A Reel Retro Review: THE PRIZE (1963)

 With no new films to review for the foreseeable future, Reel Speak will randomly review a classic film from the TCM library every week. Not just for the sake of filling time, but to hopefully introduce some overlooked and perhaps forgotten screen gems from the past to those of us who may be unfamiliar or unawares of their existence. 

 

 

 

The 1963 Paul Newman-led film THE PRIZE is a movie that does a lot. Based on the novel of the same name by Irving Wallace, the film is one-half romantic comedy and one-half global espionage drama…shifting gears quickly between the two and packing a lot in. Many films have tried to balance two genres; some have succeeded, many have failed. It’s a game of weaving the storylines, and that was the task for director Mark Robson and screenwriter Ernest Lehman. 

 

Andrew Craig (Newman), a womanizing drunk and successful novelist, arrives in Stockholm to accept the Nobel Prize for Literature. After a chance meeting, he becomes convinced that fellow recipient Dr. Max Stratman (Edward G. Robinson), is an imposter. 

 

THE PRIZE is a wild ride that has Craig trying to unravel what he believes is a global conspiracy involving Communist East Germany. For most of the film, Dr. Max is indeed an imposter, with the real version of the esteemed doctor kidnapped the night before the award ceremonies. The goal is for the imposter to publicly repudiate the United States and the prize. Craig picks up friends here and there, including his personal chaperone Inger (Elke Sommer), and Dr. Max’s niece Emily (Diane Baker)…who may or may not be in on the scheme. 

 

Craig goes through a series of misadventures which has him thrown into the river, discovering dead bodies, hiding in a nudist colony, and dangling off bridges. All done while he hits on Inger or Emily, and guzzles three martini’s for lunch. It’s a laugh a minute, and the many twists and turns keep the plot from becoming predictable. The dialogue is sharp and witty while the plot keeps things serious. 

 

Director Mark Robson keeps the pacing tight, and the film flies by despite its 134 minute running time. The early goings are a bit of a drag as the film makes it a point to spend time with the other Nobel Prize winners long before Craig even shows up on screen, but the film impressively gives all of those characters their own arcs and moments. 

 

Acting is excellent with Paul Newman doing most of the heavy lifting. He shows a great knack for comedy and the physical work he has to do is impressive as well. Actresses Elke Sommer and Diane Baker are excellent, and the late great Edward G. Robinson is a show stealer as always. 

 

The finale has a surprise or two, and the last bad guy taken care of by way of a climactic, yet somewhat cliché chase to a rooftop. It’s no dealbreaker, as THE PRIZE wraps up as a funny and charming adventure…striking a perfect balance between genres. 

 

BOTTOM LINE: See it

 

Reel Facts: Edward G. Robinson plays the role of Dr. Max and the imposter. This is the second film in which he played dual roles, with the first being THE MAN WITH TWO FACES (1934). Screenwriter Ernest Lehman would go on to write THE SOUND OF MUSIC (1965). The score for THE PRIZE is composed by Jerry Goldsmith…who would go on to become one of cinema’s greatest composers with films such as STAR TREK (1979), ALIEN (1979), FIRST BLOOD (1982), and THE MUMMY (1999). 

A Reel Opinion: The Top 10 Best Films to watch in the Fall

Fall is officially here. Gone is the oppressive heat and blasting sun…replaced by cool and crisp air, boots and flannels, hot beverages and glorious colors of foliage. As with any season, Fall brings a period of transition and a different atmosphere. This has been reflected in cinema for decades. Where the Summer months were home to fun and colorful films, the Fall season brings about darker movies; the dramas meant for Oscar glory, and the horror films intended to feel at home with the spookiness of October. But it would be unfair to classify Fall films as all dark and gloomy. Fall is one of the most romantic seasons of the year, and it often dips it’s leaves into other genres such as sports and family films. What are the best films to watch while huggling with a loved one under a blanket with a steaming beverage, while capturing the essence or the atmosphere of the season? The answer, or suggestions come with Reel Speak’s first Top 10 Best Films to watch in the Fall. 

