Top Ten Favorite Movies Set in the 1930s

Below is my current list of favorite movies set in the 1930s: 

 

TOP TEN FAVORITE MOVIES SET IN THE 1930s

1. “Indiana Jones and the Temple of Doom” (1984) – In this exciting second installment of the Indiana Jones franchise, the intrepid archaeologist is asked by desperate villagers in Northern India to find a mystical stolen stone and rescue their children from a Thuggee cult practicing child slavery. Directed by Steven Spielberg, the movie starred Harrison Ford as Dr. Henry “Indiana” Jones.

2. “The Sting” (1973) – Paul Newman and Robert Redford starred in this excellent Oscar winning movie about a young drifter who teams up with a master of the big con to get revenge against the gangster who had his partner murdered. George Roy Hill directed.

3. “Death on the Nile” (1978) – Peter Ustinov made his first appearance as Hercule Poirot in this superb adaptation of Agatha Christie’s 1937 novel about the murder of an Anglo-American heiress during a cruise on the Nile. John Guillermin directed.

4. “Chinatown” (1974) – Roman Polanski directed this outstanding Oscar nominated film about a Los Angeles private detective hired to expose an adulterer, who finds himself caught up in a web of deceit, corruption and murder. Jack Nicholson and Faye Dunaway starred.

5. “Gosford Park” (2001) – Robert Altman directed this Oscar nominated film about a murder that occurs at shooting party in 1932 England. The all-star cast includes Helen Mirren, Kelly MacDonald, Clive Owen and Maggie Smith.

6. “Evil Under the Sun” (1982) – Once again, Peter Ustinov portrayed Hercule Poirot in this entertaining adaptation of Agatha Christie’s 1941 novel about the murder of a stage actress at an exclusive island resort. Guy Hamilton directed.

7. “O Brother, Where Art Thou?” (2000) – Ethan and Joel Coen directed this very entertaining tale about three escaped convicts who search for a hidden treasure, while evading the law in Depression era Mississippi. George Clooney, John Tuturro and Tim Blake Nelson starred.

8. “Murder on the Orient Express” (1974) – Albert Finney starred as Hercule Poirot in this stylish adaptation of Agatha Christie’s 1934 novel about the Belgian detective’s investigation into the death of a mysterious American aboard the famed Orient Express. Sidney Lumet directed.

9. “Indiana Jones and Raiders of the Lost Ark” (1981) – Harrison Ford made his first appearance as Dr. “Indiana” Jones in this classic movie, as he races against time to find the iconic Ark of the Covenant that contains the Ten Commandments before the Nazis do in 1936 Egypt. Steven Spielberg directed.

“Seabiscuit” (2003) – Gary Ross directed this excellent adaptation of Laura Hillenbrand’s 2001 book about the famed race horse from the late 1930s. Tobey Maguire, Jeff Bridges, Chris Cooper and Elizabeth Banks starred.

Honorable Mention: “Road to Perdition” (2002) – Tom Hanks, Tyler Hoechlin and Paul Newman starred in this first-rate adaptation of Max Collins’ 1998 graphic comic about a Depression era hitman who is forced to hit the road with his older son after the latter witnesses a murder. Sam Mendes directed.

Top Ten Favorite Movies Set in the 1890s

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Below is my current list of favorite movies set in the 1890s:

TOP TEN FAVORITE MOVIES SET IN THE 1890s

1 - Sherlock Holmes-Game of Shadows

1. “Sherlock Holmes: A Game of Shadows” (2011) – Guy Ritchie directed this excellent sequel to his 2009 hit, in which Sherlock Holmes and Dr. John Watson confront their most dangerous adversary, Professor James Moriarty. Robert Downey Jr. and Jude Law starred.

2 - Hello Dolly

2. “Hello Dolly!” (1969) – Barbra Streisand and Walter Matthau starred in this entertaining adaptation of David Merrick’s 1964 play about a New York City matchmaker hired to find a wife for a wealthy Yonkers businessman. Gene Kelly directed.

3 - King Solomon Mines

3. “King Solomon’s Mines” (1950) – Stewart Granger, Deborah Kerr and Richard Carlson starred in this satisfying Oscar nominated adaptation of H. Rider Haggard’s 1885 novel about the search for a missing fortune hunter in late 19th century East Africa. Compton Bennett and Andrew Marton directed.

4 - Sherlock Holmes

4. “Sherlock Holmes” (2009) – Guy Ritchie directed this 2009 hit about Sherlock Holmes and Dr. John Watson’s investigation of a series of murders connected to occult rituals. Robert Downey Jr. and Jude Law starred.

5 - Hidalgo

5. “Hidalgo” (2004) – Viggo Mortensen and Omar Sharif starred in Disney’s fictionalized, but entertaining account of long-distance rider Frank Hopkins’ participation in the Middle Eastern race “Ocean of Fire”. Joe Johnston directed.

6. “The Seven Per-Cent Solution” (1976) – Nicol Williamson, Robert Duvall and Alan Arkin starred in this very entertaining adaptation of Nicolas Meyer’s 1974 novel about Sherlock Holmes’ recovery from a cocaine addiction under Sigmund Freud’s supervision and his investigation of one of Freud’s kidnapped patients. Meyer directed the film.

Harvey Girls screenshot

7. “The Harvey Girls” (1946) – Judy Garland starred in this dazzling musical about the famous Harvey House waitresses of the late 19th century. Directed by George Sidney, the movie co-starred John Hodiak, Ray Bolger and Angela Landsbury.

6 - The Jungle Book

8. “Rudyard Kipling’s The Jungle Book” (1994) – Stephen Sommers directed this colorful adaptation of Rudyard Kipling’s 1894 collection of short stories about a human boy raised by animals in India’s jungles. Jason Scott Lee, Cary Elwes and Lena Headey starred.

7 - The League of Extraordinary Gentlemen

9. “The League of Extraordinary Gentlemen” (2003) – Sean Connery starred in this adaptation of Alan Moore and Kevin O’Neill’s first volume of his 1999-2000 comic book series about 19th century fictional characters who team up to investigate a series of terrorist attacks that threaten to lead Europe into a world war. Stephen Norrington directed.

8 - The Prestige

10. “The Prestige” (2006) – Christopher Nolan directed this fascinating adaptation of Christopher Priest’s 1995 novel about rival magicians in late Victorian England. Christian Bale, Hugh Jackman and Michael Caine starred.

