A Reel Review: DON'T LOOK UP

Starting in 2004, writer and director Adam McKay made a name for himself as a filmmaker with a knack for generating laughs; with comedy hits such as ANCHORMAN (2004), and STEP BROTHERS (2008). In 2015 he moved over into satirical drama with a look at the insanity of the financial system in THE BIG SHORT, and followed that up with the stranger-than-fiction story of  former VP Dick Cheney in VICE (2018). This year, he takes current outrageous events and places them in the sci-fi drama, DON’T LOOK UP. 

 

Two astronomers; Dr. Mindy (Leonardo DiCaprio), and Kate (Jennifer Lawrence), discover a comet that is headed directly to Earth with the power to wipe out the planet. After consulting with the head of NASA’s Planetary Defense Coordination Office (Rob Morgan), they head to the White House to let the world know the planet has six months to live. 

 

Written and directed by McKay, DON’T LOOK UP is a sharp harpoon into the thinking of parts of America over the last two years. Once Mindy and Kate get to the White House, they are shocked to find out that the President (Meryl Streep), and her Chief of Staff (Jonah Hill), are not taking the threat seriously and look at the issue as a PR problem headed into the mid-term elections. This prompts our astronomers to embark on a media tour, where they find that a social-media crazy world is not so quick to get on board the pending apocalypse, with many not believing in the science behind the threat and eventually causing lines in the sand in all of society. 

 

A planet-killing asteroid has been done many times in sci-fi to varying degrees of success, but most of them took it seriously. McKay takes a story that should be considered serious but turns it into satire…simply because it hits close to home. The way the media and head of government treats the pending doom is ridiculous to the point of laughable, but scary in that it’s probably close to the real-world truth. McKay takes no prisoners in harpooning it all; from social media influencers, to right-wing talk show hosts, to brainless TV personalities. 

 

McKay films a great-looking movie, keeps the pacing tight and the laughs well-timed. His editing and presentation of facts are clever; he has no problem with stopping the film cold (literally), to explain a thing or two. 

 

Acting is excellent all-around. Leonardo DiCaprio and Jennifer Lawrence work very well together. Meryl Streep is magnificent, even though we want to punch her character in the mouth. Jonah Hill plays a dick very well, and Rob Morgan is also very good. The rest of the ensemble cast is stellar; Cate Blanchett, Mark Rylance, Tyler Perry, Timothee Chalamet, Ron Perlman, Ariana Grande, and Himesh Patel. 

 

DON’T LOOK UP is an excellent film without a flaw to it, but it would be difficult for audiences to not look at it through today’s optics. The film is an obvious commentary on COVID and the division between science-deniers and actual educated scientists…and the former group would likely take issue with the film. And then again, those out there who would rather forget the last two years would prefer not to be reminded about the state of America. But if one of the many purposes of cinema is to earn outrage, then by all means, look up to this film. 

 

BOTTOM LINE: See it 

A Reel Retro Review: NIGHTMARE ALLEY (1947)

Reel Speak’s Retro Reviews will randomly review a classic film with the intention of introducing some overlooked and perhaps forgotten gems of the past.  

Director Guillermo del Toro’s psychological thriller film NIGHTMARE ALLEY is currently in theaters (read Reel Speak’s review HERE), which was based on the 1946 novel of the same name. That novel was also adapted for the screen in 1947. 

 

Stanton (Tyrone Power), is a carnival worker learning the trade of mentalism, or mind-reading. He and fellow “carnie” Molly (Coleen Grey), eventually leave the roadshow life and take their act to expensive nightclubs in Chicago, where they fall into a scheme with a psychologist (Helen Walker), to con a rich man into thinking he is contact with his long-dead, lost love. 

 

Directed by Edmund Goulding and based on the novel by William Lindsay Gresham, NIGHTMARE ALLEY is a true film noir; shot in glorious black-and-white and carrying dark themes. Stanton is the driving force behind it all; eager to make his riches by conning the social elite by way of his fake mind-reading tricks. With the exception of Molly, the characters are mostly despicable people…with Stanton leading the way and the psychologist giving up vital information about her clients which is then used in the mind-reading trick. 

 

NIGHTMARE ALLEY feels like two different movies, with the early carnival settings and then the rich, swanky nightclubs of Chicago. Director Edmund Goulding uses this division as a rags-to-riches tale, even with Stanton using not-so-honorable methods to get his riches. It’s a surface-level film, with not much else going on underneath after the conning. The film looks gorgeous, the script sharp and to-the-point, and paces along nicely. 

