The Personal Website of Mark W. Dawson
His Articles, Observations, Thoughts, Meanderings,
some would say Wisdom (and some would say not).
These are my comments and critiques of individual movies that I believe have been overlooked or underrated by the public and movie critics. When I watch a movie, I first watch it for its entertainment value, including the acting and supporting cast, the direction, the cinematography, and the music score. Afterward, I think about the underlying meaning of a movie. I prefer movies that have a very human element in them. Movies that deal with human passions or human conflicts. As such, the scripts for the movies I prefer are essential. Without a good script, it cannot be a good movie. If it does not have a good dialogue, or the dialogue doesn't ring true, then it cannot make my list. For more Movies and Television that I believe meets this criteria I would direct you to my article “That's Entertainment”. I make no claims that all these movies are great movies (although many of them are great), but I do claim that they are enjoyable movies.
Click to proceed to my latest Movie Commentary.
Clicking on the Move Title and Year will direct you the the IMDB web page for the movie.
A tale of fortune, misfortune, and revenge, and the human costs of revenge. A Biblical epic not based on a Bible story, but in my opinion, the greatest Biblical epic ever filmed. First, a brief overview from IMDB of this movie, and then my commentary on this movie.
After a Jewish prince is betrayed and sent into slavery by a Roman friend, he regains his freedom and comes back for revenge.
- William Wyler
- Lew Wallace (A Tale of Christ) (as General Lew Wallace)
- Karl Tunberg (screenplay by)
- Gore Vidal (contributing writer) (uncredited)
- Maxwell Anderson (contributing writer) (uncredited)
- N. Behrman (contributing writer) (uncredited)
- Christopher Fry (contributing writer) (uncredited)
- Charlton Heston as Judah Ben-Hur
- Jack Hawkins as Quintus Arrius
- Haya Harareet as Esther
- Stephen Boyd as Messala
- Hugh Griffith as Sheik Ilderim
- Martha Scott as Miriam
- Cathy O'Donnell as Tirzah
- Sam Jaffe as Simonides
Judah Ben-Hur lives as a rich Jewish prince and merchant in Jerusalem at the beginning of the 1st century. Together with the new governor, his old friend Messala arrives as commanding officer of the Roman legions. At first, they are happy to meet after a long time, but their different political views separate them. During the welcome parade, a roof tile falls down from Judah's house and injures the governor. Although Messala knows they are not guilty, he sends Judah to the galleys and throws his mother and sister into prison. But Judah swears to come back and take revenge.—Matthias Scheler <email@example.com>
A Biblical Epic not only for its glorious cinematography and grand scenes but also for its message. The naval battle and the chariot race are the most memorable scenes amongst many others. However, the meaning of the movie comes right after the great chariot race when Judah Ben-Hur confronts the mangled and dying Messala. The stone-cold emptiness of Judah Ben-Hur upon viewing his revenge shows the terrible human cost of obtaining his revenge. It is only after being informed that his mother and sister had not died but were living in the valley of the lepers that a burst of emotions come back to Judah Ben-Hur.
When Judah Ben-Hur proceeds to the Valley of the Lepers and observes the woman who loves him, but who he has rebuffed to seek his revenge, bringing food and supplies to his mother and sister he then searches for and finds his mother and sister and embraces them, and we see the return of love in his life. When Judah Ben-Hur brings them out of the Valley of the Lepers to take them home, and when they stop at one of the stations of the cross to observe Jesus’s pain and suffering of carrying the cross, he recognizes Jesus as the person who saved his life when he was being transported into slavery by giving him a cup of water. His failed attempt of trying to give Jesus a cup of water brings out his empathy, sorrow, and pity. His observation of the crucifixion of Jesus fills him with a sense of godliness. Upon returning home to discover that his mother and sister have been cured by the blood of Jesus, his sense of hope has returned. With the final embrace of his mother, sister, and the woman he now loves his redemption to humanity is complete.
The portrayal of Judah Ben-Hur by Charlton Heston is magnificent, as much of his emotions and lack of emotions are convincingly displayed upon the face of Mr. Heston. The supporting actors are also very believable in this film, and the writing and direction are superb. This is a deeply personal story of surmounting the great trials and tribulations of life, the overcoming of the darkness of the soul, and the redemption of a person, and this is what propels this Biblical Epic to the greatest ever filmed.
Cheyenne Autumn (1964)
Not a typical John Ford Western, as he examines the plight of the Indians in a sympathetic manner. First, a brief overview from IMDB of this movie, and then my commentary on this movie.
When the government agency fails to deliver even the meager supplies due by treaty to the proud Cheyenne tribe in their barren desert reserve, the starving Indians have taken more abuse than it's worth and break it too by embarking on a 1,500 miles journey back to their ancestral hunting grounds. US Cavalry Capt. Thomas Archer is charged with their retrieval, but during the hunt grows to respect their noble courage, and decides to help them. Written by KGF Vissers
- John Ford
- Mari Sandoz ("Cheyenne Autumn" book)
- James R. Webb (screenplay)
- Richard Widmark as Capt. Thomas Archer
- Carroll Baker as Deborah Wright
- Karl Malden as Capt. Wessels
- Sal Mineo as Red Shirt
- Dolores del Rio as Spanish Woman (as Dolores Del Rio)
- Ricardo Montalban as Little Wolf
- Gilbert Roland as Dull Knife
- Edward G. Robinson as Secretary of the Interior Carl Schurz
This movie received rather average critical reviews and audience acceptance. As this movie was made when America’s consciousness of racism and bigotry had not been elevated by the Civil Rights movement, this is no surprise. But viewing this movie from an elevated perspective, the true greatness of this movie is apparent. Director John Ford proclaimed it an elegy for the Native Americans who had been abused by the U.S. government and misrepresented by many of the director's own films.