 

 

So let’s break out the blankets…

 

 

 

 

 

 

10. PLANES, TRAINS & AUTOMOBILES (1987)

 

Thanksgiving seems to be the bastard child of cinematic holidays; often pushed aside in favor of Christmas movies and Halloween flicks. Heck, even the 4^th of July got its own movie. That alone makes this an easy entry to the must-watch films for the season. Steve Martin and the late great John Candy go through one mishap after another in a quest to get home for Turkey Day…earning one laugh after another and making us all nod our heads in agreement about the hassles of travelling during the holidays. 

 

 

 

9. HARRY POTTER AND THE SORCERER’S STONE (2001)

 

The first installment of the HARRY POTTER film franchise has everything a Fall film needs; a back-to-school theme, witchcraft and wizardry, black cats, trolls, and every character dressed for cold weather. The floating pumpkins in the dining hall hovering over tables full of succulent Autumn treats alone makes the film inclusion-worthy. But most importantly: Fall is a season of transition, and this is a family-friendly film that can move kids from the wildness of Summer to the more structured time of the school months. 

 

 

 

8. THE BLAIR WITCH PROJECT (1999)

 

One of the first found-footage films that was a cultural smash and convinced audiences that it was real. Three student filmmakers venture out into the Maryland forest to make a documentary about a witch…never thinking that they would actually find her. Fall is definitely a time for horror films, and BLAIR WITCH brings the scares and shows the forest in way that will never have us look at leaf-less trees the same way again…or be out there in the woods after dark. 

 

 

 

7. BATMAN BEGINS (2005)

 

Christopher Nolan’s Batman origin tale. It’s hard to ignore the impact superheroes have had on our culture in the last 20 years, and their films seem to make their way into every list. Taking inspiration from the classic Batman comic The Long Halloween, BATMAN BEGINS has all the elements of a horror film; capes, masks, and more than one bat. It’s primary color palette has the official Fall colors of black and orange, and Hans Zimmer’s iconic two-note Bat-theme has the foreboding of the dark nights ahead. 

 

 

 

6. THE FANTASTIC MR. FOX (2009)

 

Wes Anderson’s colorful adaptation of the beloved children’s book. Lovingly brought to life with old-school, stop-motion animation, the film has a special, childlike wonder to it. The beauty of Autumn is on full display to the point where the color orange is basically a character in the film; it’s basically a love letter to the season. Boasting an impressive ensemble cast (as all Wes films tend to do), and a gorgeous presentation, MR. FOX works just as well for kids as it does adults. 

 

 

 

5. HOCUS POCUS (1993)

 

No one ever said that Halloween movies have to be all blood and guts and cover-your-eyes scary. Bette Midler leads a trio of witches resurrected in modern-day Salem, leading to adventures and mis-adventures ranging from spells, talking cats, and zombies. It’s saturated in Halloween lore, and is perfect for the entire family to gather and enjoy after a night of tricking and treating. 

 

 

 

4. REMEMBER THE TITANS (2000)

 

For many, Fall means football and going back to school, and Boaz Yakin’s based-on-a-true-story about an African-American coach (played by Denzel Washington), trying to integrate a high school football team hits all the right notes for the season. It works as a sports drama, family film, and is socially relevant after 20 years. And if a little more grit is needed for the more serious movie fan, there’s always FRIDAY NIGHT LIGHTS (2004). 

 

 

 

3. HALLOWEEN (1978)

 

John Carpenter’s horror classic that made the white-mask wearing, kitchen-knife wielding man-hulk Michael Myers an instant icon. Never before have the suburbs looked so beautiful in the Fall…only to turn terrifying in an instant. And who could get that music out of their head after one listen? 

 

 

 

2. SLEEPY HOLLOW (1999)

 

Tim Burton’s take on the 1820 short story by Washington Irving, telling the tale of a constable (Johnny Depp), trying to solve a series of murders by a headless horseman. Burton has made a career out of movies about the strange and unusual, and any one of his films are right at home in the Fall or for Halloween, but SLEEPY HOLLOW is timeless as it can be told to youngsters on a Halloween night; a fairy tale to keep them well-behaved. The village of Sleepy Hollow and the surrounding forest is presented as creepy as can be, and the scenes of that headless horseman still brings the chills. 