 

Acting is excellent. Tyrone Power, who had spent his career in romance in swashbuckling films, captures the darkness of his character convincingly. Coleen Grey, who was only 25 at the time of filming, is an absolute delight. 

 

Everyone wants to know how it compares to the new version currently in theatres. The 1947 version is simple, almost to a fault…while the new remake tends to get bogged down in the psychology of the characters. The 2021 version uses a backstory for the main character and weaves it in through the full runtime, while the 1947 version has no such thing. Still, the first try at NIGHTMARE ALLEY is a fine example of film noir, and is no bad dream. 

 

BOTTOM LINE: See it 

 

*

 

Reel Facts: Director Edmund Goulding, along with Jack Conway, holds the distinction of having the most films nominated for Best Picture without ever earning a nomination for Best Director; GRAND HOTEL (which won in 1932), along with DARK VICTORY (1939), and THE RAZOR’S EDGE (1946). Coleen Grey’s other notable film appearances were alongside John Wayne in RED RIVER (1948), and Stanley Kubrick’s THE KILLING (1956). 

A Reel Review: NIGHTMARE ALLEY

Director Guillermo del Toro has built a reputation as a monster-movie director, with PAN’S LABYRINTH (2006), PACIFIC RIM (2013), and his Best Picture-winning THE SHAPE OF WATER (2017) some of his best examples. But in all those of creature-features lays one of del Toro’s favorite movie-making elements, the broken character; people who have been chewed up and spit out by the world. Such is the primary theme for his newest film, NIGHTMARE ALLEY. 

 

In 1941 with WWII pending, Stanton (Bradley Cooper), a down-on-his-luck drifter, finds work at a carnival run by Clem (Willem Dafoe). There, he befriends fortune teller Zeena (Toni Colette), and her drunken husband Pete (David Strathairn)…who teaches him their tricks to perform mentalism. 

 

Based on the 1946 novel of the same name (and the 1947 film version), NIGHTMARE ALLEY is a movie of two distinct parts. The first part sees Stanton learning the art of mind-reading; using tricks and observation to wow the crowds and eager paying customers. He also starts a love affair with fellow “carnie” Molly (Rooney Mara), much to the disapproval of her long-time guardian Bruno (Ron Perlman). 

 

The second half sees Stanton and Molly leave the carnival for Chicago, where they refine and perform their act for the wealthy. With the help of Dr. Ritter (Cate Blanchett), a psychologist, Stanton uses her inside knowledge on her patients to convince mourning millionaires that he is contact with their departed loved ones. 

 

All this, plus Stanton’s mysterious past involving his parents, is a lot packed into one film. For the most part it all works, but the second half does not work as well as the first. The film loses a lot of its intrigue and mystery once it leaves the carnival grounds behind, along with any streamlining…and the second half becomes a near confusing mess. As necessary as the psychologist may be, her motivations are odd, never very well defined, and takes the movie off the rails one too many times. 

 

Guillermo del Toro is working on themes of people running from their past and healing, and his version of NIGHTMARE ALLEY is more of character study than a horror or creature-feature. Characters bond and clash well, and the script is very tight. The set-design of the environments, from the carnival to the lush offices, is outstanding. And overall the film looks gorgeous. The film has very little action and often slips into dullness. 

 

The cast is excellent. Bradley Cooper puts in one of his best performances, and he is matched well with Rooney Mara. Willem Dafoe chews the scenery like cotton candy, and Cate Blanchett steals the show. 

 

NIGHTMARE ALLEY sticks very close to the source material, and anyone who has seen the 1947 film or read the book won’t be shocked by the ending. But…for newcomers, where Stanton winds up is telegraphed very early. NIGHTMARE ALLEY feels like two different movies, with one being much better than the other, and that imbalance knocks this one down a few tent-pegs. 

 

BOTTOM LINE: Rent it 

 

A Reel Review - SPIDER-MAN: NO WAY HOME

It has been no secret that Spider-Man on the big screen has had a history of legal entanglements and varying lines of continuity (read Reel Speak’s recap on the matter HERE), with now three different versions of the web-slinger in live-action form in the last 20 years. There have been varying degrees of success, with no shortage of reboots, and do-overs. It’s been a mess, but all that finally gets sorted out in NO WAY HOME. 

