Julius Caesar (1953)

So this William Shakespeare guy....pretty talented, huh? A poet and playwright, he is basically the benchmark for everything in literature. And thanks to my upbringing in English classes through high school and college, I basically hate Shakespeare. I was forced to read his writings and resented basically every minute of it. That only partially explains my hate for 1953's Julius Caesar, but it is certainly part of it.

In ancient Rome, senator Julius Caesar (Louis Calhern) returns to an adoring public, many touting him as the future ruler of the Roman empire. Caesar's ambition is feared throughout the Senate, even leading many of his fellow Senators to plot against him, including the idealistic Brutus (James Mason) and cynical, scorned Cassius (John Gielgud). They worry that his ambition, along with close friend and fellow Senator, Mark Antony (Marlon Brando), will spell Rome's doom. They begin to form a plan, one that could change the country's future for years to come.

Now I'm going to say something early and just be done with it. I don't intend this review to sound like a whiny high school student although no doubt it will to a certain point. I can appreciate Shakespeare as an immense talent, but that doesn't mean I like anything about reading his work. I can appreciate that his talents have influenced basically every form of literature written since. But actually reading it? Some of the most difficult experiences I've ever had with the written word. Long, uninterrupted scenes of dialogue/monologues have a knack for putting me to sleep quickly. But....but.....even knowing this, I sought out this 1953 film, mostly because of the extraordinary talent assembled here. Unfortunately, I disliked it as much as I've always disliked Shakespeare's works whether it be in books and plays or film and television.

Where my objection comes from is Shakespeare's style. In writing, it is extremely difficult for me to get through the dialogue, and seeing it in a film didn't help. Well written it most certainly is, but it is stilted, awkward, forced and for me, difficult to follow. It doesn't seem to make a difference who's reciting the lines because the talent in this cast is truly impressive. And yes, I know these are stage-based stories, but seeing actors -- no matter the talent -- stand and wave and yell and recite several minutes of expressive yet still stilted dialogue doesn't scream out 'ENTERTAINING!' to me. Acting is one thing, and method acting a whole other beast, but I've never understood the appeal of loud, verbose, exaggerated stage acting, and that's what this movie is. It's 120 minutes of very talented actors talking and talking and...well, you get the idea.

With so much talent assembled for this film in the cast and director Joseph Mankiewicz behind the camera, I just assumed my issues would go by the wayside. With three movies to his name (Streetcar, The Men, Viva Zapata), Brando is a bright spot as Mark Anthony. His famous address of the Roman people following Caesar's assassination especially stands out. Then throw in Mason, Calhern, Gielgud, Edmond O'Brien, Greer Garson and Deborah Kerr? How could that not be worthwhile? I chalk it up more to Shakespeare's style than anything, but I just didn't care. I know the story, know where it will end up, and who makes it and who doesn't. Also look for Michael Ansara, Michael Pate, John Doucette, Lawrence Dobkin and Rhys Williams in smaller supporting parts.

I'm ready to take all sorts of heat for my dislike of this movie, but I hated it almost from the start. Besides the stilted, overdone stage acting, it is an incredibly dull story to watch. It was filmed in black and white on a soundstage, the camera and focus on the actors, not the huge scale or lavish sets. Bored to tears. There's just only so many ways to hear a classically trained actor speaking in the most prim and proper English ever written. So go ahead, let me have it if you so choose. I'm admitting I don't like Shakespeare. Karma is going to kick me square in the butt at some point.

Julius Caesar <---TCM trailer/clips (1953): */****

Men of the Fighting Lady

Before his death in 1997, author James Michener's name was synonymous with epics in novel form.  Centennial, Texas, Alaska, Hawaii, Chesapeake, The Journey, all huge novels that fans have come to love. But before he turned to those epics, he wrote several smaller books set in the Korean War which haven't received the publicity of his other works but are nonetheless worthwhile. Similar to Michener's Bridges at Toko-Ri (and the film version), 1954's Men of the Fighting Lady is based off his novel The Forgotten Heroes of Korea.

