More Gregory Peck Huzzahs!

Gregory Peck Love, Part Deux

By Kristin Battestella

Shall we settle in with another batch of April 5^th birthday gems honoring Atticus himself, dear Mr. Gregory Peck? I think we shall.

The Big Country – Our Man Peck goes toe to toe with the perfectly rugged Charlton Heston (really?) over the delightfully sassy Jean Simmons (Guys and Dolls) and perfectly feisty Carroll Baker (Baby Doll) in this larger than life 1958 western directed by William Wyler (Ben-Hur). He fights off bad boy Chuck Connors (The Rifleman), Oscar Winner Burl Ives (Cat on a Hot Tin Roof and singer of that perennial classic ‘A Holly Jolly Christmas’), and the big Texas wilds, too. He was Hornblower for goodness sake, of course we know and love Peck as a robust sea captain. His old time non-landlubber casting is perfect against the rough, gruff, angry, and jealous soon to be superstar Heston. Texas isn’t going to tame this compass using, bowler wearing gentleman, oh no! There are principles to be learned on both sides indeed, and the dirty slick of Connors and the old school class from Ives, Simmons, and Charles Bickford (The Farmer’s Daughter) as Major Terrill add more charm to the iconic, rousing, yet playful and adventurous Oscar nominated music by Jerome Moross (Wagon Train).  Rival cattle barons, water rights, great costumes, traditional Old West décor – all of its here from carriage racing and horse pursuits to shootouts and mistaken romance. After so many years of choppy VHS editions, the blu ray release invigorates the colorful, sprawling vistas. The seamless effects work looks brand new, and the solid script, pace, intensity and social statements are taut to match even at a longish 2 hours and 25 minutes. For those who think westerns are nothing more than singing cowboys, this is how a real quintessential western is done. To fans of the cast, classic film lovers, or well, anyone, this is a must see.  

The Bravados – Joan Collins (Dynasty), Lee Van Cleef (The Good, The Bad, and The Ugly), and Stephen Boyd (Ben-Hur) co-star in this 1958 western from oft Peck director Henry King (The Snows of Kilimanjaro, David and Bathsheba). The colorful design is lovely but the heavy and dark plotting builds as the audience questions the reasoning and motivations of those on both sides of the law. Peck’s embittered determination and vengeance is understandable – he looks good, but worn and quiet dangerous. His Jim Douglass is the kind of man you don’t want to cross if you’ve done him wrong. He’s an unmoving physical presence and sticks out like a sore thumb at church where the shadow on his soul can’t hide. Jim’s a good guy, but blinded, one-sided, un-saintly and gray in what he’ll do for what he perceives as justice and this complexity is wonderful. Boyd, by contrast, is a juicy, sexy villain with hints of something saucy to come; and the brief Cleef (hehe) is surprisingly decent for a bad guy – creating more gray and doubts for Our Man Peck. Her frocks are great – from the red and black lace gowns to the tight riding get ups – but the uber young Joan Collins is culturally miscast and has too little to do beyond the stereotypical Spanish and American Indian elements. The Spanish isn’t subtitled, either, but great background music, period hymns, and guitar flavoring add to the scenery and above average design. Some luster is lost as the character complexity turns into a slightly typical and rushed pursuit vehicle. However, there are enough gritty surprises and solid work from Peck to delight here.

