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The Big Sleep (1946, Howard Hawks)

A lot goes unspoken in The Big Sleep. It’s very much set in a wartime Los Angeles, but there’s never much said about wartime conditions or Los Angeles. When private detective Humphrey Bogart goes around the city, investigating, he’s only ever encountering women (beautiful women at that, because director Hawks’s Los Angeles is solely populated with beautiful women who find Bogart enchanting). Sure, book shop purveying is a reasonable career for Sonia Darrin and Dorothy Malone, but then there’s Joy Barlow as Bogart’s cabbie confidant. Barlow’s definitely taking a traditional male job (cab driver) and role (cab driver confidant to detective). She just happens to find Bogart irresistible.

There’s also a lot of texture in Bogart’s banter with copper Regis Toomey; particular phrases and observations referencing wartime conditions. There’s no mention of the war, there’s no mention of the home front, but it’s there.

Of course, Big Sleep doesn’t just not talk about its texture, it also doesn’t talk about… you know, the solution to the mystery. Or even what mystery is what. Rich, sick old man Charles Waldron (in a wonderful performance) hires Bogart to pay off some guy blackmailing one of his daughters. Martha Vickers and Lauren Bacall are the daughters. Vickers is the one getting blackmailed; she’s younger, Bacall’s protective. So Bacall intercedes with Bogart.

The reason Big Sleep doesn’t worry about its exposition is because it’s got Bogart and Bacall. Their first scene together, while energetic, is nothing compared to where the film’s going to get them. The first scene has them talking over one another, constantly interrupting thoughts and dialogue, frustrating each other. It’s a competition without a clear goal–Bacall wants to know what Waldron gave Bogart to do, but Bogart isn’t going to say and maybe Bacall thinks he’s going to crack, maybe she doesn’t. They irritate each other. It’s marvelous.

In their third scene, Bacall’s got to scratch an itch in her nylons and–it just occurred to me–maybe it’s a metaphor for their relationship at that point.

But more on them in a bit. First, Bogart’s got to investigate–leading him to fetching booksellers Darrin and Malone, then on to blackmailer Louis Jean Heydt (who’s not on screen yet, he’s just been mentioned in dialogue and Bogart tracks someone to his residence–Big Sleep doesn’t slow down at all, you’ve got to keep up–when Bogart sits and thinks things through, he doesn’t share what he’s thinking). Eventually there’s a murder and a coverup and Bogart trying to protect Vickers.

There’s a lot of movement in the first act. It also establishes what will become some of the film’s familiar settings. There’s some exterior shooting, but a lot of the outdoor shots are on sound stages and they’re gloriously done. Beautiful photography from Sidney Hickox, great direction from Hawks (throughout, but also moving around those settings). The physical personality of The Big Sleep is deliberate and thoughtful, even if it’s not the draw of the film. Big Sleep is a bunch of expertly done background to its stars’ romance.

Because, pretty soon, Bacall’s pushed her way back into Bogart’s investigation. Even though he doesn’t know why and she isn’t really explaining why, at least not honestly. They’re adversarial but dispassionately. They’re far more passionate about the rapport they’ve discovered. Turns out Bacall’s got a gambling problem too, just with a different gambling establishment than Vickers. John Ridgely runs Bacall’s favorite spot and Bogart finds himself contending not just with Ridgely, but with his thugs too. They want him off the case he’s not investigating.

Although Bogart’s not officially investigating this case no one wants him on (because Waldron didn’t hire him for it), Bogart’s still actually doing it. And is aware he’s doing it. He’s interested and concerned. He’s sympathetic without ever being a sap, which eventually leads to some great quiet moments in Bogart’s performance. His run in with junior league tough guy Elisha Cook Jr. is affecting, for instance, and his constant attempts at fending off Vickers are nice. There’s a lot going on concurrently in Big Sleep, so much with the mysteries–there are the two murders in the first night of the present action, plus two suspected murders before the film begins–but also with the various players (not just murder suspects, but blackmailers and gamblers and then the sisters). Toomey’s police presence is omnipresent when established but always a little out of focus. He doesn’t bother Bogart too much, just enough to remind everyone he exists.

