Revisionist Almanac Women's History Month Collaboration

This month it was such a privilege to be part a small part of The Revisionist Almanac's Women's History Month Collaboration podcast!

You can hear many amazing voices amid this epic episode and stay tuned for more video chats with Jaylan Salah on The Jay Days YouTube Channel as well as my guest spot on an upcoming episode of The Female Gaze Film Club! 

DMs are open on Blue Sky for collaborations or follow our Podcast tag for past episodes including:

The Revisionist Almanac – 1956

Greatest Movies of All Time – Ben-Hur

1999: The Podcast – The End of the Affair

2024 Guest Podcast Round Up

Hush...Hush, Sweet Charlotte

Hush... Hush, Sweet Charlotte a Delicious Gothic Treat

by Kristin Battestella

Director and producer Richard Aldrich capitalized on Whatever Happened to Baby Jane? with the chilling but no less sophisticated Southern Gothic examination of murder, gossip, and madness in 1964's Hush...Hush, Sweet Charlotte.

After Charlotte Hollis' (Bette Davis) father Big Sam (Victor Buono) insists she break off her dalliance with the married John Mayhew (Bruce Dern), Charlotte enters the cotillion covered in blood. Decades later, Charlotte remains an infamous murderess and recluse, living alone save for housekeeper Velma Cruther (Agnes Moorehead). The state of Louisiana plans to tear down the crumbling Hollis House to build a bridge, and with Doctor Drew Bayliss' (Joseph Cotten) help, cousin Miriam Deering (Olivia de Havilland) returns to convince Charlotte she must leave. Unfortunately, ghostly violence terrorizes the women, blurring past crimes, contemporary suspicions, and deadly delusions.

Happening jazz, dancing, and 1927 good times hide the illicit schemes, secret elopements, and vicious murder opening Hush...Hush, Sweet Charlotte. We think we've seen a cold hearted kill thanks to intercut chopping, gruesome slices, and screams, but is this crime all it seems? Wind chimes and silent shocks lead to 1964 cemeteries and youthful rhymes detailing the chop chop legend of headless lovers as boys sneak in the desolate ballroom ruined by passion, scandal, and insanity. Construction vehicles rumble nearby, yet there's a certain gentility to the venomous shouts. Everyone says miss or sir, using full names and regional colloquialisms despite the ten day eviction notice, paranoid conspiracies, suspicious old enemies, and secrets coming back to haunt one and all. Talk of an innocent teen girl having a dirty affair with a married man and calling each other bitches was shocking dialogue at the time, but there are also regrets, tears, and wishful thinking of an inheritance that should have been well spent instead of wasted on the lonely, dilapidated decades. The dramatically paced conversations are layered with talk of the past, current states of mind, double entendres, and shade – creating zingers and story telling comforts before wardrobes that open by themselves, slashed clothing, crank letters, and unforgiving threats quicken the pulse. Creaking doors, cleavers, and severed limbs scare the women – our eponymous character may be a little mad, but others are experiencing the frights, too. Crimes of Passion magazine reporters are excited that now in the sixties they can play up the murder's sex angle, and there's no one to trust amid phantom figures strolling the grounds and ghostly harpsichord playing. Storms, lightning, and winds blowing across the balcony lead to breaking windows and shattered mirrors. Today we have crazy versus ghost horrors, but they are often teen light rather than sophisticated dramas with performances free to carry the murderous motives behind the frights. Hush...Hush, Sweet Charlotte provides superb scenes with heavyweight talent, and revelations in the final act place the viewer within the footsteps, physical bouts, and shocking violence. The southern gentility degrades into cruel intensity as the sense of dread escalates without any need for in your face jump scares. Deaths we've seen happen are said to have happened entirely differently, and the women do what has to be done thanks to the men's messes – be he builder, destroyer, father, doctor, or lover. Beckoning echoes and tormenting serenades are twisted, sad, and delicious all at once thanks to eerie masks, gunshots, headless suitors, and nightmares. Delusions revisit the original crime while chilling visuals, bitch slaps, and dead bodies rolled up in the carpet contribute to the hysteria. These dames won't suffer for the lies, blackmail, and cruelty anymore, but the can't take it with you and what was it all for pain serves up a few more frights before the madness is all said and done.

