every other critic ... except for one. Before the rise of the celebrity American film critic, there was Leslie Halliwell - a British critic known for his impossibly huge book of film capsules. Member Number One and I jokingly used to call him "The Prick," because we could never remember his name, and he was incredibly hard on films - particularly ones which rehashed old material. Halliwell was my reference-standard critic in the days before the internet, and for older films, he's still an exceptionally important voice for me. Halliwell is the only major critic I can find who jibes with my first viewing of "Rio Bravo," saying it's a "cheerfully overlong and slow-moving Western," but was "very watchable for those with time to spare." That's about how I see it. Nevertheless, I've been fooled by great works of art before after only one viewing, so I went so far as to purchase "Rio Bravo" by Robin Wood, and am going to read it before watching the film a second time. On a superficial level, it seemed to me like Hawks was in over his head with the Western genre (I know he directed "Red River" in 1948). I'm hoping for more out of this film, so I'm going to give it a second pass after reading Wood's book about it. Neither "His Girl Friday" nor "Bringing Up Baby" had much going for them other than star power, Howard Hawks, and the rapid-fire dialogue fad (which I could never really get into), and to be honest, I have yet to see anything by Hawks that I've loved. Here's hoping that's going to change after my second viewing.
There are currently two versions of "Mr. Smith Goes to Washington" available on Amazon - the original 1939 version, and the 2014 release from the Library of Congress Motion Picture Conservation Center, with damaged parts repaired. The former is $3.99 to rent; the latter is $2.99 - I decided to save a buck and leave the original version for film historians (which I would love to be, but there are only so many things you can do in a single life). The big names in this film are Jimmy Stewart (newly appointed Mississippi Senator, Jefferson Smith), Jean Arthur (Clarissa Saunders), and Claude Rains (the other Mississippi Senator, Joe Paine). I have never seen this movie before, and am about to start watching it now. If you look at the bottom of the second page of opening credits, there's someone named Baby Dumpling (it turns out he's one of Governor "Happy" Hopper's *eight* children). When Governor Hopper flipped the coin after consulting with his children, I pretty much knew what was going to happen, but it was still a fun moment to watch. There's a goof when Hopper tries to convince the Good Old Boys Club about the virtues of Jeff Smith (a boy scout leader) - he says, "He can recite Washington and Lincoln by heart" (something his children told him), but then a moment later, Senator Payne says "recites Lincoln and Jefferson ...." - it's unimportant, but I'm pretty sure it wasn't in the script, because no mention was previously made of Jefferson. When Jefferson Smith (Jimmy Stewart) first appears at the "star-spangled banquet" in front of the Mississippi citizens, while listening to his speech, I thought of two people: Brooks Robinson (see Roy Firestone's video - *now* I understand what he meant when he said "a young Jimmy Stewart"), and to a lesser degree, a certain unnamed politician from today's era who seems to be extremely anti-corruption, although the cynicism of today's politician is understandably already in place. It was very interesting to see Union Station circa 1939, equally interesting to see Smith's initial tour of Washington, DC's monuments. It was also touching to see an elderly gentleman of color remove his hat at the Lincoln Memorial; I wish they had chosen someone with darker skin, however - I guess sometimes, you have to take what you can get. At least the porters at Union Station were dark-skinned, sigh. I wonder if the first restaurant/bar scene is in the Old Ebbitt Grill (or, could it have been Mr. Smith's?) Is there a painting of a horse race in Old Ebbitt Grill? Mr. Smith's "revenge scene" against the press was hilarious* - it was perfect! As was the line, "The dopes are going to inherit the Earth." Hoo, boy, the restaurant scene with Clarissa Saunders and Diz Moore got to be drawn out, tedious, and boring - this scene was the very first part of the movie I really didn't like. However, I suppose it was necessary as a build-up for the following scene in Smith's office. It's cute in some of the scenes with Jimmy Stewart and Jean Arthur, the score begins playing "I Dream of Jeannie with the Light Brown Hair" - the Lincoln Memorial scene after The Betrayal is one example. The ending of this movie is incredible, and it's more timely now than it was in 1939. Is it corny? Parts of it are, but so what - every single person in this country of voting age (and even a couple of years younger than voting age) should see this film. I loved it. And I *love* that there are several, perhaps a couple dozen, movies of this caliber that I've never before seen - I have a lot to look forward to. The actors and actresses were just about perfectly selected, and Jimmy Stewart fully deserved his Best Actor Academy Award nomination - he was wonderful.