But none of that background–the story–is as important as Bogart and Bacall. Bacall’s character arc has her melting but she never loses the demeanor as she becomes more fragile. And Bogart doesn’t become more protective as she softens either. They’re enthralling throughout–not so much separately because Bacall’s never alone–but as the film progresses, their rapport and relationship take the spotlight off the action and never give it back. Not even during shootouts.

Everything’s good in Big Sleep. Vickers is exceptional, Ridgely’s good, Waldron, Malone’s fun, Charles D. Brown is a hoot as the butler (spoiler: he didn’t do it). Great script from William Faulkner, Leigh Brackett, and Jules Furthman; the dialogue’s better, but only because of Bacall and Bogart, otherwise the plotting would be the winner. Hawks’s direction is spectacular. It starts strong and just keeps getting better, never losing any of the deliberate texture (implied or active).

Good score from Max Steiner (very familiar, incidentally, if you know his King Kong one) with some very nice moves once it gets romantic. Christian Nyby’s editing is excellent as well.

The Big Sleep is phenomenal; Hawks, Bogart, and Bacall make something singular here.

4/4★★★★

CREDITS

Directed by Howard Hawks; screenplay by William Faulkner, Leigh Brackett, and Jules Furthman, based on a story story by Raymond Chandler; director of photography, Sidney Hickox; edited by Christian Nyby; music by Max Steiner; released by Warner Bros.

Starring Humphrey Bogart (Philip Marlowe), Lauren Bacall (Vivian Rutledge), John Ridgely (Eddie Mars), Martha Vickers (Carmen Sternwood), Charles Waldron (General Sternwood), Regis Toomey (Chief Inspector Bernie Ohls), Sonia Darrin (Agnes Lozelle), Louis Jean Heydt (Joe Brody), Dorothy Malone (Acme Book Shop Proprietress), Bob Steele (Lash Canino), Elisha Cook Jr. (Harry Jones), Charles D. Brown (Norris – the Butler).


lauren-blogathon

THIS POST IS PART OF THE SECOND LAUREN BACALL BLOGATHON HOSTED BY CRYSTAL OF IN THE GOOD OLD DAYS OF CLASSIC HOLLYWOOD.


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Magic Mike XXL (2015, Gregory Jacobs)

Every once and a while, Magic Mike XXL throws in some vague nod towards having character development. It doesn’t. And the movie knows it doesn’t need any, but it still pretends it does. All of the characters have the same arc, with the exception of “lead” Channing Tatum. He’s only the lead because he’s Magic Mike and because he’s got the biggest romance subplot; he keeps running into Amber Heard and they awkwardly flirt. Awkwardly but with chemistry. There’s no narrative purpose to them flirting and the script doesn’t pretend there’s enough material, but XXL’s scenes run… well, extra long and so instead of witty banter, there’s charismatic silences and pauses. It’s cute. Magic Mike XXL, when it’s not being raunchy (in an adorable way), is adorable in not raunchy ways.

Anyway. Tatum. He’s the wise man of a group of male entertainers–Joe Manganiello, Kevin Nash, Matt Bomer, and Adam Rodriguez. He’s the only one who’s gotten out of the male entertaining (stripper) life, while the rest of them are all immediately going to be getting out of it. They’ve got one more big stripping convention to attend and then they’re done. It’s never exactly clear why it’s their last weekend (though Bomer at least seems like he’s sticking with it). Manganiello is going into landscape architecture, but wants to come up with trendy products. Nash wants to be a painter. Rodriguez is going to run the frozen yogurt half of a frozen yogurt slash mobile block party van (Gabriel Iglesias is his partner and the group’s emcee). Bomer wants to be an actor. All of them are terrified of their futures, but Tatum is there to assure them they need to believe in themselves.

All that backstory is just to give them banter while the movie road trips. While Magic Mike XXL is, technically, a road movie, it’s more about where they stop. Where they stop and strip. Whether it’s a convenience store–when the guys are all tripping on ecstasy and Tatum is trying to convince them to strip to what they love, not what’s commercially viable–or Andie MacDowell’s living room, once the movie gets going, the road tripping is just to get them to one dancing engagement or another. Except when it’s Jada Pinkett Smith’s party house; there it’s usually other guys stripping (for a while) while Tatum and Pinkett Smith flirt.