 

With his life in shambles after having his identity revealed to the world, Peter Parker/Spider-Man (Tom Holland), asks the help of mystic wizard Dr. Strange (Benedict Cumberbatch), to cast a spell that would make everyone forget that he was Spider-Man. The spell goes awry, and instead brings into our world villains from other universes; including Doctor Octopus (Alfred Molina), the Goblin (Willem Dafoe), Electro (Jamie Foxx), Sandman (Thomas Hayden Church), and Lizard (Rhys Ifans). 

 

Directed by Jon Watts and brought to life by a partnership with legal-character-rights holder Sony Pictures and the mighty Marvel Studios, NO WAY HOME sets itself up in the early goings as one big throw-down between Spidey and his greatest foes. But in a clever, and most-effective bit of writing, Parker is faced with a moral dilemma that is the true hook of the story. When Strange finds a way to zap the bad guys back to their own universes where they will face certain death, Parker objects to this, and as every true hero would, tries to find a way to cure and save the new collection of bad guys and set them right. It’s new territory for a Spider-Man film, and for the Marvel Cinematic Universe (MCU), now in its 13^th year and 27^th film. 

 

It’s no great spoiler to say that Parker is joined by not only bad guys from other dimensions, but other heroes too. Specifically, two other Spider-Men that we have seen on the big screen before. This becomes a real treat as the three learn from each other, bond, and eventually battle their foes. Amazingly, NO WAY HOME manages to work in nearly every important theme that Spider-Man has faced on the big screen in previous versions, and it blends together in excellent ways. 

 

Director Marc Webb delivers the goods in not only character but in action. The fight scenes and setpieces are outstanding, and money-shots of the three Spideys are excellent. Webb delivers the emotion as vital characters die and have their ups and downs, but then counters it all with more than one stand-up-and-cheer moment; be prepared to howl and weep. 

 

Acting is tremendous. Tom Holland goes through a roller-coaster of emotions and makes his character so human that we just want to hug him. Holland’s chemistry with his girlfriend MJ (Zendaya), and best fried Ned (Jacob Batalon) provides even more heart. Marisa Tomei is excellent, as is the always magnificent Benedict Cumberbatch. The show is absolutely stolen by Willem Dafoe, who has even more of a grasp of his character than he did 20 years ago. And the other two guys playing Peter Parker: Outstanding. 

 

NO WAY HOME wraps in a Greek tragedy ending; the good guys win, but they also lose…and they lose plenty…making the film one of the most impactful of the Spidey catalog and in the MCU. For a Spider-Man fan, there is a LOT to love, as it packs in everything great about the character in his long history on the screen and in the comic pages. The MCU Spidey has a solid end to his arc over his three solo films, and as a satisfying bonus, sends out the other Spideys on a high note. Considering the messy legal web that the character had had over the years, it is a miracle that NO WAY HOME has been made…and magical that it is this good. 

 

BOTTOM LINE: See it 

A Reel Recap: The Cinematic History of Spider-Man, 2002 - Present

This week, our friendly neighborhood Spider-Man returns in one of the most anticipated films of 2021; NO WAY HOME. The 27^th film in the Marvel Cinematic Universe (MCU), made in association with Sony Pictures, promises to assemble characters from previous live-action versions of the web-slinger that have been seen on the big screen. With that in mind, it is necessary to brush-up on the somewhat complicated and up-and-down history of the character in cinema. His history can be broken down into three eras; The Raimi Era, The Garfield Era, and the MCU Era. 

 

The Raimi Era (2002-2007)

After decades of legal wrangling and stops-and-starts (including an unproduced James Cameron version, and Sony Pictures buying up the rights from Marvel), Spidey finally came to the movies in May of 2002 with Sam Raimi’s SPIDER-MAN. Tobey Maguire donned the mask of Peter Parker, and he was joined by love-interest Mary Jane (Kristen Stewart), best-friend Harry (James Franco), and super-villain Green Goblin (Willem Dafoe). The film was highly praised by critics and fans, was a top box-office earner, and helped to re-ignite the superhero genre in film. Over time it has become a pop culture entry thanks to an upside-down kiss, and capitalizing on the theme of with great power comes great responsibility.

 

As good as SPIDER-MAN was, it was bested by its own sequel in 2004 with SPIDER-MAN 2.  Maguire and Dunst returned, and this time did battle with Doctor Octopus, as played by Alfred Molina. SPIDER-MAN 2 set a new high standard for superhero films, and to this day is considered to be one of the best superhero films of all time. 

