Movie Review: My Fair Lady
Year of Release: 1964
Country of Origin: USA
Director: George Cukor
Cast: Audrey Hepburn, Rex Harrison, Stanley Holloway, Wilfrid Hyde-White, Gladys Cooper
Plot outline: A misogynistic and snobbish phonetics professor agrees to a wager that he can take a flower girl and make her presentable in high society (IMDb).
Adapted from Lerner and Loewe's stage musical of the same name, based in turn on the play Pygmalion by George Bernard Shaw, My Fair Lady is the most intelligent musical ever made. It's not only extravagant in sets, but also deep in meaning. It's a musical with a brain as well as a heart. It's a treat for the mind as well as the senses. Even sceptics of musicals will enjoy it. Rex Harrison's Henry Higgins is a very interesting character. He holds himself in high regard, and to everyone else he's insulting and insensitive. And what makes him fascinating is he knows that he is like that. He treats Audrey Hepburn's Eliza Doolittle poorly, but no more poorly than he treats anyone else, including Eliza's father, his own friend Col. Pickering and even his own mother, therefore, giving Eliza equality with everyone else despite her lower class origins. Rex Harrison brilliantly pulls it all off and makes Higgins likable without betraying the character. Audrey Hepburn magically brings her sweetness, naive charm and juvenile pettishness which all prove what a talented actress she really is, e.g. watch her expression at the Ascot scene when she realises her opportunity to demonstrate her new-found mastery of the English tongue ... it's utterly sweet and hilarious. Her transformation from a flower-selling guttersnipe to a lady of high society is believable. Stanley Holloway is lovable as playfully mischievous Alfred Doolittle. Wilfrid Hyde-White is convincing as proper and understanding Col. Pickering. Gladys Cooper is impeccable as no non-sense mother of big bully Higgins. The script and dialogue are wonderful. The songs are unforgettable. Because of its theatrical origins there is an unavoidable stage-bound look to some scenes, e.g. the morning after the play scene where actors enter the scene in layers and freeze until the action is turned on and the Ascot scene - its black and white palate and stylized look add variety to the movie. Overall, My Fair Lady is romantic, but not sentimental - the word "love" is never mentioned at all and the two leads never even kiss. Two most stunning scenes are: 1) the Ascot scene which is beautifully surreal and 2) the Embassy Ball scene which is the climax where Eliza, now an enchanting lady of high society, charms everyone with her style and beauty. I must confess, she is breathtaking in every move and every syllable she utters. The ball gown designed by Cecil Beaton is without peer in modern cinema. The scene is lavishly elegant. With the dazzling splendour that director George Cukor offers: the designer's eye for detail, the painter's flair for colour, the artist's imagination and the delicacy of handling, My Fair Lady garnered twelve Oscar nominations and took eight statuettes for Best Picture, Best Director, Best Actor (Harrison), Best Music, Best Costume Design, Best Cinematography, Best Art Decoration and Best Sound. It's one of my personal favourites.
My judgement: **** out of 4 stars
Movie Review: The Man Who Knew Too Much
Year of Release: 1956
Country of Origin: USA
Director: Alfred Hitchcock
Cast: James Stewart, Doris Day
Plot outline: A family vacationing in Morocco accidentally stumbles on to an assassination plot and the conspirators are determined to prevent them from interfering by kidnapping their son (IMDb).
