Movie Review: The Sons Of Katie Elder (1965)

A robust western, The Sons Of Katie Elder features a rich set of characters and a straightforward but still engaging plot centred on a quest for truth and justice. 

When their mother Katie dies, the four Elder brothers reconvene in their hometown of Clearwater, Texas. John (John Wayne) is a notorious gunslinger, Tom (Dean Martin) is a gambler, and Matt (Earl Holliman) is a struggling businessman. The youngest Bud (Michael Anderson Jr.) is attending college and the only brother who can still make something useful out of his life.

John learns that gunsmith Morgan Hastings (James Gregory) and his son Dave (Dennis Hopper) now own the Elder's family ranch. Morgan claims he won the property fair and square in a card game with the Elders' father, who was shot in the back that very night. Morgan is worried enough about his safety to hire gunslinger Curley (George Kennedy) for protection. Sheriff Billy Wilson and his upright deputy Ben Latta are eager to keep a lid on any violence, but emotions start to run high.

While the basic righting-old-wrongs plot of The Sons Of Katie Elder is familiar, director Henry Hathaway enriches the drama with relevant themes. Prominent threads include defending an imperfect family's honour, individuals striving for a better future, brothers getting reacquainted, and an awakening sense of guilt about having let down their mom. The film is stocked with lawmen and bad guys, and conflicts within each group add spice. The aesthetics are dusty bright, and Elmer Bernstein's music is suitably magnificent.

The plot's strongest foundation is a never-seen character. Katie is already dead when the brothers gather, but she is nevertheless a strong presence, often represented by her empty rocking chair. Various aquaintencances, including winsome neighbour Mary Gordon (Martha Hyer), take time to describe Katie's essence to her sons. An image of a determined, kind, crafty, proud, and resourceful woman emerges. She was also obviously disappointed by her three eldest sons, but anyway talked them up. Katie pinned her fading hopes on Bud, but now that she is gone he most wants to emulate gunslinger John.

A generous running length of two hours is prolonged by an unnecessary and truncated horse-drive sub-quest, and Hathaway takes his time building the central conflict with the Hastings. John is initially careful to knock back provocations and avoid unnecessary violence, eager to just establish facts and allow the law to solve the mystery of his father's death. It's only when Hastings reveals his truly evil colours that the film shifts into open hostilities, and the final act features two well-staged shoot-outs.

Forced to confront their shortcomings, The Sons Of Katie Elder finally seek to make their mom proud, in a demonstration of better late than never.



All Ace Black Movie Blog reviews are here.

Movie Review: The Young Lions (1958)

An epic World War Two drama spiked with notable action, The Young Lions explores the intense personal and military experiences of three memorable characters, one German and two Americans.

On New Year's Eve of 1938, German ski instructor and shoemaker Christian Diestl (Marlon Brando), an idealist seeking a better future, romances American vacationer Margaret Freemantle (Barbara Rush). She is repulsed by the growing wave of German expansionism and returns to the United States and her boyfriend Michael Whiteacre (Dean Martin), a Broadway entertainer. 

When America enters the war, Michael meets store clerk Noah Ackerman (Montgomery Clift) at the Army draft office. Michael labels himself a coward and tries to avoid service, but Noah, a Jew, calmly accepts conscription. Michael introduces Noah to Brooklyn girl Hope Plowman (Hope Lange). Their courtship starts with a commuting odyssey, then Noah has to win over her father (Vaughn Taylor), who had previously never met a Jew. 

Christian becomes a Lieutenant in the German army occupying Paris under the command of the merciless Captain Hardenberg (Maximilian Schell). He meets Parisienne Francoise (Liliane Montevecchi), then has a torrid encounter with Hardenberg's wife Gretchen (May Britt). Both Christian and Hardenberg are reassigned to the North African front lines. Meanwhile Michael and Noah go through basic training together, and Noah is exposed to bullying.

Once the liberation of Europe starts, Michael has to decide if being a coward is what he really wants, Noah will experience the chaos of combat, and Christian's idealism will be severely tested.