 

Unfortunately for Spidey, the webbing gave way in SPIDER-MAN 3 (2004). Sam Raimi, returning as director for the third time, battled with parent company Sony Pictures over scripting and which villains to include, and we got a messy, unbalanced movie considered to be the worst in the franchise. Bad guys in this one included New Goblin (Franco), Sandman (Thomas Haden Church), and Venom (Topher Grace). The bad-to-mixed reviews would put an end to this era of Spider-Man. 

 

The Garfield Era (2012-2014)

In 2012, Spider-Man went through his first reboot when Sony decided to scrub the continuity of the Raimi Era and start all over. Andrew Garfield took on the role of Peter Parker, and he was joined by love-interest Gwen Stacy (Emma Stone). The first film, called THE AMAZING SPIDER-MAN, brought in the Lizard (Rhys Ifans) as the villain, and opened to mixed reviews thanks to a convoluted story-line and an overall joyless affair. However, the chemistry between Garfield and Stone was excellent and lit up the screen. 

 

It was hoped that the dull and who-cares plot of the first film would be pushed to the background of the sequel, THE AMAZING SPIDER-MAN 2 in 2014…but it wasn’t to be as they instead went in deeper. The film was another snoozer, despite the inclusion of bad guys Electro (Jamie Foxx), Green Goblin (Dane DeHaan), and Rhino (Paul Giamatti). 

 

The MCU Era (2016-Present)

After a decade of making lousy Spider-Man movies, Sony Pictures finally came to their senses and agreed with Marvel Studios to include the character in the ever-growing MCU. The new Spidey, as played by Tom Holland, would steal the show in CAPTAIN AMERICA: CIVIL WAR in 2016. He would then appear in two solo films; HOMECOMING (2017), and FAR FROM HOME (2019). He would also fight alongside the mighty Avengers in INFINITY WAR (2018), and ENDGAME (2019). When he was on his own, he was joined by love-interest MJ (Zendaya), and would do battle with Vulture (Michael Keaton), and Mysterio (Jake Gyllenhall). Both of the solo films would be met with critical acclaim and box office success. 

 

And that brings us to today. NO WAY HOME picks up right after the events of his second solo film, FAR FROM HOME…which ended with Mysterio revealing Spider-Man’s identity to the world. With his life out of whack, Peter seeks the help of Dr. Strange (Benedict Cumberbatch), who casts a spell intended to make the world forget Spider-Man’s true identity. The spell goes awry, and villains and heroes (from previous Spidey films), arrive here in our universe. 

 

And the rest will be history. 

 

*

 

SPIDER-MAN: NO WAY HOME opens in full December 17^th, with limited showings on the 16^th. 

 

A Reel Retro Review: IT HAPPENED ON 5TH AVENUE (1947)

Reel Speak’s Retro Reviews will randomly review a classic film every week, with the intention of introducing some overlooked and perhaps forgotten screen gems from the past. 

 

The holiday season is lit up with films that aren’t really centered around Christmas, but in one way or another have found their way into our annual December watch-lists. One such film is Roy Del Ruth’s IT HAPPENED ON 5^THAVENUE from 1947. 

 

Two homeless man; McKeever (Victor Moore), and WWII veteran Jim (Don DeFore), take up temporary residence in the NYC 5^th Avenue mansion of real estate tycoon Michael O’Connor (Charles Ruggles), while he is away for the winter. McKeever and Jim have their plans thrown into chaos when O’Connor’s daughter Trudy (Gale Storm), arrives at the mansion. 

 

Directed by Roy Del Ruth, 5^TH AVENUE is a comedy film that relies heavily on the mistaken-identity trope. Trudy (predictably), falls in love with Jim, and in an effort to sway her stubborn father to blessing the union, convinces him to pose as a homeless man and take up (squat) residence in his own mansion in an early version of UNDERCOVER BOSS. Things get more complicated when O’Connor’s ex-wife and Trudy’s mother comes in as a cook (unbeknownst to McKeever and Jim), and when Jim decides to purchase an abandoned army base to convert into homeless shelters…a piece of real estate that O’Connor is looking to develop into an airport. 

