Niagara (1953)

Niagara (Dir: Henry Hathaway, 1953).

Marilyn Monroe's breakthrough performance in an unusual film noir, distinguished by its use of eye-popping three strip Technicolor. 

Arriving at Niagara Falls for a delayed honeymoon, the affable Polly Cutler (Jean Peters) and her husband Ray (Max Showalter) encounter the altogether odder married couple Rose (Monroe) and George (Joseph Cotton) Loomis, visiting the Falls six years after their own honeymoon in an attempt to rekindle their relationship. Recently discharged from a mental institution, the troubled George is scarred by his experiences in the Korean War and seemingly an ill match for the voluptuous Rose. Darker motives are apparent as Polly spies Rose in the embrace of another man. When George mysteriously disappears Polly suspects murder, but has a hard time convincing her husband and the authorities until George reappears and the fatalities begin to mount. 

It is up for debate as to what is more spectacular: the natural splendour of Niagara Falls or the magnificent Marilyn! Both were exploited in the movie’s post art which featured a seductively posed Monroe draped across the falls in a tight dress, proclaiming "Marilyn Monroe and Niagara... a raging torrent of emotion that even nature can't hold!"

Indeed, Monroe is mesmerising! Receiving top billing for the first time in her career, she gives a fantastically charismatic performance, overflowing with sultry sexuality. It is easy to see why this was the movie that shot her to stardom. Cotton too offers an extraordinary performance as George, eliciting audience sympathy while simultaneously conveying a disturbing, cold menace.

The dangerous allure of Monroe and the damaged neurosis of Cotton is juxtaposed by the clean cut ‘normality’ of Jean Peters and Max Showalter (here billed as Casey Adams) as the Cutlers. Although a little bland by comparison both give strong performances, their all-American amiability offering a nice contrast to the melodramatics of the Loomises. 

Niagara is a dark movie shot in richly evocative, almost dreamlike, colour. Director Henry Hathaway imbues his film with a deliciously off-kilter atmosphere, underlined by a sombre sense of impending doom. This is nicely offset by Joseph MacDonald's Technicolor photography; capturing the Falls in all its raging, breathtaking beauty and almost serving as a travelogue for the resort.

Niagara is, perhaps, not the most tightly plotted of thrillers: the conclusion seems inevitable fairly early on, slightly robbing an otherwise exciting climax of some of its impact. It could also be argued that it offers a dim view of female sexuality, both objectifying Monroe and  simultaneously castigating Rose and her overt sensuality. It is the gender politics which, more than anything, ties  the film to the era in which it was made. However, the movie is compulsive viewing, both for its performances and its spectacular scenery. Having not seen Niagara in a few years, I found it entertaining and impressive in equal measures. It holds up as Monroe's best early performance and offers a rare opportunity to see her in full-on femme fatale mode. A brightly coloured, darkly atmospheric classic. 

The Castle of Cagliostro (1979)

The Castle of Cagliostro (Dir: Hayao Miyazaki, 1979). 

Originally titled ルパン三世 カリオストロの城, The Castle of Cagliostro is an animated action adventure, the feature film debut for director Hayao Miyazaki. 

Master thief Arsene Lupin III and his cohort Jigen stumble upon an international counterfeit operation after a daring raid on a swanky Monte Carlo casino results in a haul of fake cash. Tracing the operation to the small country of Cagliostro, they come up against the crooked Count Cagliostro when attempting to rescue a damsel in distress, his intended bride Clarisse. Meanwhile Lupin's nemisis Inspector Zenigata is hot on his trail.

Six years before co-founding Japan’s legendary Studio Ghibli, director Hayao Miyazaki made his feature film debut with this exciting, fast moving action/adventure. In some respects it could be considered Proto-Ghibli, although in many regards it is an anomaly among the director’s movies. Unlike his later original creations, The Castle of Cagliostro is based on manga artist Monkey Punch’s Lupin III series, itself inspired by the work of French author Maurice Leblanc. Part of an existing franchise, the movie is a sequel of sorts to previous Lupin III animation The Mystery of Mamo ( Söji Yoshikawa, 1978), although no knowledge of that movie is needed to enjoy this. 