This is an oddity when it comes to war movies for a lot of reasons.  For one, it is based during the Korean War, but other than a few shots taken at the Commies, this movie could as easily have been based in WWII.  Second, there's something missing, or maybe there's too much?  At just 79 minutes, this is one of the shortest war movies I can think of, right up there with the heavily hacked and edited Red Badge of Courage.  Reading about a true incident a key scene is based on, did director Andrew Marton fill out a story around that single incident? Or to the opposite, did he have a longer movie that was cut down to this running time? I'm looking for some sort of answer and can't find a thing. Maybe it's just an oddity among war flicks?

On board the U.S.S. Oriskany, author James Michener (Louis Calhern) comes to visit his old friend, Commander Dowling (Walter Pigeon), the medical officer on board, in hopes of landing a story. Dowling has one for him, a story concerning the fighter pilots in the still-new jets on board being used against the North Koreans and Chinese in the fighting on land. Michener sits back and listens to the story of the fighter squadron and its pilots, what drives them to do what they do, constantly putting themselves in needlessly dangerous situations when the job doesn't always call for it. Why do they do it? Do they get some sick, perverse enjoyment out of it?  Or are they just doing their duty as expected?  Looking for answers from his old friend, Michener is surprised by what he finds.

Now in 2011, a movie about fighter pilots and their newly developed jet planes seems old hat. Who hasn't seen Top Gun? And in a lot of cases, who hasn't seen Top Gun 20 or 30 times? Guilty.  But in 1954, this newly developed plane had to be impressive to audiences.  Even compared to the fighter planes from WWII, these new designs were remarkable.  Much of the story focuses on these pilots and their life aboard ship waiting for their missions.  Marton uses a ton of stock footage (bordering on too much) of these planes on those missions.  At first, it's cool. It's different, original, and the footage is impressive.  You can always have too much of a good thing though because soon enough, the footage of raids and air strikes gets tedious.

Clocking in at well under 90 minutes, the ensemble cast here in 'Fighting Lady' features some solid names, but unfortunately their efforts aren't always as developed as I'd like. There are a handful of really interesting characters but thanks to the limitations on time, some get the short end of the stick.  The squadron includes Frank Lovejoy as Lt. Commander Paul Grayson, the squadron leader who pushes his men to the limit, but he's always at the forefront of the charge, Keenan Wynn as Lt. Commander Ted Dodson, a veteran flier who begins to question Grayson's tactics, Van Johnson as Lt. Howie Thayer, the amiable pilot trapped in the middle of two warring factions in the squadron, and Dewey Martin as Ensign Schechter, the young pilot who begins to side with Dodson. Lovejoy's commander is especially pushed to the background in the last 45 minutes, odd considering how key his character was to the first half of the movie.

Two extended sequences bring this movie up from same old same old to a near-classic.  The first is based on a real-life incident that Michener wrote about. Returning from a patrol, Martin's Schechter and his plane are struck, the shrapnel blinding the pilot in the process.  Trying to guide the wounded pilot back to the carrier hundreds of miles out, Johnson's Thayer leaves formation and flies with Schechter, giving him step-by-step commands so that he can make it back. Van Johnson is one of my favorite actors, but this may be his most impressive part, and Martin is no slouch either.  Johnson's dialogue is natural and nervous, pulling anything from his sleeve that may help.  The tension builds and builds until its almost unbearable. By the time they reach the carrier, I was willing Martin and his crippled plane to land safely. This extended sequence goes on for most of a half hour, but it never lacks for energy, tension or entertainment. You can watch the whole thing HERE and continue into Parts 7 and 8.

The second sequence isn't based as much on playing to that weird adrenaline rush you get from terrifying situations. It's based in that most basic idea of being separated from your loved ones during holidays.  Soldiers, sailors, Marines, pilots, they all experience it.  It's Christmas in this story, and the Navy has arranged for many of the families of the crew to tape quick messages to their husbands, brothers, sons and boyfriends. The timing of course couldn't be worse. A pilot was killed in action just a day before so when his family's message is played for the crew, a silence hangs over the crowd. There's a moment where you realize what you're watching where it all hits home. This family has no idea their Dad and husband is dead. In terms of pure emotion, this scene hit me like a bag of rocks.