Gentleman’s Agreement – Best. Best. Best. Based upon the equally lovely book by Laura Z. Hobson, Oscar followed this 1947 Best Picture tour de force on antisemitism from Best Director Elia Kazan (On the Waterfront). Best Actor nominee Peck is joined by fellow nominees Dorothy McGuire (Swiss Family Robinson) and Anne Revere (National Velvet), Supporting Actress winner Celeste Holme (All About Eve), John Garfield (The Postman Always Rings Twice), a baby Dean Stockwell (Quantum Leap), and more for the hard hitting but gracefully told story, honest script, and heavy post-war subject matter here. Granted, some today may think this a tame, simplistic, on the nose, and overly innocent exposé.  It will be dated or hammy to some, but dang if it wasn’t ahead of its time then and still relevant for prejudices in the 21^st century. Mature, classy people of old were supposed to be so suave – but that veneer gets pressed from all sides by our delightful, honest, and heartfelt Birthday Boy. If we could all be taught about the differences on religion from the soft-spoken but no less earnest Gregory Peck, more people might be apt to listen!  These 2 hours start off jolly good – a new city, going undercover for a story – however, it’s disturbingly excellent to see how people change for the better or worst throughout the film. Dinner table conversations get so awkward when religion comes up yet the gossip afterward happens so fast.  These debates are very thoughtful with film making and camera work accentuating the statements. If only all films were so frank instead of CGI and 3D empty today! Of course, adding to the backhanded bigotry onscreen is the ironic blacklisting and McCarthyism that followed the cast and crew. One wonders if people we normally think of as so good and nice in the past could really be like this, and yet we still deal with a lot of the same today, and look at all the Old Hollywood actors who changed their ethnic names despite the majority of Jewish movie producers doing the hiring.  I could go on, but simply put, there’s no reason for fans of the cast, students of classic film, and the religious or sociology classrooms not to see this movie.

Mirage – This 1965 black and white suspense thriller opens with atmospheric blackout photography, plenty of shadows, flashlights, and silhouettes. These visual tricks add to the dream like recollections and feelings of déjà vu, and yet there’s sensitivity amid the great chases, zooms, and carefully orchestrated frantic. Naturally, Gregory Peck’s debut in Alfred Hitchcock’s Spellbound comes to mind. However, a strong script, psychology debates, and ethical analysis create a pleasing confusion as clues and character pieces unravel. Although this one succeeds as an old espionage adventure, there’s a modern intelligence and contemporary energy to match the noir intensity and pace. New thriller fans and old school noir audiences can enjoy the New York locales and brief flashbacks as the viewer is slowly informed. Blacklisted director Edward Dmytryk (The Young Lions) doesn’t dump the answers in your lamp, yet we aren’t beaten over the head with the obvious, either. Peck is of course casual and classy as always, and the viewer relates to his dilemma even as our suspicions mount. Walter Matthau (Grumpy Old Men) is also perfection as a crusty little detective who drinks Dr. Pepper and doesn’t like guns. Along with some shockers, there is an excellent build of twists and clues bouncing between the characters. Whom do we trust? Who shouldn’t we? Who’s crazy? Who isn’t? Is someone creating this elaborate mystery? I know I seem a bit vague in my praise, but I wouldn’t want to give anything away!  

For more Gregory Peck analysis, here’s a complete list of our prior Peck praise:

The Big Country

The Bravados

Cape Fear (1962)

Captain Horatio Hornblower

Designing Woman

Duel in the Sun

Gentleman’s Agreement

To Kill a Mockingbird

Mirage 

Marooned
The Omen (1976)

Roman Holiday

Spellbound

Yellow Sky

A Few Religious Biographies

A Trio of Religious Treats

By Kristin Battestella

Even during Holy Week ahead of Easter and Passover, it seems increasingly tougher to find quality religious documentaries, debates, and films on television anymore.  Here’s a quick trio of Christian biographies to tide the spiritual over this April.

Billy Graham: God’s Ambassador – I thought this would be a little 45-minute biography with all the evangelist fixtures and staple speakers, but no.  This 2-hour 2006 special hosted by David Frost begins with Graham’s humble childhood- full of baseball, Tarzan, and a lack of academics- and continues through his early ministry along with the romance with his late wife Ruth Bell Graham. The founding principles of The Billy Graham Evangelistic Association are discussed as well, as are later massive revivals and the ups and downs of global politics.  Great archival photographs and footage anchor the narration along with interviews with family, George Beverly Shea, Cliff Barrows, and the famed such as George H.W. Bush.  Wow, it is so surprising to see early color video of Graham, and the subtitles go far for those who can’t quite understand those thick North Carolina sounds.  There’s also a lovely score throughout the piece that I must say adds a very bittersweet, rousing little touch. Though long, the show is divided into chapters, presenting a streamlined approach useful for a classroom or study group discussion.  New interviews with the titular man himself would have added a more personal or insightful angle, and some sensitive politics with US presidents aren’t too heavily touched upon either. However, with such a vast life and religious issues to discuss, God’s Ambassador balances the individual faith, the missions against communism, and evangelism in foreign lands through the decades quite well.  Lengthy bonus features from Bill Gaither, Frost, and Franklin Graham are also included on the video, offering more great music, crusade footage, and insightful interviews to cap off the set.