This movie adds context to the historical mistreatment of the American Indians, and the morality and ethics of those involved in this mistreatment. However, you should not use our current morality and ethics as a basis of the judgment of what happened in a historical period or location, but you should use it as a lesson to be learned for the present and the future. If you get to know what the moral and ethics of a historical period and location, you can better judge the actions and events of the people of that period or location. You can then utilize our current morals and ethics for comparison to their morals and ethics, to reach a fuller understanding of the people or events that occurred. You will often discover hidden truths about history if you utilize this technique. It will also help you to make better moral and ethical decisions on our current issues and concerns.
This movie presents not only the conflicts between the Indian and American cultures but also the conflicts within the American culture on how to deal with the Indians. There are also conflicts within the Indians as to how to best respond to the injustices they endure. The human cost of tragedy is often the result of these conflicts, and tragedy occurs on all sides of this movie. But there are also brief moments of nobility within this tragedy, brief moments that are hopeful for the betterment of all sides.
Viewing this movie will leave you with a sense of sadness as one of the injustices of American history. A sadness that may guide you to understand and correct the current plight of the American Indians. For this is one of the lasts Civil Rights injustices, we need to address. In addressing this plight, we need to remember my article on Reparations to assure that the proper remedies are instituted to correct this plight.
Rather than focus on an individual movie, this commentary focuses on a body of works of Christopher Guest. Christopher Guest is a writer, director, and actor best known for his role as Count Rugen in the movie The Princess Bride (1987), although he has had many other notable acting roles. It is not his acting that I would comment upon, but his writing and directing that I wish to illuminate. He is a worthy successor to Mel Brooks, albeit his efforts are less goofball comedies and more deadpan comedies. He always surrounds himself with excellent character actors that are perfect for the roles for which they are cast.
He satirizes modern American life without being negatively antagonistic or antipathetical about American life. He instead focuses on some of the absurdities of American life in a straight-faced manner. All this makes for very funny situations and humorous movies.
I would highly recommend that you view the following Christopher Guest movies that are representative of his talents.
God knows, in this time of the Coronavirus Pandemic, we could all use a good laugh to relieve the stress.
David and Bathsheba (1951)
Many Biblical movies were produced in the middle of the 20th century. Most of them were pretentious and preachy, and often overacted and badly directed. Some of these movies, however, were very good movies. These good movies include “The Ten Commandments” and Ben-Hur”. One of them, I believe, is a good movie but often overlooked is “David and Bathsheba”. First, a brief overview from IMDB of this movie, and then my commentary on this movie.
Though David has all the wealth, power, wives & children inherent for the King of Israel he does not have what he craves most: the true love of a woman who loves him as a man instead of as King. He is attracted to Bathsheba, the wife of one of his soldiers who is more devoted to army duty than to his wife. David & Bathsheba succumb to their feelings. Their affair, her resulting pregnancy, & David's resolve to have her husband killed so Bathsheba will be free to marry, bring the wrath of God upon the kingdom. David must rediscover his faith in God in order to save Bathsheba from death by stoning, his kingdom from drought & famine, & himself from his many sins. Written by E.W. DesMarais.
- Henry King
- Philip Dunne
- Gregory Peck as King David
- Susan Hayward as Bathsheba
This movie spotlights the aphorism “Power corrupts; absolute power corrupts absolutely”. From humble beginnings to the rise to power, and to the accumulation of power, David is corrupted by power. A corruption that eventually results in the murder of an innocent man by David to achieve his goal. It is only when David is forced by the wrath of God against his people does he resort to introspection and self-reflection, then repentance, and finds his way back to the purpose of his life.
It is also a story of lust and love. Not only for David but also for Bathsheba. Both of them are married, but neither of them is happy in their marriage. Their lust for each other turns very quickly to love for each other. But their unfaithfulness is no excuse for their deeds, and they pay a personal price as they are tormented by their deeds.
Finally, it is also a story of faith, a loss of faith, the regaining of faith, and redemption.
It is also a cautionary tale of a people who would allow this corruption of power in their leaders. For such corruption does not stop at the top, but always finds its way down the hierarchical structure of a society to the detriment of the society.
There is much to be learned about the corruption of power, lust and love, and faith in this movie. The corruption of power is a lesson that is very applicable to politicians. Most politicians become involved in politics to serve the people, but over the course of their political career, many politicians accumulate power and temporize or compromise their goals to maintain or expand their power. In doing so, they have lost their way. More introspection and self-reflection by politicians would alleviate this problem, but this character trait does not seem to be a common occurrence within politicians.
From Here to Eternity (1953) and In Harm’s Way (1965)
Two movies in the same review, as each movie touches of the same subject I wish to comment upon. The subject of how big events change your perspective on the events of your life. First, a brief overview from IMDB of these movies, and then my commentary on this movie.
From Here to Eternity
It's 1941. Robert E. Lee Prewitt has requested Army transfer and has ended up at Schofield in Hawaii. His new captain, Dana Holmes, has heard of his boxing prowess and is keen to get him to represent the company. However, 'Prew' is adamant that he doesn't box anymore, so Captain Holmes gets his subordinates to make his life a living hell. Meanwhile Sergeant Warden starts seeing the captain's wife, who has a history of seeking external relief from a troubled marriage. Prew's friend Maggio has a few altercations with the sadistic stockade Sergeant 'Fatso' Judson, and Prew begins falling in love with social club employee Lorene. Unbeknownst to anyone, the Japanese bombing of Pearl Harbor looms in the distance. Written by Ed Sutton
- Fred Zinnemann
- Daniel Taradash (screen play)
- James Jones (based upon the novel by)
- Burt Lancaster as Sgt. Milton Warden
- Montgomery Clift as Robert E. Lee Prewitt
- Deborah Kerr as Karen Holmes
- Donna Reed as Alma
- Frank Sinatra as Angelo Maggio
- Ernest Borgnine as Sgt. 'Fatso' Judson
- Jack Warden as Cpl. Buckley
In Harm’s Way
Captain Rockwell Torrey and Commander Paul Eddington are part of the Navy's effort to recuperate from, and retaliate for, the Japanese attack on Pearl Harbor. Torrey is romantically involved with nurse Maggie Haynes, and also tries to restore his relationship with his estranged son, Jeremiah, a young Naval officer. — Jim Beaver
- Otto Preminger
- Wendell Mayes (screenplay)
- James Bassett (novel)
- John Wayne as Rock
- Kirk Douglas as Eddington
- Patricia Neal as Maggie
- Tom Tryon as Mac
- Paula Prentiss as Bev
- Brandon De Wilde as Jere
- Jill Haworth as Annalee
- Dana Andrews as Admiral Broderick
- Burgess Meredith as Commander Egan Powell
Commentary on both movies:
Two movies that were a dozen years apart, two movies that were well received at the time of their release, and two movies that are mostly forgotten today but are as meaningful today as when they were released. These two movies illuminate the personal impacts of the big event of the coming of war and the impacts on personal lives as a result of the coming of war. From Here to Eternity deals almost entirely on personal events immediately before the attack on Pearl Harbor and how everything changed as a result of the attack, while In Harm’s Way deals with personal events during and shortly thereafter the attack on Peral Harbor and how everything changed for the persons involved as a result of the attack. They are both a reminder that despite the difficulties of your life, in the grand scheme of life, your difficulties may not be as important as you believe. A reminder that you need to keep a perspective on your life and to not go overboard when life throws you curveballs.
