Fire Over England by Dave Kehr
Laurence Olivier and Vivien Leigh star in a story of romance and intrigue set in
Elizabethan England, with the Spanish Armada massing on the horizon line. This 1937 film
was one of England's periodic attempts to break Hollywood's stranglehold on the world
market. Naturally, an American, William K. Howard, was hired to direct it. It's played
rather facetiously, although it doesn't go for laughs--as if the filmmakers had been
seized by some 30s version of hipness, and wanted to demonstrate their superiority to the
cliched material without jeopardizing their paychecks. Flora Robson, as Elizabeth,
mother-hens it over Olivier and Leigh; there's some real wit in her performance. With
Leslie Banks, Raymond Massey, and a glimpse of a young James Mason. [Chicago
Reader]
Sidewalks of London (***) by
findavideo.com
Incorporating a Warner Brothers backstage musical with a British class melodrama, this
touching and lively rags-to-riches tale is a bittersweet look at ambition and romance. The
story follows the rise of a street gamine (Leigh) who is at first taken
under the wing of a mediocre busker (street musician), marvelously played by Laughton.
Under his supervision, her natural talent blossoms. She eventually becomes the toast of
the town, while in true A Star Is Born fashion, her former mentor flounders. Leigh,
in a pre-Gone with the Wind role, creates a totally sympathetic character who does many
unsympathetic things, and in an early role, Harrison gives a nuanced performance as the
sophisticated songwriter who spirits her away to fame, fortune, and his penthouse. [findavideo.com]
Gone With the Wind (****) by
Roger Ebert
If you loved
"Scarlett," you'll love its prequel! The original "Gone With the Wind"
returns today, for people who have somehow missed the classic and fans who can never see
it enough. The Music Box is showing the 1939 epic in a new 35mm print. Here's some of what
Roger Ebert had to say during the film's 50th-anniversary reissue five years ago: How does "Gone With the Wind" play
after 50 years? It is still a great film, above all, because it tells a great story.
Scarlett O'Hara, willful, spoiled, scarred by poverty, remains an unforgettable screen
heroine, and I was struck again this time by the strength of Vivien Leigh's
performance - by how stubbornly she maintains her petulance in the face of common sense,
and by how even her heroism is undermined by her character flaws. The ending still plays
like a psychological test for the audience. What do you think we should really conclude?
The next-to-last speech in the movie, Rhett Butler's "Frankly, my dear, I don't give
a damn," is one many audience members have been waiting for; Scarlett gets her
comeuppance at last. Then comes her speech about Tara, about how, after all, tomorrow is
another day. Some members of the audience will read this as an affirmation of strength,
others as a renewal of self-delusion. (The most cynical will observe that Scarlett, like
many another divorcee disappointed in love, has turned to real estate as a career.) As I
was watching the restored version, I was struck by the subtlety of the color. I was not
sure I altogether approved of it. My memories of "GWTW" are of a movie in bold,
bright colors - the flames of the burning of Atlanta were bright red, as were the lips of
the heroines. This 50th anniversary version has a more "modern" look to the
color, with the brights somewhat muted and the fleshtones more true. The new version has
clearer, truer colors, and the print is not banged up, faded or scratched.
"GWTW" looks like a new movie again, not a battered veteran of the revival wars.
The restoration brings out visual details that have been lost through the generations -
the shadowy backgrounds of candle-lit rooms, for example - and makes the film effortlessly
watchable by removing all the years of decay. This is a praiseworthy restoration, removing
generations of grime and noise from one of the greatest of all Hollywood productions, and
presenting it, crisp and clean, in its original aspect ratio. Date of publication:
12/02/1994 [Chicago Sun-Times]
A Streetcar Named Desire by
David Pickup
Based on the Tennessee Williams play, this is the film that literally changed the way
acting was done. In 1951, a young rising star named Marlon Brando burst upon the scene
with an intensity that you could not help but notice. As Stanley Kowalski, Brando spanned
the range of human emotion and brought to vivid life one of the most controversial
characters ever to appear on the silver screen. While many would have played Stanley as
out and out despicable and crude, it is testimony to Brando's skill that he imbues Stanley
with sympathy and an odd warmth. The performance was so inspiring that many other actors
soon began to take up what was known as "the method". Blanche Dubois (Leigh),
a woman in emotional freefall, comes to live with her poor sister Stella (Hunter) and her
husband Stanley, in the French Quarter of New Orleans. Blanche, a proud southern belle,
has difficulty adjusting to her new surroundings. She cannot let go of the past and exists
out of time. Her manners and delicate behavior sharply contrast with the lives of the
Kowalskis and their friends. Underneath Blanches facade however, lies a seething
ocean of raw emotions and anxieties. Stanley, who brims with male libido and sexuality, is
the catalyst which brings Blanches problems to the surface and touch off her descent
into madness. Streetcar has sexual undertones which border on OVERtones. Upon its initial
release in 1951, the film was protested by critics who charged that it was lewd and
obscene, and even to this day the sexuality is shocking. It is revealed that Blanche, a
schoolteacher, has had an affair with a young man. It also seems as if he may have been
only one of many. Furthermore, she blames herself for the death of her young husband. It
is hinted at that he may have been a homosexual, and that his inability to respond to her
advances may have driven him to suicide. Stanley is an aggressive man who takes what he
wants and dominates the two women in the apartment. Stella, who at first seems to stay
with Stanley out of love, later demonstrates an uncontrollable lust for him when she
returns to him after he has beaten her. All three are governed by their longings and
slaves to their sex drives. The film more or less takes place in the Kowalskis
apartment, and the set resembles a stage setup, which is somewhat distracting. You often
get the impression that you are watching a filmed play. While it may break some of the
realism of the film, it also lends it a hyper-realism which is very effective. A Streetcar
Named Desire is a superb film, a landmark in movie history. It possesses some of the best
acting you will ever see. It should not be missed. [MovieThing.com]
The Roman Spring of Mrs.
Stone (***) by findavideo.com
Vivien Leigh is Karen Stone, a middle-aged widowed actress who retires
and settles in Rome to live in peace and solitude. Through a vulgar procuress (Lotte
Lenya, in a terrific performance), Mrs. Stone meets a swarthy young stud, Paolo (Warren
Beatty). Before long, Mrs. Stone succumbs to the suave gigolo's chicanery, and she soon
finds herself losing both her money and her self-respect. Beatty's accent may cause a
chuckle or two, but the film, based on a Tennessee Williams novella, does come off, thanks
to Leigh's tender portrayal.
[findavideo.com]
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