 

 

 

1. WHEN HARRY MET SALLY (1989)

 

One would not expect a rom-com to fully capture the feelings of Autumn, but Nora Ephron’s cultural smash that elevated the stars of Meg Ryan and Billy Crystal clicks all the right boxes. Filmed against the stunning foliage of Central Park and showcasing some great, bundle-up fashions of the time, HARRY MET SALLY catches two characters in a period of transition in their lives which serves as a metaphor for the changing of seasons. Harry and Sally are in the Autumn of their relationship, with changes coming ranging from dark (Winter) to hopeful (a New Year). Fall has always been a comfort-season; the comfort of a hot beverage, warm blanket, roaring fire, and the closeness of someone special. HARRY MET SALLY is very much a comfort; showing that a change in season is always a good thing. 

Reel Speak's TOP 10 Best Films to watch in the Fall 

1. WHEN HARRY MET SALLY 
2. SLEEPY HOLLOW
3. HALLOWEEN
4. REMEMBER THE TITANS
5. HOCUS POCUS
6. THE FANTASTIC MR. FOX
7. BATMAN BEGINS
8. THE BLAIR WITCH PROJECT
9. HARRY POTTER AND THE SORCERER'S STONE
10. PLANES, TRAINS, & AUTOMOBILES

 

 

 

 

A Reel Retro Review: FOREIGN CORRESPONDENT (1940)

With no new films to review for the foreseeable future, Reel Speak will randomly review a classic film from the TCM library every week. Not just for the sake of filling time, but to hopefully introduce some overlooked and perhaps forgotten screen gems from the past to those of us who may be unfamiliar or unawares of their existence. 

As one of the most studied filmmakers in the history of cinema, Alfred Hitchcock has laid down the path to great storytelling for more than one generation of directors. With some of the best films of all time under his belt such as PSYCHO (1960), VERTIGO (1958), and NORTH BY NORTHWEST (1959), it seems like he was always great at his craft. But every filmmaker has a beginning, and it is always of great interest to look at a master’s film before they were known as masterful. Here now is Hitchcock’s second ever Hollywood production, FOREIGN CORRESPONDENT. 

 

Just before the outbreak of WWII, John Jones (Joel McCrea), a New York crime reporter, is sent to Europe to get answers concerning the question if war was inevitable. 

 

Less of a film about journalism and more about global espionage on the way to a war, FOREIGN CORRESPONDENT follows Jones as he gets tangled up in a web of deceit and murder. His first interview with the leader of a peace movement (Albert Basserman) ends in an apparent murder, which winds up being a case of mistaken identity, which in turn puts Jones in the crosshairs of would-be assassins working undercover in Europe. 

 

Hitchcock, working from a script by James Hilton and Robert Benchley, keeps the twists and turns coming and we get to the point where we don’t know who to trust. The film switches gears rapidly, and by the time the credits end we almost feel like we’ve watched 12 different movies. It’s nearly episodic, but it works. Hitchcock shows his early chops for ramping up the suspense, with scenes involving sneaking around inside a windmill to creeping around the ledge 20 stories up some of several highlights. 

 

Acting is very good with Joel McCrea appearing in nearly every scene. Laraine Day comes in as a love interest and is a delight, although the two characters fall in love way too fast. 

 

A question that hangs over most of the plot is if war would indeed break out. It’s no spoiler to say that it does, and the ending paints a picture of dread and hope in a way that only ol’ Hitch could pull off. FOREIGN CORRESPONDENT isn’t just a look at a young Hitchcock on his way to greatness, but a solid and noteworthy entry in his massive catalog of classics. 

 

BOTTOM LINE: See it 

 

*

 

Reel Facts: FOREIGN CORRESPONDENT was one of two films of Hitchcock’s that would be nominated for Best Picture in 1940, the other being the eventual winner, REBECCA. Laraine Day was 19 years old during filming, and would go on to a career that would span 45 years in film and television. Writer Robert Benchley would become the grandfather to novelist Peter Benchley, author of Jaws. 

A Reel 25: SE7EN

 “Wanting people to listen, you just can’t tap them on the shoulder anymore…”

 

This month marks the 25^th anniversary of David Fincher’s SE7EN. 

 

SE7EN, a neo-noir psychological and horror thriller, tells the tale of two detectives; a newly transferred David Mills (Brad Pitt) and a soon-to-retire William Somerset (Morgan Freeman), who get deeply involved in the hunt for a serial killer whose murders correspond to the seven deadly sins…gluttony, greed, sloth, wrath, pride, lust, and envy. 