10 - The Four Feathers 1939

Honorable Mention: “The Four Feathers” (1939) – Alexander Korda produced and Zoltan Korda directed this colorful adaptation of A.E.W. Mason’s 1902 novel about a recently resigned British officer accused of cowardice. John Clements, June Duprez and Ralph Richardson starred.

“INDIANA JONES AND THE LAST CRUSADE” (1989) Review

 

“INDIANA JONES AND THE LAST CRUSADE” (1989) Review

After a mixed reaction to the darker tones of 1984’s “INDIANA JONES AND THE TEMPLE OF DOOM”, George Lucas and Steven Spielberg decided to compensate by ending what was then planned their Indiana Jones trilogy with a movie lighter in tone. The result of this decision is the 1989 movie, “INDIANA JONES AND THE LAST CRUSADE”.

The movie began with a prologue set in 1912 with a 13 year-old Indiana Jones riding with his Boy Scout troop in Utah. He stumbles across some robbers in a cave finding an ornamental cross that once belonged to Spanish explorer Coronado. Indy manages to steal the cross from the robbers and make it back to town to report the crime. His father, Henry Jones Sr. is oblivious to what his happening, due to his obsessive research on the Holy Grail. And Indy is forced to give up the cross to a mysterious man for whom the robbers worked for. Twenty-six years later, Indy finally gets his hands on the cross from the mysterious man, off the coast of Portugal.

“INDIANA JONES AND THE LAST CRUSADE” proved to be the only film in the franchise in which its prologue had little to do with the movie’s main narrative, aside from a brief peek into Henry Sr.’s obsession with the Holy Grail. Still in 1938, Indiana is contacted by an American businessman named Walter Donovan, who also happens to be a collector of antiquities. He informs Indy that Henry Sr. had vanished in Venice, Italy while searching for the Holy Grail on his behalf. Indy also receives a package in the mail that contains his father’s “Grail Diary” – a notebook featuring the latter’s research on the artifact. Realizing that Henry Sr. is in trouble, Indy and his mentor, Marcus Brody, travel to Venice and with the assistance of Dr. Elsa Schneider, Henry’s Austrian-born assistance, search for the missing archaeologist. During their adventures, the trio discover that Henry’s disappearance is either tied to a Christian secret society called the Brotherhood of the Cruciform Sword or the Nazis.

From the time I first saw “INDIANA JONES AND THE LAST CRUSADE”, I enjoyed it very much. Actually, I can say the same for just about every INDIANA JONES movie I have seen, save one. It really is a fun movie and I suspect this is a result of Lucas and Spielberg’s decision to make its tone lighter than either “TEMPLE OF DOOM” and 1981’s “RAIDERS OF THE LOST ARK”. Just like in the previous movies, “THE LAST CRUSADE” saw Indiana Jones on a globe-trekking adventure to acquire a famous artifact on behalf of someone. In this case, he seemed to be working on behalf of both Walter Donovan and especially his father, Henry Jones Sr. But there was one aspect of this movie that made this movie particularly enjoyable was the casting. Lucas and Spielberg, along with screenwriters Jeffrey Boam and Tom Stoppard (uncredited), decided to make this movie a family affair by including Indy’s dad into the story. They also broadened the role of Indy’s mentor (and Henry Sr.’s college chum), Marcus Brody, who was featured in probably the movie’s funniest scene. And this is the only INDIANA JONES film and the second one for Lucas that featured a villainous leading lady. In fact, I suspect that Lucas was inspired by the Princess Sorsha character in 1988’s “WILLOW”, who started out as a villain and ended up as a sympathetic character. With Dr. Elsa Schneider, Lucas and Spielberg had a leading lady who started out as a heroine, slipped into villainess mode and ended up as a very ambiguous anti-heroine. I am not claiming that Elsa was the best of the movie franchise’s leading ladies, but she was certainly interesting.

The movie also featured some first-rate action sequences. My favorite included Indiana and Elsa’s conflict with the Brotherhood of the Cruciform Sword in Venice, Indy and Henry Sr.’s hasty departure from a Zeppelin that was returning to Germany and especially their escape from the German Army controlled Brunwald Castle on the Austrian-German border. The extended action sequence featuring Indiana’s clash with Colonel Ernst Vogel aboard a tank in the fictional Hatay desert ended with one of the movie’s best scenes – namely the tank falling over a cliff along with Indy and Vogel. This particular sequence must have been so successful that I suspect producer-director Peter Jackson more or less used it in one important scene in 2003’s “LORD OF THE RINGS: RETURN OF THE KING”. But the movie was not sustained by interesting characterizations and action sequences alone. The main narrative for “INDIANA JONES AND THE LAST CRUSADE” – the search for the Holy Grail and belief in its existence and power – not only set in motion a series of adventures for the main characters, but also served as a backdrop for Indiana’s complicated relationships with both Elsa Schneider and especially, Henry Sr. In fact, one of my favorite scenes in the entire movie featured a brief conversation between Indy and Henry Sr. aboard the Zeppelin in which the former pointed out that the latter’s obsession with the Holy Grail and inability to communicate led to a twenty-two year estrangement between father and son.

But as much as I enjoyed “INDIANA JONES AND THE LAST CRUSADE”, it is probably my least favorite in the franchise. Aside from the leading lady’s characterization, the movie strikes me as the least original of the four movies. The other three movies offered something truly original to the franhcise – especially in regard to narratives. I cannot say the same about “THE LAST CRUSADE”. Despite its unusual addition of the Elsa Schneider and Henry Jones Sr. characters, it was more or less a rehash of “RAIDERS OF THE LOST ARK”, which included a search for a Judeo-Christian artifact, Nazis, a Middle Eastern setting, the return of both Marcus Brody and Sallah Mohammed Faisel el-Kahir (Sallah), and a non-German collaborator of the Nazis who seemed more interested in the artifact than ideology.

