A Reel Retro Review: GODZILLA (1954)

Reel Speak’s Retro Reviews will randomly review a classic film from the TCM library every week, with the intention of introducing some overlooked and perhaps forgotten screen gems from the past to those of us who may be unfamiliar or unawares of their existence. 

 

This week, famed giant monster Godzilla returns to the big (and mostly small) screen in GODZILLA VS. KONG; the fourth film in the ongoing monster-verse in which the big guy takes on American icon King Kong. Kong’s historic connection to New York City has arguably given him more popularity than Godzilla in the U.S., making most of Godzilla’s films overlooked. With a new film on the horizon, it’s worth taking a fresh look at Godzilla’s very first appearance in 1954. 

 

Directed by Ishiro Honda, the early goings of GODZILLA unfold like a mystery to be solved. Something of immense power is sinking ships, and every scientist and Naval officer are baffled. This mystery, of course, is none other than Godzilla, an ancient legend come to life. Godzilla causes a national panic by destroying ships, consuming fish which puts fishing villages in peril, and eventually stomping his way inland where he smashes every building in sight. 

 

Despite the spectacle, GODZILLA weaves a fine narrative about the fears of nuclear holocaust; a major concern for the world in 1954. This narrative is driven by well-rounded characters, including Hideto (Akira Takarada), a seep-sea salvage expert, and his love interest Momoko (Emiko Yamane)…who both just want to find an end to the terror. They are countered by Momoko’s father Dr. Kyohei (Takashi Shimura), who doesn’t want to destroy the beast in the name of science and research, and Dr. Daisuki (Akihiko Hirata), who discovers a way to kill Godzilla but keeps it a secret out of fear of the government using his invention as a weapon in future wars. It makes for fine drama as the characters debate the issue and run for their lives at the same time…all while Japan is being torn apart. 

 

Director Ishiro Honda maintains a strong element of terror and doom throughout the film. Even before Godzilla steps his size 450 footprint on land, the effects of his presence are felt throughout the country. The spectacle of Godzilla’s rampage throughout the villages and cities is awesome even for 1954 standards. The GODZILLA film franchise in the early days gets poked fun at a lot today for using obvious models being crushed by a man in a suit, but the fine detail put into the model-making makes it believable; buildings collapse just the way we would expect a real building to do so. There is also something to be said about filming most of Godzilla’s carnage-stomp at night, which helps to disguise the rubber suit and plastic models; a technique that many CGI-heavy films still use today. 

 

GODZILLA at its core is a monster movie, but it makes the characters grapple with important questions; Do they destroy the creature, or preserve it in the name of science and humanity? If they show mercy, can the attack? These are great questions that gives GODZILLA a depth and a weight. And despite the giant lizard destroying everything, the film somehow makes us feel sorry for him at the very end; an emotional turn that is no small feat. 

 

BOTTOM LINE: See it 

 

 

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Reel Facts: The GODZILLA film franchise is considered to be the longest running film series in history, with 36 total films over the last 67 years. Director Ishiro Honda would spend time in the giant monster genre for decades, including KING KONG VS. GODZILLA in 1962. He passed away in 1993 at the age of 81. 

 

 

 

 

A Reel Retro Review: I SHOT JESSE JAMES (1949)

Reel Speak’s Retro Reviews will randomly review a classic film from the TCM library every week, with the intention of introducing some overlooked and perhaps forgotten screen gems from the past to those of us who may be unfamiliar or unawares of their existence. 

The tale of Bob Ford and Jesse James has provided a lot of cinematic material over the years, with Andrew Dominik’s Oscar-nominated masterpiece THE ASSASSINATION OF JESSE JAMES BY THE COWARD ROBERT FORD the definitive version. One of the more unique takes came in 1949 with Samuel Fuller’s I SHOT JESSE JAMES. 

 

Bob Ford (John Ireland), guns down famous outlaw Jesse James (Reed Hadley), and moves into show business. He looks to marry Cynthy (Barbara Britton), but has to compete with John Kelly (Preston Foster), a silver prospector. 

 

The cowardly way in which Ford gunned down James has usually been the climax of most tellings of the story. I SHOT JESSE JAMES differs in that the assassination happens early, and uses the incident as the film’s stepping-off point. After the killing, Ford moves into show business where he re-enacts the shooting with his brother Charlie (Tommy Noonan). Unfortunately for Bob, he finds that he isn’t regarded as a hero as he expected, and is instead mocked by theatre crowds and by popular songs. 

