Showing posts with label Angela Lansbury. Show all posts
Showing posts with label Angela Lansbury. Show all posts

Sunday, 19 April 2026

Movie Review: The Mirror Crack'd (1980)


Genre: Crime Mystery  
Director: Guy Hamilton  
Starring: Angela Lansbury, Rock Hudson, Elizabeth Taylor, Kim Novak, Tony Curtis, Edward Fox, Geraldine Chaplin  
Running Time: 105 minutes  

Synopsis: It's 1953 in rural England. American film director Jason Rudd (Rock Hudson) is in town to prepare for his next movie, featuring a big comeback role for his troubled wife Marina (Elizabeth Taylor). Marty Fenn (Tony Curtis) is the producer, and his wife Lola (Kim Novak) is Marina's nemesis. When a local woman is murdered by poison at the estate where Jason and Marina are residing, local woman Jane Marple (Angela Lansbury) and her nephew Inspector Craddock (Edward Fox) investigate.

What Works Well: In her few scenes, Angela Lansbury is a dotty delight, and Rock Hudson brings a welcome sturdiness to the otherwise over-animated cast. The quaint English village setting is idyllic, while Elizabeth Taylor and Kim Novak exchange sharp barbs as lifelong rival actresses not afraid to wish each other the worst.

What Does Not Work As Well: The murder victim is an annoying nobody, and Miss Marple is sidelined in her own movie, the bland Craddock leading most of the detective work. Taylor, Novak, and Tony Curtis, all near their career twilights, lean towards exaggerated theatricality. Director Guy Hamilton errs on the side of too many red herrings and not enough real clues, but regardless, the murderer is not hard to guess. This is a weaker Agatha Christie story (despite being based on an actual tragedy that befell actress Gene Tierney), and translates to a limp cinematic effort.

Key Quote:
Lola (to Marina): And I'm so glad to see that you've not only kept your GORGEOUS figure, but you've added SO MUCH to it!



All Ace Black Movie Blog reviews are here.

Saturday, 7 September 2024

Movie Review: Blue Hawaii (1961)


Genre: Musical Romantic Comedy  
Director: Norman Taurog  
Starring: Elvis Presley, Joan Blackman, Angela Lansbury  
Running Time: 102 minutes  

Synopsis: After two years in the army, Chad Gates (Elvis Presley) returns to Hawaii and reunites with his girlfriend Maile (Joan Blackman). He is intent on carving his own path in life and not following the wishes of his wealthy parents (Roland Winters and Angela Lansbury), who want him to join his father's pineapple business empire. Instead Chad accepts a job as a tour guide at the travel agency where Maile works. When attractive teacher Ms. Prentice (Nancy Walters) and four teenaged girls retain his tour guide services, romantic complications ensue.

What Works Well: The Hawaii locations look postcard gorgeous; Presley, Joan Blackman, Nancy Walters, and Jenny Maxwell (as a teenaged seductress) all glow in the sun; and Presley's rendition of Can't Help Falling In Love is a highlight. Director Norman Taurog keeps the mood light with a steady stream of humour.

What Does Not Work As Well: A total of 14 songs, most of them forgettable, are crammed into the running time, turning the production into glossy travelogue with a soundtrack rather than any attempt at a serious movie. At 35 years old and just 9 years older than Presley, Angela Lansbury is somehow cast as his mother, and delivers a full-on cartoonish portrayal of an overbearing parent. As the flimsy plot desperately searches for oxygen in the brief intervals before the next song (and there is always a next song), it stumbles onto the lowlight of Presley delivering a spanking to straighten out a woman's behaviour.

Key Quote:
Chad (to Maile): On you, wet is my favourite colour.


All Ace Black Movie Blog reviews are here.

Friday, 30 August 2024

Movie Review: The Picture Of Dorian Gray (1945)


Genre: Psychological Horror Drama  
Director: Albert Lewin  
Starring: Hurd Hatfield, George Sanders, Lowell Gilmore, Angela Lansbury, Donna Reed, Peter Lawford  
Running Time: 110 minutes  

Synopsis: In London of the 1880's, artist Basil Hallward (Lowell Gilmore) paints a portrait of Dorian Gray (Hurd Hatfield), a handsome bachelor establishing a reputation in philanthropy. Their common friend Lord Henry Wotton (George Sanders) is dedicated to the pursuit of pleasure, and his influence prompts Dorian to wish for the portrait to age while he remains eternally young. Henry then further inspires Dorian to exploit innocent vaudeville singer Sibyl Vane (Angela Lansbury), and he consequently indulges in hedonism and debauchery, remaining physically young while his portrait reflects his eroding soul.

What Works Well: The adaptation of Oscar Wilde's novel is dark, sinister, and packed with observations about the conflict between good and evil inherent in the human condition. Director and writer Albert Lewin surrounds Dorian's story with opposing influences locked in a struggle for behavioural control, and uses punctuating colour to convey the psychological battle's progress. The horror elements are judicious, with one shock revelation exposing the deterioration of Dorian's conscience. George Sanders as the voice of vice rattles off Wilde's witty and eminently quotable prose with astoundingly annoying confidence, while Hurt Hatfield's performance is chillingly subdued.

