Gregory Peck Tribute: The Guns of Navarone

Ruth over at Flix Chatter has had another great blogathon idea, this time in honor of Gregory Peck, who would have been 96 (if my math is right) today, April 5. Her birthday tribute post: Beauty is Forever: Happy Birthday, Gregory Peck.
As my tribute, I’ve chosen to review one of my favorite WWII movies, The Guns of Navarone (1961). A lot of my love is due to Peck’s presence. He won his acting Oscar in 1963 playing the world’s greatest fictional Dad, Atticus Finch in To Kill A Mockingbird, and I believe that his character in Navarone, Mallory, may just be the world’s greatest commanding officer.

The basic idea of the film is that an Allied special forces team is sent to destroy two gigantic Nazi guns high up on a mountainous island in Greece. They must complete their mission in 6 days, before a British navy convoy is due to go through the nearby straits. If the guns are still operational, the ships will certainly be destroyed, and all the men on them killed. The odds, of course, are stacked against the team, and to a certain extent, they were stacked against the film. There were several screenwriters and a few directors working on it, so that the script changed from day to day, until J. Lee Thompson took over direction and Carl Foreman the script. David Niven cut his lip filming the boat scene in the studio water tank and developed a life-threatening infection. (PS: You’d never know the scene was filmed in a tank. Not for nothing did Navarone win the Oscar for Best Special Effects.)

There is a still center in all this chaos, and that is Gregory Peck. His character, Keith Mallory, known as “The Human Fly” for his extraordinary climbing abilities, is hoodwinked into leading the mission by the promise of leave and promotion. That, and the knowledge that if he doesn’t, 2,000 British soldiers will die. Although he states quite plainly, “I think the operation is insane,” he goes ahead with it. I don’t think it’s much of a stretch to say Corporal Miller the explosives expert (David Niven) is a bit of a malcontent. Greek assassin Andreas (Anthony Quinn) has sworn to kill Mallory after the war, and there’s spies and traitors along the way. Mallory puts up with quite a bit from his team, and the enemy, and only really loses his temper once.

Gregory Peck in disguise in The Guns of Navarone

The decency and authority that Peck brings so believably to the role, two years before Mockingbird, helps to focus attention on the film’s meditations on the nature of war. It isn’t that Mallory won’t kill anyone. It’s just that he won’t do it indiscriminately. His presence throws many questions into sharper relief. Questions like, When is it acceptable to kill someone? Is torture OK? Is revenge? How about executing a female traitor? Is it OK to send men on a suicidal mission? Not that Navarone devotes a lot of time to agonizing over this stuff…it’s an action picture, and Peck handles all of that well too.

Another fun fact I learned while watching this film on TCM…host with the most Robert Osborne recounted Niven’s claim that Peck could drink brandy all day (to stay warm) and “never drop a line.” Niven referred to this talent as “disgusting,” but I think it’s only remarkably appropriate for Gregory Peck.

Bonus video: The Specials — Guns of Navarone:

TCM Week – April 2-8

Monday, April 2
6:45 a.m. Born to Dance (1936)
Eleanor Powell and James Stewart in a good old-fashioned (by that I mean, sorta corny) musical full of mistaken identity and misunderstandings.

8 p.m. Doris Day Block
TCM salutes the Star of the Month Doris Day with 28 movies beginning tonight at 8 p.m. with her musicals. I never knew that Day idolized Ginger Rogers and wanted to become a dancer. She thought her dream was lost when she was injured in a car wreck as a teenager. She learned to sing while recovering and was soon a huge recording star, but she was quite nervous about dancing in Tea for Two because she hadn’t danced in years.
8:00 p.m. The Lullaby of Broadway (1951)
9:45 p.m. By The Light of the Silvery Moon  (1953)
11:30 p.m. My Dream Is Yours (1949)
1:15 a.m. (Tues.) On Moonlight Bay (1951)
3:00 a.m. (Tues.) Romance on the High Seas (1948)
4:45 a.m. (Tues.) Tea for Two (1950)

Tuesday, April 3
9:45 a.m. The Fugitive Kind (1960)
Film version of Tennessee Williams’ play Orpheus Descending, directed by Sidney Lumet and starring Marlon Brando, Anna Magnani and Joanne Woodward. A really weird movie.

8:00 p.m. Lover Come Back (1961)
***TCM PARTY***
Tonight’s Doris Day block begins with this ad-biz comedy in which Day and Rock Hudson play account execs for rival agencies. Their work philosophies and client relations skills are drastically, hilariously different (to say the least). Guest hosted by @mercurie80. Find us on Twitter with #TCMParty.

Wednesday, April 4
Doris Day Block
Tonight TCM spotlights Doris Day’s dramatic talents in four films: Midnight Lace (1960), Storm Warning (1951), The Winning Team (1952), and Julie (1956). Disturbingly she is beset by creepers in two of them.