Also, I was not that impressed by the 1912 Utah prologue for the movie. I did not find it particularly interesting, even though I am thankful that it served as a forerunner to “THE YOUNG INDIANA JONES CHRONICLES” television series from the early 1990s. And as much as I enjoyed the relationship between Indy and Elsa, there was one scene between them that I found unappealing. It concerned Indy’s efforts to retrieve his father’s “Grail Diary” from the Austrian art historian in Berlin. The retrieval led to an angst-filled quarrel that struck me as rather false. I got the impression that Lucas and Spielberg were trying to capitalize on the emotional relationship between the James Bond and Kara Milovy characters in the 1987 Bond movie “THE LIVING DAYLIGHTS”. The problems were that I never got the feeling that Indy and Elsa were that emotionally involved for such angsty fight, and Harrison Ford and Alison Doody never really sold it for me . . . at least in that particular scene. Like the other three movies in the franchise, “THE LAST CRUSADE”suffered from some heavy-handed action sequences. This was especially apparent in the Hatay desert sequence featuring the Nazi tank. And could someone please explain how that Zeppelin traveled from Berlin to Southeastern Europe so fast? It was in the latter region where Indy and Henry Sr. encountered the German fighter planes sent to kill them. Also, “THE LAST CRUSADE” suffered from a fault that also marred both “RAIDERS OF THE LOST ARK” and 2008’s“INDIANA JONES AND THE KINGDOM OF THE CRYSTAL SKULLS”. In the film’s final confrontation scenes, Indy played no role in the main villain’s downfall. Like in the 1981 and 2008 films, he mainly stood around with this thumb up his ass while someone else . . . or a supernatural entity dealt with the main villain. And like in the other two movies, I found this anti-climatic and rather disappointing.

But I was certainly not disappointed with the cast. They proved to be first-rate . . . not surprisingly. Harrison Ford returned as the intrepid archaeologist Indiana Jones and was superb and more relaxed in the role. Okay, I did criticize his acting in that Berlin scene with Alison Doody, but it was only one blot in an otherwise excellent performance. Dr. Henry Jones Sr. has to be my favorite Sean Connery role of all time. I adored him as Indy’s priggish and high-minded father who finds working in the field a new experience. And he also got to speak one of my favorite lines in the entire film, while repelling a German fighter plane in Eastern Europe. In fact, it is my favorite Connery quote of all time. Alison Doody was at least 21 or 22 years old when “THE LAST CRUSADE” went into production. She only had at least 2 to 3 years of acting experience. And yet, I was more than impressed by her portrayal of the amoral Austrian art historian Dr. Elsa Schneider. Doody had once complained that dealing with the Austrian accent was difficult for her. I would think dealing with Elsa’s complex nature would be more difficult. And I believe that despite her limited experience at the time, she did a pretty damn good job in portraying the very ambiguous Elsa – aside from that Berlin scene with Ford.

Julian Glover gave a smooth performance as Walter Donovan, the American businessman for whom the Jones family sought out the Holy Grail. His Donovan also proved to be just as complex, thanks to his skillful performance. Both John Rhys-Davies and Denholm Elliot reprised their roles as Sallah and Dr. Marcus Brody. And both were not only entertaining, but also gave first-rate performances. I especially enjoyed Elliot’s display of humor in a scene featuring Marcus’ arrival in Turkey. Michael Byrne’s portrayal of S.S. Colonel Ernst Vogel struck me as both subtle and intimidating. Back in 1980, Kevork Malikyan first tried out for the role of Sallah for “RAIDERS OF THE LOST ARK”, but the role went to Rhys-Davies. But Spielberg remembered him and hired the actor to portray Kazim, a member of the Brotherhood of the Cruciform Sword, whom Indy and Elsa encountered in Venice. Malikyan’s skllful portrayal of Kazim proved to be a complex mixture of intensity, religious fevor and a deep-seated calm. And River Phoenix did a marvelous job in portraying the 13 year-old Indiana. He proved to be quite adept in capturing Ford’s mannerisms and speech pattern, while maintaining the persona of a boy in his early teens.

As I had stated earlier, I found “INDIANA JONES AND THE LAST CRUSADE” to be the least original of the four movies in the franchise. Because of this, it is also my least favorite. But despite being my least favorite “INDIANA JONES” film, it is still very entertaining and I never get tired of watching it, thanks to a solid story penned by Jeffrey Boam and Tom Stoppard, first-rate direction by Steven Spielberg and an outstanding cast led by Harrison Ford and Sean Connery.

“THE HUNT FOR RED OCTOBER” (1990) Review

red-october

 

“THE HUNT FOR RED OCTOBER” (1990) Review

I will be the first to admit that I have never been an ardent reader of Tom Clancy’s novels. Many who know me would find this strange, considering my penchant for the movie adaptations of his stories. The first I ever saw was “THE HUNT FOR RED OCTOBER”, the 1990 adaptation of Clancy’s 1984 novel of the same title.

The last remnants of the Cold War – at least the one between the United States and the Soviet Union – were being played out when “THE HUNT FOR RED OCTOBER” hit the screen. Realizing this, director John McTiernan, screenwriter Larry Ferguson (who also had a role in the film) and producer Mace Neufeld decided to treat Clancy’s story as a flashback by setting the movie in the year Clancy’s novel was published. The movie begins with the departure of the new Soviet submarine, the Red October, which possesses a new caterpillar drive that renders it silent. In command of the Red October is Captain Marko Ramius. Somewhere in the Atlantic Ocean, the U.S. Navy submarine called the U.S.S. Dallas has a brief encounter with the Red October before it loses contact due to the Soviet sub’s caterpillar drive. This encounter catches the attention of C.I.A. analyst Jack Ryan, who embarks upon studying the Red October’s schematics.

Unbeknownst to the C.I.A., Captain Ramius has put in motion a plan for the defection of his senior officers and himself. They also intend to commit treason by handing over the Red October to the Americans. Unfortunately, Ramius has left a letter stating his intentions to his brother-in-law, a Soviet government official. This leads the Soviet ambassador in Washington D.C. to inform the Secretary of Defense that the Red October has been lost at sea and requires the U.S. Navy’s help for a “rescue mission”. However, Ryan manages to ascertain that Ramius plans to defect. When the Soviets change tactics and claim that Captain Ramius has become a renegade with plans to fire a missile at the U.S. coast, Ryan realizes that he needs to figure out “how” Ramius plans to defect before the Soviet or U.S. Navies can sink the Red October.

I might as well put my cards on the table. After twenty-three years, “THE HUNT FOR RED OCTOBER” holds up very well as a Cold War thriller. What prevented it from becoming a dated film were the filmmakers’ decision to treat Clancy’s tale as a flashback to the last decade of the Cold War. I have never read Clancy’s novel. In fact, I have only read two of his novels – “Patriot Games” and “Clear and Present Danger”. Because of this, I could not judge the movie’s adaptation of the 1984 novel. But there is no doubt that “THE HUNT FOR RED OCTOBER” is a first-rate – probably superb thriller. Screenwriters Larry Ferguson and Donald E. Stewart made another first-rate contribution to the script by not rushing the narrative aspect of the story. The movie is not some fast-paced tale stuffed with over-the-top action. Yes, there is action in the film – mainly combat encounters, a murder, hazardous flying in a rain storm and a shoot-out inside the Red October’s engine room. And it is all exciting stuff. However, Ferguson and Stewart wisely detailed the conversations held between Ramius and his fellow defectors, Ryan’s attempts to figure out Ramius’ defection plans and his efforts to convince various high-ranking U.S. Naval officers not to accept the Soviets’ lies about the Red October’s captain.