Both movies are wonderfully produced, directed, and acted by all involved. Both movies that are enjoyable to watch, and both movies well worth your time to watch. As such, I would highly recommend that you view these movies.
Inherit the Wind (1960)
The clash of God and Science has never been more illuminated than in this movie. Both sides are treated fairly and respectfully, although many would say the characters on the God side are harsher than that of the characters on the Science side. However, it should be remembered that this movie reflects the prevailing attitudes of early 20th century America, and as such, I believe that this criticism is unwarranted. First, a brief overview from IMDB of this movie, and then my commentary of this movie.
Teacher B.T. Cates is arrested for teaching Darwin's theories. Famous lawyer Henry Drummond defends him; fundamentalist politician Matthew Brady prosecutes. This is a very thinly disguised rendition of the 1925 "Scopes monkey trial" with debates between Clarence Darrow and William Jennings Bryan taken largely from the transcripts. Written by Ed Stephan
- Stanley Kramer
- Nedrick Young (screenplay) (originally as Nathan E. Douglas)
- Harold Jacob Smith (screenplay)
- Jerome Lawrence (play)
- Robert E. Lee (play)
- Spencer Tracy as Henry Drummond
- Fredric March as Matthew Harrison Brady
- Gene Kelly as E. K. Hornbeck
- Dick York as Bertram T. Cates
- Donna Anderson as Rachel Brown
- Harry Morgan as Judge Mel Coffey
- Florence Eldridge as Sarah Brady
- Claude Akins as Rev. Jeremiah Brown
For those who have read my other writings, you may have noticed that I often utilize snippets of dialogue from Inherit the Wind. Although the acting is superb, the directing is excellent, and the cinematography is very good, the dialogue of this movie is crucial to the meaning of this movie. You must hear, retain, and think upon the dialogue to understand this movie. Fortunately, this is not a difficult task as the outstanding scripting lends itself to this task.
The interactions of the main cast, and the responses of the supporting cast, are illuminative of the questions that this movie raises. The questions of religion in the classroom, freedom of thought and the expression of your thoughts, the tensions between beliefs in God and the purpose of Science, the role of government at all levels of this debate, the passions invoked by this topic, and hero-worshiping and its mob actions are starkly contrasted in this movie. This movie also touches on the substance of the love and commitment between a man and a woman.
If you approach this movie with an unprejudiced mind and think about the topics espoused in this film, there is much that can be learned from this movie.
Judgment at Nuremberg (1961)
This movie needs no commentary, but it does need to be viewed and pondered by all people, of all ages, and all times. For it illuminates and espouses a core truth of humanity – the individual natural rights of a person and the responsibility of society to protect these rights. It also discusses the requirement for ‘Justice’ for those people whose rights have been violated, and punishment for those who violated their rights. First, a brief overview from IMDB of this movie, and then my comments on this movie.
It has been three years since the most important Nazi leaders had already been tried. This trial is about 4 judges who used their offices to conduct Nazi sterilization and cleansing policies. Retired American judge, Dan Haywood, has a daunting task ahead of him. The Cold War is heating up and no one wants any more trials as Germany, and Allied governments, want to forget the past. But is that the right thing to do is the question that the tribunal must decide. Written by Tony Fontana.
- Stanley Kramer
- Abby Mann, Abby Mann (based on his original story by)
- Spencer Tracy as Chief Judge Dan Haywood
- Burt Lancaster as Dr. Ernst Janning
- Richard Widmark as Col. Tad Lawson
- Marlene Dietrich as Mrs. Bertholt
- Maximilian Schell as Hans Rolfe
- Judy Garland as Irene Hoffman
- Montgomery Clift as Rudolph Petersen
This move is about more than the NAZI anti-Semitism that took over six million Jewish lives, but also about the NAZI intolerance for other peoples that took as many or more lives in its wake. It is also a warning that all individuals must stand for human rights or find themselves in the following conundrum:
First they came for the Communists
And I did not speak out
Because I was not a Communist
Then they came for the Socialists
And I did not speak out
Because I was not a Socialist
Then they came for the trade unionists
And I did not speak out
Because I was not a trade unionist
Then they came for the Jews
And I did not speak out
Because I was not a Jew
Then they came for me
And there was no one left
To speak out for me
Looking for Richard (1996)
This movie is about Shakespeare’s play, Richard III, as it is not a movie of the play. Instead, it is an insightful look into what it takes to perform this play from the perspective of American rather than English actors. First, a brief overview from IMDB of this movie, and then my commentary on this movie.