Thursday, April 5
8:00 p.m. Please Don’t Eat the Daisies (1960)
***TCM PARTY***
A drama critic and his wife have a difficult period of adjustment when they decide to move from New York City into the suburbs. Find us on Twitter with #TCMParty.

Friday, April 6
9:45 a.m. Jewel Robbery (1932)
Don’t miss William Powell as a well-mannered jewel thief who’s fallen in love with his mark (Kay Francis). Their chemistry is pretty close to what he had going with Carole Lombard and Myrna Loy. Did I mention it’s a pre-Code?

12:45 p.m. The Man with Two Faces (1934)
This sounds really interesting. Edward G. Robinson plays an actor trying to shield his sister from her murderous husband, who seems to have her under some kind of hypnotic spell.

Saturday, April 7
3:00 p.m. The Great Escape (1963)
***TCM PARTY***
It is well-known to you all that I have a thing for World War II movies; not all of them are good, but this one is. A bunch of Allied soldiers try to dig their way out of a German POW camp — it’s the sworn duty of every British officer to attempt to escape! Based on a true story, it stars Steve McQueen, James Garner, Richard Attenborough, Charles Bronson and James Coburn. Find us on Twitter with #TCMParty.

6:00 p.m. 4 for Texas (1963)
Rat Pack Western.

Rita Hayworth Block
I’ve seen the first two of these and not the others but I doubt you can really go wrong.
8:00 p.m. Gilda (1946)
10:00 p.m. The Lady From Shanghai (1948)
11:45 p.m. Fire Down Below (1957) With Robert Mitchum and Jack Lemmon. Personally I’d tune in just for that.
2:00 a.m. (Sun.) The Happy Thieves (1961)

Sunday, April 8
TCM features mostly Christian-themed films today. One that caught my eye airs at midnight, Leaves from Satan’s Book (1919), a Danish silent film directed by Carl Theodor Dreyer. It depicts various historical events from the point of view of the “disheartened” Satan.

TCM Week spotlights a highly subjective selection of the week’s essential or undiscovered films on the Turner Classic Movies channel to help plan movie viewing, DVR scheduling or TCM Party attendance. All times are EST.

 

TCM Week: March 26-April 1

Monday, March 26
2:45 p.m. Zero Hour! (1957)
I’ll be tuning into this for two reasons, one being Dana Andrews, and and the other this oddly Airplane!-like synopsis: “When a flight crew falls ill, the only man who can land the plane is afraid of flying.”

8:00 p.m. Kes (1970)
10:00 p.m. Darling (1965)
***TCM PARTY***
The last Monday of British New Wave Month kicks off with Kes, about a teenager whose only escape from the chaos around him is a falcon, and Darling, about a model in the Swinging ’60s. It continues with The Pumpkin Eater (1964) at 12:15 a.m., and The Knack…and How To Get It (1965) at 2:30 a.m. Guest hosted by @mercurie80.

Tuesday, March 27
Robert Mitchum Block
Beginning at 8 p.m. with Cape Fear (1962), TCM features 5 films starring one of the toughest dudes around, Robert Mitchum. He is truly psychopathic in Cape Fear and The Night of the Hunter (1955), both of which are difficult for me to watch, but I still recommend them.

Wednesday, March 28
British actor Dirk Bogarde is featured in a block beginning at noon: The Spanish Gardener (1956), Libel (1959), The Password Is Courage (1962) and Damn the Defiant (1962).

Thursday, March 29
3:00 p.m. The King’s Thief (1955)
George Sanders Alert
As he did in Forever Amber, Sanders plays Charles II in a swashbuckler that doesn’t require much thought. I mean that in the best way.

6:15 p.m. The Man Who Laughs [L’uomo che ride] (1966)
Remake of the 1928 silent which starred Conrad Veidt.

10:00 p.m. Dirigible (1931)
Very early Frank Capra work in which two pilots try to take a dirigible to the South Pole. Sounds really odd but it’s Capra.

Friday, March 30
8:30 a.m. Random Harvest (1942)
Paula (Greer Garson) is a nice showgirl who takes in a “John Smith” from the local asylum (Ronald Colman) only to lose him when he recovers his memory, discovers that he is really a rich guy and forgets all about her. Such a romantic film. No, really. Trust me.

6:30 p.m. Beware, My Lovely (1952)
I bet you thought I was going to pick The Seven Year Itch or Lost Weekend? Both are pretty good, especially Lost Weekend. Instead, I’ve got to shill for Beware, My Lovely, sort of a film noir/thriller hybrid that stars tough cookie Ida Lupino as a widow who discovers her handyman (Robert Ryan) is really a ticking time bomb of homicidal paranoia. Some really interesting angles make it a class on subjective camera.

Saturday, March 31
1:30 p.m. Stagecoach (1939)
Orson Welles allegedly watched this 70 times while making Citizen Kane, you might want to check it out at least once.