Joan of Arc – Looking more lovely than ever, Oscar Winner Ingrid Bergman (Casablanca, Spellbound, Anastasia) battled for this 1948 biopic with director Victor Fleming (Wizard of Oz, Gone with the Wind) and co-star Jose Ferrer (Cyrano de Bergerac)- only to have her personal scandals overshadow the finely spiritual here.  Along for the spectacle ride is a huge ensemble including John Ireland (Red River), Ward Bond (Wagon Train), and Gene Lockhart (Miracle on 34^th Street).  Although the colorful sets are a touch towards forties fakery, angelic choirs, lofty candles, big church art, fancy scrolls, and Cecil B.- esque narration add to the grandiose scope. The costumes are also a little plain, with lots of veils and hennins, and some sequences are too slow and dry with a windblown feeling to it all. And let’s not forget, a 33 year old Bergman is just a bit too old to play a teenage saint.  Thankfully, she’s in Best Actress nominee form of course.  The battle scenes are also well played and paced, and the newly released unedited version is a must for the full appreciation of the picture.  I wouldn’t normally applaud the poorly chopped up 100 minute edition, but this shorter version might also be worthy for a classroom analysis. Now, one might notice similarities to 1999’s The Messenger: The Story of Joan of Arc. We have the same person of interest, sure, and there’s a modern, fast-paced gore and action vibe tying the latter all together- unlike the reverent and somber feeling here. However, some of the scenes from Milla Jovovich and Luc Besson’s recent biopic seem more than just homage.  I’ve researched, but there doesn’t seem to be any evidence of a connection or any official or unintentional remaking of the Joan of Lorraine source play.  Bergman fans or Joan enthusiasts, however, might enjoy a study or comparison and revisit.  

The Song of Bernadette – Best Actress winner Jennifer Jones (Duel in the Sun) leads this inspirational 1943 tale alongside Charles Bickford (The Big Country), Anne Revere (A Place in the Sun), and Vincent Price (The Pit and the Pendulum).  My Mom swears by this movie, and despite my ongoing dislike of Jones, this is indeed her best work.  Youthful and innocent, Jones holds her own against the young suave and skeptical legalese of Imperial Prosecutor Price and more nasty adults with her soft honesty and subtle words. Even if Jones is also too old and doe eyed, we believe in Bernadette’s purity- and it’s ironic Jones had a behind the scenes’ scandal as well.  We’re slow to start with repetitive dialogue and it all feels overlong at just over two and a half hours, but the lovely little story here is well filmed with beautiful somber music to accent it all. Yes, it’s obviously pro Catholic and lays on the bias and sentiment- but what’s wrong with having a little faith?  The Victorian strict attitudes and poor tough times are also laid on thick against Bernadette- only the fine Priest Bickford supports her- and the period French touches succumb to liberties taken with the forties Americanization.  Fortunately, the miracle portrayals are perfectly done with abstract Lady Linda Darnell (The Mark of Zorro and another scandalous woman!) None of the reverence is hokey at all in comparison to the snotty family and disbelieving folk.  The Lourdes events are handled with respect as natural and realistic, believable and yet still divine without being a fantastic spectacle.  Wow! It’s all still special as miracles obviously are, and yet audiences today might find it somewhat strange that Bernadette’s elders would think her an insane or bad child.  Again, this adaptation is fine for a mature CCD debate or Sunday School classroom.  We have religious controversies, sure, but the sincerity and truth onscreen is evident here.

As to Passover, you can read a quick review of my favorite The Ten Commandments here – and look for our new analysis on the blu-ray edition soon!

Dragonwyck

Dragonwyck A Spooky and Charming Little Old Film

By Kristin Battestella

I was a bit surprised when I stumbled upon this 1946 title starring Gene Tierney and Vincent Price, for I had never heard of it before. Based upon 1944 novel by Anya Seton, Dragonwyck is a creepy little gothic tale of frightful mansions and murderous tendencies.