Director Al Pacino juxtaposes scenes from Richard III, scenes of rehearsals for Richard III, and sessions where parties involved discuss the play, the times that shaped the play, and the events that happened at the time the play is set. Interviews with mostly British actors are also included, attempting to explain why American actors have more problems performing Shakespearean plays than they do —written by Ron Kerrigan.
- Al Pacino
- William Shakespeare (play)
- Al Pacino (narration)
- Frederic Kimball (narration)
- Al Pacino as Richard III
- Alec Baldwin ad Duke of Clarence
- Kevin Spacey as the Earl of Buckingham
- Many other great actors too numerous to be listed, but the full list can be viewed here.
This movie may be my only commentary involving Shakespeare's works, as what could I possibly add to the already voluminous commentary about Shakespeare and his plays and the movies of his plays. This movie is Al Pacino's deeply-felt rumination on Shakespeare's significance and relevance to the modern world through interviews and an in-depth analysis of "Richard III".
Pay particular attention to Kevin Spacey as the Earl of Buckingham. His performance of this role is outstanding, and his non-verbal acting shows how an actor can communicate so much more than the dialogue conveys. And who would have thought that an Italian from New York City could play Richard the 3rd so well?
This movie is a penetrating look into the souls of the characters in Richard III that reveals their souls' full depth. A look into their souls that is not apparent from the dialogue of the play. In viewing this movie, you will gain a fuller appreciation of the greatness of Shakespeare, an appreciation that is well worth the time and effort to view this film.
Rather than focus on an individual movie, this commentary focuses on a body of work of Mel Brooks. Mel Brooks films are goofball comedies, full of slapstick and physical humor, as well as corny dialogue and double entries. But it is all fun and laugh out loud comedy. However, his movies are all filled with satire and intellectual references. They can be enjoyed for the surface comedy, but they are even more enjoyable for the satire and intellectual references. I would suggest that you view these movies twice. The first time enjoy them for the surface comedy, and the second time focus on the satire and intellectual references.
I would highly recommend that you view the following Mel Brooks movies that are representative of his talents.
God knows, in this time of the Coronavirus Pandemic, we could all use a good laugh to relieve the stress.
Paths of Glory (1957)
The first significant film by the great Stanley Kubrick, shot in black and white, demonstrates his brilliance and the sometimes arrogance of command during wartime. First, a brief overview from IMDB of this movie, and then my commentary on this movie.
The futility and irony of the war in the trenches in WWI is shown as a unit commander in the French army must deal with the mutiny of his men and a glory-seeking general after part of his force falls back under fire in an impossible attack. Written by Keith Loh
- Stanley Kubrick
- Stanley Kubrick (screenplay)
- Calder Willingham (screenplay)
- Jim Thompson (screenplay)
- Humphrey Cobb (based on his novel "Paths of Glory")
- Kirk Douglas as Col. Dax
- Ralph Meeker as Cpl. Philippe Paris
- Adolphe Menjou as Gen. George Broulard
- George Macready as Gen. Paul Mireau
An arrogant French general orders his men on a suicide attack and then has the gall to try to court-martial and execute three of them for cowardice in the face of the enemy after the attack fails and the soldiers retreated without orders. Their Colonel, a former lawyer, attempts first to exonerate them and then defends them against the false charges.
French authorities considered the film an offense to their army's honor and prohibited its exhibition in France until 1975. Germany would not allow it to be shown for a couple of years after its release to avoid straining French relations. Banned in Spain under Gen. Francisco Franco's dictatorship for its anti-military message, it wasn't released until 1986, 11 years after Franco's death.
This movie has a surprising depth of its philosophical and psychological overtones, and it will give the viewer much to reflect upon. Although a box office failure, this excellently staged and wonderfully acted production is a directorial masterstroke by a young Stanley Kubrick and an acting showcase for Kirk Douglas.
There are a great number of discussions, debates, and arguments as to the best Western ever filmed. In my opinion, one of these great westerns stands above the others in its gritty reality and moral and ethical questions it raises – Shane. First, however, a brief overview from IMDB of this movie, and then my commentary on this movie.
A weary gunfighter attempts to settle down with a homestead family, but a smoldering settler/rancher conflict forces him to act.
- George Stevens
- B. Guthrie Jr. (screenplay)
- Jack Sher (additional dialogue)
- Jack Schaefer (based on the novel by)
- Alan Ladd as Shane
- Jean Arthur as Marian Starrett
- Van Heflin as Joe Starrett
- Brandon De Wilde as Joey Starrett
- Jack Palance as Jack Wilson
Enigmatic gunslinger Shane rides into a small Wyoming farming settlement with hopes of achieving some peace in his life. Taking a job as a farmhand, Shane is drawn into a battle between the farm settlers and cattle baron Rufus Ryker for control of the land. Shane's growing attraction to Joe Starrett's wife, Marian, and his fondness for their son Joey, who idolizes Shane, force Shane to realize that he must take action to protect them after Ryker sends to Cheyenne for truly evil gunslinger, Wilson. A climactic gun battle between Shane and Wilson ensues that resolves the farmstead issue and the conflicts in Shane’s life.
The frontiersmen who opened the west, the cattle barons who exploited the west, and the farmers and merchants who tamed the west have been a hallmark of American history. The gritty and realistic portrayal of frontier America is a distinctive feature of this film. The questions of the old way of open ranges and the new way of farming are framed appropriately. The interplay of human emotions of all the characters in this scenario is expertly elucidated and portrayed. The human and tragic costs of resolving these differences are illuminated and realistic. This film rings so true to these themes that this is the reason that I believe that this movie is the greatest western ever filmed.
The Americanization of Emily (1964)
A first-rate satire on war, excellently written, directed, and acted, this movie is thoroughly enjoyable and funny. A World War II movie that is unlike other war movies of this era, as it takes a dark but witty look at the military establishment. First, a brief overview from IMDB of this movie, and then my commentary of this movie.