8:00 p.m. Sunrise (1927)
***TCM PARTY***
I really want see this one because it was directed by F.W. Murnau of Nosferatu fame. That film is one of the few silents I’ve seen on a big screen (OK, it’s also one of the few silents I’ve seen anywhere) and it really scares me, so I’m interested to see what he does with this story of major drama brought on an innocent married couple through the corrupting influence of a woman from the city. Guest hosted by @tpjost.

Sunday, April 1
So many good films today…wow. One crazy-sounding one is scheduled for 6:00 a.m., Hips, Hips, Hooray (1934), the plot of which is described as “the pretext for some delightfully anarchic gags.” Otherwise, you can tune pretty much any time today and not go too far wrong.

TCM Week spotlights a highly subjective selection of the week’s essential or undiscovered films on the Turner Classic Movies channel to help plan movie viewing, DVR scheduling or TCM Party attendance. All times are EST.

 

TCM Week: March 19-25

TCM Week spotlights a highly subjective selection of the week’s essential or undiscovered films on the Turner Classic Movies channel to help plan movie viewing, DVR scheduling or TCM Party attendance. All times are EST.

Monday, March 19
8:00 p.m. This Sporting Life (1963)
10:00 p.m. Billy Liar (1963)
***TCM PARTY***  Guest hosted by @mercurie80
TCM continues the month-long British New Wave celebration tonight with our TCM Party selections This Sporting Life and Billy Liar, followed by Tom Jones (1963), Seance on a Wet Afternoon (1964) and Only Two Can Play (1962). Billy Liar is another of Morrissey’s favorites that I’ve never seen. He used lines from it in Smiths’ songs “The Queen Is Dead” and “Vicar in a Tutu” and adapted another line for the album title Strangeways, Here We Come, among many borrowings. I’m recording all of these but the one I’ll probably watch right away is Tom Jones. I first saw it when I was in high school and over the years, I’ve come to realize that it pretty much defines the term “lighthearted romp.” Also, based on my AP English grade, it’s a pretty darn faithful adaptation of the novel.

Tuesday, March 20
6:15 p.m. The Moon and Sixpence (1942)
George Sanders Alert
Names have been changed to protect the not-so-innocent in this film, which was “loosely inspired by the life of” painter Paul Gauguin. George Sanders plays a middle-class Brit who dumps his family and runs off to Paris to paint. He’s so callous and coldhearted that even I had trouble liking him…until he is redeemed by the love of a good Tahitian woman. Sanders at his worst, and for him that means best. If you don’t have cable, fear not…some nice person put the whole thing on YouTube.

Aline MacMahon, Ginger Rogers, Joan Blondell, and Ruby Keeler of Gold Diggers in 1933.

8:00 p.m. Gold Diggers of 1933
***TCM PARTY***  Guest hosted by @strbuk
Sassy Joan Blondell leads a trio of showgirls trying to become stars. They won’t turn down any marriage proposals from rich guys either. Did I mention it’s pre-code? It’s not all fun and games though—this film has a surprisingly dark undertone epitomized by the number “Remember My Forgotten Man.”

3:00 a.m. (Weds.) The Bitter Tea of General Yen (1932)
I’m only vaguely aware of what this film could be about, but it stars Barbara Stanwyck and is directed by Frank Capra, and that’s good enough for me.

"On California's magnificent Big Sur shoreline, Elizabeth Taylor and Richard Burton are the artist and minister who must meet in secret."

Wednesday, March 21
It’s Karl Malden Day but I confess I’m not too interested in the Westerns of his they’ve got scheduled for tonight. I still miss Elizabeth Taylor and evidently someone at TCM does too; they’ve got seven of her movies in chronological order, beginning at 6:15 a.m. with Cynthia (1947) and continuing with Conspirator (1949), Love Is Better Than Ever (1952), Rhapsody (1954), Butterfield 8 (1960), The Sandpiper (1965) and The Comedians (1967). In Sandpiper and Comedians she stars with Richard Burton so I’ll be recording those. Tonight is also Casablanca Night, aka the biggest TCM Party in the world, brought to you by the channel and Fathom Events 🙂

Thursday, March 22
TCM has Radioactive Calamities and a couple of monster movies until 8 p.m. when they take a look at the films of Rosalind Russell’s later career.

Friday, March 23
8:00 p.m. Wuthering Heights (1939)
***TCM PARTY*** Guest hosted by @kimmiechem
Laurence Olivier as Heathcliff and Merle Oberon as Cathy in what many argue is the definitive version of Emily Brontë’s 1847 novel about a a poor boy brought up in a wealthy family and the foster sister with whom he falls hopelessly, passionately, violently in love. Followed by Charlotte Brontë’s Jane Eyre (1944) at 10 p.m. and the Brontë family biopic Devotion (1946) with Ida Lupino as Emily, Olivia de Havilland as Charlotte, and Arthur Kennedy as Branwell, along with Sydney Greenstreet as another of my favorite writers, William Makepeace Thackeray, at 12:00 a.m. (Sat.).