 

Often regarded as a modern classic, the many mystiques about SE7EN began with the screenplay. The film was written by Andrew Kevin Walker during his time in New York City; a city and period of his life which he found to be deeply dark and depressing. The ending of the movie, now regarded as the mother-of-all-twist-endings, which involved a certain character’s head in a box, was originally met with apprehension from the interested studio, New Line Cinema…who preferred a traditional detective thriller. But when the script was sent to director David Fincher, the version with the head in the box was still in the script and Fincher signed on to direct on that ending. When the mistake was realized, the studio balked, but Fincher had found an ally in rising star Brad Pitt. Fincher was just coming off a bad experience with his film ALIEN 3 (1992), thanks to studio interference, and Pitt had just had a similar experience during LEGENDS OF THE FALL (1994). Once Pitt joined in the fight to keep the head in the box scene, the studio gave in and history was on the way to be made. 

 

Filmed in crowded urban streets in which the weather produced an oppressing rain, Fincher and production designer Arthur Max created a dismal-looking film in which the surroundings reflected the inhabitants. The murders by the killer, known in the film as John Doe, played constant head games with the detectives and the audience…and the name of the actor playing Doe was kept off of the posters and marketing campaigns…adding a hefty amount of surprise and shock when he finally shows up near the end. The cast was rounded out by Gwyneth Paltrow, R. Lee Ermey (FULL METAL JACKET), Richard Roundtree (the original SHAFT), and John C. McGinley (PLATOON). 

 

Audiences responded to the shock and awe of the film. SE7EN spent four consecutive weeks in the top spot at the U.S. Box Office, and would finish as the (ahem), seventh-highest grossing film in 1995. It would earn an Oscar nomination for Best Editing, and Andrew Kevin Walker would be nominated for a BAFTA for his screenplay. The American Film Institute (AFI), features the film on lists such as 100 Thrills, 100 Heroes and Villains, and Mystery Film. Famed film critic Roger Ebert featured it on his Great Movies list. SE7EN would put David Fincher’s star on the rise, and would send him on his way to make THE GAME (1997),  FIGHT CLUB (1999), and ZODIAC (2007). 

 

*

 

SE7EN is a film which can fulfill many appetites, as it tends to land on many different tables; it is a police procedural, buddy-cop flick, and psychological head-game messer-upper with a touch of classic horror. The hunt for the killer is paced nicely with character moments, specifically the hopeful vs. the apathetic. It delves deeply into the minds of serial killers and the men who hunt them, and the script reveals more with each passing viewing. The whopper of an ending, which in 1995 sent this Blogger and many others stumbling out of the theatre, still has an impact during revisits today. SE7EN is indeed a modern classic, and belongs on the top shelf of every cinema-fan’s library. 

 

“People will barely be able to comprehend it, but they won’t be able to deny it.”

 

 

*

 

1995 was a benchmark year for film. Read Reel Speak’s recap of the year HERE. 

 

A Reel Retro Review: OCEAN'S 11 (1960)

 With very few new films to review for the foreseeable future, Reel Speak will randomly review a classic film from the TCM library every week. Not just for the sake of filling time, but to hopefully introduce some overlooked and perhaps forgotten screen gems from the past to those of us who may be unfamiliar or unawares of their existence. 

 

As stated in the preface, the intent of Reel Speak’s Retro Reviews is to uncover some obscure or forgotten films from cinema’s glorious past. It’s hard to think of anything done by the late great Frank Sinatra and his famed Rat Pack as obscure or forgotten, but in 2001 when director Steven Soderbergh did a successful remake of Sinatra’s heist film OCEAN’S 11, the 1960 film fell off the face of the Earth in a hurry. An ensemble film that is full of stars and set during the glory days of Las Vegas, here now is the original 11. 

 

Danny Ocean (Frank Sinatra), recruits members of his former WWII unit (Dean Martin, Sammy Davis, Jr., Peter Lawford, Richard Conte, Joey Bishop, Henry Silva, Buddy Lester, Richard Benedict, Norman Fell, Clem Harvey), to pull off a Las Vegas heist; to simultaneously rob five casinos. 

