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

Summer Comedy Round Up

Summer Comedy Round Up

By Kristin Battestella

Tans are bad for you, so take a day in with the gang and have a belly of laughs with these classic comedies and recent capers. Yee-haw! 

Fanboys – This 2009 ode to the Star Wars fandom isn’t actually as geeky or obsessive as it could be-going for a more mainstream Star Wars versus Star Trek angle before some finite EU mystique.  Thankfully, there are some finely preposterous and witty gags here.  The tragic drama and coming-of-age angles also don’t go far enough, but all in all not a bad little movie-especially since it takes place during the 1998 anticipation of The Phantom Menace.  We all know how that turned out!

The Front Page (1974) – Jack Lemmon and Walter Matthau lead an all-star cast in this Depression era tale of newspaper capers and Chicago wit.  Yes, Billy Wilder’s update is a step down from Howard Hawks and Cary Grant’s charming His Girl Friday, and I don’t know about Susan Sarandon’s pre Rocky Horror singing or the misuse of the wonderful Carol Burnett.  Nevertheless, the period style and fun from the leads keep this one watchable. Can you honestly picture any other pair as such crabby newspapermen?

The Invention of Lying – Ricky Gervais’ 2009 charmer has some greatly funny and blunt scenes thanks to its built in premise about no one ever lying and always saying exactly what he means- but such a notion has its problems, too.  It’s a little iffy to say religion is just something some guy made up, the higher concept ideologies don’t always pan out, and the onscreen relationship with Jennifer Gardner is a little devoid. However, the seriously touching and absolutely endearing debates on appearances, loneliness, and well, lying win out.  

The Out of Towners – Modern viewers can enjoy some of the fun from the 1999 remake with Steve Martin and Goldie Hawn, but the original 1970 kitschy whine fest starring Jack Lemmon is full of sardonic nostalgia and then some.  Sandy Dennis matches Lemmon wit for wit as one bad New York turn after another follows the yuppie Ohio couple.  Though not a laugh out loud comedy per se, the simple absurdity mixed with true to life ridiculousness can make the audience laugh aloud all the same.  Don’t we all have the annoying woman and disastrous vacation sometime?

Sixteen Candles – Eighties teen comedy fans unite!  Director John Hughes and star Molly Ringwald were funny, fresh, and delightful in 1984 and this very quotable flick still has its moments today.  Sure maybe we haven’t all been the geek sealed inside a glass coffee table or paid to see girl’s panties for a case of floppy disks-remember those? However, we’ve all had a crappy birthday, and those bad eighties memories still put a smile on our faces-and quotes in our mouths.  “What’s happenin’, Hot Stuff?”  Actually, anyone interested in classic comedy should just get a print out of Hughes’ filmography, rent them all, and make a lot of popcorn.

The Terminal – Yes, this 2004 Stephen Spielberg vehicle starring Tom Hanks is more appropriately a drama or dramadey.  Hanks and leading lady Catherine Zeta-Jones have plenty of despair, seriousness, and sadness here-but the wit and comical personas are all well and good, too.  Hanks is delightfully charming in his innocence and simplicity, and the quirky crew of the terminal in which he’s bound is given room to make us laugh and put a bittersweet smile on our faces.  John Williams’ witty score also gives us the appropriate cues when its time to laugh or cry. I don’t know why this film gets such a bad wrap.

Who’s Harry Crumb – Dated, yes; predictable, of course.  Side splitting laugh fest with wonderful quips, sarcasm, and physical comedy? Always! The late John Candy once again uses every ounce of his wit, stature, and charm to best an on form supporting cast- including Annie Potts, Jeffrey Jones, Tim Thomerson and Shawnee Smith.  So what if the mystery isn’t super deep or more than a glorified Macguffin- the delightful hijinks in solving the crime keep this one watchable twenty years on.  Goodness me, has it been that long?

Lastly, here’s a note on a few to keep out of your DVD corral.

Land of the Lost – Will Ferrell’s 2009 spoof of the classic series hits all the wrong notes and them some. It’s not really a nostalgic homage, but has too many themes towards adults, like the usual unfunny sex and stoner puns. Then again, the storyline and characterizations are just too juvenile.  The science is silly and the Cha-Ka jokes are too dang dumb.  Stick with The Brady Bunch movie parodies instead.

The Goods: Live Hard, Sell Hard – Another miss vaguely associated with this growing old fast Frat Pack, starring Jeremy Piven and a useless cameo from Will Ferrell.  All the car clichés, relationship runarounds, rock dreams, and sex stupids are here-and every single thing falls flat.  The cast is unlikable and it’s a very long hour and a half.  Save yourself the absurdity. 

King Creole

King Creole One of Elvis’ Finest

By Kristin Battestella

I’m biased I’ll admit it. King Creole is my favorite Elvis picture. Yes, the story of a New Orleans bad boy turned singer is full of excuses for The King of Rock and Roll to sing. Nevertheless, the teen angst, all around acting talent, and yes some dang fine tunes keep this 1958 classic, well, classic.