Saturday, March 24
8:00 p.m. The Goodbye Girl (1977)
***TCM PARTY***
Can you picture Robert de Niro in the role played by Richard Dreyfuss in this? I can’t really, but it almost happened. Sort of, it’s complicated.

http://youtu.be/BJj-OapRUSg
Sunday, March 25
6:00 a.m. That Certain Woman (1937)
Bette Davis plays a mother who sacrifices all so that her son can have a better life in this remake of a 1929 picture starring Gloria Swanson, The Trespasser. Davis requested Henry Fonda as her leading man.

Noon Key Largo (1948)
One of my essential film noirs, in which a gangster (Edward G. Robinson) holds a bunch of people, including a war veteran (Humphrey Bogart), and a hotel owner (Lionel Barrymore) and his daughter (Lauren Bacall), hostage during a storm.

Midnight La Roue (1922)
“In this silent film, a railway worker and his son fall in love with the same beautiful woman.” French, directed by Abel Gance.

 

 

TCM Week: March 12-18

TCM Week spotlights a highly subjective selection of the week’s essential or undiscovered films on the Turner Classic Movies channel to help plan movie viewing, DVR scheduling or TCM Party attendance. All times are EST.

Familiar to millions: A Taste of Honey author & Louder Than Bombs cover star Shelagh Delaney

Monday, March 12
A Kind of Loving (1962)
***TCM PARTY***
TCM’s British New Wave Mondays continue with five films tonight, beginning with A Kind of Loving at 8 p.m., followed by The L-Shaped Room (10 p.m.), The Loneliness of the Long Distance Runner (12:15 a.m.), and A Taste of Honey (2:15 a.m. Tues.), all released in the US in 1962, and Girl with Green Eyes (1964) at 4:00 a.m. (Tues.). These films promise to be a treasure trove of references for fans of English singer-songwriter Morrissey, who borrowed freely from them during his time with the Smiths and his solo career. As early as 1984, Morrissey was shouting out A Taste of Honey and The L-Shaped Room, and it has always frustrated me that these two films, along with quite a few other British works mentioned by Morrissey as favorites or influences, haven’t been available in the US. The writer Shelagh Delaney, who wrote the book upon which A Taste of Honey is based, definitely provided a lot of inspiration to him. It seems as if nearly every line was appropriated by Moz in some form. In 2006, he told Mojo magazine, “I know I overdid it with Shelagh Delaney. It took me a long, long time to shed that particular one.” Guest hosted by @mercurie80

http://youtu.be/G8c79V5uViI

Tuesday, March 13
1:30 a.m. (Weds.) The Lodger (1944)
George Sanders Alert
This is not the 1926 version directed by Alfred Hitchcock; this one was directed by John Brahm and stars the gorgeous Merle Oberon as a dance hall girl who lives with her aunt and uncle in Victorian London. Jack the Ripper is on the loose but the family is broke and must take in a lodger, a sinister-seeming weirdo (Laird Cregar). George Sanders is the detective on the case. Foggy, atmospheric and creepy old-school thriller.

Wednesday, March 14
EDIT: 8:00 p.m. A Streetcar Named Desire (1951)
***TCM PARTY***
It’s old-school vs. Method as Vivien Leigh and Marlon Brando star in Tennessee Williams’ Pulitzer Prize-winning play.

2:00 a.m. (Thursday) Hotel (1967)
I love this movie so I was happy to see that no less an august personage than Martin Scorsese has given it his imprimatur…sort of. He wrote in this month’s Now Playing, “it’s actually become more interesting over the years….it’s like a snapshot of the shared American cultural horizon in the late ’60s, or at least a piece of it.” And who am I to argue? With Elizabeth Taylor, Karl Malden, Merle Oberon and a cast of, um, tens.

Thursday, March 15
10:00 p.m. The Whole Town’s Talking (1935)
Edward G. Robinson plays a hardware clerk who is a little on the meek side. He also happens to have a lookalike who is an infamous gangster wanted by the law. A series of plot twists lead him to take on the gangster’s identity. I haven’t seen this in a while but I remember being disturbed by the underlying message. Basically the hardware clerk is much happier and better off when he’s acting the thug. Carl Jung himself couldn’t have come up with a better representation of the “shadow” self though. Also starring the lovely and talented Jean Arthur; directed by John Ford.

Friday, March 16
8:00 p.m. Jason and the Argonauts (1963) and Clash of the Titans (1981)
***TCM PARTY***
Greek mythology done right, with effects by Ray Harryhausen, “the father of modern special effects pictures.” Guest hosted by @DraconicVerses

http://youtu.be/W7BpheDWTbw

Saturday, March 17
Stereotypes Alert
TCM is apparently in violation of the Federal statute that dictates that they must show The Quiet Man on St. Patrick’s Day. Instead, they’ve got some lesser-known Irish-themed movies today until 8:00 p.m. The most interesting-looking one is scheduled at 10:45 a.m., The Irish In Us (1935). It’s one of only three films that James Cagney and Olivia de Havilland did together (not counting documentaries…the other two are A Midsummer Night’s Dream (1935) and The Strawberry Blonde (1941)). Directed by Lloyd Bacon (42nd Street).