Is Bette Davis' (All About Eve) Charlotte a crazy killer, abused, or just misunderstood? She's mad one minute pushing planters off the balcony at construction workers but demure in white, crying, and heartbroken the next. Charlotte's an unreliable old woman dealing with trespassers and losing her home. She doesn't need sympathy or company, just help in saving Hollis House. At times she is very sharp, but she's also caught in the moment of her lover's murder, dressed up and waiting for a dead beau. She knows the townsfolk think she got away with murder, however the audience likes her moxie. We're on her side when the sheriff insists she only acts loony because it's what's expected of her, and we pity Charlotte's sobbing sing a longs to their song. She wakes up in the night, for her fantasies are only real in the dark – Charlotte used to be positive she wasn't crazy, but now she isn't so sure thanks to ghostly visions, medication, and nightly damaged she swears she didn't do. Mad murderess or not, she is certainly scared, and the family pride, fatal disgrace, gossip, and the irony of letting go make for a sad vindication. Olivia de Havilland's (The Heiress) cousin Miriam Deering tries to make it easier for Charlotte to leave, reminiscing and sharing fond memories of sliding down the banister. She makes Charlotte laugh, telling her not to pay any attention to trash rags, old rivals, or nasty letters but come back to reality. Unfortunately, Miriam can't stop the state's eviction, and she's always looking out for herself first. Charlotte says her public relations job “sounds dirty,” and past tattle tales on who was the poor relation or favored daughter make Miriam wish she had never come back. Nonetheless, she increasingly takes over the household, packing and making Charlotte say goodbye to Hollis House whether she is ready or not.

According to Joseph Cotten's (Duel in the Sun) Dr. Drew Bayliss, Charlotte has nothing more than a persecution complex. He insists the state's condemned order is solely about the bridge construction and not Charlotte's infamy – although he has looked into committing her but doesn't have enough evidence. Drew calls himself an old man who missed out, regretting choosing his career and breaking off his past romance with Miriam. She, however, insists he's too quick with his compliments and intentions. He flirts with her as he did in their youth, preying upon her even as he wants to protect her – giving her a handgun in case there are any more trespassers. Unfortunately, only more memories of the past come back, and Drew wonders if Charlotte isn't creating her own company and reliving her debutante days with newly fixed delusions. Surprisingly, only Agnes Moorehead (The Bat) as loyal housekeeper and sassy defender Velma Cruther received hardware for her performance in Hush...Hush, Sweet Charlotte – a shiny Best supporting Actress Golden Globe contrasting her crusty, cranky self. Velma dislikes Miriam, mocking her before sulking behind a column and muttering comebacks between her chores. Although initially humorous, Velma isn't stupid. She tries phoning for help and confronts Miriam outright when told she's being dismissed with the month's wages. Velma only takes her orders from Charlotte, and the imminent tearing down of Hollis House does not mean she won't be needed when the manor's gone. Velma sees through Miriam's high and mighty behavior in several taut confrontations that become scrumptiously physical. Certainly there are a few superfluous characters – utility players dispensing exposition yet detracting from the taught hysteria, but Mary Astor (The Maltese Falcon) makes the most of her brief time as Jewel Mayhew, the widow of Charlotte's mutilated lover. Although Charlotte suspects Jewel is out to get her, she's not afraid to tell Miriam and her vicious tongue off in public. Jewel is gravely ill and ready for the truth to be heard. Victor Buono (King Tut in Batman, people!) mostly appears in the prologue as Charlotte's stern father Big Sam, but his threatening presence lingers throughout the film. He disapproves of some lothario like the married Bruce Dern (The 'burbs) intending to elope with Charlotte and ruin the family legacy he has rebuilt – and his orchestrations ironically cause exactly what he was trying to prevent in memorializing the Hollis name. Unfortunately, George Kennedy (Earthquake) appears too briefly as the foreman ready to bulldoze the manor standing in the way of his bridge project. He's tried being kind to Charlotte and objects to her shooting at his crew. It might have been interesting to have seen him appear more as a physical reminder of the ten day requisitions countdown, for at times the need to vacate for the tear down is almost forgotten in Hush...Hush, Sweet Charlotte's crazy horrors.

Art Direction, Cinematography, and Editing nominations abound for Hush...Hush, Sweet Charlotte thanks to excellent gray scale schemes, symbolic shadows, scary silhouettes, and askew camera angles that remain sharp on 4K screens. Overhead visuals peer into the scene with our point of view in tight for the harsh, angry faces or panning wide to capture the empty, stage-like mansion interiors. Choice zooms, distorted up shots, and foreboding down angles accent the spinning ceiling fans – we feel the congested southern heat despite breezy lace curtains, open windows, wispy willows, and dangling moss. Trees and balconies are high, but Hollis House is dimly lit with few candles at the dinner table and dark strolls on the veranda leaving room for those disturbing severed heads, phantom hands, and great horror effects. The expansive locales mean every scene takes its time, laid back with people made small in the Louisiana inside out lifestyle. There's no rush to walk down the long corridors as mishaps belie the grand staircase and grandfather clocks tick tock. Barking dogs and silent pauses add to the atmosphere alongside the nominated Score with its angry crescendos, sad melodies, and bittersweet lyrics. Hush...Hush, Sweet Charlotte has ye olde big newspapers with thick headlines, flashbulb cameras, and $2.50 for a cab drive after which he's told to keep the change! There's a firmly sixties mood thanks to the big cruising cars, hats, gloves, white suits, and cigarettes – however the grandeur is also trapped in time with tall columns, wallpaper, tea in the garden, chandeliers, telegrams, leather libraries, and looming large family portraits. And bench car seats mean we see some good old fashioned slide across!