 

It’s a case of most characters not knowing who the other really is or what they are up to, and even though the audience is waiting for the characters to catch up to what we already know, the film clicks along well, with the eventual revelations coming in well-timed, comedic doses. 5^TH AVENUE seems like it would be crowded on paper, but the various plot points blend together very well. Director Roy Del Ruth has a knack for snappy dialogue and keeping things moving, and the film’s 116 minutes fly by. There are heavy themes at work concerning homelessness, homeless war veterans, and the rich being too rich for their own good; most of which feel undercooked but keeps the film from being too serious. The film looks great, even though some rear-projection effects look terrible even for 1947 standards.

 

Acting is superb. Victor Moore, as a career hobo who spends his winters squatting in mansions, takes on a mentor role and carries it very well. Gale Storm is an absolute delight. 

 

IT HAPPENED ON 5^TH AVENUE isn’t really a holiday film as only a few scenes take place during Christmas, but the themes of selfless giving to those less fortunate are right in line with the spirit of December…and is fulfilling viewing while the tinsel is up. 

 

BOTTOM LINE: See it 

*

 

IT HAPPENED ON 5^TH AVENUE was nominated for an Oscar for Best Story, but lost out to another Christmas film: MIRACLE ON 34^TH STREET. Alan Hale, Jr. appears in the film as one of Jim’s old army buddies. Hale would later achieve fame as the Skipper in TV’S GILLIGAN’S ISLAND (1964-1967). 

A Reel Review: WEST SIDE STORY

In the long history of Hollywood, the remake has been a pillar of doing business. In the last couple of decades, we can safely say that the remake has evolved into two types; there is the cheap, throw-it-together rehash led by soulless corporate studios who just want to cash in on an established name…and then there the ones that are made with nothing but love. The latter is the case for royalty filmmaker Steven Spielberg and WEST SIDE STORY. 

 

In the 1950’s in the Upper West Side, two rival gangs battle for territorial control of their neighborhood; a gang of white American teenagers called the Jets, and the Puerto Rican Sharks. Caught in-between the pending big dust-up to settle things once and for all is young Maria (Rachel Zegler), and Tony (Ansel Elgort), who fall in love at the first sight. 

 

Based on the 1957 stage musical and the book by Arthur Laurents, and partly on the beloved 1961 film adaptation, Steven Spielberg’s WEST SIDE STORY is a honed film that balances the love story and the social unrest surrounding the young lovers. In keeping with modern filmmaking, world-building is given a lot of time and thought. This is a neighborhood that is quickly disappearing due to demolition and eventual construction of the Lincoln Center (a nice touch), and the two gangs are left to fight over the rubble and an uncertain future. Who deserves what and how much, and who has more rights than who hangs heavily over the film, and despite taking place in an era only a few years removed from a World War, it feels stunningly relevant. 

 

But this WEST SIDE STORY does not forgot its roots in Romeo and Juliet. The love story between Maria and Tony never gets lost in the surroundings, and the constant, deep-rooted bigotry by their friends and families never discourages them. Spielberg, as he’s done for decades, finds the heartbeat of the story amongst all the noise, and it never stops thumping. 

 

Shot on location in various parts of Harlem and Brooklyn, along with a massive outdoor set, WEST SIDE STORY looks amazing on the big screen. The look and style of the acting makes it feel like it came out of a different age; it is nothing like any assembly-line remake or blockbuster of today. The musical numbers are very well-staged, and every framed shot is perfection. 

 

Spielberg gets great performances out of his entire cast. Rachel Zegler is an absolute darling with a fantastic voice and an ability to carry her emotions on her shoulder. Ansel Elgort seems a little awkward with his singing, but for the most part is just fine. Rita Moreno, who starred in the 1961 film, nearly steals the show, as does Broadway star Mike Faist, who plays the leader of the Sharks. Other roles are held down very well by Ariana DeBose, David Alvarez, Corey Stoll, and Brian d’Arcy James. 

 

The question everyone want answered over any remake is; is it better than the first film? Emphatically, yes. Spielberg’s version is more cohesive, polished, and overall makes better sense and offers more of an emotional hook. Despite characters breaking into song, it feels grounded and real, and the underlying themes re-invent the story for modern audiences. In the closing credits, Spielberg dedicates the film to his dad, showing that this was a true labor of love…and it shows. 

 

BOTTOM LINE: See it 

A Reel 20 - THE LORD OF THE RINGS: THE FELLOWSHIP OF THE RING

 “Even the smallest of things can change the world.”

This month marks the 20^th anniversary of Peter Jackson’s THE LORD OF THE RINGS: THE FELLOWSHIP OF THE RING. 