Sunday, March 18
8:00 p.m. Born Free (1966)
***TCM PARTY***

 

TCM Week: Feb 27-March 4

TCM Week spotlights a highly subjective selection of the week’s essential or undiscovered films on the Turner Classic Movies channel to help plan movie viewing, DVR scheduling or TCM Party attendance. All times are EST.

Monday, February 27
As I’ve been saying all month, with the 31 Days of Oscar (ending March 2), it’s really difficult to go wrong. There’s a lot of well-known ones on the schedule for today, so I wanted to spotlight 1947’s Boomerang (3:00 p.m.), a lesser-known film noir considered by its director Elia Kazan to be his “breakthrough film,”  in which he applied newsreel-style documentary techniques to Hollywood storytelling. However, he didn’t really value his star, Dana Andrews, so I’m interested to see how it all worked out. Nominated for Best Screenplay.


Tuesday, February 28

The Man Who Would Be King (1975)
***TCM PARTY***
John Huston directs a story by Rudyard Kipling in which a couple of ne’er-do-well British Army officers (Sean Connery and Michael Caine) are mistaken for gods and live it up…until the day they’re found out. Nominated for Best Art Direction, Costume Design, Film Editing and Best Adapted Screenplay. Check out #TCMParty on Twitter…watch and tweet along!

Wednesday, February 29
6:00 a.m. The Thief of Bagdad (1940)
I was so surprised to read about the tortuous production of this film. If it had a Facebook profile, its relationship status would be “It’s complicated.” And yet it turned out perfectly. Starring Conrad Veidt as the evil Jaffar and Sabu as the titular thief; directed by Ludwig Berger, Michael Powell and Tim Whelan (see what I mean?)

Gene Tierney as Poppy in The Shanghai Gesture.

8:00 p.m. The Shanghai Gesture (1941)
“[A] tale of murder and mayhem in a Chinese bordello” directed by Josef von Sternberg of The Blue Angel and Morocco fame. Nominated for Best Art Direction and Musical Score.

Thursday, March 1
10:30 p.m. From Here to Eternity (1953)
***TCM PARTY***
Various military personnel (Burt Lancaster, Montgomery Clift, Frank Sinatra) and their wives/girlfriends (Donna Reed, Deborah Kerr) experience trials and tribulations in the days leading up to the attack on Pearl Harbor. Won Best Picture, Director (Fred Zinneman), Screenplay, Supporting Actor (Sinatra), Supporting Actress (Reed), Cinematography, Editing, and Sound Recording. Nominated for Best Actor (Clift and Lancaster), Actress (Kerr), Costume Design, and Score. Check out #TCMParty on Twitter…watch and tweet along!

Friday, March 2
2:00 p.m. A Guy Named Joe (1943)
WWII pilot Pete (Spencer Tracy) is shot down and sent back to Earth to show a newbie flyer (Van Johnson) the ropes. Complications ensue when Ted begins courting civilian pilot Dorinda (Irene Dunne), who was Pete’s girl. I love this movie…guaranteed waterworks. Nominated for Best Writing (Original Story).

11:30 p.m. 2001: A Space Odyssey (1968)
***TCM PARTY***
Check out #TCMParty on Twitter…watch and tweet along!

Saturday, March 3
8:00 p.m. Some Like It Hot (1959)
***TCM PARTY***
I watch this every time it’s on and I think I recommend it every time. Jack Lemmon and Tony Curtis play musicians on the run from gangsters; the only band they can join is women-only. The grand-daddy of Tootsie, Mrs. Doubtfire, and Bosom Buddies. The 31 Days of Oscar ends on Friday, but I just want to point out that Hot won Best Costume Design and was nominated for Best Director, Actor (Lemmon), Art Direction, Cinematography, and Writing. Check out #TCMParty on Twitter…watch and tweet along!

Sunday, March 4
12:15 a.m. (Mon.) The Temptress (1926)
As I’ve mentioned before, I don’t know too awful much about silents. But I’m learning. This is one and it stars Greta Garbo as a, um, temptress.

4:00 a.m. (Mon.) La Jetée (1962)
A short film about time travel, created almost entirely from still photos, La Jetée influenced works as varied as a Sigue Sigue Sputnik video and 12 Monkeys.