 

The film doesn’t dwell too long on Bob’s struggles post-Jesse, and moves into a love triangle with Cynthy and John Kelly. Kelly and Bob are friendly rivals at first, but that moves into bitterness when Bob realizes that he may be the odd-man out. The love triangle, which is fictional, feels unnecessary and the best parts of the film are early on with Bob not finding the applause he expected. 

 

Director Samuel Fuller seems to be working with a lot of limitations, as the film barely moves outdoors; for a Western there is certainly a lack of horses. Most of the film takes place in saloons and hotel rooms, and while this makes the movie seem small, the tradeoff is more character moments. A few fistfights in the saloons are executed very well. The cast is very good. John Ireland conveys Bob’s inner and outer struggles very well, and his scenes with the lovely Barbara Fulton are excellent. 

 

History buffs, or anyone with even a pedestrian knowledge of the Bob Ford story will be turned off by I SHOT JESSE JAMES for the all the liberties the film takes, as Ford never knew Kelly nor was there ever a love triangle. It’s not a dealbreaker when looking at it objectively, but it’s worth noting. The film is unique for not focusing on the James killing and instead following Bob’s quest for fame and credit, it’s just a shame that it didn’t stick to that thread. 

 

BOTTOM LINE: Rent it 

 

*

 

Reel Facts: This was the directorial debut of Samuel Fuller, who would spend most of his filmography in the Old West and War genres. He would direct the ensemble war flick THE BIG RED ONE in 1980. John Ireland would become the first Vancouver-born actor to receive an Oscar nomination when he was recognized for his role in ALL THE KING’S MEN, also in 1949. 

A Reel Review: ZACK SNYDER'S JUSTICE LEAGUE

ZACK SNYDER’S JUSTICE LEAGUE, the four-hour long, second attempt at DC Comics’ famed superhero team, has mercifully arrived after nearly four years of endless noise by overzealous fans and click-baiting websites. It is a re-do of the much maligned JUSTICE LEAGUE film of 2017, which was famously re-edited and re-shot by Joss Whedon after Snyder left the project due to a family tragedy. Now that it’s here, there are questions to be answered; First, is it better than the 2017 version. And second, is it worth the four-hour runtime? 

 

After the death of Superman (Henry Cavill) in BATMAN V. SUPERMAN: DAWN OF JUSTICE (2016), Batman/Bruce Wayne (Ben Affleck), assembles a team of superheroes to fend off an invasion by the demon Steppenwolf (Ciaran Hinds); a team that consists of Wonder Woman (Gal Gadot), Aquaman (Jason Momoa), Cyborg (Ray Fisher), and the Flash (Ezra Miller). 

 

In broad strokes, the plotline of JUSTICE LEAGUE 2.0 is the same as last time. Batman and his super friends run around the world preventing Steppenwolf from collecting otherworldly devices called Mother Boxes; objects of immense power needed for his world domination. And just like last time, the Mother Boxes are eventually used to bring Superman back to life. 

 

That much is the same. What’s different? The hefty runtime allows a shit-ton of time to be spent on characters, and this is welcome considering the lousy job that has been done with these famous comic heroes in the last 10 years on film. Cyborg benefits the most from this, so much that it almost feels like his movie above all else. Character-wise, Cyborg is the only one that gets a complete arc, with the rest of them there as pawns or more plot-points. It leads to a very cold-feeling movie, with very little laughs and certainly no tears. Superman fans will be disappointed to see that he is back to being a plank, along with his classic red-and-blue suit traded in for an edgy sliver-and-black.

 

A lot of time is also spent providing background on the Mother Boxes, and an even bigger villain waiting on the bench. The added material is beneficial, but it also means way too much exposition; so much that it saps the energy out of the entire film. The four hours feels just that long. Many scenes from the first version remain intact (including several that we all thought were made up by Whedon, not so), while others are just made longer. Other significant changes include Steppenwolf getting a redesign; his new pointy armor making him look like Betelgeuse when he was feeling anxious. Steppenwolf as a character is the same; once again a Big Bad looking to muck up the Earth to make way for that Bigger Bad…who this time shows his face here and there. 