What Does Not Work As Well: The film is marginally over-narrated, and Dorian's contextual evil deeds in the seedier parts of London are only vaguely hinted at.

Key Quote: 
Dorian: You think it's only God who sees the soul?



All Ace Black Movie Blog reviews are here.

Wednesday, 6 March 2019

Movie Review: The Three Musketeers (1948)


A swashbuckling adventure, The Three Musketeers is reasonably entertaining but undeniably frazzled.

It's the 1600s in France and young d'Artagnan (Gene Kelly) leaves the countryside and heads to Paris seeking to join the elite Musketeers, who form the King's guard. He proves his swordsmanship in a battle alongside Athos (Van Heflin), Porthos (Gig Young) and Aramis (Robert Coote) and joins them as they defend the King (Frank Morgan) from evil plots. The main threat is posed by the nefarious Prime Minister Richelieu (Vincent Price), who wants to trigger a war with England and regularly conspires with Milady, Countess de Winter (Lana Turner).

d'Artagnan meets and falls in love with Constance (June Allyson), one of the maidens of Queen Anne (Angela Lansbury). The Musketeers set off on a mission to England to retrieve jewels from the Duke of Buckingham (John Sutton), but that is just the start of many adventures to try and thwart the persistent Richelieu.

A disorganized mess of a film, The Three Musketeers just about scrapes through. The energy level is admirably high and athletic swordplay setpieces erupt at regular intervals. Yet a lack of tonal cohesion, weird casting choices, characters rotating in and out of the movie with no explanation, plot points that border on incomprehensible, and plenty of seemingly important action occurring off-screen all combine to create a disconcerting experience.

Most of the trouble originates within a lazy script intent on thoughtlessly cramming too much of Alexandre Dumas' episodic stories into a two hour movie. With no appreciation for the need to focus to achieve depth or cohesion, the film thrashes around in shallow waters gasping from one side quest to the next, barely explaining why everyone is running around, or even who everyone is or why they matter.

Director George Sidney cobbles together enough swashbuckling sword fights to paper over most of the cracks, with Gene Kelly's athleticism put to great use. The lavish sets, locations and costumes often look gorgeous in technicolor, and a certain level of joie de vivre helps hustle the film along.

Gene Kelly as d'Artagnan and Van Heflin as Athos seem to be acting in two different movies. Kelly is all smiles as he peddles a light hearted attitude and half-threatens to break out into a song-and-dance routine at every opportunity. Heflin is dour, reflective and dramatic as he pauses often to drone on about his lost love.

Porthos and Aramis barely register as the other two musketeers, but the ladies fare worst of all. Lana Turner is top billed but her role is almost incidental, June Allyson as Constance is both mis-cast and underwritten, and Angela Lansbury's Queen Anne is detached from most of the various plots.

The Three Musketeers gallops across the landscape with impressive bravado, but forgets to bring along any sense of structured significance.






All Ace Black Movie Blog reviews are here.

Sunday, 1 September 2013

Movie Review: The Manchurian Candidate (1962)


A Cold War thriller packed with psychological intrigue, The Manchurian Candidate dances artistically on the nerves of a home front confronting an unseen and therefore omnipresent enemy.

In the Korean War, Sergeant Raymond Shaw (Laurence Harvey) and his platoon, including Major Bennett Marco (Frank Sinatra), are lured into an ambush, captured by the enemy, flown to Manchuria, and subjected to sophisticated Russian mind control techniques. Shaw and his men are brainwashed into believing that Shaw is a war hero deserving of the Medal of Honour. The reality is that Shaw has been programmed by the communists to kill without emotion, once he is triggered into accepting commands by exposure to the queen of diamonds in any deck of cards.

Back in the United States, Marco and other men in Shaw's platoon start to have nightmares about their brainwashing experiences. Marco befriends the sympathetic Eugenie (Janet Leigh), and turns to his army commanders for help in deciphering his nightmares. Meanwhile, Shaw is activated as a communist assassination machine. He harbours particular hatred for his conniving mother (Angela Lansbury), a rabid right-wing political activist busy manipulating the career of her dim-witted husband (and Shaw's step-father) Senator Iselin (James Gregory). Mrs. Iselin prods the Senator to instigate a McCarthy-style witch-hunt for phantom communists who have infiltrated the US government, raising the Senator's profile and placing him in contention for the Vice Presidential ticket. Marco has to uncover the mind control conspiracy to try and avert a national crisis.

Based on the Richard Condon novel, The Manchurian Candidate is a thought provoking, complex thriller, expertly preying on the fears bubbling under the surface of the Cold War. The threat of advancing communist science is combined with wild McCarthy-style accusations to create the perfect storm of paranoia, programmed killers blended with undercover agents plotting to secretly take control of key government functions.