Hush...Hush, Sweet Charlotte has always seemed a little less beloved than it's exceptional predecessor Whatever Happened to Baby Jane? and video options remain slightly elusive thanks to unavailability on Netlix and a limited edition blu-ray. Some audiences may find the psycho biddy style too camp – at times there's certainly over the top inducing laughter to the scary. At two hours and fifteen minutes, Hush...Hush, Sweet Charlotte may also be too long and not all out horror enough for viewers accustomed to contemporary, formulaic slashers. For others there may not be full rewatch value once one knows how it ends, but Hush...Hush, Sweet Charlotte is worth repeat viewings for all the graceful clues and nuances amid the Southern Gothic terror – remaining a gripping, can't look away master class of chilling moments and staple performances.

The Heiress

The Heiress is a Cinematic Master Class

by Kristin Battestella

Wealthy but dowdy Catherine Sloper (Olivia de Havilland) is pursued by the penniless Morris Townsend (Montgomery Clift) in producer and director William Wyler's (Ben-Hur) 1949 The Heiress, based upon the Ruth and Augustus Goetz play inspired by Henry James' Washington Square. Despite his widowed sister Lavinia Penniman's (Miriam Hopkins) support of the romance, stern Doctor Austin Sloper (Ralph Richardson) fears Morris is nothing but a fortune hunter after the even larger finances Catherine stands to inherit. He insists the couple wait to marry, testing Morris and holding his daughter to unrealistic comparisons of her late mother – leading to lifelong bitterness and cruel revenge.

Well! The good doctor spends a family party whispering over how he doesn't like his unmarriageable daughter, looming large in the foreground in his shiny top hat while his meek daughter is off to the side, small within the picture frame. Who is this suitor asking for all her dances? He's far too charming to like her, and the fortnight courting moves whirlwind fast with multiple visits, flowers, and songs. The Heiress does have awkward humorous moments thanks to innocently deadpan responses as Catherine drops her bag in shock when she's complimented. However, increasing skepticism and hindrances progress as the camera reflects each tug and pull – men debate on either side while she remains tiny in the middle. Visual parallels mirror the one-on-one confrontations per act with father and daughter, daughter and lover, or father versus suitor scenes all carrying dual symbolism. The basic man courts daughter and dad objects story may appear simple, but the focused performances and character interplay tell the who's who suspicion on all sides. Who is right and which one is wrong? Catherine can't fathom Morris wanting her for her money, even though her father already views her as the unworthy price of her mother. The Heiress is dialogue laden thanks to the play source, but the extra subtext translates in the positioning and postures onscreen. One superb two-hander halfway through presents the dilemma almost as a courtroom case, escalating the conflict with protocol, well spoken arguments, and fallacies disguised as pleasantries. Romantic scenes, three second kisses, swelling music, and cinematic embraces plead for love and honesty, and every encounter is all the more intense because The Heiress does its bitter tragedy with words instead of unnecessary bells and whistles. There's no need for visual deflection because the script is so strong; stage directions or men pacing create little need for major cuts or editing. Catherine grows bold by turning back and forth between the two men, leaving the camera as a witness to the unexpected twists. One night of tense waiting hits home with ticking clock anticipation, and nineteenth century perspectives as well as today's interpretations can be debated as father and daughter go head to head. By the second half of The Heiress, Catherine's stature dominates the frame – growing larger upon the ascending stairs as her cruelty spreads across the screen, warning those who would try it to keep clear in an excellent, turning tables master course finale. 

 

Best Actress Oscar winner Olivia de Havilland (Gone with the Wind) is a beautiful woman but Catherine Sloper is dowdy with a severe bun, sullen face, and ill-fitting gowns. Her shy, bumbling naivety makes her seem younger than she really is, and she messes up everything she does. Catherine is guided around with little will of her own and told what to do. She can't even hold her fan right and men forced into a dance ditch her. She thinks no one listens to her, letting others lead the conversation by only giving yes, no, or agreeing answers – but above all, Catherine wants to please her father. Why does everyone have to push and manipulate her? Why can't she just mature or wallflower at her own pace? She's not stupid and has no time for a snobby hospice committee uninterested in cleaning or kitchen work. Catherine has some witty banter with her aunt as well – when asked if her late uncle is watching over them, Catherine answers, “That depends on where he is, Aunt.” Of course, she doesn't realize when Morris is flirting with her, and is shocked that he wants to dance every waltz. Catherine physically bends to Morris, literally leaning back against doors or furniture as he comes closer. She's apprehensive at his hold over her but understandably falls in love with him. She already has a hefty monthly sum from her mother's estate, enough to live on if her father disapproves of a marriage and leaves his wealth to his clinic, but Catherine says she would never defy her father. Morris, however, asserts she is her own of age woman, and she looks at herself in the mirror anew and carries herself differently once kissed. Catherine tells her father they are engaged rather than asking for his approval, for a beautiful man who has everything a woman wants wants her. Her aunts describe Catherine as a new woman radiant and happy at the proposal, but her father insists Morris is worthless and Catherine is his willing victim. Further dialogue clues suggest she is aware of his abusive tone, and later Catherine admits a life with Morris couldn't have been as bad as her life with her father has been. Catherine learns how deep the despising goes after her father's terrible tirade, and she will not relent against his scorn – thus risking her elopement as a result. I want to quote The Heiress word for word, but can't give everything away! Catherine's mousy unassuming voice becomes hardened as the love she thinks will take her away from home turns into a surprisingly progressive story about how a woman need not be bound by a father or a lover. Unfortunately, she will be defined by their negative ebb and flow, master makers turning the once kind girl rigid and cruel.