There are narrative reasons for most of these things. Usually to enable the next move for the guys. They have some trouble on the road trip and need help. Along the way, they resolve their leftover issues with one another from the last movie and fret about their non-male entertaining futures.

It’s cute. And fun. And often really funny.

Tatum’s an appealing lead. He doesn’t have to do much, except dance. He can definitely dance. Only Nash and Rodriguez lack in the dancing department. Otherwise all the dancing is good; the choreography, depending on the guy dancing, can be excellent. But it’s not like Tatum’s got a character arc. He’s entirely altruistic and entirely divested. He’s not even really pursuing Heard, just trying to convince her to enjoy guys stripping in her proximity. The movie never wants to be taken too seriously; it often demands not to be, in fact.

Makes it even more likable.

Manganiello’s good. Heard’s fine. Bomer’s annoying. Nash is all right. Rodriguez makes little impression. Pinkett Smith goes–gloriously–all in, like she’s auditioning her character for a spin-off. MacDowell and Elizabeth Banks–both in extended and obvious cameos–are all right. XXL could do better with the cameos. It doesn’t have enough fun with them. Donald Glover seems rather lost, even if his singing contributions are solid.

Jacobs’s direction is okay. He’s got a Panavision frame but mostly just uses the center of the screen to showcase the dancing. He mixes it up a bit with the dialogue, which is a lot better. Executive producer, cinematographer, and editor Steven Soderbergh does entirely competent work in all his roles… but none of it’s particularly exciting. XXL doesn’t want to get ahead of itself and profess ambition. Other than being fun.

And it works out. Magic Mike XXL’s usually fun.

2/4★★

CREDITS

Directed by Gregory Jacobs; written by Reid Carolin; director of photography, Steven Soderbergh; edited by Soderbergh; production designer, Howard Cummings; produced by Carolin, Jacobs, Channing Tatum, and Nick Wechsler; released by Warner Bros.

Starring Channing Tatum (Mike), Joe Manganiello (Big Dick Richie), Matt Bomer (Ken), Kevin Nash (Tarzan), Adam Rodriguez (Tito), Amber Heard (Zoe), Jada Pinkett Smith (Rome), Gabriel Iglesias (Tobias), Donald Glover (Andre), Elizabeth Banks (Paris), and Andie MacDowell (Nancy Davidson).


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A Cry in the Night (1956, Frank Tuttle)

If it weren’t for the cast, there’d be very little to distinguish A Cry in the Night. John F. Seitz’s black and white photography is often–but not always–quite good, though director Tuttle struggles with the composition. He composes for the squarer Academy ratio, not widescreen. Cry in the Night is widescreen.

And David Buttolph’s music is all right. It never quite lives up to the promise of the opening title music; it’s still all right. It rallies at the end for the showdown.

Of course, maybe the title not having any bearing on the film should be an indicator of the inevitable problems–the source novel has a different title. There is no cry in Cry in the Night. Sure, Natalie Wood screams when Raymond Burr kidnaps her. He’s a peeping tom who assaults Wood’s fiancé, Richard Anderson, after Anderson confronts him. Then Burr grabs Wood and drives off in Anderson’s car. Wood screams, but since they’re at a makeout point, the other youngsters who overhear it just yell back to hit her some more; girls like it.

Cry in the Night has a lot of gross moments; that one is probably the worst. The film’s opening narration focuses on what those teenagers are doing all by themselves on makeout points throughout the country, but the film never actually blames Wood (or Anderson) for poor judgment. It lays the blame some other places, not necessarily better, but never there.

Anderson gets hauled in by the cops, who don’t care he’s bleeding and confused. They think he’s a drunk. Luckily there’s a saintly doctor (Peter Hansen) who has to argue with the cops to reexamine the concussed man. The movie runs seventy-five minutes yet is full of treading water moments like police captain Brian Donlevy whining at Hansen about reevaluating Anderson only for Donlevy to immediately change his mind when it’s time for the next scene.