 

Every film has what George Lucas always referred to as a “spaghetti supper scene”, in which the characters get together at a table (actual or metaphorical), and discuss what the goal of the film is. It’s exposition at its most basic; as the characters talk about the goal, the audience is thusly informed. OCEAN’S 11 is a film that is no hurry to get to dinner. The first full hour is spent assembling the characters from all over the country, and with each stop even more time is spent with them…establishing their lifestyle and any possible problems that would lead them to want to pull off a heist. The group does not get together to discuss the job until the movie is over an hour deep, and with a total running time of 127 minutes…leaves just another hour to do the job. Once the job finally gets underway, the method they use borders on ludicrous, but for a 1960’s film it’s a relief to see guys using their minds to get around obstacles instead of relying on endless technology. 

 

Director Lewis Milestone has a subtext on his hands on what men tend to do with themselves once they come home from war, but this is put aside in favor of spending time with the crew, with most of the camera on the Rat Pack. As would be expected, Frank, Dean, and Sammy get most of the screentime, with occasional little showpieces for their talents. Dean goes undercover at a casino as a show headliner and leads a few musical numbers, but Sammy breaks into song in the most random and ridiculous places. 

 

Acting is fine all around. The Rat Pack at this point had been around each other a long time and the chemistry is there. The film is also peppered with a few cameos; Shirley MacLaine and Red Skelton making short yet very good appearances. The supporting cast of Angie Dickinson, and Cesar Romero (Joker from TV’s BATMAN), both very good. 

 

OCEAN’S 11 is a flawed, yet fun caper that is a tribute to the Vegas of old just as it is a showcase for Sinatra and his friends. It was improved upon by Soderbergh in nearly every way, but is worth a look just as a slice of entertainment history. 

 

BOTTOM LINE: Rent it 

 

*

 

Reel Facts: When Sinatra was first told of the story for OCEAN’S 11, he famously joked, “Forget the movie, let’s pull the job!”. Richard Conte would later go on to play Don Barzini in THE GODFATHER (1972). 

 

 

A Reel Opinion: Ranking the Films of Christopher Nolan

This past weekend, the 11^th film from writer and director Christopher Nolan, TENET, was finally revealed to the world. Its release immediately sparked discussions over the career of the British-American filmmaker, which leads us to Reel Speak’s first Ranking of the Films of Christopher Nolan. 

 

After over 20 years, Nolan has become one of those rare directors whose movies can be considered events; having pushed the boundaries of technology and traditional storytelling. He has told his stories through non-linear methods, messed with the passage of time, and redefined genres. Since 1998 his efforts have earned almost $5 billion at the worldwide box office, with 34 Oscar nominations and ten wins. His visons are fascinating and divisive, with one foot set in the history of cinema with the other stepping forward where no one else has. His range of success has varied, but he has yet to make a film that is unwatchable or deserving of the trash heap. Every film here is worthwhile, but some are just better than others. 

 

 

So let’s watch closely…

 

 

 

 

11. TENET (2020)

 

John David Washington (son of Denzel), plays a CIA agent using time manipulation to prevent worldwide decimation. Ambitious to a fault, TENET rewinds and fast-forwards time enough times to give us multiple character timelines; enough that will have fans drawing maps and diagrams for years trying to sort it all out. Several re-watches may improve it, but the first impression, which is always important, is as exhausting as it is frustrating. A technical marvel that suffers from thin characters and half-explained time-travel concepts. 

 

 

 

10. INSOMNIA (2002)

Al Pacino plays a sleep-deprived detective trying to solve a murder in a sleepy Alaska town in perpetual daylight. As the only remake Nolan has done and the only film where he does not have a screenwriting credit, INSOMNIA isn’t quite one of his films…and it shows with its straightforward, nearly dull presentation. The film was Nolan’s first with Warner Bros., cementing a relationship that continues to this day, and it drew a fantastic, dramatic performance from the late great Robin Williams…but it’s still a snoozer. 

 

 

 

9. FOLLOWING (1998)

 

Nolan’s feature debut, in which an un-named young man follows strangers around the streets of London to find inspiration for his novel. Simple, short (less than 70 minutes), and right to the point, FOLLOWING has become all but obscure as Nolan has moved on to bigger and better things, but the film shows his early steps on the way to those big ones. 

