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BankofMarquis (1832 KP) rated Silver Streak (1976) in Movies
Jun 7, 2020
The start of a wonderful comedic partnership
Most people remember Gene Wilder as the frazzled haired wild man in such Mel Brooks classic films as THE PRODUCERS, BLAZING SADDLES and YOUNG FRANKENSTEIN. Others will recall him as the mad genius that held our attention in WILLY WONKA AND THE CHOCOLATE FACTORY, but there was a 3rd phase to Wilder's career - his unlikely partnership with Richard Pryor - that started with 1976's SILVER STREAK.
Set aboard the titular passenger train, SILVER STREAK is part Alfred Hitchcock "wrong man" suspense thriller, part comedy and part action flick with strong performances at the center anchoring the action.
Surprisingly, Wilder brings a sincere quality to his "everyman" hero of this tale. His book editor, George Caldwell, just wants a quiet 2 1/2 day trip on the train from Los Angeles to Chicago. You root for George from the start. Wilder's performance is deftly tailored to this movie, keeping a lid on his more frenetic energy that helps keep his character grounded. He pairs nicely with Jill Clayburgh (remember her from the '70's?) as a women he meets (and falls in love with) along the way. Clayburgh burst into the spotlight with this performance - and the 2 have tremendous chemistry together.
They are joined by a bevy of wonderful character actors - Ray Walston, Richard "Jaws" Kiel, Ned Beatty, Clifton James, Valerie Curtin, Fred Willard and the great Scatman Crothers. All bring life and energy to this film. Patrick McGoohan is perfectly cast as the villain of the piece. His "buttoned-up" bad guy is the perfect balance to the Wilder's character.
But, of course, the person who steals this film is the great Richard Pryor as Grover T. Muldoon, a petty thief, con-man and "street-wise" hood who aids George in defeating the bad guys. Pryor doesn't show up in this movie until about 1/2 way through, but when he does, the energy (and pace) of this film picks up considerably and the roller coaster ride begins. The comedic partnership between Wilder and Pryor is magnificent, they play off each other very well and they will end up pairing together in 3 other films after this.
Director Arthur Hiller (THE AMERICANIZATION OF EMILY) does a strong, professional job of keeping the movie moving, keeping events grounded until a thrilling conclusion that is satisfying, indeed.
A fun action-thriller that is perfect summer fodder.
Letter Grade: A-
8 stars (out of 10) and you can take that to the Bank(ofMarquis)
Set aboard the titular passenger train, SILVER STREAK is part Alfred Hitchcock "wrong man" suspense thriller, part comedy and part action flick with strong performances at the center anchoring the action.
Surprisingly, Wilder brings a sincere quality to his "everyman" hero of this tale. His book editor, George Caldwell, just wants a quiet 2 1/2 day trip on the train from Los Angeles to Chicago. You root for George from the start. Wilder's performance is deftly tailored to this movie, keeping a lid on his more frenetic energy that helps keep his character grounded. He pairs nicely with Jill Clayburgh (remember her from the '70's?) as a women he meets (and falls in love with) along the way. Clayburgh burst into the spotlight with this performance - and the 2 have tremendous chemistry together.
They are joined by a bevy of wonderful character actors - Ray Walston, Richard "Jaws" Kiel, Ned Beatty, Clifton James, Valerie Curtin, Fred Willard and the great Scatman Crothers. All bring life and energy to this film. Patrick McGoohan is perfectly cast as the villain of the piece. His "buttoned-up" bad guy is the perfect balance to the Wilder's character.
But, of course, the person who steals this film is the great Richard Pryor as Grover T. Muldoon, a petty thief, con-man and "street-wise" hood who aids George in defeating the bad guys. Pryor doesn't show up in this movie until about 1/2 way through, but when he does, the energy (and pace) of this film picks up considerably and the roller coaster ride begins. The comedic partnership between Wilder and Pryor is magnificent, they play off each other very well and they will end up pairing together in 3 other films after this.
