Relationships, sex, communists and, somewhere off camera ,World War II — The Male Animal from 1942 is a curious film to say the least. It comes with some pretty impressive credentials, however, including its stars as well as its origins: based on a play by James Thurber and a screenplay with writers that included the Epstein brothers.
I think I’m one of the few people who doesn’t care much for Out of the Past. It may be that for me the closer a movie gets to film noir, the less it appeals to me. I can’t argue with any of the superlatives used to describe this one. But despite all it does right in terms of noir, I can’t get terribly enthused.
I don’t thing many people would argue that Hondo is the best of John Wayne’s movies. Similarly, I don’t many will argue against it being among his best both as a western and as a performance from Wayne. But if ever there was a movie that illustrated what John Wayne did onscreen, how he came across and essentially provided a definition for those words “John Wayne,” it’s Hondo.
Mister Roberts is a much-loved movie so I always feel bad when I say that for me it’s just so-so. I kinda like it; I kinda don’t like. It may be due to not being much of a fan of either Henry Fonda or Jack Lemmon. (My mother loved Jack Lemmon.) I admire Fonda more than like him.
When a an expensive fur coat falls on her head, Mary Smith’s life of scraping together enough for food and rent turns upside down. She suddenly finds herself in a world of wealth, as she’s mistakenly perceived of as the mistress of Wall Street banker and tycoon, J.B. Ball.
Easy living was never so hard — or muddled and funny.
I keep hearing a song on the radio that begins, “I want to be a billionaire so freakin’ bad…” Well, be careful what you wish for. That’s sort of William Holden’s problem in Billy Wilder’s Sunset Boulevard.
We didn’t need dialogue. We had faces!
– Nora Desmond –
One of the best movies to ever come out of Hollywood is 1950’s Sunset Boulevard, a movie about Hollywood. It’s a kind of anodyne for the glamorous mystique of the movie business.
Interestingly, it takes core elements of Hollywood, romance and a degree of sentimentality, and, by turning them inside out, creates a noir film – cynical and dark yet just as romantic.
A struggling Hollywood writer (William Holden) is hard up for money, hiding from bill collectors and trying to hang on to what little he has, particularly his car. He hides out in run down looking mansion where he meets an aging silent film star (Gloria Swanson). He finds himself drawn into her world, one that’s fantastic and tinged by an element of madness.
He, in turn, is seduced by the respite staying with her allows him, as well as the wealth he has access to by staying with her. In a sense, they corrupt one another, although both are well on the way already.
Eventually Holden winds up playing the part of gigolo as he helps her with a terrible screenplay (which she believes will re-establish her as Hollywood’s premier star). She, in turn, provides for him – a place to live, clothing, gifts and so on.
But everything is twisted, including Holden’s talent as a writer and his essential character.
It’s a movie about Hollywood’s compromises and the essential deception between what is presented on screen and the manner in which films are made. In other words, there is a moral disparity between public display and private actions.
From the start, in his opening voice over, Holden’s character is cynical. There is humour here, and throughout the film, but it is dark and bitter. But even from the story’s beginning we see what has happened to Holden in terms of moral compromise.
There is an early scene where a script of his is turned down, briskly brushed off as lame by an efficient, attractive script-reader (Nancy Olson). But from the scene, through Holden’s words and action, we know why the script is turned down – it isn’t true. It’s compromised writing.
It is the script of someone writing what he thinks someone else wants to hear rather than what is true to him as a writer.
His talent, like his character, is degrading beneath his desire to succeed at any cost.
He doesn’t want to face what he knows is happening to himself, so he hides it beneath cynical wise-cracks.
In the character of Swanson, we see what is likely the result of Hollywood’s culture of compromise and pursuit of success – the dismissed artist dissolving into madness.
It’s a brilliant film, one of the best noir pieces ever, one of the best movies ever. It somehow manages to balance a number of elements – mystery, romance, humour and horror.
The movie also takes the interesting approach of basically telling us the ending at the beginning.
With the DVD, we get a great transfer – the movie looks great. There are also a number of excellent features on the disc, a nice plus for an older movie. (With many older films all we get are trailers.)
If you haven’t ever seen Sunset Boulevard, what are you waiting for? It is one of the great films and, now, it’s available on a great DVD. (Refers to the 2002 Special Collector’s Edition.)
See: 20 Movies – The List
Sunset Boulevard (the trailer)