An adaptation of Irwin Shaw's novel, The Young Lions earns its 167 minute length with a focus on rich character development as well as a few scenes of short and sharp war action. The Edward Anhalt script is eloquent, ably maintaining control of multiple story lines from late 1938 to the end of the war in Europe. Edward Dmytryk keeps the scenes relatively short and the pacing brisk, pausing when necessary but never dragging. The result is a gourmet cinematic experience.

With abundant content comes a few weaknesses, and The Young Lions is not immune. A plausible argument can made that each of Brando, Clift and Martin (at 34, 38 and 41 years old respectively) are older than their "young" characters, with Clift perhaps visually least convincing as a budding man. Martin's character Michael Whiteacre is prominent early and late, but disappears for long stretches in the middle and is afforded relatively few scenes to navigate his arc. And a motorcycle escape sequence is kneecapped by rudimentary rear projection and flirts with unintended comedy.

But in the context of the film's scope, these are quibbles. The Young Lions soars to majestic heights of dramatic involvement by investing in people from different backgrounds, the war shaping who they are and what they stand for, the three central characters evolving into compelling men through complex growth journeys. 

Christian starts with a vision of a more equitable Europe where shoemakers can break free from the shackles of classism. His disillusionment rises as he awakens to the evils of the Nazi party and the brutal tactics employed by men like Hardenberg. Noah has the most to fight for, starting in Brooklyn where a Jew is treated with suspicion, then at training camp where survival means confronting bullying. And Michael is a man of music and cocktail parties, perhaps capable of pulling a few strings to secure a cozy desk assignment but aware of the implications to his sense of self.

Anhalt and Dmytryk are not satisfied with just the central stories and extend their focus to other fascinating characters surrounding the three men. Captain Haldenberg rides his rigid adherence to the principles of an implacable invading army from the highs of photo opportunities in Paris to unimaginable lows. And while Margaret and Hope are relatively static, Hardenberg's wife Gretchen, in just a couple of scenes, emerges as an unforgettable representative of the elite and decadent Berlin set, her behaviour and fate mirroring that of her Captain. In occupied Paris, the feisty Francoise is torn between fury at the German invaders, fear of fraternizing with the enemy, and the enticing prospects of a European project with men like the attractive Christian at the helm.

The cast sparkles with acting talent. A blond Marlon Brando brings a German accent to his sometimes mumbled internally anguished introspection. Montgomery Clift is committed as the outsider used to coping with a lowly status, instinctively aware a world war can change all societal dynamics. In one of his earliest dramatic roles Dean Martin is not in the same talent class, but is never less than serviceable. Maximilian Schell, in his first Hollywood feature, remarkably matches Brando with a dominant portrayal of regime loyalty.

The action scenes inject well-timed jolts of energy and allow the characters to further define their psyches and earn battlefield legacies. The best is a commando attack in North Africa demonstrating the double sword of ingenuity and cruelty.

Monumentally ambitious and grandly substantive, The Young Lions is an impressive roar.



All Ace Black Movie Blog reviews are here.

Movie Review: Airport (1970)

A grand multi-story disaster epic, Airport helped formulate the genre template. A star-studded cast and multiple overlapping emergencies sustain the thrills over one long night.

The setting is Chicago's Lincoln International Airport during a snowstorm. Airport Manager Mel Bakersfeld (Burt Lancaster) is struggling to keep the airport functional, an objective made difficult when a taxiing airplane gets stuck in the snow and blocks the airport's main Runway 29. The alternative Runway 22 is shorter and impacts a surrounding community. Mel calls upon chief maintenance mechanic Patroni (George Kennedy) to help unwedge the Boeing 707.

Mel's brother-in-law is womanizing pilot Vernon Demerest (Dean Martin), who is about to take charge of an overnight flight to Rome. Vernon is having an affair with stewardess Gwen (Jacqueline Bisset), and she reveals her pregnancy just before departure. Mel's marriage to his wife Cindy (Dana Wynter) is falling apart, allowing him to evolve his relationship with airline customer service representative Tanya Livingston (Jean Seberg).