 

Prior to 2001, J.R.R. Tolkien’s fantasy world of Middle-Earth, populated with wizards, dragons, elves, trolls, hobbits, and magic rings…was restricted to the world of animation with mixed results. There were two made-for-TV films in 1977 and 1980, and one bizarre and incomplete feature film in 1978. The fanbase was low-key and under the radar, and most studios and filmmakers considered the large and dense books to be unfilmable. 

 

That began to change in 1997, when New Zealand filmmaker Peter Jackson finally overcame many starts, stops, and legal challenges to bring Middle-Earth to the big screen. The original plan was adapt the books into two parts, but upstart studio New Line Cinema committed to three, and the road to the One Ring began. 

 

THE FELLOWSHIP OF THE RING was a labor of love for Jackson, who considered the text to be his favorite book. Along with screenwriters Fran Walsh and Philippa Boyens, and long-time Tolkien artists Alan Lee and John Howe, Middle-Earth and it’s fantastic characters and places began to take form. 

 

The large cast would be forged of well-established actors. Elijah Wood would take on the role of Frodo Baggins; the young hobbit who comes into possession of the One Ring…the small, yet powerful object which would eventually lead to a war. He was joined by Ian McKellen, Liv Tyler, Cate Blanchett, Sean Astin, John Rhys-Davies, Christopher Lee, Hugo Weaving, Orlando Bloom, Sean Bean, Ian Holm, Andy Serkis, Billy Boyd, and Dominic Monaghan. Stuart Townsend was originally cast as the heroic Aragorn/Strider…the exiled future king of men, only to be replaced by Viggo Mortensen. Filming for all three movies would begin in New Zealand and would last an entire year. Visual effects would be a combination of practical and new techniques in CGI. Howard Shore would compose the score. 

 

Upon release, THE FELLOWSHIP OF THE RING would become a hit with fans, critics, and the rest of the world…setting a box office record (at the time) for a December release and earning high acclaim. At the 74^thAcademy Awards, it would win four Oscars out of 13 nominations; Cinematography, Makeup, and Original Score. It would win Best Film at the BAFTA’s, with Jackson winning Best Director. Ian McKellen would take home a SAG Award. 

 

*

 

Today, THE FELLOWSHIP OF THE RING is considered to be one of the best, and most influential films of all time. It elevated fantasy to a higher level of legit cinema; becoming a genre now accepted by stuffy critics and award circles, and high-brow actors, actresses, and filmmakers. The works of J.R.R. Tolkien became household names, and the film, along with its two sequels released over the next two years, would be the biggest entry into pop culture since STAR WARS. Its visual effects techniques would set a new standard into the modern era, and its long-form storytelling would blaze the trail for future, big-budget sci-fi and fantasy films. 

 

**

 

In December of 2001, This Blogger and a group of friends gathered to see FELLOWSHIP for the first time. That night would be the first step in a journey that has lasted to this day. We would all re-unite each December for the next two years and two films, and along the way we would discover our own Fellowship. The themes of loyalty; being true to each other despite challenges, time, and distance…resonated with us then and is everlasting now. Three members of our Fellowship were in This Blogger’s wedding, and over the years our bonds have proven to be hard as dragon scales. THE FELLOWSHIP OF THE RING was an instant landmark for us and for cinema; presenting us with visuals never seen before, and its overarching themes of hope and loyalty was exactly what the world needed as it arrived just two months after 9/11. THE FELLOWSHIP OF THE RING was no small feat, but it changed the world, and still retains its timeless appeal. Each December This Blogger runs a marathon of all three films; for his Fellowship, for the last 20 years, and for the next 20. 

 

“All you have to decide is what to do with the time that is given to you.” 

A Reel Retro Review: THE BELLS OF ST. MARY'S (1945)

Reel Speak’s Retro Reviews will randomly review a classic film 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 holiday season is sprinkled with movies that we revisit while the lights and trees are up, which aren’t really centered around Christmas; films such as WHITE CHRISTMAS (1954), IT’S A WONDERFUL LIFE (1946), and (groan), DIE HARD (1988). Another such film is Leo McCarey’s THE BELLS OF ST. MARY’S from 1945. 

 

Father O’Malley (Bing Crosby), arrives at his new post at St. Mary’s parish, which includes a run-down city school. His unconventional methods eventually inspire the school, including the Sister Superior Benedict (Ingrid Bergman). 