Danny Fisher (Presley) has flunked out of school. He’s got a chip on his shoulder, and working before and after classes didn’t help. After his wife’s death, Danny’s Father (Dean Jagger) lost his pharmacy and sunk into cowardly despair. Refusing to crawl like his Old Man, Danny sings at the King Creole under the tutelage of owner Charlie LeGrand (Paul Stewart, Citizen Kane, Deadline USA). The Creole is the only club in town not owned by Maxi Fields (Walter Matthau); and Danny feels the pinch from Maxi, his alcoholic girl Ronnie (Carolyn Jones), a thug named Shark (Vic Morrow, Roots, Combat!), and his true love interest Nellie (Dolores Har). Will he rise above the beat down world of New Orleans?

Writers Herbet Baker (The Flip Wilson Show, The Girl Can’t Help It) and Michael Gazzo (better known as Frankie Pentangeli in The Godfather, Part II) shake up Harold Robbins’ 1952 novel A Stone for Danny Fisher by turning the literary Jewish boxer into a onscreen bayou singer. Changes for Elvis, yes, but the result is a complex and well rounded picture-unlike all those jingle and jiggle fluff pictures for which Presley later became so infamous. Give Elvis some worth to say and put fine people around him and look what happens! There’s no sand and surf in sight here, but there’s plenty of New Orleans and its flavor in King Creole. From all the talk of Bourbon street, the jazz, the crawfish, lyrics about the bayou-perhaps it’s stereotypical, but it’s a great mood. Sure, he was from Mississippi, but it’s also a nice touch to have a genuine Southern boy as our lead.

Well then, let’s talk about the man and the music, shall we? It is after all, what draws most people to watch King Creole. Not only does the King look good and sing great hits, but he can also act. The unsettled working class home, troubles with his struggling father, and the inability to get the girl and do what he wants to do give Elvis plenty to get emotional about. He’s believable as a humble kid who just happens to sing pretty darn good. Maybe there are similar touches in Presley’s Jailhouse Rock the year before, but there’s less fun and more angst here for Elvis to milk. I’m not a swooning fan or one of those who doesn’t believe Elvis is dead, but one cannot doubt that he made some great films after viewing King Creole. And maybe, just maybe, Presley’s films were successful because he did have some acting skill. Okay, certainly hits like ‘Hard Headed Woman’, ‘Trouble’ and the titular track have something to do with Elvis’ charm here. We wouldn’t want our boy with the voice to make it if we didn’t like his music. The softer songs like ‘Don’t Ask Me Why’ and ‘As Long As I Have You’ will make the ladies swoon, but my favorite has to be ‘Crawfish’. Its eponymous word is just so dang catchy!

I’ve seen King Creole probably a dozen times, and until recently, I didn’t realize that Carolyn Jones-Morticia Addams on the original Addams Family- plays used and abused dame Ronnie. For shame on my classic film buff laurels, yes, but it’s also a great outing from Jones. Her hair is short, her look is sexy-she would be a real classy lady if it weren’t for Walter Matthau’s Maxie. Loved by modern audiences for his delightful Grumpy Old Men pictures and The Odd Couple pairings with Jack Lemmon; the late Matthau is young, lean, mean-and he’s lynching off Danny’s chance to make it big. We’re so used to seeing him in humorous parts, but Matthau has the stature and ruthlessness here to keep Elvis on his toes. Rounding out the cast with solid performances are Jan Shepard (The Virginian) as sister Mimi, good girl love interest Nellie (Dolores Hart, Loving You), and a wonderfully broken and redeemed Dean Jagger (an Oscar winner for Twelve O’Clock High) as Mr. Fisher. Everyone seems so cookie cutter on the surface; but as our tale unravels, we see how murky and troublesome life is for all involved.

My nieces are Elvis fans and don’t mind black and white films, but ye olde silver screen might turn some off today. It’s a shame that some would refuse to watch so many wonderful pictures due to the absence of color, but it’s a sad fact. We’d like to have some fantastic, early Technicolor shows from Elvis, sure, but the gray and dark cinematography helps the moody club scenery. The lack of flair visually shows the fine line between the good life and the dark New Orleans underworld. Without big colorful, outlandish music productions, King Creole has to stand on all its other filmmaking merits.

Despite these acting and musical wonders, King Creole’s end is a little depressing. After plenty of fine music, Oscar winning director Michael Curtiz (Casablanca, Yankee Doodle Dandy, Mildred Pierce, White Christmas, We’re No Angels, The Adventures of Robin Hood, okay I’ll stop!) let’s things get really, rough, serious, and heavy in the latter third of the picture. It’s good for drama, certainly, but some may prefer all those contrived, easy Elvis films to come instead of the bleak picture presented in King Creole. I don’t care; I’ll take this one over G.I. Blues, Kissing Cousins, or Blue Hawaii any day. Even Viva Las Vegas has all the romantic comedy pomp and circumstance of Elvis’ paring with Ann Margaret-and the feathers it may have ruffled off screen. There’s nothing wrong with King Creole’s fifties melodrama, and it deserves to be ranked among Elvis’ better, more complete pictures like Jailhouse Rock and Flaming Star. With such classic early pictures, it’s a wonder why Elvis’ entourage turned him from gritty acting towards all that fluff.

Presley fans certainly know and love King Creole, as should classic buffs and any others fiendish for fine film. Modern audiences looking for serious, intelligent drama blending music and a fine ensemble can take an affordable chance on several DVD editions or Elvis sets. The disc covers push the guitar and the pretty girls, but there’s everything a viewer needs here. After all, how can you not love the King…Creole?