Is Morris Townsend only after Catherine's money? Montgomery Clift (From Here to Eternity) is the epitome of fool me once, shame on you in The Heiress, and every time I see this, my opinion on our suitor's ambiguous intentions changes. Morris has an empty dance card, too; he has to count out his waltz and promises not to kick Catherine if she won't kick him. He always has an upper hand with a joke, wink, or smile. He makes her blush at his improper touchy feely, and it's easy to be swept up in the charismatic moment with that “Can't Help Falling in Love” Plaisir d'amour. He brings the piano music but doesn't need to look at the rehearsed notes – he clears his throat and asks for pity if his falling in love with her makes him sound stupid. Morris does seem to like Catherine and her genuine manner, however, he already knows who she is when he approaches, and his flirtatious words are hiding in plain sight responses. Did he plan this courting or is he an opportunist taking the chance presented to him? He's the only opportunity she has anyway, right? Isn't the affection he offers her more valuable than money? It might not be bad if he married her for her money but was kind and took care of her. Morris already squandered his own inheritance touring Europe, so is Dr. Sloper right to suspect him as a manipulative fellow? Morris has an answer for everything, and Catherine defends him against her father, opening her eyes to his dislike of them both. He pushes her to stand up to her father and run away with him after only two weeks because her father claiming he is after her money doesn't matter if she loves him. Morris is working harder to win Catherine because he's poor and loves her, isn't he? He isn't wrong in saying her father enjoys making her miserable, but Morris won't marry without his approval and agrees to wait six months to avoid causing Catherine further unhappiness. However, he grows smug at her father's challenge, smoking the house cigars while sipping claret with his feet up by the fire. Morris admires Dr. Sloper as a man of fine taste – they hate each other but like the same things. He cheats at games with Aunt Lavinia, and Morris can for sure prove his con one moment while pleading his defense as an unworthy poor man in love in the next minute. He remains passionate with Catherine, ready to elope with the reverend waiting. He and his dear girl and shall be happy – until she stands up to her father, that is. I simply adore the scene when Catherine wishes to leave one night early, as Clift's brief oh...sheeettt look to the camera becomes a stunning cinematic moment amid the sweeping kisses and devoted promises in the rain. Can a man who really loves a women let her lose so much for him? Or is the bluff called and Morris gets his just desserts? The Heiress is the first film in which I saw Montgomery Clift – taping it off AMC way back when they showed commercial free classics – and I've been praising him ever since. We see Morris' slick internal puppeteering but his suave cast just enough reasonable doubt. Today's actors would willfully break the fourth wall in scene chewing obviousness, unable to play such subtle, shady perfection. The irony, of course, is that Clift himself disliked his performance and walked out of the premiere. Damn son!

Best Supporting Actor nominee Sir Ralph Richardson's (The Four Feathers) Dr. Sloper slams the door to make his presence known to the courting couple. He's sophisticated, wealthy, educated – and embarrassed by his dim-witted daughter. Sloper traded a radiant wife for this mediocre child he dislikes but expects her to reflect well on him rather than merely embroider neatly. He forces her to socialize, sent her to the finest schools for failed training in music, arts, and dance, and compliments her ballgown by saying she looks wealthy in it but the color was worn better by her mother – who's ear was also so impeccable she could tune her own piano. Dr. Sloper contests Morris' feigned modesty, suggesting he go West to make something of himself and suspecting him of looking for an upscale position in his very house. If he had a job would Sloper feel differently? The doctor takes his time, sits properly, and talks smoothly – a older man of leisure himself who, while he complains about how mousy Catherine is, likes his superiority. Morris may be the strong son he may have wanted, but having a tough son-in-law who doesn't stand for insults or indignities won't do, and Sloper goes on his own quest to disprove Morris. He doubts his opinion that Catherine is delightful, for the doctor himself values her cheaply. Sloper lies to keep her miserable, unable to understand his refusal of the match will break Catherine's chance at happiness – despite every single person telling him he expects too much of people and will always be disappointed unless he proves his own deductions. Arranged and loveless marriages were common then, so why not tie up the money in detailed will stipulations or trust allowances? Dr. Sloper takes care of himself when he becomes ill after their voyage, for he's more interested in looking after his property and legacy than his disappointing daughter who would tarnish his respectability with this union. He's right in making sure Morris knows he wasn't born yesterday, but the doctor is wrong to presume he will dictate their lives. Sloper has bent Catherine with the unkind version of his unrealistic truth, and maybe she wouldn't have fallen for the first questionable man to come along if he had given her the attention she deserved. He unleashes decades of cruel thoughts on Catherine when she grows a backbone over Morris, and he only comes to admire his daughter too late – after her thorny outlook turns her into an abrasive image of himself.