 

Snyder films everything with his usual visual style. Slo-mo comes in when it’s needed and not needed; sometimes we just want to see things keep moving. The action scenes are well-done despite some poor CGI here and there. The new 4:3 screen ratio is stupid and takes away from the action. The cast does their best with the thin script. Ben Affleck and Gal Gadot are the highlights, with Ray Fisher pulling a few surprises. Danny Elfman's 2017 score, which incorporated the classic Batman and Superman themes, has been replaced with the most generic music ever. 

 

After the final battle, the film moves into an epilogue that runs nearly half-an-hour, setting up a potential sequel that may or may not happen. There’s a lot of oddness to that epilogue that detracts from a decently improved JUSTICE LEAGUE. Overall, this is the same film that we saw in 2017,  the major difference is that it just takes a very long time to get from point-to-point. 

 

BOTTOM LINE: Rent it 

 

A Reel Retro Review: DOG DAY AFTERNOON (1975)

Reel Speak’s Retro Reviews will randomly review a classic film from the TCM library every week, with the intention of introducing some overlooked and perhaps forgotten screen gems from the past to those of us who may be unfamiliar or unawares of their existence. 

 

In 2006, director Spike Lee delivered one of his best films, the bank-robbery/heist films INSIDE MAN, which had a group of thieves holding a bank-full of hostages while sparring with the police. Lee took a lot of cues for his movie from the 1975 drama DOG DAY AFTERNOON; a film that isn’t quite an overlooked or forgotten, but deserving of a fresh look. 

 

Sonny (Al Pacino), and Sal (John Cazale), attempt to rob a bank in Brooklyn and wind up with a building full of hostages. 

 

Directed by Sidney Lumet and inspired by a real-life robbery in 1972, the real hook of DOG DAY AFTERNOON is that Sonny and Sal are amateurs and have no idea what they are doing. Problems arise even before they can get into the vault; their third man loses his nerve and takes off, and the vault only has about a thousand dollars as they just missed the end-of-day pickup. What follows next is both men holing up in the bank with their hostages, eventually opening up negotiations with Police Sergeant Moretti (Charles Durning), and FBI Agents Sheldon (James Broderick), and Murphy (Lance Henriksen). 

 

Despite their mistakes and stumbles, Sonny and Sal are both painted as master-criminals by the cops and the swarm of media that shows up and begins endless coverage. As Sonny takes on dialogue with said media and the cops, he is revealed to be an every-day man that the public can relate to…eventually looking like a modern-day Robin Hood. Director Sidney Lumet is playing with a theme of how media coverage can hold power over public opinion; Sonny is nearly a hero and then later is ridiculed when the motivations behind his bank-robbing is revealed. 

 

Lumet, who would be known for his social themes and for being an actor’s director…shows off his excellent skills in both of those areas. He has a large cast to work with and they all get their due and put in great performances. The film has a gritty sense of realism and the characters feel very real. 

 

Spike Lee was right to follow the template for DOG DAY AFTERNOON for his INSIDE MAN, as this is a film that knows how to get it done. The plotting is tight and the tension built up nicely. Despite its age it is very relevant to today’s times, and despite a tragic ending…closes out on a satisfying note. 

 

BOTTOM LINE: See it 

 

*

 

Reel Facts: John Cazale would star alongside Al Pacino in THE GODFATHER PART I and II, playing Fredo Corleone. Director Sidney Lumet would finish his career with over 50 films in his filmography, earning Best Director nominations for 12 ANGRY MEN (1957), DOG DAY AFTERNOON, NETWORK (1976), and THE VERDICT (1982). 

A Reel Opinion: Oscar Nominations - The Good, The Weird, & The Glorious

The nominations for the 93^rd Academy Awards were announced this morning, marking the beginning of the final wrap on the messed-up year in film 2020. Reel Speak has traditionally reacted to the nominations in the categories of Good, Bad, and Glorious…but this year there was nothing really bad, controversial, or anything to be upset about. That is a good thing, but we did have some oddities worth mentioning…making this year’s annual blog The Good, The Weird, and The Glorious. Perhaps fitting, as we are talking about 2020; the oddest cinematic year of all time. 

 

Here’s how it landed: 

 

 

THE GOOD

 

-The presentation was hosted by Priyonka Chopra Jonas and Nick Jonas. Both hosts were charming and professional. The overall broadcast was clean with no bloopers, and the pacing was tight with very little baloney in-between categories. 