Director Arthur Hiller (THE AMERICANIZATION OF EMILY) does a strong, professional job of keeping the movie moving, keeping events grounded until a thrilling conclusion that is satisfying, indeed.
A fun action-thriller that is perfect summer fodder.
Letter Grade: A-
8 stars (out of 10) and you can take that to the Bank(ofMarquis)
BankofMarquis (1832 KP) rated The Sting (1973) in Movies
Mar 29, 2020
On my list of All Time Favorite Films
I'll come right out and say it - the 1973 Academy Award winning film for Best Picture, THE STING, is one of the greatest films of all time. It's well written, well acted, well directed with a memorable musical score and characters, situations, costumes and set design that become richer over time and through repeated viewings.
Set in Chicago in the gangster-ridden, depression era mid-1930's, THE STING tells the tale of two con man who join forces for the ultimate con of a vile N.Y. Gangster who is responsible for killing a friend of theirs.
From everything I have read about it, the script by David S. Ward (who won an Oscar for his work) arrived pretty much finished. He shaped the story of the con men - and the myriad pieces of misdirection - fully before shopping it around to the studios. Universal jumped all over it and tabbed veteran Director George Roy Hill (BUTCH CASSIDY AND THE SUNDANCE KID) to helm the picture. Hill - being no dummy - saw this as a vehicle to re-team Newman and Redford (stars of Butch Cassidy) and the rest...as they say...is history.
Newman and Redford are perfectly cast as veteran grifter Henry Gondorff (Newman) and up and coming grifter Johnny Hooker (Redford). They have an ease of playing off of each other - each one complimenting the other one - both giving in their scenes with the other one which makes the scenes more rich and alive. They are joined by a veritable "who's who" of late '60's/early '70's character actors - Harold Gould, Eileen Brennan, Charles Durning, Ray Walston and Dana Elcar - all of them bring their "A" game and they are fun to watch. Special notice should be made to Robert Earl Jones (father of James Earl Jones) as Luther, the character who's fate propels the plot forward.
But...none of this would work if you didn't have a "bad guy" that was interesting to watch - and to root against - and bad guys don't get much better...and badder...than Robert Shaw's Doyle Lonnegan. Shaw plays Lonnegan as a physically tough boss who doesn't suffer failure, but is smart enough to avoid obvious traps. He is a worthy adversary of Gondorff and Hooker's and it is fun to watch Newman, Redford and Shaw play off each other. One other note - it was with this performance that Universal recommended Shaw to young Director Stephen Spielberg for his "shark flick" JAWS.
Edith Head won her 8th (and last) Oscar for the magnificent period costumes in this film and Marvin Hamlisch won for the Music - a surprising hit on the pop charts of re-channeled Scott Joplin tunes. The set design won an Oscar - as did the Director, George Roy Hill. All in all, the film won 7 out of the 11 Oscars it was nominated for (Redford was nominated for Best Actor, but did not win).
THE STING is a well crafted film. One that tells a timeless story and that stands the test of time as a testament of how great of an achievement in film this is. It is one of my All Time favorites.
Letter Grade: the rare A+
5 stars (out of 5) and you can take that to the Bank(ofMarquis)
Set in Chicago in the gangster-ridden, depression era mid-1930's, THE STING tells the tale of two con man who join forces for the ultimate con of a vile N.Y. Gangster who is responsible for killing a friend of theirs.
From everything I have read about it, the script by David S. Ward (who won an Oscar for his work) arrived pretty much finished. He shaped the story of the con men - and the myriad pieces of misdirection - fully before shopping it around to the studios. Universal jumped all over it and tabbed veteran Director George Roy Hill (BUTCH CASSIDY AND THE SUNDANCE KID) to helm the picture. Hill - being no dummy - saw this as a vehicle to re-team Newman and Redford (stars of Butch Cassidy) and the rest...as they say...is history.