“THE HUNT FOR RED OCTOBER” also features some excellent performances. Sean Connery gave one of his best performances as the Red October’s enigmatic and wily captain, Markus Ramius. Alec Baldwin was equally impressive as the slightly bookish, yet very intelligent C.I.A. analyst, Jack Ryan. A part of me believes it is a pity that he never portrayed the role again. The movie also boasted fine performances from James Earl Jones as Ryan’s boss, C.I.A. Deputy Director James Greer; Scott Glenn as the intimidating captain of the U.S.S. Dallas, Bart Mancuso; Sam Neill as Ramius’ very loyal First Officer, Vasily Borodin; Fred Dalton Thompson as Rear Admiral Joshua Painter; Courtney B. Vance as the Dallas’ talented Sonar Technician, Ronald “Jonesy” Jones; Tim Curry as the Red October’s somewhat anxious Chief Medical Officer (and the only one not part of the defection) Dr. Yevgeniy Petrov; and Joss Ackland as Ambassador Andrei Lysenko. Stellan Skarsgård made a dynamic first impression for me as Viktor Tupolev, the Soviet sub commander ordered to hunt and kill Ramius. And Richard Jordan was downright entertaining as the intelligent and somewhat manipulative National Security Advisor Dr. Jeffrey Pelt. The movie also featured brief appearances from the likes of Tomas Arana, Gates McFadden (of “STAR TREK: NEXT GENERATION”) and Peter Firth (of “SPOOKS”).

Before one starts believing that I view “THE HUNT FOR RED OCTOBER” as perfect, I must admit there were a few aspects of it that I found a bit troublesome for me. The movie has a running time of 134 minutes. Mind you, I do not consider this as a problem. However, the pacing seemed in danger of slowing down to a crawl two-thirds into the movie. It took the Dallas’ encounter with the Red October to put some spark back into the movie again. And could someone explain why Gates McFadden portrayed Ryan’s wife, Dr. Cathy Ryan, with a slight British accent? Especially since she was an American-born character?

Despite these minor quibbles, “THE HUNT FOR RED OCTOBER” is a first-rate spy thriller that has withstood the test of time for the past 23 years. And I believe the movie’s sterling qualities own a lot to John McTiernan’s excellent direction, a well-written script by Larry Ferguson and Donald E. Stewart, and superb performances from a cast led by Sean Connery and Alec Baldwin.

Top Ten Favorite Movies Set in the 1850s

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Below is my current list of favorite movies set in the 1850s:

 

TOP TEN FAVORITE MOVIES SET IN THE 1850s

1-Django Unchained

1. “Django Unchained” (2012) – Quentin Tarantino directed this Oscar winning tale about a newly freed slave who searches for his still enslaved wife with the help of a German-born bounty hunter in Mississippi. Jamie Foxx, Christoph Waltz, Leonardo DiCaprio and Samuel L. Jackson starred.

 

2-The Charge of the Light Brigade

2. “The Charge of the Light Brigade” (1938) – Errol Flynn and Olivia De Havilland starred in this exciting adventure story set in both British India and the Crimean War. Michael Curtiz directed.

 

3-Race to Freedom The Underground Railroad

3. “Race to Freedom: The Underground Railroad” (1994) – Courtney B. Vance and Janet Bailey starred in this television drama about the adventures of four slaves who escape from a North Carolina plantation, while being tracked by a pair of slave catchers. Don McBrearty directed.

 

4-Skin Game

4. “Skin Game” (1971) – James Garner and Lou Gossett Jr. starred in this dark comedy about a pair of con artists who clean up in a slave selling scheme in Missouri and Kansas, before their scam finally catches up with them. Paul Bogart directed.

 

5-Seven Brides For Seven Brothers

5. “Seven Brides For Seven Brothers” (1954) – Stanley Donen directed this famous 1954 musical about six backwoodsmen brothers When a backwoodsman in the Oregon Territory, who decides to marry after their oldest brother brings home a wife. Jane Powell, Howard Keel and Russ Tambyln starred.

 

6-The First Great Train Robbery

6. “The First Great Train Robbery” (1979) – Michael Crighton wrote and directed this adaptation of his novel about three Victorian criminals who plot to rob a shipment of gold for British troops serving during the Crimean War, from a moving train. Sean Connery, Donald Sutherland and Lesley Anne Down starred.

 

7-Wuthering Heights

7. “Wuthering Heights” (1939) – William Wyler directed this superb adaptation of Emily Brontë’s 1847 novel. Merle Oberon, Laurence Olivier and David Niven starred.

 

8-Westward the Women

8. “Westward the Women” (1951) – William Wellman directed this excellent Western-adventure about a trail guide hired by a Californian rancher to escort a wagon train of women heading west to marry men who have settled in the rancher’s valley. Robert Taylor, Denise Darcel and John McIntire starred.

 

9-Mountains of the Moon

9. “Mountains of the Moon” (1990) Patrick Bergin and Iain Glen starred in this historical account of Victorian explorers Richard Burton and John Hanning Speke’s expedition to find the source of the Nile River on behalf of the British Empire. Bob Rafelson directed.

 

10-Jezebel

10. “Jezebel” (1938) – William Wyler directed Oscar winners Bette Davis and Fay Bainter in this adaptation of Owen Davis Sr.’s 1933 play about a headstrong Southern woman, whose actions cost her the man she loves. Henry Fonda and George Brent co-starred.

Favorite Movies Set in LAS VEGAS

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Below is a list of my favorite movies set in Las Vegas, Nevada: 

 

FAVORITE MOVIES SET IN LAS VEGAS

1 - Ocean Thirteen

1. “Ocean’s Thirteen” (2007) – In this third entry of Steven Soderbergh’s OCEAN’S TRILOGY, Danny Ocean and his co-horts plot a heist against casino owner Willy Bank, after he double-crosses one of the original eleven, Reuben Tishkoff. George Clooney, Brad Pitt, Matt Damon and Al Pacino starred.

2 - Casino

2. “Casino” (1995) – Martin Scorsese directed this adaptation of Nicholas Pileggi’s non-fiction book about the clash between a professional gambler and a mobster sent to operate a mob-controlled Las Vegas casino. Robert De Niro, Joe Pesci and Sharon Stone starred.