The Best Picture Project: THE APARTMENT (1960)

With the 2012 Oscars less than a week away, Ruth at Flix Chatter came up with an amazing idea: A bunch of bloggers each pick a past year’s Best Picture winner  and defend (or not) its merits and win-worthiness. I chose the year 1961. There’s no question that the Best Picture Oscar race that year was an interesting one. All the films in the contest had mighty talent behind and in front of the camera; some had sweeping scope, literary sources, and/or exotic locations. The eventual winner, The Apartment, relied on a deceptively simple concept and a very focused, contemporary setting to work its magic. The apartment of the title is that owned by C.C. “Bud” Baxter (Jack Lemmon), one of thousands of workers at the bottom of the pecking order at a giant insurance company in New York City. So many people work in the company’s offices that the start and stop times of the business day are staggered, so that there isn’t too massive of a crowd trying to catch the elevators at the same time.

At some point before the movie begins, Bud had lent the key to his conveniently located residence to one of the office higher-ups. Soon the key was in high demand by married execs who needed a place to entertain their mistresses. Bud doesn’t want to rock the boat, and he does want to get ahead, so he’s agreed to every request. Not that it’s easy on him. Bud has to find something else to do between the end of the business day and 8 p.m., when his “tenants” are supposed to be out. They eat all his food, drink all his booze, and leave their dirty dishes around. It seems he’s got it made, though, when he gets promoted after the execs give him rave reviews. Called upstairs to see the sleazy vice president of personnel, Jeff Sheldrake (Fred MacMurray), Bud receives a promotion, complete with an office that has a window. There is only one condition…Bud must now loan his key exclusively to Sheldrake, which Bud agrees to do. Soon after, Bud discovers that the lovely company elevator operator Fran Kubelik (Shirley MacLaine) is Sheldrake’s mistress. Although Bud hasn’t quite figured it out yet, he is in love with Fran. When circumstances throw them together, his life really gets complicated.

Anonymous corporate office life, c. 1959

Billy Wilder directed and co-wrote the film and much of the time it has the trademark seriocomic vibe of another Best Picture nominee he wrote and directed, Sunset Blvd. (1950). The Apartment is both a satire of American corporate society, which seems not to have changed much since the late ’50s/early ’60s, and a charming, bittersweet romantic comedy. Wilder uses stunning wide shots of hundreds of desks or a seemingly endless park bench to emphasize the anonymity and facelessness of modern life, while using tight shots to signal the growing intimacy between Bud and Fran. His script laid the groundwork for really memorable, three-dimensional characters. The acting is uniformly great; Lemmon and MacLaine, who have some of the best chemistry ever, are perfect as two neurotics who take a while to realize they’re meant for each other. Fred MacMurray is astonishingly effective as one of the worst cads in a movie ever.

Shut up and deal: Jack Lemmon as Bud, Shirley MacLaine as Fran

The Academy recognized The Apartment with 10 Oscar nominations, of which it won Best Picture, Director, Screenplay (Written for the Screen), Art Direction, and Editing. Lemmon and MacLaine were both nominated as well, but competition was tough that year. Burt Lancaster, Trevor Howard, Laurence Olivier, and Spencer Tracy received nods for Best Actor, while MacLaine contended with Elizabeth Taylor, Greer Garson, Deborah Kerr, and Melina Mercouri. (Lancaster and Taylor were the winners. MacMurray wasn’t nominated at all, which I find inexplicable.)

In the Best Picture category, The Apartment faced formidable competition from four other excellent films, all of which were set in the past: The Alamo in 1836 Texas, Elmer Gantry in small-town America in 1927, Sons and Lovers in London and Welsh coal mines in the early 20th century, and The Sundowners in 1920s Australia. And I would argue that, The Apartment, set in contemporary New York City, deserved to win, because it has retained its relevance and has the most to say about modern American life.

The questions dealt with in The Apartment — What are you willing to give up to get ahead? Which is more important, love or money? — resonate in everyday life possibly even more today. It’s easy to see oneself in Bud, Fran or possibly even Sheldrake (though I hope not the latter). Even more people are working in offices than in 1960 and can readily relate to its situations and dilemmas. If anything, corporations are even larger and more faceless, and even more depends on a person’s ability to survive workplace politics, doublespeak and backstabbing. If, God forbid, anyone wanted to do a remake set in the 21st century, a different location, a few mobile phones, and some laptops would be all that is necessary to update it.* Yes, elevator operators and giant metal adding machines are a rare sight in 2012. But greed, manipulation, deception, and infidelity, as well as love, friendship, and generosity are all still alive and well. And the small scale and everyday setting of The Apartment makes its comedy and wisdom universal. Oscar-wise, The Apartment was a great choice.

*The location change is absolutely necessary because I don’t believe there is any way an entry-level employee could afford a place in the west Sixties, just half a block from Central Park, but I am told that wild Christmas parties still occur, though I’ve never been to one.

TCM Week: Feb 13-19

TCM Week spotlights a highly subjective selection of the week’s essential or undiscovered films on the Turner Classic Movies channel to help plan movie viewing, DVR scheduling or TCM Party attendance. All times are EST.