An all action movie with genuinely exciting set-pieces, including high speed car chases and elaborate shootouts; of all Hayao Miyazaki’s features, this feels most like a contemporary live-action caper movie and draws heavily on classical Hollywood, notably To Catch A Thief (Alfred Hitchcock, 1955). While, perhaps, not as polished as his later movies, the slightly rough and ready character animation matches the rough and ready charm of its anti-hero leading man. It is graced with the beautifully detailed backgrounds familiar to fans of Ghibli’s more elaborate fantasies while the wistful, almost melancholic romanticism of later movies is also present.  

With it’s themes of fraud, gambling, some mild bad language and scenes of smoking, The Castle Of Cagliostro is not as kid friendly as later Hayao Miyazaki titles such as My Neighbor Totoro (1988) or Ponyo (2008). However, older children and big kids like me will find it a funny and fast-moving, quirky alternative to Western animation.   

Scrooge aka A Christmas Carol (1951)

Scrooge aka A Christmas Carol (Dir: Brian Desmond Hurst, 1951).

Charles Dickens' 1843 novella A Christmas Carol is the second most famous Christmas story ever told. It must also rank as the most filmed piece of literature of all time, with countless movie and TV adaptations surfacing yearly. For many, me included, this 1951 adaptation is the best of the hundreds-odd versions. 

Scrooge (it retained its published title A Christmas Carol in the US) is, of course, the tale of the embittered miser who loathes his fellow man and mistreats his overworked, underpaid employee Bob Cratchit. The old curmudgeon is offered the chance of redemption on Christmas Eve when he is visited by four spirits who take him on a journey through his past, present and future to show him the error of his ways. 

Scrooge a is richly atmospheric movie which doesn’t dilute the novel’s darker moments. Director Brian Desmond Hurst presents us with a moody, almost Gothic version of Dickens, somewhat lacking in Christmas cheer, but all the more powerful for it. There are genuinely disturbing moments, courtesy, in particular, of the Ghost of Christmas Present and the Ghost of Christmas Yet to Come. Slushy sentiment is kept at bay, although lump in throat moments are plentiful! C M Pennington-Richard's stark monochromatic cinematography adds a deliciously grim ambiance to the London backstreets and Scrooge's over-sized, under-furnished abode.   

Yet, as impressively mounted as the movie is, it is the superb cast of actors who really elevate it to classic status. Primarily known for comedic roles, Alastair Sim brings a certain gleeful malevolence to the role of Scrooge. From rotter to reparation, his Ebenezer Scrooge is a joy and arguably the Scrooge against which all other Scrooges must be judged. He is surrounded by an equally impressive cast of British acting legends, notably Mervyn Johns and Hermione Baddeley as a sympathetic Mr and Mrs Cratchit, Jack Warner as Scrooge's ex-employer Mr Jorkins and Michael Hordern as a morose Jacob Marley. It also provided a excellent early role for Sim's real life ward and acting protege George Cole as the young Ebenezer. 

As familiar as the tale is, this is a movie that deserves multiple repeat viewings. 70 years after release it remains, perhaps, the greatest festive feature of all time. The definitive film adaptation of A Christmas Carol, Scrooge is a classic of British cinema and a genuine cinematic masterpiece!

Note: Steer clear of the computer colorized version; Scrooge is best enjoyed in the glorious black and white in which it was made. 

Hacksaw (1971)

Hacksaw (Dir: Larry Lansburgh, 1971).

Originally screened in two parts on NBC's The Wonderful World of Disney in September 1971. Hacksaw is a handsome outdoor adventure with a leading role for former teen heartthrob Tab Hunter. Rarely seen since its original broadcast, it has recently been made available to view on the Disney+ streaming service. 

Hacksaw, a wild stallion is captured by Canadian cowboy Tim Andrews (Hunter) and friend Susan (Sue Curtis). Hacksaw's speed and strength see the stallion and Tim engaged by an aging rancher (Ray Teal) to ride on his behalf at a championship chuck wagon pull at the famed Calgary Stampeed.

