Can-Can (1960)

Can-Can
Directed by Walter Lang
Written by Dorothy Kingsley and Charles Lederer from a musical comedy by Abe Burrows
1960/USA
Twentieth Century Fox Film Corporation/Suffolk-Cummings Productions
Repeat viewing/Netflix rental

So goodbye, dear, and Amen/ Here’s hoping we meet now and then/ It was great fun/ But it was just one of those things – lyrics by Cole Porter

There are a lot of nice Cole Porter standards and some glorious dancing in this but the script could have been tightened considerably.

Simone Pistache (Shirley MacLaine) owns and performs at a nightclub in Montmarte which sometimes features the illegal can-can.  Her sometime boyfriend Francois Dumais (Frank Sinatra) is a lawyer who can often fix things with the police and avoid a fine and closing of the establishment.  New by-the-book judge Philipe Forrestier is determined to enforce the law and visits with the intention of conducting a raid.  His attitude changes a bit when he falls for Simone.

The two men vie for Simone’s affections.  Francois is a bit of a womanizer and has no intention of marrying.  Philipe proposes in short order.  It looks like the couple is looking at a happily ever after ending until Francois throws a spanner in the works by getting Simone drunk at a high society part intended to introduce her to Philipe’s friends.  When she sobers up, she is determined to get revenge.  With Maurice Chevalier as another judge, Juliet Prowse as a saucy dancer, and Marcel Dalio as the head waiter.

What should be a good musical is dragged out by an overlong script and by the “Adam and Eve Ballet” which brings the action to a screeching halt for several minutes.  I remember enjoying this when I was a young musical fanatic.  Not so much anymore though that final can-can almost made everything worthwhile.

Can-Can was nominated for Academy Awards in the categories of Best Costume Design, Color and Best Music, Scoring of a Musical Picture.

Clip

Blood and Roses (1960)

Blood and Roses (Et mourir de plaisir)
Directed by Roger Vadim
Written by Roger Vadim and Roger Vailland; original story by Claude Brule and Claude Martin; novel by Sheridan Le Fanu
1960/France/Italy
Documento Film/Films EGE
First viewing/YouTube

The strength of the vampire is that people will not believe in him. Garrett Fort

The erotic meets the supernatural in this story of a beautiful female vampire and her equally attractive female victims.

The ancestors of Carmilla De Karnstein (Annette Vadim) were reputed to be vampires in the 18th Century.  When Carmilla’s cousin Leopoldo (Mel Ferrer) gets engaged to Georgia (Elsa Martinelli), she becomes jealous and something snaps within her.  Suddenly her very presence begins to frighten the horses.  Next things we know a maid is found dead …

Vadim had found his new muse in then wife Annette Vadim, who bears a remarkable resemblance to Brigitte Bardot. The brunette Martinelli looks equally luscious.  The movie is nicely atmospheric and contains a few really striking shots in a dream sequence.  Folks looking for real scares should look elsewhere but I kind of liked it.

Trailer (the color was much more vivid in the version I watched on YouTube)

La Dolce Vita (1960)

La Dolce Vita
Directed by Federico Fellini
Written by Federico Fellini, Ennio Flaiano, Tullio Pinelli, and Brunello Rondi
1960/Italy/France
Riama Film/Cinecitta/Pathe Consortium Cinema/Gray-Film
Repeat viewing/Netflix rental
One of 1001 Movies You Must See Before You Die

Transvestite: By 1965 there’ll be total depravity. How squalid everything will be.

Life is bittersweet in this episodic tale about a man who cannot seem to find anything to hold onto in a world adrift.

Marcello Rubino (Marcello Mastroianni) is a tabloid journalist who works hand and glove with a pack of photographers (who would become known as paparazzi as a result of this film).  He spends much of his time collecting tidbits of gossip on Rome’s Via Veneto.  Marcello is also constantly up for a good time and collects a number of women from the same location.

The film follows a week in Marcello’s life as each wild night leads to a disillusioning dawn. Included in the episodes are his troubles with his clinging live-in-girlfriend, his encounter with a Swedish sex symbol (Anita Ekberg), a tentative relationship with an heiress (Anouk Aimee), an erzatz miracle, an intellectual salon, and an orgy.  All leave Marcello more depressed and less open to an authentic life than previously.