 

-The comedy BORAT: SUBSEQUENT MOVIEFILM received three nominations, including Best Supporting Actress for young newcomer Maria Bakalova; a rightful nomination being that the young actress was dealing with dangerous, real-life situations while filming. 

 

-Pixar’s ONWARD and SOUL were both nominated for Best Animated Feature. These nods made Pete Docter the most nominated person in that category with four overall. 

 

-Mia Neal and Jamika Wilson became the first black women nominated for Best Hair and Makeup, for their work on MA RAINEY’S BLACK BOTTOM. 

 

-Changing of the Guard? Twelve of the 20 acting nominees are first-timers. A big step up from last year where there only five.  

 

 

THE WEIRD

 

-Actors Daniel Kaluuya and Lakeith Stanfield were both nominated for Best Supporting Actor for their work in JUDAS AND THE BLACK MESSIAH. Both deserving, but many are questioning why at least one of them wasn’t considered the lead and put into the Best Actor category. The counter-point is that the film is more of an ensemble piece. Both arguments are valid, but unfortunate…as the excellent work that both actors did is being overshadowed. 

 

-One of BORAT’s nominations was for Best Adapted Screenplay; an oddity since most of the film seemed to be ad-libbed. 

 

-The drama MINARI, which just won the Golden Globe for Best Foreign Language Film, did not get a nomination for the newly renamed Best International Feature. But it did get in for Best Picture. 

 

 

THE GLORIOUS

 

-For the first time in history, two women were nominated for Best Director in the same year; Chloe Zhao for NOMADLAND, and Emerald Fennell for PROMISING YOUNG WOMAN. 

 

-Chadwick Boseman was given a posthumous nomination for Best Actor for his performance in MA RAINEY’S BLACK BOTTOM. 

 

-Sometimes a non-nomination is the best thing to happen. No Screenplay nomination for MANK; a film that that had no idea what story it was trying to tell. 

 

-As expected, the favorited NOMADLAND earned nominations in all the right categories, and has excellent company in THE FATHER, JUDAS AND THE BLACK MESSIAH, MANK, MINARI, PROMISING YOUNG WOMAN, SOUND OF METAL, and THE TRIAL OF THE CHICAGO 7. All well-deserved. 

 

*

 

See the full list of nominees HERE

 

The 93^rd Academy Awards will be held on April 25^th. 

A Reel Opinion: The Top 10 Best Films to Watch on St. Patrick's Day

Saint Patrick’s Day is nearly here. For many Irish (and non-Irish), this cultural and religious celebration of the foremost patron saint of Ireland is a day to break out the Jameson, Guinness, the ham & cabbage recipes, and to wear that glorious green. If we’re not parading, pubbing, bagpiping, or singing Whiskey in the Jar, what better way is there to celebrate the Emerald Isle than with cinema. Which brings us to Reel Speak’s Top 10 Best Films to Watch on St. Patrick’s Day. 

 

Cinema has treated the Irish very well over the last hundred years. The many myths and legends are prime material, and the country itself is gorgeous and ripe for stunning backdrops. The country has a long history of conflict, war, rebellion…along with immigration to the United States. The films selected for this list are the ones that capture the beauty of the country and its people, while re-telling the many stories it has to offer. Reel Speak recognizes that international cinema is a large world to explore, and there will no doubt be some oversight here. These are the films that this humble Blogger is aware of, and can offer an honest opinion. 

 

 

So let’s go green…

 

 

 

10. THE SECRET OF ROAN INISH (1994)

Irish myths and legends clash with reality in this John Sayles-directed fantasy. A young girl chases down the mythical selkies; seals that can shed their skin to become human…in an effort to find her lost baby brother. Beautifully shot in Ireland, this often-overlooked gem is saturated in Irish myth while staying close to its characters…and it’s native setting gives the fantastical elements a grounding that makes it all feel very real. 

 

 

 

 

9. LEPRECHAUN (1993)

Warwick Davis plays a vengeful leprechaun in this horror/comedy that has spawned six sequels and has found a home on many people’s St. Patrick’s Day playlists. Critically slammed on release, it has since found a cult-following…and hey, horror-fans need something to watch on the holiday too. 

 

 

 

8. FINIAN’S RAINBOW (1968)

Singing and dancing legend Fred Astaire plays a lovable rouge who is being chased down by a leprechaun for stealing a pot of gold. Directed by Francis Ford Coppola and based on the 1947 musical, FINIAN’S RAINBOW is campy and funny…and embraces the silliness of it all. 