Shot on location in the Canadian province of Alberta and the Rocky Mountains, Hacksaw boasts some spectacular scenery. The beautiful photography belies the movie's made for TV origins, although it does fall neatly into two distinct haves as Wonderful World of Disney features often do.

Tab Hunter and character actor Ray Teal both make appealing late career appearances and add a little weight to a cast of largely unfamiliar faces. Director Larry Lansburgh was an old hand at this type of animal action. He elicits naturalistic performances from both humans and horses which lends the film an atmosphere of a docudrama. The climactic chuck wagon race conveys as much gentle excitement as you would expect from a chuck wagon race. 

If there is any particular criticism of Hacksaw it is that there is little narrative thrust. It is not the most densely plotted of movies, but its easygoing nature accounts for much of the picture's charm.  

Hacksaw will undoubtedly appeal most to horse lovers. Kids raised on flashy franchises such as Star Wars and The Avengers alone may find it a little underwhelming. But many will find it easy to warm to this laidback, goodnatured drama. With its rugged locales and beautiful horses, this Disney obscurity is lightweight but likeable entertainment. 

Swiss Family Robinson (1940)

Swiss Family Robinson (Dir: Edward Ludwig, 1940).  

A little seen RKO adaptation of the classic Johann Wyss novel. When Walt Disney produced his own feature film of Swiss Family Robinson (Ken Annakin, 1960) he also purchased the rights to this earlier version. Since then it has remained largely unseen but has recently surfaced on the Disney+ streaming service. 

It tells the well known tale of a family fleeing the Napoleonic Wars who end up shipwrecked on a tropical isle. Learning to cope with island life, they build an elaborate treehouse and have various run-ins with the local wildlife.

Those familiar with the later movie may be surprised to see an extra family member; son Jack is absent from the Disney adaptation. Fans of that movie will definitely be surprised to find no pirates and no Captain’s daughter disguised as a boy! While this is truer to the novel, it feels like half a movie, with little development between the family arriving on the island and their inevitable rescue. 

If Walt Disney was concerned that his movie would suffer in comparison with this, he shouldn't have been. This Swiss Family Robinson is hopelessly stiff with stilted dialogue and characters who are a little hard to warm to. Thomas Mitchell gives a solid performance as the head of the family, but to be honest, I missed the warmer portrayal by John Mills in the remake. Likewise, the one-dimensional characterisations of his sons as variously warmongering, bookish and a dandy lack the necessary appeal to be truly sympathetic. 

While there is no scene quite as joyous as that of the family gathered around the organ singing O Christmas Tree as in the Disney movie, there are compensations. The effects are good; the shipwreck and the storms are particularly impressive. Plus, as one of golden age Hollywood's most appealing character actors, Mr Mitchell is never less than watchable. Ultimately, The more robust Disney movie is more exciting, more colourful and essentially much more fun than its starchy forebearer. Nonetheless, it is an entertaining enough 90 odd minutes and makes for fascinating viewing for fans of the later movie.

Lilo & Stitch (2002)

Lilo & Stitch (Dir: Dean DeBlois & Chris Sanders, 2002). 

A heartwarming family drama/sci-fi hybrid from Walt Disney Animation Studios. 

On the Hawaiian island of Kauai, misfit Lilo adopts an unwanted stray dog. Unfortunately, said dog, named Stitch by Lilo, is actually escaped extra-terrestrial genetic experiment #626, an invention of would be evil scientist Jumba. With Stitch causing havoc on the island, Jumba is dispatched to Earth with Terra-expert Pleakley to recapture the alien, but Lilo is not so eager to relinquish her pal. 

Science fiction had played a key part in the Disney parks since the opening of Disneyland in 1955. It was also a staple of Walt Disney Pictures live action releases. Yet there had never been a sci-fi feature from Walt Disney Animation Studios before the 2001 release of Atlantis: The Lost Empire (Gary Trousdale & Kirk Wise) and, the following year, Lilo & Stitch. Unlike Atlantis, which was a hi-tech, all action fantasy epic, Lilo & Stitch was a lowkey family drama with believable characters drawn from real life (+ some aliens!). Also unlike Atlantis, Lilo & Stitch would provide the studio with a much needed hit after the commercial failure of the ambitious and expensive former movie.