Despite being a little over the top and intentionally flaky, the perfectly cast Miriam Hopkins (Becky Sharp) earned a Golden Globe nomination as Catherine's widowed aunt Lavinia Penniman. Dr. Sloper's sister is surprisingly giggly for a minister's wife, a busybody who's spent a lot of time drinking, observing others gossip, and waxing on romance. She's still suppose to be in mourning and continues to wear black, even briefly wondering if it is appropriate to socialize at her sister's party. However, Lavinia says she'll just be grief stricken wherever she may be – which happens to be on the dance floor. The Heiress almost requires Aunt Penniman for some expected levity or humorous moments, but such a character is also a necessary audience avatar and counterpoint to our stern father. Dr. Sloper keeps his sister on at Washington Square to help Catherine mingle and mature, but Lavinia almost seems smitten by Morris herself. She says one thing and does another, placing both sides of the dilemma into one supporting player who can like Morris, rebuke the elder Sloper, or otherwise address what the viewer is thinking. As much as her father is against the affair, Lavinia pushes Catherine in the opposite way, telling her to be gracious to a man who's come courting. She repeatedly tells her brother this could be a good match to be thankful for and volunteers as a chaperon before faking a headache to leave the lovebirds alone. Lavinia eurekas over the proposal and acts as a go between with her letters during Dr. Sloper's insisted wait, but even the romantic aunt comes to see the truth will out between father and daughter has gone too far. She stands by Catherine when things take a turn for the worst, but even she wishes her niece had indeed been just a little more clever when it came to her inheritance versus her romance rather than letting cruelty get the best of her.

The Victorian finery of The Heiress is distinctly 1840s New York rather than the casually thought of nineteenth century southern belle, but gloves, top hats, fans, cameo jewelry, and petticoats set off the absolutely divine Edith Head (Samson and Delilah) Black and White Costuming wins alongside calling cards, white tie formality, and old fashioned protocol. Men need to dress like this again! Period clutter with crystal, glass, silverware, and candles create a shiny silver screen glitter and shimmer reflecting the family's titular wealth. The splendid furniture is worthy of the Art and Set Black and White Decoration awards, and superb interiors with pocket doors open scenes or divide players as needed – not to mention that critical multi-storied staircase. I want to live in this townhouse with its sweet cobblestone courtyard, fountains, carriages, gazebos, and park views. The black and white photography is crisp with bright staging inside and out thanks to mirrors, gaslight chandeliers, oil lamps, and large windows. There's a beautiful glow about the screen before the night time scenes become progressively darker as The Heiress turns frosty with Oscar winning music romantic or chilling to match. Bleak capes and dark clothing add to the gothic atmosphere, shadow schemes, and long cast silhouettes. The Heiress remains a brilliant production, a known classic essential nominated for Best Picture, Director, and Black and White Cinematography with more awards praise. However, the Universal Cinema Classics DVD edition is bare bones but for an introduction from the late TCM host Robert Osborne and the required subtitles, leaving The Heiress ripe for a proper blu-ray release. None of this currently unavailable, phantom region, non-existent nonsense! The 1997 Washington Square sourced directly from James' page also isn't that bad a period drama as today's period dramas go, but when you see The Heiress first, it's bitter panache just can't be surpassed.

The Heiress takes multiple viewings to study each scene. It never gets old, and the more times you see it, the more likely you are to see something new. No one can really tell you about The Heiress, one just has to see it and make up his or her own mind on the maybe, maybe not payback. You can watch this from Catherine's point of view and see her need to be loved, or from Dr. Sloper's point of view that Morris is a louse. One can also watch The Heiress looking for Morris in love or purely as a fortune hunter – and there will be evidence for each case thanks to the must see mastery here.

Men's Movies List!

A Men’s Movie List

By Kristin Battestella

Although I’m not often a fan of the sappy, sometimes I swing in the completely opposite direction for some knock down, drag out, action heavy man pictures!  Here’s a quick compilation of movies for boys who play hard with their action, sport, war, and classics. 

Airport ‘77 – An all-star cast – including Jack Lemmon, Lee Grant, Christopher Lee, James Stewart, Olivia de Havilland, Joseph Cotten, and George Kennedy – adds even more nostalgia to this entry from the seventies transportation disaster franchise. Sure, it’s now typical of the early disaster flicks and we get plenty of those apocalyptic CGI blockbusters today. There isn’t a lot of character development either, and the equipment, mechanics, and ideology are out of date, too.  Nonetheless, there’s still a lot of fun here thanks to a unique mix of airline and aquatic dangers. The search and rescue half of the film feels more like a documentary or education short on the procedures and peril as one by one our stars have their moments. It’s strange to see some of these aged stars in their relative prime as well, but fans of the cast must see all the talent as they come out to play for this entertaining and often intense action yarn. 