 

Directed by Leo McCarey, THE BELLS OF ST. MARY’S have several plot elements at work; differences in ideals between O’Malley and Benedict, the school possibly being condemned and taken over by a real estate developer (Henry Travers), a brilliant young girl (Joan Carroll), with separated parents, and a school yard bully. The real emotional hook comes late, when Sister Benedict becomes ill, and O’Malley must wrestle with the burden of sending her away from her beloved school and duties. 

 

Based on an original story by director Leo McCarey, ST. MARY’S functions very well thanks to its simple, straight-talking script. Beneath that is an exploration of ideals; the practical vs. doing the right thing…with the good Mother Superior faced with the decision of flunking a troubled child, and the real estate developer deciding how he can sacrifice his own wants and needs for the good of St. Mary’s…and her children. While the script may seem simple on the surface by today’s standards, its deeper meanings sink in well. 

 

The film is carried by character drama and is brought to life by its excellent cast. Bing Crosby, who first played the character of Father O’Malley in GOING MY WAY (1944), carries all the charm and love that a good father would need in facing many obstacles. Crosby recorded four songs for the film, and croons them away like only he could. Ingrid Berman is excellent, as is the young cast of school children. 

 

THE BELLS OF ST. MARY’S has been associated with Christmas thanks to several scenes involving a Christmas pageant at the school, and a major plot point involving a significant gift for St. Mary’s. The holiday does not figure prominently in the film, but it’s underlying themes of doing good for others makes it perfect viewing while the Christmas tree is up. 

 

BOTTOM LINE: See it 

 

*

 

Reel Facts: Bing Crosby became the first in history to receive two acting nominations for playing the same character. Henry Travers would later play the guardian angel in IT’S A WONDERFUL LIFE, which would feature THE BELLS OF ST. MARY’S on a theatre marquee. The film would also appear on a marquee in THE GODFATHER (1972). 

A Reel Preview: The Year in Film 2021 - Episode VI

The last month of the year has arrived, and it looks to go out with a bang…as December is packed with releases from herculean names such as Spielberg, Coen, Thomas-Anderson, Wachowski, Sorkin, del Toro, Clooney, and McKay. Here are the notable releases for the final four weekends of 2021. 

 

 

WOLF – In this drama, George MacKay (1917), plays a young man who believes he is a wolf, and is sent to a clinic with similar individuals who think they are animals in human form. 

 

WEST SIDE STORY – Steven Spielberg directs this remake of the 1961 classic musical, which was based on the 1957 Broadway show. Ansel Elgor (BABY DRIVER) leads the way with Rachel Zegler in her feature film debut. 

 

NATIONAL CHAMPIONS – Ric Roman Waugh, director of SNITCH (2013), and ANGEL HAS FALLEN (2019), helms this drama where a collegiate quarterback stages a strike hours before the biggest game of the year. 

 

BEING THE RICARDOS – Nicole Kidman plays Lucille Ball and Javier Bardem plays Desi Arnaz in this biopic directed by Aaron Sorkin (THE TRIAL OF THE CHICAGO 7). 

 

NIGHTMARE ALLEY – Oscar-winning director Guillermo del Toro (THE SHAPE OF WATER, PAN’S LABYRINTH), directs this psychological horror film about an ambitious carnival employee able to manipulate people. The packed cast includes Bradley Cooper, Cate Blanchett, Toni Collette, Willem Dafoe, Richard Jenkins, Rooney Mara, Ron Perlman, Mary Steenburgen, and David Strathairn. 

 

SPIDER-MAN: NO WAY HOME – Tom Holland returns as Spidey and Benedict Cumberbatch is back as Dr. Strange in Marvel’s grand finale for 2021, which this time sees our friendly neighborhood Spider-Man battling foes from several dimensions. 

 

THE KING’S MAN – The third film in the KINGSMAN series which started in 2014, serving as a prequel as the secret agents take on Rasputin. The stacked cast includes Ralph Fiennes, Gemma Arterton, Rhys Ifans, Matthew Goode, and Aaron Taylor-Johnson. Matthew Vaughn, who directed the first two films, returns to the directing chair. 

 

THE MATRIX RESURRECTIONS – Keanu Reeves returns to the Matrix in this legacy sequel to the sci-fi bending franchise that started in 1999. Lana Wachowski returns to direct, and her cast includes Carrie-Anne Moss, Jessica Henwick, Neil Patrick Harris, and Yahya Abdul-Mateen II. 