 

 

 

7. BROOKLYN (2015)

Irish actress Saoirse Ronan was nominated for an Oscar for her performance as an Irish immigrant in 1951 Brooklyn. Irish immigrants go through a lot once they hit the States; ranging from crime, poverty, to becoming the hands that built America. BROOKLYN stays more on the intimate side, following Saoirse’s character as she eventually has to choose between her homeland and her new home; a decision that we can imagine was put upon all of our Irish ancestors. 

 

 

 

6. THE SECRET OF KELLS (2010)

This animated fantasy nearly beat out Pixar’s UP for Best Animated Feature at the 83rd Oscars. Set in 9^th century Ireland and drawing upon Celtic mythology, THE SECRET OF KELLS follows a young man who turns to magic to help thwart a pending Viking invasion. Put together by gorgeous animation and backed by strong mythology, the film was the first in a successful trilogy. 

 

 

 

5. THE WIND THAT SHAKES THE BARLEY (2006)

Cillian Murphy plays one of two brothers who join the IRA to fight for Irish independence from 1919 to 1923. Acclaimed director Ken Loach directed this war drama that was heralded on release, and has gained even more respect over a decade later. Gritty and grounded, and shows the many complications and ugliness of a revolution. A beautiful film that provokes a lot of thought. 

 

 

 

 

4. IN THE NAME OF THE FATHER (1993)

In this true story, Daniel Day-Lewis plays Gerry Conlon, one of four people falsely accused of the 1974 bombings in England. Films about the Irish Republican Army (IRA), and their fight for independence have been everywhere, but this one stands out thanks to Jim Sheridan’s sharp direction and another commanding performance by Day-Lewis.

 

 

 

3. MICHAEL COLLINS (1996)

Irish actor Liam Neeson upped his game in the title role as the real-life Irish revolutionary. Collins was the man who practically invented a form of warfare that would inspire revolutionary struggles for decades, and shows the lengths that a dedicated Irishman would take to earn freedom. 

 

 

 

2. THE QUIET MAN (1952)

John Wayne plays an Irish-born, retired boxer who journeys back to his homeland in this John Ford-classic that has become synonymous with the holiday. Also starring Maureen O’Hara, THE QUIET MAN  is known for its gorgeous photography of the Ireland countryside, which earned Ford his fourth Academy Award for Best Director. The film was the inspiration for The Quiet Man Society; a group known for celebrating their Irish heritage. 

 

 

 

1. DARBY O’GILL AND THE LITTLE PEOPLE (1959)

Albert Sharpe plays Darby in this Walt Disney film packed with leprechauns, banshees, and mystical trickery. A fantasy and romance inspired by old Gaelic tales, the atmosphere and Irish music are pitch-perfect for the holiday and for family viewing, and old-time cinephile’s will be tickled to see a pre-Bond Sean Connery pop in. When Disney launched their streaming service, DARBY O’GILL was one of the first films people rediscovered. This is a pot of gold waiting to be found by more. 

REEL SPEAK'S TOP 10 BEST FILMS TO WATCH ON ST. PATRICK'S DAY

1. DARBY O'GILL AND THE LITTLE PEOPLE
2. THE QUIET MAN
3. MICHAEL COLLINS
4. IN THE NAME OF THE FATHER
5. THE WIND THAT SHAKES THE BARLEY
6. THE SECRET OF KELLS
7. BROOKLYN
8. FINIAN'S RAINBOW
9. LEPRECHAUN
10. THE SECRET OF ROAN INISH

 

 

 

 

 

A Reel Retro Review: THE GETAWAY (1972)

 Reel Speak’s Retro Reviews will randomly review a classic film from the TCM library every week, with the intention of introducing some overlooked and perhaps forgotten screen gems from the past to those of us who may be unfamiliar or unawares of their existence. 

 

When the conversation moves to who should be on the Mount Rushmore of Actors, the name of Steve McQueen is always near the top. An American icon who popularized the “anti-hero”, McQueen was at the front of many classic films, such as BULLITT (1968), THE GREAT ESCAPE (1963), and THE TOWERING INFERNO (1974). One of his often overlooked films is his action thriller THE GETAWAY from 1972. 

 

After being released from prison, Doc McCoy (McQueen), and his wife Carol (Ali MacGraw), take on a bank robbery job to repay Jack Beynon (Ben Johnson), a corrupt businessman who arranged the parole. When the job goes south, Doc and Carol attempt to flee to Mexico. 