3 - The Hangover

3. “The Hangover” (2009) – Todd Phillips produced and directed this hilarious comedy about four friends who to Las Vegas for a bachelor party. The groom-to-be ends up missing the following morning, and the three remaining friends search all over town to find him, despite having no memories of the previous night. Bradley Cooper, Ed Helms, Zach Galifianakis, Justin Bartha and Heather Graham starred.

4 - Bugsy

4. “Bugsy” (1991) – Warren Beatty and Annette Bening starred in this biography of mobster Ben Siegal during his time in Los Angeles and Las Vegas. Directed by Barry Levinson, the movie co-starred Harvey Keitel and Ben Kingsley.

5 - Ocean Eleven

5. “Ocean’s Eleven” (2001) – This remake of the 1960 movie also served as the first entry of Steven Soderbergh’sOCEAN TRILOGY. In it, Danny Ocean and a group of thieves plot the heist of three Las Vegas casinos owned the current boyfriend of Ocean’s ex-wife. George Clooney, Brad Pitt, Matt Damon, Julia Roberts and Andy Garcia starred.

6 - Rush Hour 2

6. “Rush Hour 2” (2001) – Jackie Chan and Chris Tucker re-teamed in this sequel to their 1998 hit, in which they go up against a counterfeit ring that takes them from Hong Kong to Los Angeles and finally Las Vegas. Brett Ratner directed.

7 - Diamonds Are Forever

7. “Diamonds Are Forever” (1971) – Sean Connery starred as James Bond in this adaptation of Ian Fleming’s 1956 novel. The British agent investigates a diamond smuggling operation that leads him to the crime organization SPECTRE and arch nemesis Ernst Stravos Blofeld. Directed by Guy Hamilton, the movie co-starred Jill St. John and Charles Gray.

8 - Viva Las Vegas

8. “Viva Las Vegas” (1964) – Elvis Presley and Ann-Margaret lit up the screen in this musical about a race car driver forced to find a way to raise money to enter a race in Las Vegas, while romancing a hotel swim instructor. George Sidney directed.

9 - Miss Congeniality Armed and Fabulous

9. “Miss Congeniality: Armed and Fabulous” (2005) – Sandra Bullock stars in this sequel to 2001’s “MISS CONGENIALITY”, as the now famous F.B.I. agent Gracie Hart. When two of her friends – Miss United States and pageant commentator Stan Fields – are kidnapped, she recruits the help of fellow agent Sam Fuller to help her. Directed by John Pasquin, Regina King and William Shatner co-starred.

10 - Honeymoon in Vegas

10. “Honeymoon in Vegas” (1992) – Nicholas Cage starred in this comedy about a man who loses a great deal of money to a professional gambler, while in Vegas to marry his girlfriend. The gambler agrees to clear the debt in exchange for a weekend with the girlfriend, who reminds him of his late wife. Directed by Andrew Bergman, the movie co-starred Sarah Jessica Parker and James Caan.

New Ranking of JAMES BOND Movies

James-Bond-Logo

With the recent release of the new James Bond movie, “SKYFALL”, I have made a new ranking of all the Bond films produced and released by EON Productions (do not expect to find 1967’s “CASINO ROYALE” or 1983’s “NEVER SAY NEVER AGAIN” on this list) from favorite to least favorite:

 

NEW RANKING OF JAMES BOND MOVIES

1-On Her Majesty Secret Service

1. “On Her Majesty’s Secret Service” (1969) – The only film to feature Australian George Lazenby, this adaptation of Ian Fleming’s 1963 novel has James Bond’s search for master criminal Ernst Stravos Blofeld affecting his private life. Directed by Peter Hunt, the movie also stars Diana Rigg and Telly Savalas.

2-Casino Royale

2. “Casino Royale” (2006) – Daniel Craig made his debut as James Bond in this adaptation of Fleming’s 1953 novel about Bond’s efforts to beat a banker for a terrorist organization at a poker tournament, in order to force the latter to provide information about the organization. Directed by Martin Campbell, the movie co-stars Eva Green, Mads Mikkelsen and Judi Dench.

3-The Living Daylights

3. “The Living Daylights” (1987) – Timothy Dalton made his debut as Bond in this partial adaptation of Fleming’s 1966 short story in which Bond’s efforts to stop a Soviet sniper from killing a defector leads to a revelation of a conspiracy between the defector and an American arms dealer. Directed by John Glen, the movie co-stars Maryam D’Abo, Joe Don Baker and Jeroen Krabbe.

4-For Your Eyes Only

4. “For Your Eyes Only” (1981) – Based on two Fleming short stories from 1960, the movie has Bond searching for a missing missile command system, while becoming tangled in a web of deception spun by rival Greek businessmen and dealing with a woman seeking revenge for the murder of her parents. Co-starring Carole Bouquet, Julian Glover and Topol; the movie marked the directing debut of John Glen.

5-From Russia With Love

5. “From Russia With Love” (1963) – Terence Young directed this adaptation of Fleming’s 1957 novel about Bond’s efforts to acquire the Soviet’s Lektor machine, unaware that he is being set up by SPECTRE. The movie starred Sean Connery as Bond, along with Daniela Bianchi, Lotte Lenya, Robert Shaw and Pedro Armendáriz.

6-Octopussy

6. Octopussy” (1983) – A fake Fabergé egg and a fellow agent’s death leads James Bond to uncover an international jewel smuggling operation, headed by the mysterious Octopussy, being used by a Soviet general and an Afghan prince to disguise a nuclear attack on NATO forces in West Germany. Directed by John Glen, the movie stars Roger Moore as Bond, Maud Adams, Louis Jordan, Steven Berkoff and Robert Brown in his debut as “M”.

7-Thunderball

7. “Thunderball” (1965) – Adapted from Fleming’s 1961 novel, this movie has Bond and CIA agent Felix Leiter attempting to recover two nuclear warheads stolen by SPECTRE for an extortion scheme. Directed by Terence Young, the movie stars Sean Connery as Bond, Claudine Auger, Adolfo Celi and Luciana Paluzzi.

8-Goldeneye

8. “Goldeneye” (1995) – Pierce Brosnan made his debut as Bond in this tale about the agent’s efforts to prevent an arms syndicate from using Russia’s GoldenEye satellite weapon against London in order to cause a global financial meltdown. Directed by Martin Campbell, the movie co-stars Sean Bean, Izabella Scorupco, Famke Janssen and Judi Dench in her debut as “M”.