 

SING 2 – The sequel to the 2016 animated musical comedy. Matthew McConaughey, Reese Witherspoon, and Scarlett Johansson lead the voice-cast. 

 

THE TENDER BAR – George Clooney directs this drama about a boy who spends his life bonding with patrons at a bar…seeking to find a replacement for his long-lost father. Ben Affleck, Tye Sheridan, and Christopher Lloyd star. 

 

LICORICE PIZZA – Paul Thomas Anderson (THERE WILL BE BLOOD, BOOGIE NIGHTS), directs this comedy-drama about a young man looking to break into the movie business. Sean Penn, Bradley Cooper, and Tom Waits star. 

 

DON’T LOOK UP – Adam McKay (THE BIG SHORT, VICE), directs this comedy-drama centering around two astronomers who try to warn the world about a pending asteroid strike. The packed cast includes Leonardo DiCaprio, Jennifer Lawrence, Jonah Hill, Mark Rylance, Tyler Perry, Timothee Chalamet, Ron Perlman, Cate Blanchett, Meryl Streep…and a few promised surprises. 

 

THE TRAGEDY OF MACBETH – The first film directed by only one of the famed Coen Brothers (Joel), based on Shakespeare’s Macbeth. The cast includes Denzel Washington, Frances McDormand, and Brendan Gleeson. 

 

AMERICAN UNDERDOG – Zachary Levi (SHAZAM!), plays NFL quarterback Kurt Warner in this real-life underdog story. Anna Paquin and Dennis Quaid co-star. 

 

CYRANO – Peter Dinklage (TV’S GAME OF THRONES), plays Cyrano de Bergerac in this adaptation of the 2018 stage musical. Joe Wright (DARKEST HOUR, ATONEMENT), directs. 

 

*

 

Next month, Reel Speak previews the first month of 2022. 

A Reel Review: HOUSE OF GUCCI

In 1995, Italian businessman and former head of the Gucci fashion house Maurizio Gucci was gunned down in cold blood by a hitman…a hitman hired by his ex-wife Patrizia Reggiani. The killing was the end of a tumultuous time for the worldwide company and for the Gucci family; a time filled with feuds, backstabbing, and hostile takeovers. All of this is dramatized in Ridley Scott’s HOUSE OF GUCCI. 

 

Directed by Ridley Scott and based on the book by Sara Gay Forden, HOUSE OF GUCCI follows the Gucci family, beginning with the romance of Maurizio (Adam Driver), and Patrizia (Lady Gaga). Their romance leads to an early feud as Maurizio’s father and co-head of the Gucci empire Rodolfo (Jeremy Irons), suspects Patrizia of just being after the money and social status. Maurizio becomes estranged from his father but bonds with his uncle Aldo (Al Pacino), the other co-owner of Gucci…whose idiot son Paolo (Jared Leto), has yet to prove himself to the family. 

 

For the most part, Patrizia is the driving force behind the story. She pushes Maurizio to take over the Gucci empire, and while her motivations are never quite clear (maybe she really loved him, maybe it was all about it money…we never really find out), it leads to decade after decade of family members turning on each other as they wrestle for control. The real hook of the film is the endless switching allegiances, for as the characters change, as does the audience; one minute we are rooting for Maurizio and/or Patrizia, and the next we are hating their greedy guts. 

 

Ridley Scott films a great looking movie, and keeps the pacing light and the film breezes by despite its 157-minute run-time. The changes in time are marked by pop music from each era (each right on the nose to the happenings), and the look and feel is perfect for every era…right down to the hairstyles and costumes. Shot on location in Rome and Italy, the country and its cities look great. Humor is timed nicely. 

 

Acting is superb although a little hammy in places. Lady Gaga is nothing short of outstanding and rules the film, and her chemistry with Adam Driver is bursting with emotion. Al Pacino is a laugh-a-minute, and Jeremy Irons is as cold as ice. Jared Leto vanishes into thick prosthetics but it doesn’t slow him down…although he gets a little too cartoonish now and then. Salma Hayek comes in as a tarot-card reader befriended by Patrizia and makes an impression. 

 

HOUSE OF GUCCI is ultimately a tragedy, ending in murder and the Gucci family losing control over the fashion empire that still bears their name. Greed-is-bad is the morality lesson, and although we’ve seen that before, here it really works thanks to some excellent performances and well-written character conflicts. This house is worth visiting. 

 

BOTTOM LINE: See it