There's two ways to fix this movie (in my weird head anyways). I say this having liked it and planning to give it a positive review. It plays in two ways, an extended TV episode or a badly shortened feature length. In a shorter version, I think it could work nicely the same way a longer, more developed movie would.  More character development would be at the top of the list of possible improvements.  But as is, I really liked the movie, as much for the drama as the cast. Flawed but above average.

Men of the Fighting Lady <---trailer (1954): ***/**** 

The Asphalt Jungle

Whether he was behind the camera directing or in front of the camera acting, there were few directors or actors as tough/cool/badass as John Huston.  As an actor, he always played characters with an edge and with his gravelly voice and not so classic looks, he always sold the part.  As a director, he excelled with movies that were as tough as the stories they told.  They were 'guy's guys movies' that rarely disappointed and one of his best was 1950's The Asphalt Jungle.

This 1950 heist movie is worth talking about for two reasons.  One, released at the height of film noir popularity, 'Jungle' finds a way to put its own spin on the story and it ends up being a classic in the genre.  Two, you can judge it by the impact it had on later underworld heist movies.  Watch a heist movie released since 1950, and it's almost impossible not to make some connection or influence Huston's flick had.  At just under two hours, there is not a wasted minute in the build-up, heist, and fall out of a jewelry robbery.

Just out of jail after seven years inside, Doc Reidenschneider (Sam Jaffe) wastes no time setting up a job that could net him and his partners almost a million dollars.  With some help and financial backing from a crooked lawyer, Alonzo Emmerich (Louis Calhern), Doc reveals his plan to knock off a diamond exchange.  He'll need some help though and recruits three men, Dix Handley (Sterling Hayden), the muscle, Gus Minnisi (James Whitmore), the getaway driver, and Louis Ciavelli (Anthony Caruso), the safe-cracker to help him pull off the job.  The Doc has everything figured out down to the second, but all the planning in the world can't account for the unexpected.  And then there's Emmerich, who may have ulterior motives for the heist.

The 'jungle' of the title is the underworld, the crime figures who threaten to take over cities and ruin the lives of good people all across the country, or at least that's how Police Commissioner Hardy (John McIntire) explains it.  Like most noir movies, Huston shoots in black and white in this unnamed midwest city.  The characters live and die in smokey rooms and dark, shadowy alleys as they go about their heist.  Like few other movies, Huston creates a real feeling of the underworld, the seedier parts of town that you don't want to be caught in after a certain hour.  With composer Miklos Rozsa's score, you've got the right start to a winner.

Working with an ensemble cast, Huston gets the best out of this talented crew.  Often stiff and a little wooden in starring roles, Hayden delivers a career-best performance as Dix Handley (other than the pornstar-sounding name).  Handley is a two-bit thug -- dubbed a 'hooligan' -- who dreams (watch HERE) of raising enough money to buy his childhood farm and leaving this dirty city life.  I don't think he was ever better than he was here.  Jaffe too is beyond perfect casting as the small in stature but brilliant planner of crimes and heists, earning an Oscar nomination for his part.  His Doc is incredibly intelligent and a gentleman to boot, seemingly involved in crime because he's good at it.  These two characters end up forming an unlikely friendship based on truth and hard knocks, a surprising friendship to come out of a heist movie.

The rest of the cast isn't anything to sneeze at as well.  Calhern as Emmerich is the prototypical slimy villain.  From the moment the heist is brought up, you know he's looking to double-cross Doc and his crew (with some help from equally slimy Brad Dexter). Where Handley might beat you with his fists, Emmerich would do the same with words and intellect, never ruffling a hair on his head or putting a crease in his suit.  Jean Hagen is solid as Doll, a wandering young woman attracted to Handley in who she sees something good where no one else does.  Whitmore too is great in his quick appearance as Gus, the hunchback getaway driver who will be loyal to the end.  Also look for an actress you might have heard of, Marilyn Monroe in just her 3rd credited role, as Emmerich's mistress.  You look at her and understand what Emmerich was thinking.

The beauty of 'Jungle' is in the execution because it never slows down.  The actual heist -- an exciting if not groundbreaking sequence -- is over less than an hour into the movie.  The fallout from the heist is where the movie revels because even Doc can't plan for everything, in this case unforeseen accidents popping up when least expected.  It's an idea and a premise used in so many types of movies, but it is has never been used so well as it is in the heist movie.  Without giving too much a way, it's safe to say 'Jungle' doesn't exactly have a happy ending -- it is 1950 -- but overall it works better because there wasn't a happy ending.