Wood is a cop’s daughter. Not Donlevy, who’s stiff but lovable compared to her dad, Edmond O’Brien. O’Brien isn’t stiff. He’s wild, desperately in search of something to chew on for his part. He’s an overbearing, overprotective, insensitive misanthrope control freak. He’s got constant energy. Only there’s nothing much to be energetic about. Certainly not when Tuttle is shooting in his boring, ubiquitous middle two shot. The actors are slightly angled in profile. They talk to each other, standing just to the left of center. Over and over again, the same shot, no matter the location, no matter the actors, no matter the scene content. By the time the film gets to the third act and Tuttle doesn’t use it as much–there aren’t the same opportunities for two shots–it’s an actual shock. About the only one in the film.

Half the movie is Donlevy, O’Brien, and Anderson looking for Wood (and the identity of her kidnapper), half the movie is Wood trying to survive Burr’s attention. He takes her to his lair in a deserted factory; it’s where he hides from his overbearing mother (Carol Veazie). David Dortort’s screenplay is never more godawful than when dealing with the mental conditions of Burr and Veazie. It’s painful at those times.

Wood tries reasoning with Burr, she tries escaping him, she tries confronting him. Even though O’Brien has explained he raised her to know what to do in crisis situations, turns out she doesn’t, because then there wouldn’t be a movie. She’s a damsel in distress, nothing more, which is an utter waste of Wood’s performance. She gets squat to do in the opening scene–really, after she watches Burr lay out Anderson she’s really going to go over and ask why Burr did it–before Burr knocks her out. She faints later on too, when Dortort can’t think of any reason to keep her awake.

The movie keeps it moving until the finale, when it just doesn’t go anywhere; O’Brien has a rude awakening about his controlling behavior from the other women in his life–wife Irene Harvey (who’s so much better than the material) and spinster sister (because O’Brien drove her suitors away) Mary Lawrence. Lawrence gets a crap scene but she’s not better than it. Cry in the Night goes into the finale following the film’s worst scene.

Donlevy’s stiff but fine. Who knows how his performance would’ve played if Tuttle weren’t so dedicated to those lousy medium two shots. O’Brien and Wood just needed better material. Anderson’s fine. Burr’s a lot scary before he starts talking. Veazie is creepy, which is an achievement given her scenes are terribly conceived, written, and directed.

The attempts at making the investigation seem ultra-modern with the constant radio calling around the police precinct are also goofy.

Director Tuttle and screenwriter Dortort sink A Cry in the Night. They make a narratively inert kidnapping thriller; the film’s set over what ought to be four or five unbearably tense hours. And they flush all the potential the material gives the actors. It’s a waste.

0/4ⓏⒺⓇⓄ

CREDITS

Directed by Frank Tuttle; screenplay by David Dortort, based on a novel by Whit Masterson; director of photography, John F. Seitz; edited by Folmar Blangsted; music by David Buttolph; production designer, Malcolm C. Bert; produced by George C. Bertholon; released by Warner Bros.

Starring Natalie Wood (Liz Taggart), Richard Anderson (Owen Clark), Raymond Burr (Harold Loftus), Edmond O’Brien (Capt. Dan Taggart), Brian Donlevy (Capt. Ed Bates), Irene Hervey (Helen Taggart), Mary Lawrence (Madge Taggart), Peter Hansen (Dr. Frazee), Charles Kane (Sam Patrick), and Carol Veazie (Mrs. Mabel Loftus).


THIS POST IS PART OF THE NATALIE WOOD BLOGATHON HOSTED BY SAMANTHA OF MUSINGS OF A CLASSIC FILM ADDICT.


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Dark Victory (1939, Edmund Goulding)

Bette Davis and George Brent never kiss in Dark Victory. He’s a brilliant neurosurgeon, she’s a mysteriously ill young socialite. He saves her, they fall in love. But does he really save her….

Victory gives Davis an excellent part, right up until the end of the film. It’s a somewhat bumpy ride–in the first act, which is three acts of its own, Davis isn’t particularly likable. The film establishes her on her Long Island estate, twenty-three and free. And very rich. With some decent suitors (Ronald Reagan in an affable performance) and her best friend (and secretary) Geraldine Fitzgerald. Davis goes riding during the day, out on the town in the evening, then home to party all night.