I’m having trouble limiting myself during the 31 Days of Oscar…if I could, I’d call in every day for the month and just watch TCM. But that’s out of the question, so here are my highlights for the week. Remember though, you can’t really go wrong with anything on the channel this month.

http://youtu.be/Xg0A1fWUgX0

Monday, February 13
8:00 p.m. Z (1969)
This French political thriller is a thinly veiled depiction of the 1963 assassination of a Greek pacifist politician and doctor, Grigoris Lambrakis (played by Yves Montand), and the subsequent cover-up by the military dictatorship in power at the time. Any resemblance actual persons and events, the disclaimer reads, is entirely intentional. It has been a while since I saw this, but the questions and fears it raises are still relevant today.

Don't forget...Ginger Rogers did everything Fred Astaire did backwards...and in high heels!

Tuesday, February 14
8:00 p.m. Top Hat (1935)
***TCM PARTY***
Fred Astaire and Ginger Rogers’ biggest hit is perfect for Valentine’s Day. Mistaken identity leads to true love. It’s also the excuse for great dancing, awesome songs and elaborate sets. Don’t blink or you might miss Lucille Ball in a cameo. Find us on Twitter with hashtag #TCMParty…watch and tweet along!

Wednesday, February 15
1:00 p.m. Air Force (1943)
Just when I think I’ve seen every film Howard Hawks ever directed, I see this in the schedule. And if there ever was a sucker for WWII movies, I am it. With John Garfield and Harry Carey Sr.

I wish I had a better screen cap from Sundown (1941). Gene Tierney second from left and George Sanders on the far right.

Thursday, February 16
9:00 a.m. Sundown (1941)
In Kenya, a couple of British officers are basically sitting out the war, enjoying the “best part of the day, sundown. Nothing more to do in a place where there’s nothing to do anyway.” That all changes when rules-oriented Major Coombs (George Sanders) takes over the casually-run outpost and Zia (Gene Tierney), a beautiful trader, shows up, eventually helping the British fight the Nazis. Known for “the sumptuous [and Oscar-nominated] black-and-white cinematography of Charles Lang” and the nominated score by Miklós Rózsa.

Friday, February 17
10:30 p.m. Gone with the Wind (1939)
***TCM PARTY***
There’s nothing I can say about this film that hasn’t already been said, except that, although parts of it make me very uncomfortable, I really like it quite a bit; that it was my grandmother’s favorite movie so I’ve seen it so many times that I can recite it from memory; and that I was very proud a few years back when a Facebook quiz told me that the GWTW character I’m most like is Mammy, who I think is the only character with consistently good sense. If you haven’t seen it, you really should. Then come back and watch this clip from The Carol Burnett Show (below). I think it was done with a lot of love.  Find us on Twitter with hashtag #TCMParty…watch and tweet along!

http://youtu.be/RRI2GfNYZR0

Belated but sincere Cary Grant birthday post

Due to the SOPA blackout, I am a day late with my Cary Grant birthday post, but I am no less sincere. Writer’s block is troubling me for the second time in two weeks as I try to be original about how handsome, charming, and debonair he was, both in his movies and apparently in real life. As Audrey Hepburn said to him in Charade: “Do you know what’s wrong with you? NOTHING.” OK, that was dialogue between their characters…but still. And though at least some of the time American acting is about playing oneself, I also think Grant was a great actor. I’m thinking of Roger O. Thornhill’s disorientation and distress in North by Northwest, Johnny Aysgarth’s furtive shadiness in Suspicion, and John Robie’s desperation in To Catch A Thief.

My favorite Cary Grant moment, right at this moment, is his entrance in Indiscreet. He’s just there suddenly when Anna (Ingrid Bergman) turns around and she reacts pretty much as I would expect. The clip is here, he apparates in (yes, I do mean apparate) around the 7:55 mark.

I think probably the best tribute ever to Cary Grant has been done, by Michael Caine, courtesy of TCM:

http://youtu.be/uTfZuqeKBc0

So what’s your favorite Cary Grant movie, scene, or line? Leave a comment!

TCM Week – Jan. 16-22

TCM Week spotlights a highly subjective selection of the week’s essential or undiscovered films on the Turner Classic Movies channel to help plan movie viewing, DVR scheduling or TCM Party attendance. All times are EST. 

Monday, January 16 — Before Spike (Lee)
For Martin Luther King, Jr. Day, TCM is featuring a day of films related to how Americans dealt with race and racial issues. My top choice is The Defiant Ones (1958) at 6:15 p.m. Tony Curtis and Sidney Poitier play two men—one white, the other black— who escape from prison in the South. They despise each other, but they are literally chained together and have to learn to cooperate if they’re going to survive. At the time, American films hardly ever addressed racial inequity and almost never starred African-Americans. Neither actor was afraid to play against their usual likability; both Curtis and Poitier were nominated for Best Actor Oscars. The film also received nominations for Best Actor in a Supporting Role (Theodore Bikel), Best Actress in a Supporting Role (Cara Williams), Best Director (Stanley Kramer), Best Film Editing (Frederic Knudtson), and Best Picture. It won Best Black-and-White Cinematography and Best Writing, Story and Screenplay – Written Directly for the Screen. There’s no question that it’s an old-fashioned movie; Spike Lee felt that Poitier’s character was the prototype of the “Magical Negro.” But it does propose that if we don’t get to know those who are different from us, we’ll never respect or like each other either…something that as a society we still need to work on.