Because so many heist movies have been made since, The Asphalt Jungle may play like a movie that you've seen many times before...been there, done that.  But watch it thinking that when it was released in 1950, there hadn't been a movie quite like this before.  Director Huston puts together a doozy of a cast with Hayden delivering a career-best part leading the way, and there isn't an aspect of the movie that fails.  A winner in every sense of the word.

The Asphalt Jungle <----trailer (1950): ****/****

Devil's Doorway

Starting in 1950 with Winchester '73, director Anthony Mann made five movies with star Jimmy Stewart, all of them westerns, and all of them different from the typical shoot 'em up.  These weren't just good guys and bad guys shooting it out, these were adult westerns where characters lived in all sorts of gray moral ground.  It was a sign of what was to come in the westerns with a more cynical look at how our country expanded into the west through the 19th century.  The Mann/Stewart westerns are classics, but Mann showed a knack for tough, hard-edged movies throughout his career that didn't shy away from showing a real, authentic wild west.

Take 1950's Devil's Doorway which tackles one of the biggest wild west issues that is so often brushed under the rug.  Say it however you want it, but the extermination of the American Indian as Americans flooded across the country with the idea of Manifest Destiny.  It's a topic that has produced movies with the premise of "white man's guilt," making the Indians look like noble warriors and Americans as drooling, savage murderers.  Devil's Doorway is somewhere in between, a Shoshone tribe who have taken parts of the white culture into their own are forced to defend their land while ranchers, sheepherders and homesteaders prepare for a fight for this prime cut of land.

It's several years since the end of the Civil War and hero and Congressional Medal of Honor winner Lance Poole (Robert Taylor) returns home to the town he grew up in in Wyoming. Lance made it through the war unscathed and has hopes of building up his family's land into something great.  The only problem; Lance is a Shoshone Indian, and homesteaders have moved into the area and are looking for grazing land.  As an Indian, Poole isn't granted the right to own land so the 50,000 acres his family and tribe have owned for years is now up for grabs.  One sheepherder (Marshall Thompson) tries to make a deal that would benefit both, but a corrupt, Indian hating lawyer (Louis Calhern) leads the opposition.  Lance has been backed into a corner and knows he'll have to defend his land.

In 1950, I'd say a majority of westerns still portrayed Indians as murdering savages so it is refreshing to see an Indian as a major character and a sympathetic one at that.  Taylor is an odd choice for an Indian with his transformation consisting of skin darkener and some grown out, slicked back hair.  Thankfully, he doesn't attempt any stunted English.  Everyone in town knows Lance and respects him, even more so now because he's returned as a war hero.  But because he's an Indian -- and for that reason alone -- he is looked down upon.  All he wants is to defend his family's land without interference, but no one's going to let him do just that.

This is an honest look at the expansion of the west and Devil's Doorway is way ahead of the genre in that sense.  The west was not an easy place to live with people looking to advance themselves with little regard for those who got in their way.  Mann takes that style on with his no-frills, often surprisingly brutal story.  He films in black and white with Colorado proving the locations -- beautiful ones at that -- that adds even more to the authentic feel of the story.  Mann is on point here with no unnecessary detours or subplots.  A female lawyer (Paula Raymond) fights for Lance's cause, but there's no overly sentimental love story that develops.  It's pretty typical of a Mann western, don't waste time getting to where you want to go.

Watching as many westerns as I have -- especially pre-1960 or so -- I feel like I've been trained to expect a happy ending no matter how ridiculous it is in terms of the story and character arcs.  That was my concern here because there is NO WAY this story ends pleasantly, but Mann sticks to his guns.  The last 30 minutes goes down as one of the best, realistic endings to a western I've seen, especially the last 2 shots which are heartbreaking and emotional in a way that completely caught me off guard.  Add that emotion to the exciting action on-screen, and you've got a real winner here.  Anthony Mann and Robert Taylor at the top of their game.

Devil's Doorway <----trailer (1950): *** 1/2 /****