I don’t know what this says about me but I seem to have the same sense of humor as Fellini.  From the brilliant opening in which the Christ statue is borne by helicopter to the Vatican to the wistful ending, I am awestruck by the images and smiling throughout.  It’s the first of Fellini’s freak shows but I happen to find all the freaks amusing and rather endearing.  The film is more than just freaks, however.  Marcello, brilliantly portrayed by Mastroianni, is Everyman and we identify with his longing for something better and his desperation.  When you think of the scale of the production, it was quite an achievement.  The Nino Rota score is iconic.  Highly recommended.

La Dolce Vita won the Academy Award for Best Costume Design, Black-and-White.  It was nominated in the categories of Best Director; Best Writing, Story and Screenplay – Written Directly for the Screen; and Best Art Direction-Set Decoration, Black-and-White.

From the Terrace (1960)

From the Terrace
Directed by Mark Robson
Written by Ernest Lehman from a novel by John O’Hara
1960/USA
Linebrook
First viewing/Netflix rental

Mary St. John: Yes. She has something I haven’t got – niceness. But then I have something she hasn’t got.

Alfred Eaton: Me?

Mary St. John: No. Honesty and guts. She has no guts.

The valiant efforts of a talented cast cannot save the turgid dialogue of this potboiler.

David Alfred Eaton (Paul Newman) comes home from WWII to find his mother (Myrna Loy) a hopeless alcoholic who is also under the grip of a blackmailer.  Alfred is a misunderstood youth having disappointed his father (Leon Ames) by surviving his beloved brother, who died at an early age of spinal meningitis.

Dad wants young Alfred to work his way up the ropes at the family mill but Alfred wants none of it.  He founds an airplane manufacturing venture with some friends.  Unfortunately, Alfred gets interested in Mary St. John (Joanne Woodward), the naughty daughter of a tycoon.  The tycoon opposes the marriage until Alfred’s father has a heart attack.  After that he is all in favor.  For some reason the highly sexed Mary and Alfred never really make the marriage work.

After rescuing his drowning grandson, Alfred gets a job offer from a Wall Street wheeler dealer.  He becomes a complete workaholic like his father, leaving Mary alone for weeks and months at a time while he travels on business.  She retaliates in the predictable ways. Can the love of good girl Natalie rekindle David’s passion for life?

The first thing you have to get past is that Paul Newman’s character could possibly prefer ultra-bland non-actress Ina Balin as Natalie to Joanne Woodward.  Worse, though, are the stilted dialogue and cliched plot points.  If you have to choose one John O’Hara saga for 1960, I would go for Butterfield 8.  Or if you are not a melodrama fan, you could give them both a miss.

Trailer

The Warped Ones (1960)

The Warped Ones (Kyônetsu no kisetsu)
Directed by Koreyoshi Kurohara
Written by Nobuo Yamada
1960/Japan
Nikkatsu
First viewing/FilmStruck

 

I wouldn’t mind a little bow. In Japan, they bow. I love it. Only thing I love about Japan. Donald Trump

Warped is right.

Three delinquents are released from the reformatory.  They are all weirdos who immediately revert to their lives of crime and meanness.  The lead weirdo is also a jazz fanatic who makes the funniest faces seen outside a zoo.

Early on the group attacks a journalist and his girlfriend who helped lock them up.  They strike the man with their stolen car and abduct the girlfriend.  The lead weirdo rapes the girlfriend.  After this she can’t leave him alone, largely because she is pregnant and her boyfriend refuses to acknowledge her ordeal.  This gives the weirdo the opportunity to do yet more awful things to her.

I did not want to spend 75 minutes of my life with these people.  This is at least the third Japanese film I have seen where a woman seeks to form a relationship with her rapist. Yuck.

 

Sons and Lovers (1960)

Sons and Lovers
Directed by Jack Cardiff
Written by Gavin Lambert and T.E.B. Clarke from the novel by D.H. Lawrence
1960/UK
The Company of Artists
First viewing/YouTube rental

“That’s how women are with me ” said Paul. “They want me like mad but they don’t want to belong to me.” ― D.H. Lawrence, Sons and Lovers

This handsome film is a well-acted adaptation of Lawrence’s classic novel of desire, both repressed and unleashed.