 

Directed by Sam Peckinpah and written by Walter Hill, THE GETAWAY follows Doc and Carol as they make their way to Mexico with a bag full of money, avoiding the police while swapping vehicles and hopping trains. Also in pursuit are Beynon’s goons, along with Rudy (Al Lettieri), a crook was in on the bank job who kidnaps a veterinarian and his wife (Jack Dodson, Sally Struthers), to drive him cross-country on the chase. 

 

The heart of the story belongs to the relationship between Doc and Carol. After so many years in prison, the two have drifted apart, and their getaway across the country digs up past and current grievances and issues. It’s a husband-and-wife tale mixed with a heist and chase film, and the two genres mix together well. 

 

Director Sam Peckinpah keeps the energy going high, and generates a lot of tension between the two leads and during the chase and standoff scenes. Some of the film shows it’s age; Doc gets into gunfights for no other reason other than spectacle, and Doc’s treatment of Carol when she upsets him is something that is hard to watch and a product of its time. The score by Quincy Jones is excellent. 

 

Steve McQueen embraces his role as the anti-hero in THE GETAWAY, and comes off as a gruff and stone-hearted man. It’s hard to feel any empathy for him. Ali MacGraw is a delight and is the one character that we actually want to root for. 

 

THE GETAWAY, despite showing its age here and there, is a solid action flick that has the unfortunate disadvantage of being compared to some of McQueen’s other, towering films. It’s a film that wouldn’t be carved on the McQueen Mount Rushmore of films, but it would be in the conversation. 

 

BOTTOM LINE: See it 

 

*

 

THE GETAWAY features two actors who would appear in THE GODFATHER films; Al Letteri, who would play The Turk Sollozzo, and Richard Bright, who would play Al Neri. Screenwriter Walter Hill would go on to direct mainstream and cult-favorite hits such as THE WARRIORS (1979), 48 HRS (1982), STREETS OF FIRE (1984), and BREWSTER’S MILLIONS (1985). 

 

 

 

A Reel 25: FARGO

 “What kind of trouble are you in, Jerry?”

 

 

This month marks the 25^th anniversary of Joel and Ethan Coen’s FARGO. 

 

Often referred to as a black-comedy crime-thriller, FARGO tells the story of a pregnant Minnesota police chief (Frances McDormand) who investigates three road-side killings which ensue when a struggling car salesman (William H. Macy) hires two criminals (Steve Buscemi, Peter Stormare), to kidnap his wife in order to extort and make away with the ransom. Although the beginning of the film states “this is a true story”, it was not based on a specific event, but rather inspired on a conglomeration of several crimes, some of which took place in the area the Coens grew up; the suburbs of Minneapolis. 

 

FARGO was the seventh feature film from the Coen Brothers, with Joel listed as director and Ethan as producer, with the both of them as the credited screenwriters. With the script calling for the story to take place during a harsh winter in the upper-midwest, filming began in January of 1995 in the Minneapolis area, but due to an unusually mild winter, production would move to other areas of Minnesota and North Dakota. No scenes were filmed in the area of the actual Fargo, North Dakota. Cinematographer Roger Deakins handled the filming; his third of an eventual 12 collaborations with the Coens. 

 

Keeping the local flavor intact was important to the Coens, who cast a strong group of actors who could convincingly pull off the accent. The regional accent, referred to as the “Minnesota Nice” and the “singsong”, was taught to the cast by several dialect coaches. The principle actors, Frances McDormand and William H. Macy, spent time in the region with the locals to perfect their accents. 

 

Upon release, FARGO would not set the box office on fire, but it was a hit with critics, who found the violent, yet quirky comedy-thriller a joy to take in. Highly respected critics Gene Siskel and Roger Ebert named it the best film of 1996, and Ebert would later list it as the 4^th best of the 1990’s. 

 

FARGO would play at the Cannes Film Festival that year, where it would win the Best Director prize. It would be nominated for five Oscars, including Best Picture, and would win two; Best Actress for Frances McDormand and Best Original Screenplay for the Coens. FARGO would later land on several lists penned by the American Film Institute (AFI), including a ranking #84 on its famed 100 Years...100 Movies list, along with McDormand’s character ranked #33 on 100 Heroes & Villains. In 2006, FARGO would be selected for preservation in the U.S. National Film Registry by the Library of Congress. 