9-The Spy Who Loved Me

9. “The Spy Who Loved Me” (1977) – Taking its title from Fleming’s 1962 novel, this movie has Bond and Soviet agent Anya Amasova investigate the disappearances of British and Soviet submarines carrying nuclear warheads. Directed by Lewis Gilbert, the movie starred Roger Moore as Bond, Barbara Bach, Kurt Jurgens and Richard Kiel.

10-Quantum of Solace

10. “Quantum of Solace” (2008) – Taking its title from a Fleming short story, this movie is a follow up to “CASINO ROYALE”, continuing Bond’s investigation into the terrorist organization Quantum, while dealing with the emotional effects of a tragic death. Directed by Marc Foster, the movie starred Daniel Craig as Bond, Olga Kurylenko and Mathieu Amalric.

11-License to Kill

11. “License to Kill” (1989) – Directed by John Glen, this movie has Bond resigning from MI-6 in order to seek revenge against the Latin American drug lord that maimed his best friend, Felix Leiter. The movie starred Timothy Dalton as Bond, Carey Lowell, Robert Davi, Talisa Soto and Don Stroud.

12-The World Is Not Enough

12. “The World Is Not Enough” (1999) – Directed by Michael Apted, the movie has Bond uncovering a nuclear plot, when he protects an oil heiress from her former kidnapper, an international terrorist who cannot feel pain. The movie starred Pierce Brosnan as Bond, Sophie Marceau, Robert Carlyle and Denise Richards.

13-A View to a Kill

13. “A View to a Kill” (1985) – Taking its title from one of Fleming’s 1960 short stories, this film has Bond investigating an East-German born industrialist with possible ties to the KGB. Directed by John Glen, the movie starred Roger Moore as Bond, Tanya Roberts, Christopher Walken and Grace Jones.

14-You Only Live Twice

14. “You Only Live Twice” (1967) – Loosely based on Fleming’s 1964 novel, the movie has Bond and Japan’s Secret Service investigating the disappearance of American and Soviet manned spacecrafts in orbit, due to the actions of SPECTRE. Directed by Lewis Gilbert, the movie starred Sean Connery as Bond, Mie Hama, Akiko Wakabayashi, Tetsurō Tamba and Donald Pleasence.

15-Die Another Day

15. “Die Another Day” (2002) – A failed mission in North Korea leads to Bond’s capture, fourteen months in captivity, a desire to find the MI-6 mole responsible and a British billionaire with ties to a North Korean agent. Directed by Lee Tamahori, the movie starred Pierce Brosnan as Bond, Halle Berry, Toby Stephens, Rosamund Pike and Will Yun Lee.

16-Live and Let Die

16. “Live and Let Die” (1973) – Roger Moore made his debut as Bond in this adaptation of Fleming’s 1954 novel about MI-6’s investigation into the deaths of three fellow agents who had been investigating the Prime Minister of San Monique.

17-Moonraker

17. “Moonraker” (1979) – Based on Fleming’s 1955 novel, this movie features Bond’s investigation into the disappearance of a space shuttle on loan to the British government by a millionaire with catastrophic plans of his own. Directed by Lewis Gilbert, the movie starred Roger Moore as Bond, Lois Chiles, Michel Lonsdale and Richard Kiel.

18-Tomorrow Never Dies

18. “Tomorrow Never Dies” (1997) – Bond and a Chinese agent form an alliance to prevent a media mogul from creating a war between Britain and China in order to obtain exclusive global media coverage. Directed by Roger Spottiswoode, the movie starred Pierce Brosnan as Bond, Michelle Yeoh, Jonathan Pryce and Teri Hatcher.

19-The Man With the Golden Gun

19. “The Man With the Golden Gun” (1974) – Loosely based on Fleming’s 1965 novel, this movie has Bond sent after the Solex Agitator, a device that can harness the power of the sun, while facing the assassin Francisco Scaramanga, the “Man with the Golden Gun”. Directed by Guy Hamilton, the movie starred Roger Moore as Bond, Britt Ekland, Christopher Lee and Maud Adams.

20-Dr. No

20. “Dr. No” (1962) – Based upon Fleming’s 1958 novel, this movie kicked off the Bond movie franchise and featured Sean Connery’s debut as the British agent, whose investigation into the death of a fellow agent leads him to a Eurasian agent for SPECTRE and their plans to disrupt the U.S. space program. Directed by Terence Young, the movie co-starred Ursula Andress and Joseph Wiseman.

21-Skyfall

21. “Skyfall” – Directed by Sam Mendes, this film has Bond’s loyalty to “M” tested, when her past comes back to haunt her in the form of a former agent, who initiates a series of attacks upon MI-6. The movie starred Daniel Craig as Bond, Judi Dench, Javier Bardem and Naomie Harris.

22-Diamonds Are Forever

22. “Diamonds Are Forever” (1971) – Based on Fleming’s 1956 novel, this movie has Bond’s investigations into a diamond smuggling ring lead to another conflict with SPECTRE and Ernst Stravos Blofeld. Directed by Guy Hamilton, the movie starred Sean Connery as Bond, Jill St. John and Charles Gray.

23-Goldfinger

23. “Goldfinger” – Based on Fleming’s 1959 novel, this movie has Bond investigating a German-born gold magnate, who harbors plans to destroy the U.S. gold supply at Fort Knox. Directed by Guy Hamilton, the movie starred Sean Connery as Bond, Honor Blackman and Gert Frobe.

“All Aboard the Orient Express”

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Below is a look at two major movies and a television movie that featured journeys aboard the famed Orient Express:

 

“ALL ABOARD THE ORIENT EXPRESS”

I will be the first to admit that I am not one of those who demand that a novel, a movie or a television production to be historically accurate. Not if history gets in the way of the story. But there is an anal streak within me that rears its ugly head, sometimes. And that streak would usually lead me to judge just how accurate a particular production or novel is.

Recently, I watched three movies that featured a journey aboard the legendary train, the Orient Express. Perhaps I should be a little more accurate. All three movies, “MURDER ON THE ORIENT EXPRESS” (1974)“MURDER ON THE ORIENT EXPRESS” (2010) and “FROM RUSSIA WITH LOVE” (1963) featured a famous route that came into existence nearly a year following World War I called the Simplon Orient Express. The original route for the Orient Express stretched from Paris to Istanbul via Strasbourg, Munich, Vienna, Budapest and Bucharest. Then in 1919, Compagnie Internationale des Wagons-Lits introduced a more southerly route, due to the opening of the Simplon Tunnel. This route stretched between Paris and Istanbul, via Lausanne, Milan, Venice, Belgrade and Sofia. Writers Agatha Christie and Ian Fleming made the Simplon Orient Express route famous thanks to their novels, “Murder on the Orient Express” (1934) and “From Russia With Love” (1957). And the movie adaptations of these novels increased the route’s fame.