Paul Morel (Dean Stockwell) is a rebellious artist living in an impoverished English mining town.  His mother (Wendy Hiller) dotes on him and his drunken miner father (Trevor Howard) fails to understand him.  Paul has had a long-term relationship with Miriam.  She loves him deeply, but religion as preached by her mother forbids her from letting him get physical.  Paul’s mother disapproves of the friendship and seems likely to frown on any girl Paul gets serious about.  This is not a real problem since he has vowed never to get married while she is alive.

Paul’s filial devotion prevents him from accepting an offer to study painting in London. Instead, he goes to work at a corset factory.  There he meets Clara Dawes (Mary Ure), a suffragette who has separated from her husband due to his infidelity.  Clara is open to “free love” and she and Paul begin an affair.  But Paul’s heart really belongs to mother.

All the acting is of a very high standard but I thought that Hiller, who failed to snag a nomination, was the best thing about this movie.  The story is interesting and the visuals are simply gorgeous.  Recommended.

Freddie Francis won the Academy Award for Best Cinematography, Black-and-White. Sons and Lovers was nominated in the categories of Best Picture; Best Actor (Howard); Best Supporting Actress (Ure); Best Director; Best Writing, Screenplay Based on Material from Another Medium; and Best Art Direction-Set Decoration, Black-and-White.

Trailer

L’Avventura (1960)

L’Avventura
Directed by Michelangelo Antonioni
Written by Michelangelo Antonioni, Elio Bartolini, and Tonio Guerra
1960/Italy/France
Cino del Duca/Produzione Cinematografiche Europee/Societe Cinematographique Lyre
Repeat viewing/Netflix rental
One of 1001 Movies You Must See Before You Die

Sandro: Why should we be here talking, arguing? Believe me Anna, words are becoming less and less necessary; they create misunderstandings.

The adventure in this hauntingly beautiful film is a young woman’s journey of self-discovery.

Anna (Lea Massari) is young, beautiful and rich.  She is also bored, dissatisfied, and conflicted about her engagement to Sandro (Gabriele Ferzetti).  Sandro works as some kind of building consultant, having abandoned actual architecture.  The two have meaningless sex in lieu of communicating.  It’s hard to communicate with Sandro, who is seemingly a very simple sort of guy.

Anna’s friend Claudia (Monica Vitti) will accompany the couple on a yacht trip.  Along for the ride are two other couples, both of whom also have deeply conflicted relationships. Claudia is the witness to all this emptiness and despair.  She will be the only authentic human being we will meet in the course of the film.

The party visits a deserted rocky island where they continue to play out their psychodramas.  Suddenly, Anna has disappeared  Everyone looks for her with varying degrees of intensity.  Claudia is the most frantic.  But Anna is nowhere to be found.

Sandro comes on to Claudia before the yacht has even departed the island.  She flees to continue the search on the mainland.  He follows her.  Then they start searching together. Claudia eventually reciprocates his attentions but loving Sandro will not be easy.

This was my third viewing of L’Avventura.  The first time through I was just puzzled.  After a couple more tries at Antonioni’s films, I concluded that he made boring films about boredom.  The second time something clicked in me and I found the film fascinating and meaningful.  On this viewing, I was somewhere in between my two reactions.  The film seemed to drag on and on, yet every image was captivating and moving.  I love the ending when two characters seem able to grieve their losses.

I don’t know how fair it is to let a commentary influence one’s opinion about a film.  The one on the Criterion version is fantastic and explains so much.  It turns out that you have to pay attention to just about every detail in every frame to get the most out of this.  Nothing is there by accident.  When I watch the movie through this film historian’s eyes, it turns into a masterpiece.

Re-release trailer

BUtterfield 8 (1960)

BUtterfield 8
Directed by Daniel Mann
Written by Charles Schnee and John Michael Hayes
1960/USA
Afton-Linebrook
First viewing/Netflix rental

 

Tom, the Bartender: Without her this place is dead. She’s like catnip to every cat in town.

 

Elizabeth Taylor is not bad here but was better in other, better, films.

The Hayes Code is still in force.  Gloria Wandrous (Taylor) works as a “model” but sleeps around and drinks heavily.  Her latest conquest is wealthy married cad Weston Liggett (Laurence Harvey).  Liggett has the audacity to leave her $250 after a night of passion.  She retaliates by stealing his wife’s mink coat.

The next day, Liggett pursues Gloria.  He chases her until she catches him and they begin a rapturous week of true love.  She forgets all about the mink, which he still does not know is missing.