The Manchurian Candidate enjoys a dramatic, unforgettable plot twist, as the communist threat is revealed to be deeply embedded and camouflaged into the United States political landscape. The extreme left and the extreme right always eventually meet in the spherical world of twisted ideology, and the devious plot brings this merge to life as Raymond Shaw falls into the clutches of his controller.

Director John Frankenheimer colours the nightmare in black and white and plays with chilling flashbacks, Shaw's soldiers enduring nightmares from their experiences in Manchuria, imagining themselves in attendance at a dreamy gardening club meeting while in fact they are being presented in their brain-washed state to leading Russian and Chinese intelligence agents. Frankenheimer does not back away from sharp violence, the final proof of mind-control requiring Shaw to commit murders in cold blood, the camera capturing the horror of a killing machine carrying out programmed orders.

The three central performances are persuasively understated. Frank Sinatra delivers a mature performance as Marco, a man struggling with puzzle pieces that don't quite fit, trying to square his nightmares with his sudden admiration for Shaw, a man who was previously detested by his men for being a rigid disciplinarian. Laurence Harvey is perfectly cold as Shaw, wearing the title of hero heavily, fully aware of his previous unpopularity and tracing the cause of his misery to a domineering mother.

And finally Angela Lansbury is extraordinary as Mrs. Iselin, a calculating, power-hungry woman who demands complete control over her environment and is willing to pay any price to achieve victory. Lansbury was nominated for an Academy Award and won the Golden Globe for Best Supporting Actress.

Janet Leigh is somewhat wasted in a sketched-in role, while Henry Silva makes an eerie appearance as a North Korean agent who shows up in all the wrong places.

The Manchurian Candidate heats up the cold war, with new weapons, old power grabs, and a countdown to an insidious government overthrow.






All Ace Black Blog Movie Reviews are here.

Tuesday, 4 September 2012

Movie Review: Gaslight (1944)


A suspense-filled thriller fuelled by a long-ago murder and a husband's nefarious ill-will towards his new wife, Gaslight has an enjoyably sinister plot, a haunting examination of emotional turmoil, and slick black and white execution.

Paula Alquist (Ingrid Bergman) was a young girl when her aunt Alice was murdered in their London townhouse. Alice was a world-renowned opera singer, and Paula had the misfortune of discovering the body. The murder case was never solved. Many years later, Paula is living in Rome where she meets and falls in love with the suave pianist Gregory Anton (Charles Boyer). They get married and move back to London, living again in the townhouse where the murder occurred.

Gregory is not all that he seems to be, and he starts to mentally abuse Paula into thinking that she is losing her mind. He manipulates her into believing that her memory is failing, that she is quick to lose precious items, and that she irrationally moves objects around the house. He forbids her to see other people, and every night when Paula is left alone in the foreboding townhouse, the intensity of the gaslight is mysteriously dimmed and she starts to hear baffling noises from the attic. Family friend Brian Cameron (Joseph Cotton), now a police detective, is intrigued by Paula's return to London, and starts to investigate the circumstances around the unsolved Alice murder.

For a performance filled with the fragility brought upon by self-doubt, Ingrid Bergman won her first Best Actress Academy Award for Gaslight. Paula is caught between the horrors of the past, her current love for new husband Gregory, and the race between doubting her sanity and her unwanted suspicion that Gregory may be behind her apparent descent into madness. Bergman dominates with tenderness and vulnerability, fighting but softly, objecting submissively, and taking stands meekly, Gregory knocking her two steps backwards whenever she tries to take one step forward.

Boyer plays Gregory as dripping with questionable intent, a man with the dangerous combination of romantic charm, sophisticated taste, and cold-hearted plotting. Gregory stays just behind the line of overt hostility, convincing Paula that she is losing her sanity while staying for the longest time on her good side as husband and protector. A close examination of the screenplay (based on an original play) would result in questions regarding the efficiencies of Gregory's methods (could he have achieved his objectives using less complex means), but with the story's main selected thrust of control by implied insanity, Boyer is irresistible.

Joseph Cotten is relatively bland in the relatively underdeveloped role of Brian Cameron, too astute as a hero and deploying impeccable timing to provide help on exactly the pivotal evening. More interesting is a sassy Angela Lansbury, making her debut as Nancy, the outspoken and flirtatious maid adding agony to Paula's life and tension to the surrounding neighbourhood. Lansbury received a Best Supporting Actress Academy Award nomination for her efforts.

Director George Cukor makes excellent use of the spooky multi-level London townhouse that effectively becomes Paula's prison, the narrow staircase and many dark corners providing plenty of opportunities for a base level of delicious creepiness. The gaslight intended to provide illumination serves mostly to throw shadows in all directions, and Cukor delights in revealing what is needed and hiding all else for the pure pleasure of adding tension.

Gaslight keeps the tension simmering, a quality psychological drama of skulking darkness in the house and in the mind.






All Ace Black Blog Movie Reviews are here.