This movie is a remake of Hitchcock's own movie of the same name released in 1934. The two movies are very different in tone, setting and many plot details: the first version opens in St. Moritz, Switzerland, the second version in Morocco; the earlier version climaxes in a siege and shootout in London's East End, the later version during a concert at the Royal Albert Hall; and the kidnapped daughter in the 1934 version becomes a son in the 1956 version. Some people think the earlier version is superior, but Hitchcock himself considers the 1934 version was the work of a talented amateur, while the 1956 version the work of a professional. In my opinion, they are both excellent movies with a lot of strong points. Which one you prefer is mostly a matter of taste ... watch both if you have the chance. In this remake Hitchcock casts Hollywood's big names: James Stewart and Doris Day. He makes certain sequences longer (some people might feel that he drags them out), e.g. the opening sequence between Stewart, Day and their son (Christopher Olsen) - it allows you to get to know the family better, it also sets you up for the second and third acts; the climax sequence at the Royal Albert Hall - it builds the tension up slowly and by the end the suspense is gloriously unbearable. He also uses more lavish settings and better cinematography. Stewart throws himself vigorously into his role (as always). He conveys all the courage, conviction and heartbreak of a father who lost his child and would do anything to get him back. Day is very believable in her role. Her two best scenes are: 1) when Stewart gives her a sedative before telling her that their son has been kidnapped; they play off each other beautifully, especially her as she shows different emotions at once, 2) during the climax sequence at the Royal Albert Hall where she once again shows her conflicting emotions. Brenda De Banzie, Bernard Miles and Daniel Gélin do a great job in portraying their characters. Reggie Nalder is brilliant as the assassin ... his effusive portrayal radiates evil. Music plays an important part in this movie. Several times in the movie, Day sings "Que Sera, Sera (Whatever Will Be, Will Be)" which won an Oscar for Best Song, beating out "True Love" from High Society. During the climax sequence at the Royal Albert Hall, composer Bernard Herrmann, who writes so many great scores for Hitchcock's movies, can be seen conducting the London Symphony Orchestra, playing Arthur Benjamin's cantata of Storm Clouds from the 1934 version. The sequence runs 12 minutes without any dialogue (!), from the beginning to the climax when Day's character screams. Hitchcock beautifully brings us back to silent movie (!) ... the ultimate expression of his belief that movies should be stories told visually. As all of Hitchcock's movies are in my favourite list, this movie is definitely one of my personal favourites.
My judgement: *** out of 4 stars
Movie Review: Holiday Inn
Year of Release: 1942
Country of Origin: USA
Director: Mark Sandrich
Cast: Bing Crosby, Fred Astaire, Marjorie Reynolds, Virginia Dale
Plot outline: Lovely Linda Mason has crooner Jim Hardy head over heels, but suave stepper Ted Hanover wants her for his new dance partner after femme fatale Lila Dixon gives him the brush (IMDb).
This Irving Berlin's musical features Fred Astaire as an elegant, charming show business professional who is ambitious for success and Bing Crosby as a talented, but lazy partner who just wants a life of comfort and not to work more than he has to. Small wonder that soon after the opening sequence ends they go separate ways. The story then focuses on Crosby as he dreams up a great idea of a resort called Holiday Inn where he only works on holidays (which is only 15 days out of 365 days in a year). I think it's a great idea too ... what a wonderful life would that be (!) And then enter a complication, her name is Marjorie Reynolds ... they both get interested in her. Holiday Inn features songs (twelve new songs) for all holidays of the year. Obviously, some are omitted, intentionally or unintentionally, e.g. songs for Memorial Day and Labor Day. "Be Careful It's My Heart", the song for St. Valentine's Day, performed by Crosby and danced by Astaire and Reynolds was supposed to be the number one song. But, "White Christmas", performed in a duet by Crosby and Reynolds, surpasses the success of the song. It also gives Irving Berlin his only Oscar and Crosby the number one single of all time. Astaire, Crosby and Reynolds have great chemistry together: Astaire is cool but ominous, Crosby is laid-back but nervous and Reynold is charming and creditable. I very much enjoy the dancing sequence of "You're Easy to Dance With" (Astaire and Dale), "Be Careful It's My Heart" (Astaire and Reynolds) and especially "Let's Say It with Firecrackers" (Astaire) ... wow, only Astaire could dance with firecrackers (!) I also immensely enjoy the singing sequence of "White Christmas" (Crosby and Reynolds) ... it's timeless, it's utterly beautiful (!) Holiday Inn presents charm, wit, sincerity and freshness. It's an uplifting and heartwarming remembrance that is a legend in its own right.
Mu judgement: *** out of 4 stars
Movie Review: Dinner at Eight
Year of Release: 1933
Country of Origin: USA
Director: George Cukor
Cast: Marie Dressler, John Barrymore, Wallace Beery, Jean Harlow, Lionel Barrymore, Lee Tracy, Edmund Lowe, Billie Burke
Plot outline: Social climbing Millicent Jordan throws a dinner party for a bunch of New York society types, each of whom has much to reveal (IMDb).