 

*

 

FARGO is a film which balances many things at once; comedy and tragedy, crime and drama…and manages to poke fun at local flavor while staying respectful and true to the people, and despite being a murder-mystery, manages to be a very fun movie to watch. It has become a pop culture icon with an infinite number of zinger-quotes and characters which are memorable and a pleasure to hang out with. In the long run, the success of FARGO would enable the Coens to basically do whatever the hell they wanted for the rest of their careers, and their follow-up, THE BIG LEBOWSKI (1998), cemented their reputations as the most diverse filmmakers in the business. The Coens would borrow from FARGO for the rest of their careers, using botched kidnappings and bags full of money in their eventual Best Picture winner NO COUNTRY FOR OLD MEN (2007), and HAIL CAESAR! (2016). FARGO has all the elements that a great film should have; drama, laughs, good characters and an interesting, evolving story. Will FARGO hold up for another 25 years? Oh, you betcha. 

 

“There’s more to life than a little money, you know.”

 

A Reel Retro Review: CAPTAIN BLOOD (1935)

Reel Speak’s Retro Reviews will randomly review a classic film from the TCM library every week, with the intention of introducing some overlooked and perhaps forgotten screen gems from the past to those of us who may be unfamiliar or unawares of their existence. 

This year will mark the 83^rd anniversary of the Errol Flynn-led THE ADVENTURES OF ROBIN HOOD (1938), a swashbuckling adventure film that many consider to be the definitive take on the character…and the role that Flynn would forever be attached to. But it wasn’t the role of the Bandit of Sherwood Forest that first put his name in lights, as that claim belongs to CAPTAIN BLOOD (1935). 

 

In 17^th century England, Dr. Peter Blood (Flynn), is imprisoned and sentenced to slavery for aiding a wounded man who had participated in the rebellion against the King. After arriving at Port Royal, he is purchased by Arabella Bishop (Olivia de Havilland), before an invasion by Spanish pirates offers him a chance to escape…

 

Based on the 1922 novel Captain Blood by Rafael Sabatini and directed by Michael Curtiz, CAPTAIN BLOOD is a steadfast character drama. Peter Blood is a character of strong will; fiercely dedicated to his profession as a doctor even as a slave. In providing care for his fellow slaves he earns respect, and eventually climbs a ladder of sorts as becomes a personal physician to the colony’s governor. 

 

When Spanish pirates sack the port, Blood and his fellow slaves manage to steal a ship and begin a career of pirating. Even as pirates, Blood maintains his sense of honor; maintaining a code of ethics when treating prisoners and how the pay is distributed to the crew. They become a very decent sent of pirates even as their fame grows in the Caribbean over the course of a year. 

 

Director Michal Curtiz is playing with themes of wrongful imprisonment and using vigilantism as revenge. These themes work well even though the script does things in simple, broad strokes. The eventual love affair between Blood and Arabella grows slowly; frustrating at first but the payoff make the wait worth it. Curtiz keeps the atmosphere light, even when things should seem dire (plenty of slaves being whipped). The sea-battles and sword-fights are fantastic, although the film really takes its time in getting Blood onto a pirate ship for the first time. 

 

Erroll Flynn, starring in the role that would make him a major Hollywood star, displays all of the charm he would be known for throughout his career, with just enough hints of a rouge underneath. Olivia de Havilland is a delight. Basil Rathbone comes in as a flamboyant French pirate and lights up the screen. 

 

When most cinema fans think of pirates on the big screen, they immediately think of Disney’s PIRATES OF THE CARIBBEAN series. Any fans of those films would do well to take a look at CAPTAIN BLOOD, as the film has obvious inspirations for the future Captain Jack Sparrow in locations, situations, and even the way some shots are framed. That makes the film a piece of history as well as good, adventurous entertainment. CAPTAIN BLOOD takes a while to get to sea, but once there the voyage is worth the gold.

 

BOTTOM LINE: See it 

 

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Reel Facts: CAPTAIN BLOOD would earn Oscar nominations for Best Picture, Director, Writing, and Sound Editing. Olivia de Havilland would re-unite with Errol Flynn in ROBIN HOOD, playing Maid Marian. Basil Rathbone would also appear in ROBIN HOOD as Sir Guy, and would later play Sherlock Holmes in 14 films from 1939 to 1946 and in a radio series.