Newman and Redford are perfectly cast as veteran grifter Henry Gondorff (Newman) and up and coming grifter Johnny Hooker (Redford). They have an ease of playing off of each other - each one complimenting the other one - both giving in their scenes with the other one which makes the scenes more rich and alive. They are joined by a veritable "who's who" of late '60's/early '70's character actors - Harold Gould, Eileen Brennan, Charles Durning, Ray Walston and Dana Elcar - all of them bring their "A" game and they are fun to watch. Special notice should be made to Robert Earl Jones (father of James Earl Jones) as Luther, the character who's fate propels the plot forward.
But...none of this would work if you didn't have a "bad guy" that was interesting to watch - and to root against - and bad guys don't get much better...and badder...than Robert Shaw's Doyle Lonnegan. Shaw plays Lonnegan as a physically tough boss who doesn't suffer failure, but is smart enough to avoid obvious traps. He is a worthy adversary of Gondorff and Hooker's and it is fun to watch Newman, Redford and Shaw play off each other. One other note - it was with this performance that Universal recommended Shaw to young Director Stephen Spielberg for his "shark flick" JAWS.
Edith Head won her 8th (and last) Oscar for the magnificent period costumes in this film and Marvin Hamlisch won for the Music - a surprising hit on the pop charts of re-channeled Scott Joplin tunes. The set design won an Oscar - as did the Director, George Roy Hill. All in all, the film won 7 out of the 11 Oscars it was nominated for (Redford was nominated for Best Actor, but did not win).
THE STING is a well crafted film. One that tells a timeless story and that stands the test of time as a testament of how great of an achievement in film this is. It is one of my All Time favorites.
Letter Grade: the rare A+
5 stars (out of 5) and you can take that to the Bank(ofMarquis)
BankofMarquis (1832 KP) rated The Apartment (1960) in Movies
May 11, 2018
A true classic in every sense of the word
My local cinema does "Secret Movie Night" once a month, you just show up and watch a "classic" of their choosing, you just don't know what it is until it starts.
One of the reasons that I enjoy this is that I end up viewing films that I might not, otherwise, choose to watch. Case in point is the selection for May - the 1960 Oscar winner for Best Picture, THE APARTMENT - a "love story" with some comedy and some dark dramatic moments and themes. A very tricky combination of items that are bundled together, brilliantly, by a master of the craft.
THE APARTMENT tells the story of nebbish office worker C.C. Baxter (Jack Lemmon in an Oscar nominated performance, more on that later) who is talked into lending his apartment to higher-ups in his company so they can carry out extra-marital affairs. When one of the affairs goes wrong, Baxter is forced to "clean up the mess".
Written and Directed by the GREAT Billy WIlder (SOME LIKE IT HOT, SUNSET BOULEVARD), The Apartment is more than a love story, more than a look into the vacuous lives of those anonymous office workers, it is a look into the lives of those who are victims of abuse of power. Wilder, rightfully so, won the Oscar for Best Director and Best Screenplay for this film. The Apartment is strongly written and directed not flinching at the deep subject matter while also balancing things out with moments of comedy and joy, turning what could have been a dour, dark subject into a more joyous exploration of true humanity and love rising through the corruption and abuse of power heaped upon them.
In the lead role of CC Baxter, Lemmon is perfectly cast. Starting as a pure comedic character who is set upon by a world too strong for him, his character slowly turns sharper, deeper, more serious and more real as the film progresses. Lemmon was nominated for the Oscar for his performance - and rightfully so. I had to look up who beat him out for the statue and found out it was Burt Lancaster's powerhouse performance in ELMER GANTRY, so I can't really argue about this (but I digress).
Matching Lemmon beat for beat is Shirley MacLaine, the wronged girl who's "issues" (I'm not going to spoil what happens, if you haven't seen this) are at the heart of this film - and at the heart of Lemmon's character. MacLaine is charming and tragic in this role and she, too, was nominated for an Oscar (for Best Actress losing to Elizabeth Taylor for Butterfield 8). Rounding out the cast was a pre-MY 3 SONS Fred MacMurray (as the Exec who abuses both Lemmon's and MacLaine's characters). He was terrific as this cad, and thought for sure that he would have been nominated for Best Supporting Actor, but that honor went to Jack Kruschen as Lemmon's neighbor in the apartment building where they both lived. I am fine with that but preferred MacMurray's performance. Also showing up are such great character actors as Ray Walston (MY FAVORITE MARTIAN), David Lewis (GENERAL HOSPITAL), Willard Waterman (THE GREAT GILDERSLEEVE) and David White (Larry Tate in BEWITCHED) as other Execs using The Apartment for their purposes.