Adapted from George S. Kaufman and Edna Ferber's play, Dinner at Eight is a dark drama comedy which is a study of people during the Great Depression - in a way, it's similar to Grand Hotel, only it's darker. It addresses topics like wealthy people dealing with the loss of money and prestige; relationships between men and women involving power, blind love, selfishness and unselfishness; and relationships between the wealthy and those who work for them. It consists of five subplots: 1) Millicent Jordan (Billie Burke), a shallow, wealthy socialite, the wife of shipping magnate Oliver Jordan (Lionel Barrymore). Totally oblivious to the human dramas whirling around the people on her guest list, she worries about nothing so much as how perfect the dinner party will be. 2) Carlotta Vance (Marie Dressler), an aging actress, an old friend and flame of Oliver Jordan. A bit down on her luck, she wants to sell her stock in his company. 3) Oliver Jordan (Lionel Barrymore), a good-hearted businessman. As his company is declining, he is concerned as someone is secretly trying to buy his company stock. Dan Packard (Wallace Beery), a politically connected wheeler-dealer. Circling around Jordan's bleeding empire, he is the shark who is secretly trying to buy the Jordan Shipping Line. 4) Larry Renault (John Barrymore), a washed-up silent movie star. Pestered by a 19-year-old girlfriend, he is haunted by the memory of fame and three ex-wives. Paula Jordan (Madge Evans), a rebellious daughter of Oliver Jordan. Engaged to marry her fiance, she has a clandestine affair with her idol, Larry Renault. 5) Kitty Packard (Jean Harlow), a lonely, conceited woman, the wife of Dan Packard. While waiting for her secret lover, she lounges in bed most of the day. Dr. Wayne Talbot (Edmund Lowe), a doctor, an unfaithful husband. Under the pretext of tending to Mrs. Packard's ailments, he comes to the Packard residence. All the subplots blend together nicely into one seamless, superb script. Dressler heads a large ensemble cast and shines brightest; while the rest of the supporting cast is as good as it gets. And most of the credit goes to director George Cukor who successfully makes this movie something that endures the passage of time.
My judgement: *** out of 4 stars
Movie Review: Queen Christina
Year of Release: 1933
Country of Origin: USA
Director: Rouben Mamoulian
Cast: Greta Garbo, John Gilbert
Plot outline: Queen Christina of Sweden is pressured to marry her cousin, Charles Gustav, but she falls in love with Spanish envoy, Don Antonio. As Protestant Swedes are aghast at the possibility of their queen marrying a Catholic, she must deal with the political realities of her society and make a fateful decision (IMDb).
Loosely based on the life of the 17th century Queen Christina of Sweden, this movie is Hollywood's interpretation of the character and events leading up to her abdication. The story does not make a serious distortion as it shows a lot of true facts about her life: e.g. her coronation when she was only five years old, her desire for peace, her inquisitiveness and her bohemian characteristics (she loves arts, books and paintings). The only fictitious event added is a clandestine love affair between her and a Spanish envoy, and this becomes a major plot that serves as a catalyst for questions about Christina's self identity, duty and perspective. Garbo's performance as Christina is something to behold, something you will never forget (!) It is a perfect blend of masculinity, passion and sensuality. It is a convincing portrayal of the queen's decisions, dilemmas and desires. It catches the audience's attention and holds it to the end of the movie. Consider these three scenes:
Christina (speaking in front of the Parliament when she argues an end to the Thirty Years' War): "Spoils, glory, flags and trumpets! What is behind these high-sounding words? Death and destruction, triumphals of crippled men, Sweden victorious in a ravaged Europe, an island in a dead sea. I tell you, I want no more of it. I want for my people security and happiness. I want to cultivate the arts of peace, the arts of life. I want peace and peace I will have!"
Christina (speaking to Chancellor Oxenstierna): "There is too great a burden you put on me. I have grown up in a great man's shadow. All my life I've been a symbol, a symbol of eternal changelessness, an abstraction. A human being is mortal and changeable with desires and impurities, hopes and despairs. I'm tired of being a symbol, Chancellor. I long to be a human being, this longing I cannot suppress."
Christina (speaking to Don Antonio): "I thought you would understand when you saw me again what had happened. That it had been so enchanting to be a woman, not a Queen, just a woman in a man's arms."
Garbo plays the role of Christina with majesty and vulnerability, she also presents assurance, clarity, determination and style of a great leader. What an outstanding performance! John Gilbert is great as Spanish envoy, Don Antonio; Ian Keith is good as wicked Count Magnus; but both don't come close to Garbo in charisma - who does? The cinematography is beautiful. The script is excellent - it is full of memorable dialogue, which is endlessly quotable. My favourites scenes are: 1) Garbo's speech in front of the Parliament, 2) Garbo's touching all objects in the inn's room in order to memorize them, 3) the final scene - Garbo's tight close-up while standing at the bow of the ship as it sets sail (this is possibly the most famous close-up in movie history). This movie boasts some of Garbo's most gorgeous close-ups you've ever seen. It has been 75 years since it was released but yet it is still a pleasure to see.
My judgement: *** out of 4 stars
Year of Release: 1964