The film opens with her dealings with Humphrey Bogart, who plays her stablehand. He’s Irish and sexist. Bogart’s accent is usually Irish, though very noticeable when not. The sexism just leads to banter; it’s not a great part, in the end, for Bogart. He’s a tool of the melodrama. But he’s still likable, especially at the beginning, when Davis comes off like a spoiled brat and Fitzgerald her enabler.

The film’s focus moves soon to Brent, who gets her case from a decidedly underused Henry Travers. Brent’s excellent as the conflicted doctor, enough so to humanize Davis in their first scene together. From then on, although the action sticks with Brent for quite a while, Davis’s part gets better. She’d had some good dialogue quips, but she was the film’s subject–more, the film’s characters’ subject–not the protagonist.

Whether or not she ever truly gets to be the protagonist is questionable (and one of the film’s eventual failings; it shouldn’t be in question).

So the first thirty-five minutes concern Davis’s recent headaches and how Brent treats them. There’s never a discussion of medical ethics in Dark Victory and it kind of needs it. A lot, as it turns out. Because the only way for the film to function without them–which leads to Brent and Fitzgerald alternately and jointly infantalizing Davis–is through melodrama. After forty-five minutes, Dark Victory never tries for more than melodrama; it promises more than melodrama, but it never attempts to fulfill those promises.

The melodrama does give Davis and Fitzgerald some good material. Not really Brent. Brent gets overshadowed by everyone in the second half of the film, including Reagan (not to mention Bogart, accent or not). The script avoids dealing with Brent, once he’s done just as a doctor. Brent still has some fine moments in the film, but nothing like he had in the first half, when his forced calm demeanor ached with tragedy. It’d be a lot to keep up the entire runtime, sure, but at least screenwriter Robinson could’ve had him in some longer scenes.

Robinson’s adapting from a play, which might explain some of the pacing after the first act. Davis goes through a minor character change, with some fabulous costuming, incidentally, but it requires a rather extreme narrative distance. For her next character change–she gets a lot of character development with the part, going through four distinct phases–the narrative distance closes in, which is great, but the script gets real choppy. It’s a stagy bit of narrative. Not stagily filmed, but stagily plotted. There’s a jump forward, then an exposition-heavy sequence taking place over a single night, with characters strolling through in order to explain what’s happened since the jump forward. All the acting’s fine–Davis is great–but it’s too jammed, too rushed.

And if it’s going to be so jammed, so rushed, at least have Travers do a walkthrough. He goes from leading the second tier supporting cast in the first act to complete, inexplicable onscreen absence.

Davis’s performance makes the film. Brent’s, for a while, seems like it could but their relationship is way too chaste (exceptionally so considering they were carrying on off-screen). Fitzgerald and Davis have a wonderful relationship, full of character development and so on… until the development stops. The film foreshadows a lot for its characters and delivers none of it. Ostensibly it delivers on one thing, but through cop out.

Technically, the film’s fine. Goulding’s composition is decent, if unimaginative in his overuse of interior long shots–the sets aren’t that great and even if they were, they’re immaterial to the melodrama–and Ernest Haller’s photography is good. Max Steiner’s score is excellent.

Davis gets to do so much in Dark Victory, it’s unfortunate the film doesn’t let her do all it promises for her. I almost started talking about the film as the difference between a part and a role. If there’s such a difference, Dark Victory gives Davis a great part but promises her a great role.

2/4★★

CREDITS

Directed by Edmund Goulding; screenplay by Casey Robinson, based on the play by George Emerson Brewer Jr. and Bertram Bloch; director of photography, Ernest Haller; edited by William Holmes; music by Max Steiner; released by Warner Bros.

Starring Bette Davis (Judith Traherne), George Brent (Dr. Frederick Steele), Geraldine Fitzgerald (Ann King), Ronald Reagan (Alec), Humphrey Bogart (Michael O’Leary), Virginia Brissac (Martha), Cora Witherspoon (Carrie), Dorothy Peterson (Miss Wainwright), and Henry Travers (Dr. Parsons).


THIS POST IS PART OF THE BETTE DAVIS BLOGATHON HOSTED BY CRYSTAL OF IN THE GOOD OLD DAYS OF CLASSIC HOLLYWOOD.


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