During the build-up to D-Day in 1944, the British found their island hosting many thousands of American soldiers who were "oversexed, overpaid, and over here". That's Lieutenant Commander Charles Edward Madison (James Garner) exactly; he knows all of the angles to make life as smooth and risk-free as possible for himself. But things become complicated when he falls for English woman Emily Barham (Dame Julie Andrews), and his commanding officer's nervous breakdown leads to Charles being sent on a senseless and dangerous mission.
- Arthur Hiller
- Paddy Chayefsky (screenplay)
- William Bradford Huie (novel)
- James Garner as Lt. Commander Charles Edward Madison
- Julie Andrews as Emily Barham
- Melvyn Douglas as Admiral William Jessup
- James Coburn as Lt. Commander Paul 'Bus' Cummings
In researching this move, I became aware of a commentary that is better than anything that I could write. Therefore, instead of commenting myself, I will quote this commentary:
Excellent, funny, sad, sexy by funkyfry on 24 September 2002
This excellent film combines humor and drama in ways I've never seen before. Far from heavy handed in either department, its notable trait is a kind of circular irony that runs through the film, becoming even more profound in the film's final scenes. Garner plays a man whose ideal is cowardice and self-service. Faced finally with having to become an official "hero" and wanting no part of it, he has to realize that to be true to himself he has to play this role -- the nobility of any grand gesture of honesty in his cowardice would be too outside of his character! Andrews is magnificent and more sexy than usual as Emily, a girl afraid to have any man who's not a coward! No sentimentality, just good old dark irony. Very well written. Good film!
The Big Country (1958)
The Big Country, an epic western movie, has been panned by many critics as good but not great. However, I believe that this film is great for its hidden meanings. Hidden meanings that are often overlooked by its critics. First, a brief overview from IMDB of this movie, and then my commentary on its hidden meanings.
Retired, wealthy sea Captain James McKay arrives in the vast expanse of the West to marry fiancée Pat Terrill. McKay is a man whose values and approach to life are a mystery to the ranchers and ranch foreman Steve Leech takes an immediate dislike to him. Pat is spoiled, selfish and controlled by her wealthy father, Major Henry Terrill. The Major is involved in a ruthless land war, over watering rights for cattle, with a rough hewn clan led by Rufus Hannassey. The land in question is owned by Julie Maragon and both Terrill and Hannassey want it. Written by E.W. DesMarais.
- William Wyler
- James R. Webb, Sy Bartlett, & Robert Wilder (screenplay)
- Jessamyn West & Robert Wyler (adaptation)
- Donald Hamilton (novel)
- Gregory Peck as James McKay
- Jean Simmons as Julie Maragon
- Carroll Baker as Patricia Terrill
- Charlton Heston as Steve Leech
- Burl Ives as Rufus Hannassey
- Charles Bickford as Maj. Henry Terrill
- Chuck Connors as Buck Hannassey
I shall not reveal any more of the plot than I already have, and there will be no spoilers in this review. My objective is for the viewer to recognize the development of the hidden meanings through the words and deeds of the characters. Rather than utilize the character names, I will instead utilize the actors' names, as to make it easier for the viewer to follow the hidden meanings. There are three hidden meanings that are interplayed throughout this movie and resolved at the end of the film. They are:
- The meaning of the character of being a man.
- The meaning of true love between a man and a woman.
- The meaning of the hidden motivations of the protagonists.
Three different character types of men (as portrayed by Gregory Peck, Charlton Heston, & Chuck Connors) are a gentle but strong man, an abiding and assiduous man, and a bullying man. All three are counterpointed against each other, and the character of each type of man is exposed. Through various scenes throughout this movie, we get to observe how the three different men react to a situation and to each other, which reveals the true character of the men.
Two different women (portrayed by Jean Simmons & Carroll Baker), are a strong and independent woman and a strong-willed but superficial woman, who also reveal their true character throughout the movie. Their viewpoints on friendship and the love for a man by a woman, and the changing dynamics of a relationship, highlight the true meaning of love between a man and a woman. The interactions between themselves and the other men in the movie are illuminative of their differences and their character.
The hidden motivations of two men (portrayed by Burl Ives & Charles Bickford) are of a gruff leader of his clan and a magisterial leader of his ranch, which is revealed at the end of the movie. The consequences to themselves, their family, and their associates of their leadership style and decision-making point out the impacts of leadership without introspection or self-deception of your intentions.
Very few people have the character of Gregory Peck and Jean Simmons, as most of us exhibit the character of the other cast members' roles. However, we should all aspire to achieve this character, as it will not only make us a better person but will make all those around us better. We would all do better if we elected leaders who exhibited the character of Gregory Peck and Jean Simmons, as well as listen to leaders that are of this character.
The fine acting and supporting cast, the direction, the cinematography, and the music score make for a very enjoyable and entertaining movie to watch. However, the unveiling of these hidden meanings makes for a thoughtful movie that reveals very human motivations.
Therefore, as this movie is billed as a western, it is more of a character study set in the historic west. It is the difference of being an action/adventure western appealing to the senses and being an adult western that appeals to the mind. Many such westerns have this difference, and they are some of the most satisfying westerns ever filmed.
The Elephant Man (1980)
This is mostly the true story of a Victorian surgeon who rescues a heavily disfigured man who is mistreated while scraping a living as a side-show freak. Behind his monstrous façade, there is revealed a person of kindness, intelligence, and sophistication.