Tuesday, January 17
6:15 p.m. Saturday Night and Sunday Morning
Everybody’s workin’ for the weekend…especially Arthur Seaton (Albert Finney), a rebellious young Brit who works in a factory all week and just wants to unwind with a few pints and his best friend’s wife on his days off. Based on Alan Sillitoe’s novel of the same name, both book and film were part of the Angry Young Man movement in literature and cinema trending in Britain from the mid-’50s to the early-’60s. Saturday Night shares the same sensibility as Look Back in Anger, Room at the Top, A Taste of HoneyBilly Liar and The Loneliness of the Long Distance Runner. They’re a bit melodramatic, but these were the first British films to focus on the working class and portray their everyday lives. You might find the mood or some of the dialogue in Saturday Night familiar…this film and its movement have been an enduring influence on British (and thus, eventually, American) popular culture. For example, Morrissey of The Smiths borrowed lines directly from Saturday Night and generally made the AYM attitude a lifestyle; both the Stranglers and the Arctic Monkeys have albums named after this film.

1:30 a.m. (Wed.) Diary of a Chambermaid (1946)
Paulette Goddard plays a maid who records her impressions of the houses where she works. A rare chance to see Jean Renoir’s version of a novel of the same name by French writer Octave Mirbeau. Remade in 1964 by Luis Buñuel.

Wednesday, January 18 — Happy Birthday, Cary Grant
TCM honors the birthday of one of my favorite actors of all time with 12 hours of movies beginning at 6:15 a.m. If you can only watch one or two of these, my personal advice would be to choose from those in which sparks fly between Grant and his female co-stars, all great talents in their own right.
8:15 a.m. Topper (Constance Bennett)
10:00 a.m. Holiday (Katharine Hepburn)
noon In Name Only (Carole Lombard)
1:45 p.m. My Favorite Wife (Irene Dunne)
Happy birthday to all you hardworking, stylish Capricorns out there as well. Take some time for you and watch your knees. Love you guys.

8:00 p.m. The World of Harry Orient
***TCM Party***
Last night I saw a clip on TCM of Star of the Month Angela Lansbury describing her character in this as less than intelligent and not very nice. Sounds like a departure from type for her (although she wasn’t very pleasant in State of the Nation). She also said that she and co-star Peter Sellers improvised most of their dialogue, so this should be pretty interesting. Find us on Twitter with #TCMParty…watch and tweet along!

Thursday, January 19
Though his best-known films were done with Powell & Pressburger, cinematographer-director-genius Jack Cardiff had a lot of career outside of that collaboration. Tonight TCM has four films in which Cardiff worked with other directors, and while they might not be the greatest in terms of direction, acting, or writing, they certainly have effective and beautiful cinematography. If Faber & Faber are reading this, please bring out another edition of Cardiff’s book Magic Hour…the cheapest copy I can find is around $100!
8:00 p.m. Under Capricorn I see what you did there TCM
10:15 p.m. The Master of Ballantrae Roger Livesey Alert
midnight The Prince and the Showgirl The making of this film was apparently fraught with tension between stage-trained Laurence Olivier and Method proponent Marilyn Monroe. It formed the basis for the book and the film My Week with Marilyn.
2:00 a.m. Pandora and the Flying Dutchman

Friday, January 20
Bright Leaf (11:15 a.m.) caught my eye. I’ve never seen it but the cast includes Gary Cooper and Lauren Bacall, although she is apparently not the female lead; Patricia Neal is. It was directed by Michael Curtiz (Casablanca). Also of note is tonight’s Essential, A Letter to Three Wives. Joseph L. Mankiewicz (All About Eve, Suddenly Last Summer) wrote and directed this soapy look at three different crumbling marriages.

 

Was it self-defense or…gasp!…murder? Bette Davis and James Stephenson in The Letter

Saturday, January 21
midnight The Letter (1940)
Ms. Bette Davis is at her best as a woman claiming it was self-defense when she shot and killed a man one night in Malaysia. My favorite Bette Davis movie.

Sunday, January 22
8:00 p.m. Murders in the Rue Morgue (1932)
One of three films tonight starring Bela Lugosi, who along with Boris Karloff, provided many of Universal’s thrills and chills during the early ’30s.

2:00 a.m. (Mon.) Night of Cabiria
I’m not really all that familiar with Federico Fellini’s work, having only seen La Dolce Vita, but I wanted to give those who are a heads up.

So TCM fans…what are you watching this week? Any favorite Cary Grant movies? Leave me a comment!