At the heart of Lilo & Stitch is a touchingly believe tale of sisterly bonding. This sense of realism is somewhat at odds with the sci fi scenes which bookend the movie. By contrast, although they are a lot of fun, these high tech scenes are less impressive than the beautiful watercolours and simple message of the Hawaii scenes. The sci-fi sequences are more action packed and flashily animated, but it is the Hawaiian scenes, that are the more affecting and most memorable segments of the movie.

Stitch is as enduring a character as any to come from Disney’s rich animation history; while Jumba and Pleakley provide ample comic relief as the fish out of water aliens. Yet what really makes the movie special is the realistic portrayal of Lilo and sister Nani. Credit to co-writers  /directors Dean DeBlois and Chris Sanders for creating a convincing relationship, familiar to anyone who has ever loved and loathed a sibling in equal measure. 

There is a faint melancholic undercurrent which run though Lilo & Stitch. The sensitive manner in which the movie deals with issues such as loss and the importance of family is refreshingly frank and free from false sentiment. This lends the movie a distinctly different flavour from any other Disney feature. Likewise its use of traditional Hawaiian folk music and a half dozen Elvis tracks feels fresh and slightly edgy in comparison to the studio's recent tradition of elaborate Broadway-style musicals such as Beauty and the Beast (Gary Trousdale & Kirk Wise, 1991) and Pocahontas (Mike Gabriel & Eric Goldberg, 1995). It is also thankfully free from the glib, self-referential humour which had crept into recent Disney features such as Hercules (Ron Clements & Jon Musker, 1997) and The Emperor's New Groove (Mark Dindal, 2000). 

Lilo & Stitch stands out in an era when the Disney studio was struggling in the face of competition from rival animation studios Pixar and DreamWorks. It feels both markedly original and traditionally Disney and foreshadows the studios more recent success with familial bonding tales such as Frozen (Chris Buck & Jennifer Lee, 2013) and Big Hero 6 (Don Hall & Chris Williams, 2014). 

As enjoyable for grownups as for kids and full of references to classic monster and sci-fi movies for geeks like me. Lilo and Stitch is the most unassuming and charming of Walt Disney Animation Studios output. It is also stands as one of their best feature films of the 21st Century. 

Sirocco (1951)

Sirocco (Dir: Curtis Bernhardt, 1951).

A romantic melodrama/crime thriller in the mold of Casablanca (Michael Curtis, 1942).

In 1925 Damascus, ex-patriot American Harry Smith (Humphrey Bogart) is mixed up in gunrunning for the Syrian rebels who oppose the French occupation. Wishing to flee the country he strikes up negotiations with Colonel Feroud (Lee J Cobb) to ensure safe passage. Things get complicated Smith embarks upon  a relationship with the colonel's ambivalent mistress Violetta (Marta Toren). The odd twist in the tale enlivens the otherwise routine thrills.  

Humphrey Bogart was experiencing a career lull when he signed to Columbia Pictures in the early 1950s. This, the second movie of the contract, was a conscious attempt by the studio to emulate the success of Casablanca (Michael Curtiz, 1942), the Warner Brothers hit in which Bogart starred. While it contains many of same ingredients as the earlier movie, the end result is more of a light snack than the chef d’oeuvre Casablanca. 

Both Humphrey Bogart and Lee J Cobb are eminently watchable. Acting wise, neither is out of their comfort zone, but both offer strong performances. Marta Toren doesn't fair as well, although this is not entirely her fault. The role, as written, has some ambiguous and not entirely believable character motives, making it difficult for the audience to sympathise with her. However, it is difficult not to wonder what the more charismatic Ingrid Bergman would have brought to the part. 

Despite its credentials, Sirocco is little more than a 'B' picture, elevated to 'A' status by the presence of Bogart and Cobb. The plot is engaging, if formulaic, and the picture benefits from a nice moody film noir-ish atmosphere. But neither journeyman director Curtis Bernhardt or writers A I Bezzerides and Hans Jocoby seem to regard the making of the movie as anything but another day at the office. While it is an undoubtedly professional piece of filmmaking it just feels a little soulless; straight off of the late Hollywood production line and into neighborhood theatres. 