In Victorian London, Dr. Frederick Treves with the London Hospital comes across a circus side-show attraction run by a man named Bytes called "The Elephant Man". In actuality, the creature on display is indeed a man, twenty-one-year-old Joseph "John" Merrick, who has several physical deformities, including an oversized and disfigured skull, and an oversized and disfigured right shoulder. Brutish Bytes, his "owner", only wants whatever he can get economically by presenting Merrick as a freak. Treves manages to bring Merrick under his care at the hospital, not without several of its own obstacles, including being questioned by those in authority since Merrick cannot be cured. Treves initially believes Bytes' assertion that mute Merrick is an imbecile, but ultimately learns that Merrick can speak and is a well-read and articulate man. As news of Merrick hits the London newspapers, he becomes a celebrated curiosity amongst London's upper class, including with Mrs. Kendal, a famed actress. Despite treated much more humanely, the question becomes whether Treves' actions are a further exploitation of Merrick. And as Merrick becomes more famous, others try to get their two-cents worth from who still remains a curiosity and a freak to most, including to Bytes, who has since lost his meal ticket.—Huggo
- David Lynch
- Christopher De Vore (screenplay)
- Eric Bergren (screenplay)
- David Lynch (screenplay)
- Frederick Treves (book) (as Sir Frederick Treves)
- Ashley Montagu (in part on the book "The Elephant Man: A Study in Human Dignity")
- Anthony Hopkins Dr. Frederick Treves
- John Hurt as John Merrick
- Anne Bancroft as Mrs. Kendal
- John Gielgud as Carr Gomm
- Wendy Hiller as Mothershead
- Freddie Jones as Bytes
A very fine movie that examines the nature of humanity and the intolerance or exploitation of anyone who does not fall within the bounds of normalcy. It also looks at the Victorian fascination with the “ugly”. The street scenes of Victorian London are very realistic and give a sense of what it was like in England at that time. The last act of The Elephant Man is also one of the most human acts that he has ever done in his life and will touch your soul. After viewing this movie, you will never again be able to feel anything but empathy for those who do not fall within the bounds of normalcy.
The Flight of the Phoenix (1965)
Desperate people in a desperate situation, making desperate decisions, combined with an excellent script and cast that explores their conundrum, makes for a first-rate movie. First, a brief overview from IMDB of this movie, and then my commentary of this movie.
A cargo plane goes down in a sandstorm in the Sahara with less than a dozen men on board. One of the passengers is an airplane designer who comes up with the idea of ripping off the undamaged wing and using it as the basis for an airplane they will build to escape before their food and water run out. Written by John Vogel.
- Robert Aldrich
- Lukas Heller (screenplay)
- Trevor Dudley Smith (novel) (as Elleston Trevor)
- James Stewart as Frank Towns
- Richard Attenborough as Lew Moran
- Peter Finch as Captain Harris
- Hardy Krüger as Heinrich Dorfmann (as Hardy Kruger)
- Ernest Borgnine as Trucker Cobb
- Ian Bannen as Crow
- Ronald Fraser as Sergeant Watson
- Christian Marquand as Dr. Renaud
- Dan Duryea as Standish
- George Kennedy as Bellamy
Jimmy Stewart, in an un-Jimmy Stewart role (he hardly stammers in this movie, and he is not heroic), surrounded by an excellent supporting cast, makes this a riveting and more exciting movie than you would think. Their conflicting human emotions, desires, frailties, masculinity, and decision making, and the consequences of their individual decisions, makes for a tense and satisfying movie. The diverse backgrounds, intellect, nationalities, and social standings of the characters widen the scope and impact of this movie. Every scene and all the dialogue are essential to the story, and all the characters remain true unto themselves.
Alas, the 2004 remake of this movie pales in comparison to the original. Skip the remake and enjoy the original.
The Great Race (1965)
One of the greatest slapstick comedies ever made, as each scene is a belly laugh. In the early 20th century, two rivals, the heroic Leslie and the despicable Professor Fate engage in an epic automobile race from New York to Paris. First, a brief overview from IMDB of this movie, and then my commentary on this movie.
Professional daredevil and white-suited hero, The Great Leslie, convinces turn-of-the-century auto makers that a race from New York to Paris (westward across America, the Bering Straight and Russia) will help to promote automobile sales. Leslie's arch-rival, the mustached and black-attired Professor Fate vows to beat Leslie to the finish line in a car of Fate's own invention.—Jeanne Baker
- Blake Edwards
- Arthur A. Ross (screenplay)
- Blake Edwards (original story)
- Tony Curtis as The Great Leslie
- Natalie Wood as Maggie Dubois
- Jack Lemmon as Professor Fate / Crown Prince Frederick Hoepnick
- Peter Falk as Maximilian Meen
- Keenan Wynn as Hezekiah Sturdy
- Arthur O'Connell as Henry Goodbody
- Vivian Vance as Hester Goodbody
Writer/Director Blake Edwards was known for his penchant for slapstick physical humor and Vaudevillian visual gags, as in his Pink Panther films about a bungling inspector, which he totally indulged while writing and shooting this film, mostly in sequences involving Jack Lemmon and Peter Falk. Blake Edwards intended this film to be a tribute to silent movies (dramatic and comedic), and the film itself is dedicated to silent-era comedians Stan Laurel and Oliver Hardy.
Tony Curtis as The Great Leslie and Jack Lemmon as Professor Fate are played to perfection as farcical stereotyped good and evil men, and Peter Falk as Fate's sidekick, Max, and Keenan Wynn as The Great Leslie sidekick, Hezekiah, are also hilarious. Natalie Wood as Maggie Dubois. a suffragette and journalist-turned-racer whose car breaks down halfway through the event, provides a pivot/anchor between The Great Leslie and Professor Fate, both of whom are male chauvinists. Arthur O'Connell and Vivian Vance, as Henry and Hester Goodbody respectively, are a newspaper publisher and his wife that do humorous battle on woman’s rights back in New York.
The opening sequences of non-stop slapstick humor are a constant belly laugh, and the belly laughs continue through the final scene in the movie. This movie is funny no matter how many times you view this film, and if you need 2 hours and 40 minutes of frivolous humor, this movie perfectly fits the bill.
The Haunting (1963)
This movie is best expressed by the aphorism “The horror of it all”, as this movie is all horror. Not a horror movie of physical violence or grisliness, but of the horror that is in your mind. The horror in the mind that is more terrifying and lasting than all other horrors. First, a brief overview from IMDB of this movie, and then my commentary on this movie.