Any Given Sunday – It took forever to get this one from Netflix, but I hadn’t seen this 1999 Oliver Stone football ode in a long time and wanted to watch the “Life’s this game of inches” heavy in all its glory.  Al Pacino, Cameron Diaz, Dennis Quad, Jamie Foxx, James Woods, LL Cool J, Ann-Margaret, Charlton Heston, Aaron Eckhart, and many, many more in this A-list cast are all on their game as the great music, script, speeches, and quotes both bad ass and poetic highlight the lowlights of pro sports. Drug use, cutthroat contracts and betrayal, sex, media, medical malpractice – if it’s corrupt, it is here. Stone films his scenes as though they were fond memories or hyperbole sports recollections. The camera is both hectic, dizzying, and in your face in-game action and yet edgy, slow motion artistic. The editing captures the violent beauty on the field and the football as religion state of mind.  The lingo and style might be dated now, but the design smartly stays away from specific trends and is still very cool. Though long at over two and a half hours, fans can watch the enjoyable, over the top entertainment out of season or have this on in the background to spruce up a post game party.

Band of Brothers – I can’t say how many times I’ve seen this exceptionally photographed, multi layered, and award winning 2001 World War II mini series from HBO, Steven Spielberg, and Tom Hanks.  The camerawork is both vivid, colorful, and intimate whilst also being grainy, old school, hectic, and epic. I’m sure there must be special effects, but the work is so seamless, it’s unnoticeable. Various story-telling concepts such as flashbacks and individual narrations are used to spotlight central characters per episode and this core helps focus the extensive topics surrounding Easy Company. Of course, everyone and his grandpa makes appears here, from main cast members Damian Lewis, Ron Livingston, Scott Grimes, Donnie Walhberg, Neal McDonough, and David Schwimmer to then unknowns such as James McAvoy, Simon Pegg, Colin Hanks, Michael Fassbender, Tom Hardy, and more. Everyone is simply delightful and downright touching as we meet the cast’s real life counterparts throughout the series. “Bastogne,” “The Breaking Point,” and “The Last Patrol” are outstanding, as is “Why We Fight.” I don’t like to see Holocaust material, but you know this is heart-wrenching perfection. There’s some dramatic license, sure; and language, nudity, and plenty of war gruesome will keep this one out of the classroom. However, this is perhaps as near-complete a war diary as one can see, and is there any group more legendary than the 101^st? Wartime audiences might find a viewing difficult, but this show is delightful for military historians, as are the massive behind the scenes features and a dynamite blu ray transfer. Though I’d love to see a counter point series on a German regiment of note someday, the sentiment, action, and rah rah here is near impossible to beat. 

The Quiet Man – One never gets tired of this charming 1952 classic, and there’s no better time than St. Patrick’s Day to sit back with John Wayne and Maureen O’Hara in director John Ford’s idyllic ode to Ireland. The stunning vintage Technicolor scenery, Maureen as Mary Kate and her flaming red hair bellowing in the wind, the quaint townsfolk and their old fashioned ways, a bonnet left behind, the courting via a matchmaker, the withheld dowry, and the brawl to end all brawls. You know you were picturing it all!  Excellent support from Victor McLaglen, Barry Fitzgerarld, and Ward Bond add to the chemistry, tenderness, and spitfire delights here. Yes, the issues facing 1920 Ireland are never felt onscreen, but the drama is feel good nonetheless. For those who haven’t seen this one and think Ford and Wayne are nothing but dusty old cowboys, you better think again!  All the boys in the family young or old can watch this Irish nostalgia again and again.

Titus – Okay, this 1999 Shakespeare gone bizarre cinematic blend won’t be for everyone. Not only is the anachronistic approach and tone a bit confusing, but the serious amount of nudity, violence, and gore are not often found in period pieces. Traditional Shakespeare enthusiasts might be put off completely by the change-up, and that’s exactly why non-fans of The Bard can love the freaky transitions, apocalyptic cool, and twisted ensemble of Anthony Hopkins, Jessica Lang, Alan Cummings, Harry Lennix, Laura Fraser, and Jonathan Rhys Meyers. The dialogue is powerful and largely line for line from its source, and all the ancient justice and vengeance is heavy, modern, and fresh. Even the score was lifted for 300! Rapacious foreshadowing, off screen disembowelments – some of what you don’t see in Titus is quite frightening.  In fact, Shakespeare dynamos may actually enjoy this stylized spin along with the edgy layman – its risqué, mature, and disturbing as needed. 

Classic Swashbuckling and Adventures

Classic Swashbucklers, Knights, and More

By Kristin Battestella

Yes, I do love me some classic film.  Moreover, if said classic film has plenty of Arthurian lords and ladies, sword fighting pirates, not so chivalrous knights, or any other medieval rogues and wenches- it’s all the better. Here’s a quick list of old school fantasy and historical films for ye olde viewing pleasure.  Break out the mead and rum!