 

 

 

8. INTERSTELLAR (2014)

 

Matthew McConaughey and Anne Hathaway lead a team of astronauts into deep space to find a new suitable home-planet for mankind. Another technical wonder that plays with the passage of time (one hour for a character can be a decade for another), INTERSTELLAR was the film where Nolan swung for the fences in generating a Spielberg-level emotional wallop. Known mostly as a technical master than a tear-jerker, he didn’t quite get there…and that leaves the film feeling a bit empty. But the merits are many; It’s a space-odyssey on a massive scale that Kubrick would have loved, and one of the few Earth-is-doomed movies that offers hope. 

 

 

 

7. THE DARK KNIGHT RISES (2012)

 

Nolan’s grand finale for his DARK KNIGHT TRILOGY of Batman films. Despite a sagging mid-section and a little bit of bloat, RISES works well on a larger scale than his previous two films, and the subtext of class distinction…the Haves vs. the Have-nots, resonates into today’s world. Home to some spectacular action sequences and thrilling performances by Bat-newcomers Tom Hardy (as Bane), and Anne Hathaway (Catwoman), it ends the trilogy on a high note with many rousing scenes and an emotional final sequence. Nolan’s highest grossing film with over $1 billion at the worldwide box office. 

 

 

 

6. MEMENTO (2000)

 

Nolan’s second film and his breakout. Guy Pearce tracks his wife’s killer while battling short-term memory loss, an element that allowed Nolan to tell his story in a unique way; a timeline that is shown chronologically, and another shown in reverse order…which simulates for the audience the mental stage of the protagonist…who loses his memory every 15 minutes. A challenging film to get through (it gives this Blogger a headache), MEMENTO has been praised for having one of the most realistic and accurate depictions of amnesia. 

 

 

 

5. DUNKIRK (2017)

Nolan’s Oscar-nominated take on the famed WWII evacuation of thousands of Allied soldiers which was aided by civilians. It is told over three different timelines operating on different clocks that eventually converge; on land, by sea, and by air. The desperation of the stranded troops can be felt, and Nolan’s commitment to 70mm photography and practical effects makes DUNKIRK a standout in today’s cinema. The varying timelines may be a challenge to follow, but the emotional ending makes it all worth it. 

 

 

 

4. BATMAN BEGINS (2005)

Prior to 2005, Batman on film was a joke; having four hokey movies in the late 80’s and early 90’s that ranged from good to terrible. That all changed when Nolan stripped down the caped crusader to his core values, and brought us the first in a new wave of grounded superhero films; showing that masks and capes can function in the real world. Told through a unique, non-linear perspective, it stands out among the large crowd of origin tales in the genre. Christian Bale became an overnight star, and the supporting cast of Michael Caine, Liam Neeson, Katie Holmes, Gary Oldman, Cillian Murphy, Tom Wilkinson, Rutger Hauer, Ken Watanabe, and Morgan Freeman are perfect. Marvel’s X-MEN may have regenerated the superhero film for the next 20 years, but BATMAN BEGINS showed how great they can really be. 

 

 

 

3. INCEPTION (2010)

 

Leonardo DiCaprio plays Cobb, the leader of an ensemble cast of operatives who invade the dreams of others to extract information…or to plant ideas. A heist film in reverse, INCEPTION literally works on many levels, with the operatives going into dreams within dreams, where time works differently on each floor. Its far-out concepts are grounded in Cobb’s get-Dorothy-home sub-plot, and the dazzling action sequences brought to life by way of old-school camera tricks. Nominated for eight Oscars and winning four, it is one of Nolan’s most successful films. 

 

 

 

2. THE DARK KNIGHT (2008)

 

Nolan’s magnificent follow-up to BATMAN BEGINS which is often considered to be one of the best superhero films of all time. Christian Bale reprises Bruce Wayne/Batman, who goes up against his classic rival, the Joker…as famously played by Heath Ledger. Firmly grounded in the real world of cops and robbers, it often feels like TV’s LAW AND ORDER with capes and masks, but that does not detract from its punch. Layered with deep dives into the psyche of superheroes and super-villains, DARK KNIGHT will have us questioning who the real bad guys are…topped off with an ending that sent audiences staggering out of the theatre. Ledger rightfully took home a posthumous Oscar for his performance and became an instant icon, while the film elevated the superhero genre into a legit class of cinema even in the most stuffy critical circles. How good is it really? After 12 years no film based on a DC Comics character has come close to it. 