Dr. Markway, doing research to prove the existence of ghosts, investigates Hill House, a large, eerie mansion with a lurid history of violent death and insanity. With him are the skeptical young Luke, who stands to inherit the house, the mysterious and clairvoyant Theodora and the insecure Eleanor, whose psychic abilities make her feel somehow attuned to whatever spirits inhabit the old mansion. As time goes by it becomes obvious that they have gotten more than they bargained for as the ghostly presence in the house manifests itself in horrific and deadly ways. Written by Doug Sederberg
- Robert Wise
- Nelson Gidding (screenplay)
- Shirley Jackson (based on the novel: “The Haunting of Hill House”)
- Julie Harris as Eleanor Lance
- Claire Bloom as Theodora
- Richard Johnson as Dr. John Markway
- Russ Tamblyn as Luke Sanderson
Dr. John Markway is a paranormal researcher that would like to prove the existence of spirits. Eleanor and Theodora are troubled people who believe they can contact spirits. Luke is a disbeliever and cynic, who is only interested in making money from the sale of Hill House. As Hill House has a reputation as being haunted, Sanderson would like Markway to disprove this haunting so that he may sell Hill House. Dr. Markway, Luke, Eleanor, and Theodora spend several days and nights investigating Hill House. Several days and nights in which they confront the mysteries and horrors of Hill House and the horror that resides within themselves.
The direction, camera work, sets and props, music, and acting are reminiscence of the great movies Citizen Kane and The Magnificent Ambersons, for which Robert Wise was an editor, as well as The Curse of the Cat People which Robert Wise directed. The Haunting was filmed in black and white, of which the shadows and dark spaces of the cinematography add to the eeriness of the movie.
In my opinion, The Haunting is the most utterly horrifying movie ever filmed. Horrifying because most of the horror is psychological. In most horror movies, the fright is primarily in the visual horror, with some psychological frights. Although this movie has some visual horrors of a modest nature, it is the psychological horrors of this movie that are the most frightening.
If you should decide to watch this movie, you should be prepared to be frightened and frightened every time you think of this movie, which will happen throughout your life. The Haunting is a movie that will haunt you for the rest of your life.
The Magnificent Ambersons (1942)
A flawed movie that still has greatness. A flawed movie that is still worthwhile viewing. Flaws that will be examined in my commentary on this movie. First, a brief overview from IMDB of this movie, and then my commentary.
The young, handsome, but somewhat wild Eugene Morgan wants to marry Isabel Amberson, daughter of a rich upper-class family, but she instead marries dull and steady Wilbur Minafer. Their only child, George, grows up a spoiled brat. Years later, Eugene comes back, now a mature widower and a successful automobile maker. After Wilbur dies, Eugene again asks Isabel to marry him, and she is receptive. But George resents the attentions paid to his mother, and he and his whacko aunt Fanny manage to sabotage the romance. A series of disasters befall the Ambersons and George, and he gets his come-uppance in the end. Written by John Oswalt
- Orson Welles
- Fred Fleck (additional sequences) (uncredited)
- Robert Wise (additional sequences) (uncredited)
- Booth Tarkington (from the novel by)
- Orson Welles (script writer)
- Joseph Cotton (additional scenes) (uncredited)
- Jack Moss (additional scenes) (uncredited)
- Joseph Cotten as Eugene Morgan
- Dolores Costello as Isabel Amberson Minafer
- Anne Baxter as Lucy Morgan
- Tim Holt as George Minafer
- Agnes Moorehead as Fanny Minafer
- Ray Collins as Jack Amberson
- Erskine Sanford as Roger Bronson
- Richard Bennett as Major Amberson
- Orson Welles as Narrator (voice)
The Magnificent Ambersons is a great but flawed movie. It was flawed because Director Orson Welles left before the final editing of the film to pursue another project. The studio assigned Robert Wise to finish the editing but placed many constraints upon him on the released movie. Over forty minutes of the film was cut, and this footage has been lost forever. The responsibility for these flaws must be borne by Orson Welles, as it was his responsibility to finish what he started. A remake “The Magnificent Ambersons (2002)” was done based on script and product notes of the original film. Unfortunately, this remake does not have the vision that Orson Welles would have applied. Consequently, the remake shows what a great movie the original would have been Orson Welles had completed this movie. However, the original movie has much to recommend it for viewing.
Society evolves, not only in its social structures but in its economic and scientific/technological structures. If you act as if it will not happen, then you will be left behind and maybe even forgotten. Fortunes rise and fall when society evolves, and you can never tell who will be negatively or positively impacted by these changes. People often make emotional decisions based on superficial reasons that often have long term adverse effects upon their life. They also make short term intelligent decisions that may have long term adverse effects. This movie examines these issues based on the interactions of a family of social prominence and one less prominent person who aspires and achieves both success and wealth in the late 19th and early 20th century. The decisions that they make over three decades is illuminative of the long-term consequences of their decisions.
All should still view the Magnificent Ambersons despite its flaws. Not only to be viewed but to be thought about. The thoughts it provokes are what make this movie great and worthy of being viewed.
The Name of the Rose (1986)
An intellectually nonconformist friar investigates a series of mysterious deaths in an isolated abbey.
A 14th-century Franciscan monk, William of Baskerville, and his young novice arrive at a conference to find that several monks have been murdered under mysterious circumstances. To solve the crimes, William must rise up against the Church's authority and fight the shadowy conspiracy of monastery monks using only his intelligence, which is considerable.—yusufpiskin
- Jean-Jacques Annaud
- Umberto Eco (novel)
- Andrew Birkin (screenplay)
- Gérard Brach (screenplay)
- Howard Franklin (screenplay)
- Alain Godard (screenplay)
- Sean Connery as William of Baskerville
- Christian Slater Christian Slater as Adso of Melk
- Murray Abraham as Bernardo Gui
- Ron Perlman as Salvatore
A movie that was very successful in Europe but a flop in America. This was because the American studio that initially supported this film withdrew its support when Sean Connery was cast as William of Baskerville. Sean Connery was at a low point in his career when this film was made, and the studio was concerned about marketing this movie with him in the starring role. This was a shame, as this is a very good movie, and Sean Connery gives one of his finest dramatic performances.