Sirocco is a good movie, but it is by no means the classic that the talent involved would suggest. It is a by-the-book Casablanca clone, made eminently more enjoyable by a legendary cast. 

The Dark Tower (2017)

The Dark Tower (Dir: Nikolaj Arcel, 2017).

A kind of sci-fi/western/fantasy mashup based on Stephen King’s popular series of novels. 

In alternate universe Mid-World, Gunslinger Roland (Idris Elba) battles bad guy Walter (Matthew McConaughey) for dominance over the Dark Tower, which Walter plans to use for evil means. After stumbling through a portal in abandoned house, troubled New York teenager Jake (Tom Tyler) teams up with the Gunslinger to assist him in his quest.

Aware of the negative reviews and underwhelming box office with which it greeted upon release, my expectations for The Dark Tower were low. Perhaps because of this, while acknowledging the movie is flawed, I found it to be surprisingly entertaining! 

Any film with a cast of the calibre of Idris Elba and Matthew McConaughey shouldn’t be a total loss and their performances, along with young Tom Taylor are solid. Some excellent visual effects and high octane action sequences are present and correct, although it does feel a little bit cookie cutter in approach. Unfortunately, star performances and impressive visuals cannot compensate for the movie’s flaws. 

From underdeveloped characters to an occasionally confusing narrative, The Dark Tower’s problems seem to stem from its storytelling. Yet, I hesitate to lay blame at writer/director Nikolaj Arcel alone. At 95 minutes, it is a fairly short movie and would perhaps have benefited from an additional 20 or 30 minutes runtime, particularly considering its epic scope. My suspicions are that judicious editing may have solved some of the problems, or a least offered a little room for character development. 

Whether, as I suspect, a better version of The Dark Tower was left on the cutting room floor, I guess we will never know. The movie as released is both unsatisfactory to fans of the books and overly complex to newcomers. The Dark Tower’s negative reception halted plans to adapt further books from the series. Which is a shame, as the premise is an intriguing one. Worth a watch for the talent involved but sadly, not as good a movie as it should have been. 

School of Rock (2003)

School of Rock (Dir: Richard Linklater, 2003). 

Jack Black is in family friendly mode for this kinda broader comic version of Dead Poets Society (Peter Weir, 1989).

School of Rock (A late name change means the on screen title remains The School of Rock) is the tale of would be rock star Dewey Finn. Kicked out of his band and in need of cash, Dewey posses as a substitute teacher and takes a job at a fancy prep school. With no background in education he firsts lets the students do as they please in lessons. On hearing their performance in music class he seizes the opportunity to form the kids into a rock band and enter them in to a battle of the bands contest, without the prior approval of the parents or the school Principal (Joan Cusack).

Let’s be honest, the plot involves a great deal of suspension of disbelief. But it is so warm-hearted, well played and genuinely funny that you won’t really care. 

Black is on top form as inward-looking slacker Dewey. The kind of character he excels at; somebody you wouldn’t necessarily want to meet, but a lot of fun to watch on screen. Joan Cusak too is great as the uptight school head who gradually starts to loosen up. 

School of Rock represented something of a leap into the mainstream for director Richard Linklater. Yet he brings his indie sensibilities with him in a production refreshingly free from the glossy slickness of many kid friendly films. The kids give natural performances, never schmaltzy and the film never descends into the cheap sentiment that family movies all too often do. 

School of Rock is that rare beast, a film for kids and grownups (or big kids) that doesn’t patronise either end of the spectrum. I often despair at uninteresting kids movies that slip in a few inappropriate gags for adults. School of Rock doesn’t do that. This is escapist fun that can be enjoyed by all ages on the same level. 

The Boss Baby (2017)

The Boss Baby (Dir: Tom McGrath, 2017). 