Captain Blood – I said ‘swashbuckler’. That means we’re going to spend a lot of time with the Tasmanian ladies man himself, Errol Flynn.  In this 1935 stateside breakout full of feathers, frocks, and pirates; Flynn (The Adventures of Robin Hood) and his favorite onscreen leading lady Olivia de Havilland (Gone with the Wind, The Heiress) debate slavery, fight imperial injustice, and battle the wonderfully ruthless Basil Rathbone (The Adventures of Sherlock Holmes). Some of the music, reused seafaring footage, highbrow delivery, and over the top design might be a bit much for contemporary folks, I grant you.  However, the sweet sword fights, dashing story, and jolly good fun are a fan’s delight- and its all dang impressive for its time.  Take that, Pirates of the Caribbean!  Now, if only this were really in color, can you imagine?

Knights of the Round Table – Medieval rogue Robert Taylor (Ivanhoe, Quentin Durward) is at it again with a seriously smokin’ Ava Gardner (Mogambo, The Barefoot Contessa) in all the Arthurian Cinemascope glory one classics fan could ask for. From the sword in the stone to all those somehow fitting but out of place 14^th century French styles, director Richard Thorpe (Jailhouse Rock, The Prisoner of Zenda) keeps this colorful 1953 yarn quick and entertaining.  Yes, the dialogue is a little hokey now, but the fights and fancy, chivalry and ladies are all in good fun.  There’s even as much scandalous love as the Production Code will allow, complete with a saintly Elaine (Maureen Swanson, later even a real life countess!) and an appearance by the Holy Grail. What’s not to like?

The Lion in Winter – This 1968 opus starring Peter O’Toole (Lawrence of Arabia) as Henry II and Oscar winner Katharine Hepburn (The African Queen, Guess Who’s Coming to Dinner) as Eleanor of Aquitaine is as epic as they come.  Sure, its long and slow by today’s standards, with too many angled zooming close ups and over the top arguments for the throne; but divine locations, authentic dressings, sweet costumes,  and lovely Oscar winning music from the late James Bond composer John Barry more than make up the difference.  Add Timothy Dalton (The Living Daylights) and Anthony Hopkins (Silence of the Lambs) in their film debuts, too, and we’ve a medieval tale well told.  Die hard audiences can also take in O’Toole’s prior appearance as Henry II in Becket or compare the 2003 television The Lion in Winter starring Patrick Stewart.

The Private Lives of Elizabeth and Essex – Only an exceptional few ladies could play Good Queen Bess twice, and Bette Davis (The Virgin Queen) makes a lovely royal debut here in 1939- along with our swashbuckling essential Errol Flynn as the titular Essex and a young, pre-horror maven Vincent Price as Sir Walter Raleigh.  Toss in the wonderful schemer Olivia de Havilland (again!), some sweet costumes by Orry Kelly (Some Like it Hot, Gypsy), lovely medieval decoration, and plenty of historical drama from Oscar winning director Michael Curtiz (Casablanca, Yankee Doodle Dandy, Mildred Pierce) and you simply can’t go wrong.  And thanks to Cate Blanchett, too!

Robin and Marian ­– Contrary to our modern versions keeping Robin Hood young, pretty, non-English (I’m talking to you, Mr. Costner and Mr. Crowe) or otherwise badass; this 1976 Sean Connery (The Untouchables, Dr. No) yarn  adds a touch of vintage class and mature romance to the outlaw’s tale.  While the golden age tone and veteran retrospective bend is not what we expect, the pace and editing is a little slow at times- especially early on.  It’s a little too dark in some spots, and some of the accents are kind of annoying, too; but hey, 12^th Century England was no picnic. Thankfully, the look, style, and sword action are fun and authentic, along with the delightful cast including Audrey Hepburn (Roman Holiday, Breakfast at Tiffany’s), Richard Harris (Camelot, The Field), and Ian Holm (Alien, Lord of the Rings).  

The Sea Hawk – In Like- err Errol Flynn strikes again, this time with the none to shabby Flora Robson as Elizabeth I, another multi-talented lady reprising her turn as Her Majesty from Fire Over England (Take that Bette!). Toss in the ever wonderful Claude Raines (Casablanca, Notorious, Mr. Smith Goes to Washington) as Spanish ambassador Don Alvarez, add an armada or two, and we’re okay to go.  Some of director Michael Curtiz’ (yes, him again, too) black and white photography is showing its 70 year wear, but that doesn’t mean we have to go and bastardize it with some faux color!  Besides, not a lot of contemporary actors can look so fitting and proper in those pointy conquistador helmets, either.  The frocks- partly nipped from The Private Lives of Elizabeth and Essex- are also charming, even if the rest of the story is pretty historically inaccurate. Even with the dated fun and faults, we just don’t make strapping, family friendly, entertaining, and adventurous yarns like these anymore.  I protest!

Also, don’t forget to check out our extensive Classic Camelot and Medieval Fun list, compiling these and a slew more of ye olde films of Arthur, yore, and more!