 

 

 

1. THE PRESTIGE (2006)

Christian Bale and Hugh Jackman play 19^th century magicians at war with each other. The film right away tells us that every magic trick has three parts; the pledge (something ordinary), the turn (something magical), and the prestige (bringing it back). Nolan takes that concept and applies it to the entire film; the movie itself is a magic trick using those three working parts. Coupled with a non-linear style which eventually catches up with itself, the film tells the audience to watch closely…a bold challenge that not many filmmakers would take. Where most Nolan films tend to put the characters on the backburner, THE PRESTIGE keeps the personal inner-demons of our two magicians at the front, and at times it’s hard to know who to root for. Another ensemble cast of Michael Caine, Scarlett Johansson, Rebecca Hall, Andy Serkis, and the late great David Bowie as Nikola Tesla (!) are assembled and put to great use. Our two magicians reflect Nolan’s personality; one a showman and one a craftsman…making THE PRESTIGE his most personal film. One that is fascinating to watch closely. 

REEL SPEAK'S RANKING OF CHRISTOPHER NOLAN

1. THE PRESTIGE
2. THE DARK KNIGHT
3. INCEPTION
4. BATMAN BEGINS
5. DUNKIRK
6. MEMENTO
7. THE DARK KNIGHT RISES
8. INTERSTELLAR
9. FOLLOWING
10. INSOMNIA
11. TENET

*

Thanks to Jon Gumble, friend of Reel Speak, for suggesting this topic. 

A Reel Retro Review: TEA FOR TWO (1950)

 With no new films to review for the foreseeable future, Reel Speak will randomly review a classic film from the TCM library every week. Not just for the sake of filling time, but to hopefully introduce some overlooked and perhaps forgotten screen gems from the past to those of us who may be unfamiliar or unawares of their existence. 

 

One of the biggest movie stars of the 1950 – 1960 era was Doris Mary Anne Kappelhoff…known to the world as Doris Day. A talented actress, singer, and dancer…she was a box office draw, Oscar-winner, and lit up the screen alongside iconic names such as James Cagney, Ginger Rogers, Frank Sinatra, and Kirk Douglas. One of her breakthroughs came in 1950 in the musical/comedy TEA FOR TWO, which was the first film in which she received top billing and marked the first time she danced on-screen. 

 

In the Roaring Twenties, Nanette Carter (Day), is a socialite with show business aspirations who agrees to fund a stage production, produced by her on-again, off-again boyfriend Larry (Billy De Wolfe), and starring her friends Jimmy (Gordon MacRae), and Tommy (Gene Nelson). Unfortunately, Nanette’s Uncle Max (S.Z. Sakall), has lost most of her money in the stock market crash due to too many investments they said “yes” to. Uncle Max agrees to get her the cash, if she can go 24 hours answering “no” to every question she is asked. 

 

TEA FOR TWO follows a busy few days in the life of Nanette as she deals with multiple issues; her ruined finances, her eagerness to break into show business with a starring role, a possible romance with Jimmy, and the fact that the entire stage production is banking on her financial commitment. All this is complicated with her uncle’s bet, which leads her to have to say “no” to many things she wants to say “yes” to, including accepting that starring role and accepting a marriage proposal. 

 

Despite the high stakes, director David Butler keeps the atmosphere light and the humor aplenty. There is a zing to the script as it is witty and sharp, and the situations Nanette finds herself in with all of her “no’s” when she wants to say “yes” are hilarious. As a film that is basically about getting a stage musical off the ground, it is very true to its roots. TEA FOR TWO is inspired by the 1925 stage musical No, No, Nanette…which is the exact play they are trying to produce for the movie. Clever. The film is a joy to take in with the humor and many song-and-dance numbers, but like most musicals of the era…there is a lot of dance numbers that feel like are in there just to fill time. With a running time of just 98 minutes, it feels about half of that is dedicated to actual story. 

 

TEA FOR TWO is Doris Day’s first film in which she is dancing on screen, and she comes off as a pro. In the story she is a shining light, and the potential for her stardom can easily be seen. Gordon MacRae, who was a singer and radio/television host, stretches his deep pipes and makes an impression. S.Z. Sakall is a blast as the uncle who just wants to put everything back together. The show is stolen by Eve Arden. Arden, who years later would play Principal McGee in GREASE (1978), draws the most laughs with her deadpan one-liners. 