From DreamWorks Animation, The Boss Baby is loosely based on the picture book by Marla Frazee. Theodore Templeton (Alec Baldwin) is the Boss Baby, a suit and tie wearing, briefcase carrying infant. With his brother Tim, they must infiltrate their parents employer Puppy Co., the CEO of which has an evil plan to replace the babies of the world with puppies. 

The Boss Baby is a bold and colourful comedy in typical DreamWorks fashion. What the animation lacks in finer detail, it makes up for with an appealing graphic style, closer to the Mid Century Modern look of UPA shorts than the original Marla Frazee illustrations. The voices of its star cast, particularly Alec Baldwin in the lead, are strong; Tobey Maguire, Lisa Kudrow, Steve Buscemi and Jimmy Kimmel offering sterling support.

There was, thankfully, less diaper humour than expected. More of the gags hit home than not, although there are fewer laugh out loud moments than there might have been. If there is any legitimate criticism one could make of The Boss Baby, it is that the whole thing is just a little too lightweight. Alas, like many of the studio's recent movies, this one seems happy to appeal to the youngest of audience members, rather than catering for the whole family. in spite of which, the movie did well enough at the box office to warrant a Netflix series The Boss Baby: Back in Business (2018 - present) and a proposed sequel arriving in spring of 2021.

From the highs of King Fu Panda (Mark Osborne & John Stevenson, 2008) to the lows of Bee Movie (Simon J Smith & Steve Hickner, 2008), DreamWorks are the most inconsistent of animation studios. To be honest, I wasn’t expecting too much from The Boss Baby, but I was pleasantly surprised. Granted, it is middle ground DreamWorks but, as is often the case with the studio’s output, it is a better movie than its marketing department would have you believe. It is certainly no classic but it is a pleasant time-waster, although I long for the days when DreamWorks' output was as ambitious as How to Train Your Dragon (Dean DeBlois & Chris Sanders, 2010) and Rise of the Guardians (Peter Ramsey, 2012). It is, however, better than Bee Movie. 

1917 (2019)

1917 (Dir: Sam Mendes, 2019).

A fact-based, fictionalised epic First World War drama from director Sam Mendes. 

During WWI, Lance Corporals William Schofield (George MacKay) and Tom Blake (Dean-Charles Chapman) must risk their lives crossing no man’s land in order to deliver a message to call off a planned attack on the German army. With field telephone lines down, news that the attack would jeopardise the lives of 1600 Brits, including Tom’s brother Lieutenant Joseph Blake (Richard Madden), must be relayed in person. 

Much was made of director Sam Mendes' decision to shoot 1917 as a single take. What may have been little more than a technical exercise, albeit an impressive one, is no gimmick, however. Adding an, arguably, more visceral quality to its, at times, harrowing content; not since the opening D-Day landing scenes in Saving Private Ryan (Steven Spielberg, 1998) have I flinched so much watching a movie! It is credit to Mendes that much of the time you are so engaged with the movie you forget the technique at hand. On the odd occasion the viewer is aware of it, it acts as a reminder of how meticulously planned and beautifully executed it is. The necessity of showing the passing of time in a 2 hour movie with events taking place over days is also handled with skill. 

As director of Bond Movies Skyfall (2012) and Spectre (2015), Mendes has proved himself adept at action sequences. Here the expertly mounted action is underpinned by melancholy and horror, offset by human drama such as the encounter of a young French woman and baby in hiding. Neither does it shy away from the shocking condition in the trenches or the futility of lives lost. This is a tough movie, yet a sensitive one too.

Performances are topnotch. The movie is largely dominated by young leads George MacKay and Dean-Charles Chapman. Both offer sensitive characterisations, exuding a likable everyman charm and eliciting the required audience sympathy. More seasoned acting veterans such as Andrew Scott, Adrian Scarborough, Daniel Mays and Benedict Cumberbatch make up a quality supporting cast in brief but effective cameos.

From its outstanding visual effects, largely achieved in camera, to Roger Deakins' breathtaking cinematography, 1917 is a strong contender for the most visually spectacular movie of 2019. Imparting its important message in spectacular fashion; the feature is both a dramatic and artistic highlight of Mendes' prolific cinematic career. Highly recommended, even to those not keen on war movies.