Miranda Wells (Tierney) dreams of bigger things than her family’s Connecticut farm, much to the chagrin of her devout parents Ephraim (Walter Houston) and Abigail (Anne Revere). When a letter arrives from Abigail’s distant and wealthy cousin Nicholas Van Ryan (Price), Miranda takes the offered opportunity to serve as companion to Nicholas’ daughter Katrine (Connie Marshall, Mr. Blandings Builds His Dream House) at the Van Ryan’s legendary Hudson Valley estate Dragonwyck. Once at the mansion, however, tales of hauntings, local unrest, and the uneven relationship between Nicholas and his wife Johanna (Vivienne Osborne) can’t deter Miranda from falling in love with Nicholas. But of course, he is married, and spends far too many nights in his secret tower room…

Though not a horror movie or thriller per se, Dragonwyck has many fearful moments and suspense-filled sequences, largely due to the simplest suggestions of intrigue. The black and white cinematography, creepy angles, spooky lighting, and haunting score by the famed Alfred Newman (How the West Was Won, The King and I, Camelot) give just the right amount of suggestion that not all is well at Dragonwyck. Screenwriter and first time director Joseph L. Mankiewicz (All About Eve, Guys and Dolls, Cleopatra) makes great strides in giving us the basis of the novel’s complex time and place, but some sequences in Dragonwyck do seem ill edited. Quick references to a change of time and place aren’t enough to indicate the move-sometimes it seems like you’re watching a film ‘edited for content and cut to run in the time allotted.’ Thankfully, performance and story win out with the help of great costumes and gothic sets.

I don’t know much about Prince Aly Khan, except that he seemed to mentally ruin not one, but two Hollywood ladies- Rita Hayworth and Gene Tierney. Perhaps more well known today for her many romances, Tierney (Laura, The Ghost and Mrs. Muir, Leave Her To Heaven) was pretty and she could act. Maybe her beauty draws the viewer in, but Tierney’s expressions of innocence, naiveté, and love keep us interested in Miranda. We want her to find joy and happiness-even if the high society life at Dragonwyck clearly spells doom. Likewise, parents Walter Huston (Yankee Doodle Dandy, The Treasure of The Sierra Madre) and Anne Revere (National Velvet, The Song of Bernadette) are stern and respectable parents with only the best interests at heart. Observant viewers will also see a young Jessica Tandy (Driving Miss Daisy) as Peggy, the crippled Irish maid with a good heart.

It’s pretty plain to see that the ‘low’ farming folk have more values and morals than the ‘high’ Hudson folk, but Vivienne Osborne (Tomorrow at Seven) earns a piece of sympathy as Nicholas’ wife Johanna. She seems chubby and more interested in food than her daughter, but we feel that in some ways, this snotty style is not her fault. Her callous upbringing and lack of attention from her deceitful husband help blur the lines between this detailed look at the early Victorian lifestyle and Hudson society. But of course, Vincent Price (The Ten Commandments, The Pit and the Pendulum) plays a man who is not always what he seems. He’s thinner and more subdued than what we expect from the maniacal old horror maven to come in later films. Price’s Nicholas looks the waistcoat and top hat society man, we believe he can be respectable and a good love for Miranda-and yet we should know better. Price shows his range through Nicholas’ love, flagrant callousness, addictions, and other… nefarious… tendencies.

Dragonwyck is not a perfect film, and it is a little dated in some respects. Mankiewicz’ inexperience as a debut director also hampers some scenes. Nevertheless, gothic lovers and fans of classic suspense can enjoy Dragonwyck. Younger audiences may not understand some of the historical back-story about patroon landowners keeping tenant farmers in feudal like arrangements, but the spooky air is just right for a youthful scare or two. But of course, the DVD edition of Dragonwyck is now out of print. Thankfully, fans of Vincent Price can pick up a copy in several horror sets. It’s a strange placement, but fans of the cast and viewers who love a little bit of Bronte suspense will enjoy getting their hands on Dragonwyck. I’m tempted to find the book now, too!