This is a terrific motion picture and if you haven't seen it (or if you haven't seen it in quite sometime), I highly recommend you check it out (it is shown on the Turner Classic Movie channel on a fairly regular basis). It certainly shows a slice of life during the MAD MEN days that just doesn't exist anymore - and also presents a type of film, and a type of filmmaker, that just doesn't exist today.
Letter Grade: A+
10 (out of 10) stars and you can take that to the Bank (ofMarquis)
One of the reasons that I enjoy this is that I end up viewing films that I might not, otherwise, choose to watch. Case in point is the selection for May - the 1960 Oscar winner for Best Picture, THE APARTMENT - a "love story" with some comedy and some dark dramatic moments and themes. A very tricky combination of items that are bundled together, brilliantly, by a master of the craft.
THE APARTMENT tells the story of nebbish office worker C.C. Baxter (Jack Lemmon in an Oscar nominated performance, more on that later) who is talked into lending his apartment to higher-ups in his company so they can carry out extra-marital affairs. When one of the affairs goes wrong, Baxter is forced to "clean up the mess".
Written and Directed by the GREAT Billy WIlder (SOME LIKE IT HOT, SUNSET BOULEVARD), The Apartment is more than a love story, more than a look into the vacuous lives of those anonymous office workers, it is a look into the lives of those who are victims of abuse of power. Wilder, rightfully so, won the Oscar for Best Director and Best Screenplay for this film. The Apartment is strongly written and directed not flinching at the deep subject matter while also balancing things out with moments of comedy and joy, turning what could have been a dour, dark subject into a more joyous exploration of true humanity and love rising through the corruption and abuse of power heaped upon them.
In the lead role of CC Baxter, Lemmon is perfectly cast. Starting as a pure comedic character who is set upon by a world too strong for him, his character slowly turns sharper, deeper, more serious and more real as the film progresses. Lemmon was nominated for the Oscar for his performance - and rightfully so. I had to look up who beat him out for the statue and found out it was Burt Lancaster's powerhouse performance in ELMER GANTRY, so I can't really argue about this (but I digress).
Matching Lemmon beat for beat is Shirley MacLaine, the wronged girl who's "issues" (I'm not going to spoil what happens, if you haven't seen this) are at the heart of this film - and at the heart of Lemmon's character. MacLaine is charming and tragic in this role and she, too, was nominated for an Oscar (for Best Actress losing to Elizabeth Taylor for Butterfield 8). Rounding out the cast was a pre-MY 3 SONS Fred MacMurray (as the Exec who abuses both Lemmon's and MacLaine's characters). He was terrific as this cad, and thought for sure that he would have been nominated for Best Supporting Actor, but that honor went to Jack Kruschen as Lemmon's neighbor in the apartment building where they both lived. I am fine with that but preferred MacMurray's performance. Also showing up are such great character actors as Ray Walston (MY FAVORITE MARTIAN), David Lewis (GENERAL HOSPITAL), Willard Waterman (THE GREAT GILDERSLEEVE) and David White (Larry Tate in BEWITCHED) as other Execs using The Apartment for their purposes.
This is a terrific motion picture and if you haven't seen it (or if you haven't seen it in quite sometime), I highly recommend you check it out (it is shown on the Turner Classic Movie channel on a fairly regular basis). It certainly shows a slice of life during the MAD MEN days that just doesn't exist anymore - and also presents a type of film, and a type of filmmaker, that just doesn't exist today.
Letter Grade: A+
10 (out of 10) stars and you can take that to the Bank (ofMarquis)