Meanwhile Tanya has to deal with the elderly Ada Quonsett (Helen Hayes), who is apprehended as a serial stowaway but anyway boards Vernon's flight. But most worrisome is depressed businessman D. O. Guerrero (Van Heflin), who plans to kill himself with a briefcase bomb in order for his wife Inez (Maureen Stapleton) to benefit from insurance money. As Vernon deals with in-flight emergencies, Mel and Patroni frantically work to reopen Runway 29, now an urgent matter of life and death.

The adaptation of Arthur Hailey's 1968 book is brought to the screen by director George Seaton, who also wrote the surprisingly taut screenplay. The film created the blueprint for a decade-long cycle of disaster movies, spawned three direct but lesser sequels, and inspired several parodies. Airport also heralded the blockbuster era to come, well-produced but easy-to-digest escapism loved by audiences and generating mass profits on a previously unimaginable scale.

And despite the stiff dialogue, lack of any narrative depth beyond the here and now, and some cringe-worthy corporate boosterism, there is no denying the film's appeal. The cast members are stereotyped but in good form, Lancaster, Martin, Kennedy and Heflin playing to their pre-established strengths, while Seaton fills the screen with activity, inside the terminal, on the tarmac, and on-board the flights, all in gorgeous technicolor. Frequent use of split screens, relatively accurate technical jargon, and a packed agenda of colliding personal and work emergencies easily occupy the 136 minutes of running time.

With action and events moving briskly, the memorable moments are plentiful. Helen Hayes earns many of them, and claimed a Best Supporting Actress Academy Award for a delicately funny turn as the unlikely stowaway Ada. Her repertoire of tricks to get past every checkpoint plus a disarming charm and conversational gifts are put to good use on the ground and in the air.

Dean Martin makes the most of the cocky Vernon coming to terms with Gwen's pregnancy, and gets another well-crafted highlight in his attempt to talk down Guerrero.

As the man in the middle of it all, Mel's agitation with bureaucrats and politicians comes to a satisfying boil when a clueless Commissioner chooses the worst possible time to suggest the airport's closure. And after a few rounds of bickering, Mel and Cindy as a husband and wife presiding over a wrecked marriage carve out a surprisingly adult resolution.

And finally George Kennedy creates the Patroni legend with his full-throttled attempt to prod the stranded Boeing 707 into motion, the irresistible force of one man determined to triumph over a mammoth immovable object. The night will not be over until the cigar is well and truly chomped.

All Ace Black Movie Blog Reviews are here.

Movie Review: Rio Bravo (1959)

A classic few-against-many western, Rio Bravo is a study of determination against the odds. The story of a sheriff and his two allies doggedly holding out against the overwhelming forces of a corrupt businessman is a thrilling standoff in defence of what is right.

When the dimwitted Joe Burdette (Claude Akins) shoots and kills a man in a saloon fight, he is arrested by Sheriff John T. Chance (John Wayne). Chance holds Joe in the town's small jail, guarded by old timer Stumpy (Walter Brennan). Chance's only other ally is his deputy Dude (Dean Martin), who is struggling to escape the clutches of severe alcohol dependency. Chance has to await a Marshall who will arrive within days to transport the prisoner. The problem is that Joe's brother Nathan (John Russell) is the richest landowner in the area, and he wants his brother set free.

As the siege grips the town, Chance gradually gains a few allies. Young gunslinger Colorado Ryan (Ricky Nelson) first insists on minding his own business but starts to change his mind after his mentor Pat Wheeler (Ward Bond) is killed by Nathan's men. Meanwhile card shark Feathers (Angie Dickinson) arrives in town and catches Chance's eye. Nathan intensifies his efforts to intimidate and threaten Chance into releasing Joe, but the lawman and his allies are determined to bring Joe to justice, leading to a series of ever more violent skirmishes with Nathan's men.

A response and rebuke aimed squarely at High Noon (1952), in Rio Bravo the sheriff is comfortable standing tall on his own. Wayne and director Howard Hawks wanted to portray a law officer who refuses help from the ordinary townsfolk, but gets it anyway. In this version of America, the hero stands up to his individual responsibilities despite the obvious risks, and by doing so inspires others to step forward.