Love has made Gloria a new woman.  When Liggett’s wife returns to their city apartment she finds the mink missing.  Gloria is the only person who could have taken it and Liggett now confronts her in a fury.  Many complications ensue.  With Dina Merrill as the long-suffering wife, Mildred Dunnock as Gloria’s mother, Bettie Field as a catty neighbor and Eddie Fisher as Gloria’s best friend.

I watched this with my husband and brother.  My brother liked it more than I did and my husband liked it less.  Both my husband and I correctly predicted the ending, driving my brother crazy in the process.  A good time was had by all.

Anyway, Taylor did remarkably well for someone who refused to speak to the director (she was forced to make the film to complete her MGM contract) and looks absolutely scrumptuous.  The script veers from witty and catty repartee to all-out melodrama by the end.  The movie was better than I expected from its low IMDb rating.

Elizabeth Taylor won the Academy Award for Best Actress for her performance in BUtterfield 8.  The film was nominated for Best Cinematography, Color.

***************

I have to go back to Nevada for a few days.  May not be able to post until March 19.

 

Breathless (1960)

Breathless (À bout de souffle)
Directed by Jean-Luc Godard
Written by Jean-Luc Godard; story by Francois Truffaut
1960/France
Les Films Imperia/Les Productions Georges de Beauregard; Societe Nouvelle de Cinematographie
Repeat viewing/Netflix rental
One of 1001 Movies You Must See Before You Die

Patricia Franchini: We look at each other in the eye, and it’s no use.

I’m not a big Godard fan but I remember liking this one.  Sadly, it did not survive a repeat viewing.

Even Michel Poiccard (Jean-Paul Bemondo) himself realizes he is an a-hole.  He starts off the movie by stealing a car and killing a police officer.  For the rest of it, nearly every action is some kind of crime or callousness.  He fancies himself to be a Humphrey Bogart kind of guy but he doesn’t even come close.  He claims to be in love with young American student/newspaper vendor Patricia Franchini.  Clearly, this is only because she is undecided about him.

The story mainly concerns Michel’s efforts to get some money he is owed, bed Patricia, and drag her into his life of crime.  With director Jean-Pierre Melville as a famous writer.

This, like every other Godard film I have seen, is almost purely an exercise in style.  Since I find the style to be pretentious navel-gazing and winking at the audience, this movie left me cold except for the times I was yelling at Belmondo through the TV screen.  I think Michel is easily one of the most unlikeable protagonists in the history of cinema.

Village of the Damned (1960)

Village of the Damned
Directed by Wolf Rilla
Written by Stirling Silliphant, Wolf Rilla and Ronald Kinnoch from the novel The Midwich Cuckoos by John Wyndham
1960/UK
Metro-Goldwyn-Mayer British Studios
First viewing/Netflix rental

David Zellaby: You have to be taught to leave us alone.

Before Rosemary’s Baby, we had Village of the Damned.

It is 11 AM in a typical small English village.  Professor Gordon Zellaby (George Sanders) is trying to reach his brother-in-law Major Alan Bernard, who is coming to visit the Zellaby manor for the weekend.  Suddenly Zellaby falls, motionless, to the floor.  Gradually we see others fallen.  Bernard goes to investigate the sudden interruption of the phone call and finds that people and animals have gone down in a 5-km radius around the town.

He goes for military reinforcements and it soon becomes clear that all is well outside a certain boundary but anyone who crosses the line will be stricken.  Before too long, all is abruptly back to “normal”.  No one can discover a reason for the temporary paralysis.

Two months later, every woman of child-bearing years in the village is pregnant.  This includes Zellaby’s much-younger wife Althea.  The fetuses are perfect and of an advanced stage of development for their term.  They are all unusually large newborns with dark eyes. Their mental development is ahead of normal by months and years as they grow.  All the  children, including Zellaby’s son David, are curiously emotionless and prefer to keep company only with each other.

Many believe these children must be destroyed.  Zellaby sees them as potentially a boon to mankind and talks the authorities into giving him a year to instruct them.  It will be a difficult year …

This film has a pretty brilliant premise and many effective scenes. Sanders is great in perhaps the least cynical role he ever played.  Martin Stephens (The Innocents) who plays David Zellaby is also really good.  The film is best at first when nothing is explained and goes slightly downhill thereafter but is still eerie and entertaining.  Recommended.

Trailer (spoilers)