In Defense of Blu-ray

A Case for Blu-ray

By Kristin Battestella

Overall, I think I’m pretty split on the powers of blu-ray. On one hand, it’s still dang expensive and sensitive, and the BD live interactive features are sometimes more trouble than they’re worth. However, the new video format gives action movies visual depth, packs everything you need on less discs, and makes classic pictures look twenty years younger. Here’s a list of old films revitalized by blu-ray and new pictures providing testimony.

The Wizard of Oz – Well, that’s a horse of a different color, literally! The sound is exceptional, the black and white is defined all over the gray spectrum, the Emerald City is emerald, and the poisoned poppies are red is red. Even if you’ve never cared for this 1939 children’s classic, you can see this Judy Garland staple as if for the first time. You can see the putrid green of the Wicked Witch of the West and find every detail in the makeup of The Scarecrow, Tin Man, and the Cowardly Lion. As I kid, I thought the Collector’s VHS was dynamite, but then you could barely see the flying monkeys. On blu-ray however, those monkeys look damn good. With such vivid color and lifelike fantasy, Dorothy’s quest doesn’t seem so juvenile and preposterous at all.

 
Star Trek (2009) – I think I’m the only person in the world who isn’t in love with J.J. Abrams update of this classic series. As a one-off Academy tale, I might enjoy it; but having Old Spock come back in time to tell Young Spock he’s now in an alternative reality? Yes, they’ve safely placed their reboot in this sanctioned new canon, but they miss out on some of the human story at the expensive of being new, young, and hip. How could you not have an old Spock talking to the young Sarek? Okay, I’m done ranting, because the action here shares the spirit of the Original Series while updated the franchise with all the modern visual delights. The spaceships and planets look enchanting, the warp speed is instantaneous, and the bridge of the new Enterprise looks sweet. Are the effects enough to charm audiences? Apparently so.

The Dark Knight – As the title suggests, this sequel to Batman Begins is a dark and melancholy picture. Christian Bale gets downright depressing as Bruce Wayne, and Maggie Gyllenhaal gives a sad send off to his lost love Rachel. Thankfully, blu-ray lets us see all the depth and dimension in all the nighttime and dark action sequences. The action is fast, furious, complex visually and mentally; and we can see it all without squinting. We see the black be clad Batman and the swish of his cape. Though Heath Ledger won the Oscar for his demented and psychological portrayal of The Joker, Aaron Eckhart’s fallen white knight Harvey Dent was more charming for me. Of course, his beautifully grotesque and deformed half as Two-Face looks dynamite, too. 

Gone with the Wind – The subtitles don’t match the dialogue and the white text is tough to see against Scarlett’s white prayer gown, but otherwise I can say nothing bad about the 70^th anniversary blu-ray release of this perennial classic. After decades of a choppy, flat, jumpy VHS-heavens to Betsy this looks marvelous. The colors are so vivid-every single one in the rainbow. The depth of light and shadow in indoor scenes and outdoor spectaculars is a treat to the human eye. The sound isn’t as voluminous as I might have preferred for such sweeping scores and Civil War destruction, but the most troublesome thing about this set is finding the four hours to watch undeterred. Yes, it’s overlong, full screen, the men are over the top-but one look into Vivien Leigh’s hypnotic eyes and you’re sold. The blu-ray set also caters to the obsessive fan’s delight, including a CD of the score, copies of memos from David O’Selznik, a hardback book, art prints, limited edition numbers, and almost another four hours of extras all in a sweet red velvet box. Whew!

Harry Potter and the Half Blood Prince – This latest adaptation of the famous boy wizard books is not an introductory piece-you have to really know and love all things Potter to appreciate the depth and hinted subplots here. It’s been a few months since I saw Order of the Phoenix and I was a little lost! Dumbledore finally gets his day, but is that where this movie is supposed to be? Or is it with all the budding romances, Malfoy and the Death Eaters, or the mysteries of Tom Riddle and the Half Blood Prince? Returning director David Yates never seems to make up his mind, and once again, the cast is not used to its full potential. I swear Maggie Smith, David Thewlis, Robbie Coltrane, Helena Bonham Carter, and Alan Rickman each only have two scenes. If you have such clout, well by golly show it! I complain yes, but these uneven story quibbles almost don’t matter compared to the dynamite look of the Half Blood Prince. The Quidditch looks real here, the dark clouds, evil swirls, and a half empty Hogwarts look like photographs not digital effects. Us muggles can believe in the magical underside of London when it looks this good. We’re past the cute and youthful awe trickery of magic here-its specialties are an understood given now. Blu-ray makes the world of Harry Potter seem not like fantasy, but reality.

So also, feel free to read our lengthy praise of both The Searchers and the original Planet of the Apes for more A plus blu-ray action. Of course, these are but a few of the treats available on blu-ray. As more affordable releases come out, blu-ray and digital copy will replace good old DVDs, just as VHS is now a thing of the past. Yes, the format is still touchy and delicate, as well as pricey in players and discs. For classics and action or effects laden pictures, however, blu-ray is decidedly spectacular and worth every penny for your favorites.