Rio Bravo is a masterpiece of mounting tension, as a state of physical and psychological siege creates a perfect canvass for classic western themes. Chance, Stumpy and Dude have to defend a shrinking perimeter around the jailhouse, their enemies already present inside and outside the town, and ready to pounce at any instant and upon any sign of weakness. And Chance's allies are far from perfect or dependable. Dude's battle against the bottle hangs in the balance, and the movie opens with a brilliant, dialogue-free scene of Dude reduced to retrieving coins from a spittoon to get yet another drink. Stumpy is an old-timer, trigger happy but handicapped by a limp leg and a caustic attitude.

Arrayed against these three is an army of cowboys on Nathan Burdette's payroll, plus mercenaries happy to kill in exchange for Nathan's money. Gradually Nathan tightens the noose and intimidates or kills those who express support for Chance. But still the community does not turn its back. Hotel keeper Carlos (Pedro Gonzalez-Gonzalez), wagon master Wheeler, gunslinger Colorado and the passionate Feathers all show varying degrees of support, and as the stand-off moves towards an inevitably violent climax, their support becomes more overt and active.

The script by Jules Furthman Leigh and Brackett Hawks mixes plenty of character interaction and development with bursts of action to keep the pressure building. By the time Hawks unleashes all the guns to explode into action for the raucous final showdown, Chance and his friends are remarkably well developed, having faced down internal demons and come to terms with their destinies.

John Wayne is iconic as John T. Chance ("T for trouble", according to Feathers), a man who knows his role, ready with an answer for everything but reduced to a puddle of uncertainty when placed in the cross hairs of Feathers' affection. Dean Martin and Angie Dickinson rarely had better roles. Martin is the most complex character in the film, Dude struggling against his past potential, present dependency and unsure if he deserves a second chance for a better future. Dickinson is a combination of confidence and sensuality that allows Feathers to match wits and stubborn commitment with Chance.

Rio Bravo celebrates righteous struggles against enemies both external and internal. As is often the case, winning the fight against self-doubt makes disposing of outside foes that much easier.

All Ace Black Blog Movie Reviews are here.

Movie Review: Ocean's 11 (1960)

A disjointed caper movie featuring the Rat Pack, Ocean's 11 has a bit of style and not much substance. The assembled stars offer minimal acting effort and even less engagement, and around them the plot meanders for too long then yields to awkward execution.

Former military colleagues are slowly reassembled to pull-off a daring simultaneous robbery of five Las Vegas casinos. Danny Ocean (Frank Sinatra) is the informal leader with Jimmy Foster (Peter Lawford) as his main buddy. The key insiders include Sam Harmon (Dean Martin), a lounge singer at one of the Casinos, and garbage truck driver Josh Howard (Sammy Davis Jr.). Beatrice Ocean (Angie Dickinson), the estranged wife of Danny, contributes the eye candy.

Exactly how the complex robbery unfolds is explained in only the most sketchy terms, but apparently a combination of a power failure, re-wired electrical switch boxes and glow-in-the-dark powder sprayed on door handles is all is takes to relieve five casinos of millions of dollars. All goes swimming well for Ocean and his gang, until one of the eleven drops dead of a heart-attack in the middle of the strip, attracting attention to the unusual gathering of former army men in Vegas.

Former criminal Duke Santon (Cesar Romero) then offers his services to the casinos: in exchange for recovering the missing millions, he demands a hefty cut. There are some desperate shenanigans related to hiding money in caskets before the entire heist goes up in smoke.

Director Lewis Milestone never gets a handle on the material, and allows Ocean's 11 to drift endlessly for it's first hour, picking up no momentum whatsoever as a succession of Danny Ocean's friends are clumsily introduced. There is a painfully unfunny recurring joke related to Ocean and Foster making repeated prank phone calls to the brains behind the plot, an incomprehensible Greek with the name of Spyros Acebos (Akim Tamiroff).

Ocean's 11 picks up somewhat once the actual robbery starts to unfold, but the rudimentary acting, directing, writing and cinematography conspire against any memorable moments. The one thing going for the movie is a decent sense of style: Sinatra and his crew are sharply dressed and well pressed, and the Vegas casinos represent the height of glamour circa 1960.

Ocean's 11 enjoys a few moments of panache, but it is generally all wet.

All Ace Black Blog Movie Reviews are here.