This movie examines religious intolerance within religion and the attempts to suppress anything that they believe countered or challenged their approved religious dogma. It also examines the extreme lengths that the religious intolerant will go to enforce their conformity. The mystery of who did it and why is also fascinating and will grip you. In addition, there is a storyline that examines the sexual awakening of the young novice monk who is the narrator of this movie, and the conflicts between his sacred commitment and his secular desires is interesting. This movie proceeds at a leisurely pace until the climactic end, as was common for the times in which it was set, and one in which you must pay particular attention to the dialog, as missing any of the dialogs detracts from your understanding of the movie.
The Train (1964)
War often brings out the best and worst of a person. War also reflects the purpose and meaning of society. The Train is a movie that examines these issues in both the individual and society. First, a brief overview from IMDB of this movie, and then my commentary of this movie.
As the Allied forces approach Paris in August 1944, German Colonel Von Waldheim is desperate to take all of France's greatest paintings to Germany. He manages to secure a train to transport the valuable art works even as the chaos of retreat descends upon them. The French resistance however wants to stop them from stealing their national treasures but have received orders from London that they are not to be destroyed. The station master, Labiche, is tasked with scheduling the train and making it all happen smoothly but he is also part of a dwindling group of resistance fighters tasked with preventing the theft. He and others stage an elaborate ruse to keep the train from ever leaving French territory. Written by garykmcd.
- John Frankenheimer
- Arthur Penn (uncredited)
- Franklin Coen (screen story) and
- Frank Davis (screen story)
- Franklin Coen (screenplay) and
- Frank Davis (screenplay)
- Rose Valland (based upon her book "Le Front De L'Art")
- Burt Lancaster as Paul Labiche
- Paul Scofield as Colonel Franz Von Waldheim
- Jeanne Moreau as Christine
Labiche, at the start of the movie, wants to blow up the train, but he soon learns the value of the preservation of his culture through the commitment and sacrifice of his friends and his fellow French Resistance fighters to simply stop the train.
A tense, quiet thriller, with some quality action scenes, shot in black and white as appropriate for the subject, this movie starkly contrasts those that would preserve their culture and those who would appropriate another culture. In war, there is much more than the survival of a society, but also for the preservation of the culture of a society. Otherwise, what is to be gained by survival if you have lost your culture. As has been said in another great movie, “Judgment at Nuremberg”:
“There are those in our country today, too, who speak of the "protection" of the country. Of "survival". The answer to that is: ‘survival as what’? A country isn't a rock. And it isn't an extension of one's self. ‘It's what it stands for, when standing for something is the most difficult!’ Before the people of the world - let it now be noted in our decision here that this is what ‘we’ stand for: ‘justice, truth... and the value of a single human being!”’.
In “The Train”, they stood for the protection of their culture and for the sacrifices of those who would protect their culture. May we all remember that in both war and peace, the preservation of our culture is more important than protection or survival. In America, our culture is of "Freedom, Liberty, Equality, and Equal Justice for All" , and we must protect and preserve our culture for our society to survive.
They Might Be Giants (1971)
What is our reality, and what are our illusions? Who is to judge if we are sane or demented? Whether to live a life of sanity and unhappiness or to live a life of illusion and happiness? These are the questions that the movie They Might Be Giants addresses. First, a brief overview from IMDB of this movie, and then my commentary on this movie.
They Might be Giants chronicles the adventures of Sherlock Holmes and Dr. Watson in modern-day New York City. The fact that Sherlock Holmes is a psychotic paranoid and Dr. Watson is a female psychiatrist fascinated by his case is almost beside the point. Dr. Watson follows Holmes across Manhattan and is, against her better judgment, drawn into the master detective's world of intrigue and danger. This is a sweet, goofy and fairly romantic film that asks the questions "Whose reality is right...and does it really matter?" Written by John Gerrath
- Anthony Harvey
- James Goldman (screenplay)
- James Goldman (play)
- George C. Scott as Justin / Sherlock
- Joanne Woodward as Watson
This short (98 minutes), charming, witty, and sometimes humorous movie is excellently acted and directed, and enjoyable to view. The sane and unhappy Watson is pulled in the delusional world of Sherlock, where she finds happiness. Along the way, we meet a cast of characters that have their own illusions but their own happiness. The answers to the above questions are difficult and are never answered by this movie. This movie, however, leaves it for the viewer to resolve these questions for themselves.
Twelve O'Clock High (1949)
There are many great war movies, as war brings out the best and worst of mankind. And war illuminates the conflicts of choices, and many times the choice between the lesser of evils. To choose one movie or another as the best war film ever made is a hopeless task. However, my favorite is ‘Twelve O'Clock High’ as it illuminates these choices, and the cost of these choices, at a human level. First, a brief overview from IMDB of this movie, and then my commentary on this movie.
A hard-as-nails general takes over a bomber unit suffering from low morale and whips them into fighting shape.
- Henry King
- Sy Bartlett (screenplay)
- Beirne Lay Jr. (screenplay)
- Henry King (uncredited)
- Gregory Peck as General Savage
- Hugh Marlowe as Lt. Col. Ben Gately
- Gary Merrill as Col. Davenport
- Millard Mitchell as General Pritchard
- Dean Jagger as Major Stovall
In this story of the early days of daylight bombing raids over Nazi Germany, General Frank Savage must take command of a "hard luck" bomber group. Much of the story deals with his struggle to whip his group into a disciplined fighting unit in spite of heavy losses, and withering attacks by German fighters over their targets. Actual combat footage is used in this tense war drama.—KC Hunt <firstname.lastname@example.org>
This movie is about the personal sacrifices and the burdens of command in highly dangerous wartime circumstances. The emotional toll it takes on the commander and his subordinate personnel is excellently portrayed by all the actors in this film. The dread, fears, and terror of aerial combat come to life in this film. This film is engrossing from beginning to end and makes this film a must-watch war movie.