Both Christie and Fleming’s novels featured the Simplon Orient Express’ route from Istanbul to Yugoslavia. There are reasons why their stories do not stretch further west to as far as at least France. In “Murder on the Orient Express”, the train became stuck in a snowdrift in Yugoslavia and detective Hercule Poirot spent the rest of the novel trying to solve the murder of an American passenger. And in “From Russia With Love”, British agent James Bond and his companion, Tatiana Romanova, made it as far as either Italy or France. The 1974 and 2010 adaptations of Christie’s novel, more or less remained faithful to the latter as far as setting is concerned. However, EON Production’s 1963 adaptation of Fleming’s novel allowed Bond and Tatiana to escape from the train before it could cross the Yugoslavia-Italy border.

While watching the three movies, I discovered that their portrayals of the Simplon Orient Express route were not completely accurate. I can imagine the thoughts running through the minds of many, declaring “Who cares?”. And I believe they would be right to feel this way. But I thought it would be fun to look into the matter. Before I do, I think I should cover a few basics about this famous train route from Istanbul to Paris-Calais.

During its heyday, the Orient Express usually departed from Istanbul around 11:00 p.m. Following the rise of the Iron Curtain after World War II, the Orient Express extended it route to stops in Greece in order to avoid the Soviet-controlled countries. The only Communist country it passed through was Yugoslavia. When the train became the slower Direct Orient Express in 1962, it usually departed Istanbul around 4:15 p.m. I do not know whether a restaurant car and/or a salon “Pullman” car was attached to the Direct Orient Express when it departed Istanbul between 1962 and 1977. One last matter. In the three adaptations of the two novels, the Orient Express usually made a significant stop at Belgrade. It took the Orient Express, during its heyday, at least 23 to 24 hours to travel from Istanbul to Belgrade.

Let us now see how accurately the two “MURDER ON THE ORIENT EXPRESS” movies and the 1963 “FROM RUSSIA WITH LOVE” flick accurately portray traveling aboard the Simplon Orient Express (or Direct Orient Express) on film. I will begin with the “MURDER ON THE ORIENT EXPRESS”, the 1974 adaptation of Agatha Christie’s novel.

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“MURDER ON THE ORIENT EXPRESS” (1974)

Following the conclusion of a successful case for the British Army somewhere in the Middle East, Belgian-born detective is on his way home to London, via a train journey aboard the famed Orient Express. When an American businessman named Samuel Rachett is murdered during the second night aboard the train, Poirot is asked by his friend and director of the Compagnie Internationale des Wagons-Lits, Senor Bianchi, to investigate the crime.

In this adaptation directed by Sidney Lumet, the Simplon Orient Express that left Istanbul did so at 9:00 at night. The movie also included a dining car attached to the train. One scene featured a chef examining food being loaded onto the train. This scene is erroneous. According to the The Man in Seat 61 website, there was no dining car attached to the train when it left Istanbul. A dining car was usually attached at Kapikule on the Turkish/Bulgarian border, before it was time to serve breakfast. The movie also featured a salon car or a “Pullman”, where Hercule Poirot interrogated most of the passengers of the Istanbul-Calais car.

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According to the “Seat 61” site, there was no salon “Pullman” car attached to the train east of Trieste, Italy. Christie needed the presence of the car for dramatic purposes and added one into her novel. The producers of the 1974 movie did the same. At least the producers of the 1974 used the right dark blue and cream-colored car for the Pullman. More importantly, they used the right dark blue cars for the train’s sleeping coaches, as shown in the image below:

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In the movie, the Simplon Orient Express reached Belgrade 24 hours after its departure from Istanbul. For once, the movie was accurate. Somewhere between Vinkovci and Brod, the Orient Express ended up snowbound and remained there until the end of the story.

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“MURDER ON THE ORIENT EXPRESS” (2010)

This adaptation of Agatha Christie’s novel first aired on Britain’s ITV network in 2010. The television movie started with Hercule Poirot berating a British Army officer caught in a devastating lie. After the officer commits suicide, Poirot ends up in Istanbul, where he and a British couple witness the stoning of an adulterous Turkish woman. Eventually, the couple and Poirot board the Orient Express, where the latter finds himself investigating the murder of an American passenger.

I do not know what time the Simplon Orient Express departed Istanbul in this adaptation. The movie never indicated a particular time. This version also featured a brief scene with a chef examining food being loaded aboard a dining car. As I previously mentioned, a dining car was not attached until Kapikule. The movie did feature Poirot and some of the Istanbul-Calais car passengers eating breakfast the following morning. In this scene, I noticed a major blooper. Car attendant Pierre Michel was shown serving a dish to Poirot in the dining car. Note the images below:

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Pierre Michel greets Poirot and M. Bouc before they board the train

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Pierre serves breakfast to Poirot

Why on earth would a car attendant (or train conductor, as he was in the 1934 novel) act as a waiter in the dining car? Like the 1974 movie, the ITV adaptation also featured a salon “Pullman” attached to the train, east of Italy. In fact, they did more than use one salon “Pullman”. As I had stated earlier, the westbound Simplon Orient Express usually acquired a salon “Pullman” after its arrival in Trieste. But in this adaptation, the producers decided to use the dark blue and cream-colored “Pullman” cars for the entire train as shown in these images:

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This is completely in error. As I had stated earlier, the Orient Express usually featured a dark-blue and cream-colored salon “Pullman” between Italy and Paris. But it also featured the dark-blue and cream-colored seating “Pullmans” between Calais and Paris. There is no way that the Orient Express leaving Istanbul would entirely consist of the blue and cream “Pullman” cars.

However, the train did arrive at Belgarde at least 24 hours after its departure from Istanbul. Like the other movie, the train ended up snowbound between Vinkovci and Brod and remained there until the last scene. However, I am confused by the presence of the police standing outside of the train in the last scene. Poirot and the other passengers should have encountered the police, following the train’s arrival in Brod, not somewhere in the middle of the Yugoslavian countryside.

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“FROM RUSSIA WITH LOVE” (1963)

Ian Fleming’s tale begins with the terrorist organization, SPECTRE, plotting the theft of the KGB’s a cryptographic device from the Soviets called the Lektor, in order to sell it back to them, while exacting revenge on British agent James Bond for killing their agent, Dr. No. After Bond successfully steals the Lektor from the Soviet consulate in Istanbul, he, defector Tatiana Romanova and MI-6 agent Kerim Bey board the Orient Express for a journey to France and later, Great Britain.