 

TEA FOR TWO is bookended by Uncle Max telling his grandchildren the story of how their parents got together (slight spoiler: Nanette and Jimmy), which gives the film a once-upon-a-time feel. True to many of the musicals of this era, TEA FOR TWO is light and breezy, a lot of fun with more than one song-and-dance bit to tap our foot along. 

 

BOTTOM LINE: See it 

 

*

 

Reel Facts: Director David Butler and Day would collaborate for a total of six films. Butler would go on to direct television episodes for LEAVE IT TO BEAVER (1957-1963), and WAGON TRAIN (1957-1965). Gene Nelson would win the Golden Globe for New Star of the Year for his role in TEA FOR TWO, and would reunite with Gordon MacRae for the film version of OKLAHOMA! (1955). 

A Reel Review: TENET

For over 20 years, filmmaker Christopher Nolan has challenged audiences with his non-traditional style, which has ranged from non-linear storytelling, multiple timelines, and variables on the passage of time. But even when he is at his most ambitious, he still manages to keep the film grounded to keep his audiences engaged and informed. After 10 films he must think audiences are used to his visions by now, because his newest film, TENET, really doesn’t care if anyone is confused. 

A CIA agent (John David Washington), known only as The Protagonist, is recruited into a secret organization to defeat the efforts of Andrei, (Kenneth Branagh), a Russian oligarch who is manipulating the flow of time to bring on worldwide destruction. 

TENET at its core is a classic James Bond film, with our Protagonist hopping across the world, making shaky alliances with shady arms dealers in an effort to save every one of us. Along the way he picks up companions such as Neil (Robert Pattinson), his handler, and Kat (Elizabeth Debicki), the estranged ex-wife of Andrei. The goal is simple enough in hopping around from place to place chasing items from the future, which when put together can have worldwide devasting consequences. 

Saving the world may be the same-old, same-old that we’ve seen countless times, and that’s where the manipulation of time comes in. Objects and people have the ability to rewind, or even fast-forward time, which leads to multiple character timelines which eventually leads the story to fold back on itself. Characters encounter themselves from the future and past, while others see the world around them unfold in reverse as they travel backwards. It’s confusing and mind-bending, and one would need a road map to keep track. 

As commendable as it may be to try something this ambitious on film, the time manipulation comes in drastically undercooked. Every time-travelling movie has a scene where a scientist explains the mechanics of it all, and TENET has one, but this time the scientist is as clueless as the audience…offering no real explanation. The scientist (Clemence Posey), literally tells the Protagonist, and the audience, don’t try to understand it. It feels like the easy way out and once the film moves forward with things running backward, it just gets bewildering. 

There is still a lot to admire in TENET. Action sequences ranging from a shootout at an opera house, a freeway chase, and a raid on an underground bunker are intense and will have audiences ducking for cover, and a fistfight in a kitchen with utensils as weapons is brutally awesome. Characters and objects moving in reverse during these action pieces are impressive, and the amount of thought and coordination that must have been put into it can be seen on the screen. The various locations across the world are gorgeous, and Ludwig Goransson’s score is tremendous. Nolan however can’t help himself in the most basic filmmaking; often the dialogue is drowned out by noise or the score itself in an effort for realism, or just to drive us nuts. The highlight of the film is when a 747 crashes into a hanger; filmed for real. 

Acting is very good despite every character being not-so-much characters and more like widgets to drive the story forward. John David Washington is required to be stoic, but has just enough charisma to get past it. Robert Pattinson brings on a few laughs and shows off a surprising ability in the action sequences. Elizabeth Debicki is gorgeous and offers what little heart there is, and Kenneth Branagh is great as always. Michael Caine makes a small cameo in his 8^th Nolan film. The show is stolen by Aaron Taylor-Johnson, who absolutely vanishes into a role as a military commando. 

The finale involves a massive raid on a compound with two teams attacking from two different timelines, which once again confuses without a roadmap. The last few minutes do manage to fold back on itself and things kinda-sorta make sense, but the trip there is a headache. TENET is a film that has Nolan at his most experimental; challenging audiences and pushing every limit possible. It’s too ambitious for its own good, and it impresses as much as it baffles. 

BOTTOM LINE: Rent it