While I found this adaptation of Ian Fleming’s 1957 novel extremely enjoyable, I found myself puzzled by the movie’s portrayal of Bond’s journey aboard the Orient Express. It seemed so . . . off. In the movie; the Orient Express conveying Bond, his traveling companions and SPECTRE assassin “Red” Grant; departed Istanbul somewhere between 3:00 and 4:00 o’clock in the afternoon. The train departed Istanbul around nine o’clock at night, in Fleming’s novel. Mind you, the novel was set in the 1950s and the movie, set in the early 1960s, which meant that its departure in the movie was pretty close to the 4:15 pm departure of the Direct Orient Express train that operated between 1962 and 1977. I do not recall seeing a dining car attached to the train, during its departure in the movie, so I cannot comment on that. But after the train’s departure, the movie’s portrayal of Bond’s Orient Express journey proved to be mind boggling.

The main problem with “FROM RUSSIA WITH LOVE” is that Bond’s journey proved to be the fastest I have ever witnessed, either on film or in a novel. It took the train at least three-to-four hours to reach Belgrade, following its departure from Istanbul. One, it usually took the Orient Express nearly 24 hours to reach Belgrade during its heyday. During the first ten-to-fifteen years of the Cold War, it took the Orient Express a little longer to reach Belgrade, due to it being re-routed through Northern Greece in an effort to avoid countries under Soviet rule. This was made clear in Fleming’s novel. But the 1963 movie followed the famous train’s original eastbound route . . . but at a faster speed. After killing Grant, Bond and Tatiana left the train before it reached the Yugoslavian-Italian border. Bond’s journey from Istanbul to that point took at least 15 hours. During the Orient Express’ heyday, it took at less than 48 hours. And during the 15 years of the Direct Orient Express, it took longer.

Unlike many recent film goers and television viewers, historical accuracy or lack of it in a movie/television production has never bothered me. I still remain a major fan of both “MURDER ON THE ORIENT EXPRESS” (1974 version) and “FROM RUSSIA WITH LOVE”. And although I have other major problems with the 2010 “MURDER ON THE ORIENT EXPRESS”, there are still aspects of it that I continue to enjoy. Historical inaccuracy has never impeded my enjoyment of a film, unless I found it particularly offensive. But since I can be occasionally anal and was bored, I could not resist a brief exploration of the Hollywood and British film industries’ portrayals of the Orient Express.

“A NIGHT TO REMEMBER” (1958) Review

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“A NIGHT TO REMEMBER” (1958) Review

There have been many versions about the April 1912 sinking of the R.M.S. Titanic. Many versions. And I have personally seen at least five of them. One of them happened to be the 1958 movie, “A NIGHT TO REMEMBER”.

Directed by Roy Ward Baker, “A NIGHT TO REMEMBER” is based upon historian Walter Lord’s 1955 book about the historical sinking. Since the 1958 movie was based upon a historical book instead of a novel, Baker, producer William MacQuitty and screenwriter Eric Ambler approached the film’s plot in a semi-documentary style. Even the movie’s leading character turned out to be the Titanic’s Second Officer, Charles Lightoller, who was portrayed by actor Kenneth More. The movie also featured other historical figures such as J. Bruce Ismay, Thomas Andrews, Captain Edward J. Smith and Margaret “Molly” Brown. Due to this semi-documentary approach,“A NIGHT TO REMEMBER” is regarded as the best movie about the Titanic.

I cannot deny that there is a great deal to admire about “A NIGHT TO REMEMBER”. Not only do I feel it is an excellent movie, I could see that Roy Ward Baker did his best to re-create that last night aboard the Titanic. He and Ambler gave the audience glimpses into the lives of the ship’s crew and passengers. The movie also went into great detail of their efforts to remain alive following the ship’s brief collision with an iceberg. Some of my favorite scenes include the Irish steerage passengers’ efforts to reach the life boats on the upper decks, the wireless operators’ (David McCullum and Kenneth Griffin) efforts to summon other ships to rescue the passengers and crew, and passenger Molly Brown (Tucker McGuire)’s conflict with the sole crewman in her lifeboat. But my favorite scene has to be that moment when the Titanic’s stern rose high before the ship sank into the Atlantic Ocean.

For a film shot in black and white during the late 1950s, I must admit that “A NIGHT TO REMEMBER” looked very handsome. Legendary cinematographer Geoffrey Unsworth’s phtography struck me as sharp and very elegant. I do not know if Yvonne Caffin’s costume designs for the movie’s 1912 setting was completely accurate, but they certainly did add to the movie’s late Edwardian atmosphere. Especially those costumes for the first-class passengers. I do have to give kudos to the special effects team led by Bill Warrington. He and his team did a superb job in re-creating the ocean liner’s historic sinking. I am even more impressed that their work still manages to hold up after fifty-four years.

The cast of “A NIGHT TO REMEMBER” was led by Kenneth More, who portrayed Second Officer Lightoller with his usual energetic charm. More was ably supported by the likes of Laurence Naismith as Captain Smith, Michael Goodliffe’s poignant portrayal of ship designer Thomas Andrews, Frank Lawton as J. Bruce Ismay, George Rose as the inebriated survivor Charles Joughin and Tucker McGuire’s colorful portrayal of American socialite Molly Brown. The movie also featured future “AVENGERS” and Bond veteran Honor Blackman; David McCullum of “THE MAN FROM U.N.C.L.E.” and “N.C.I.S.” fame; and Bernard Fox, who will also appear in James Cameron’s 1997 movie about the Titanic sinking. But despite the numerous good performances, I honestly have to say that I found nothing exceptional about any of them.

Like many others, I used to believe that “A NIGHT TO REMEMBER” was the best movie about the Titanic. After this latest viewing, I do not believe I can maintain that opinion any longer. In fact, I am beginning to suspect there may not be any “ultimate” Titanic film. And “A NIGHT TO REMEMBER” is not perfect, as far as I am concerned. Many have applauded the filmmakers for eschewing any fictional melodrama or using the sinking as a backdrop for a fictional story. Personally, I could not care less if a Titanic movie is simply a fictional melodrama or a semi-documentary film. All I require is a first-rate movie that will maintain my interest.

“A NIGHT TO REMEMBER” began with a montage of newsreel clips featuring the Titanic’s christening in Belfast. One, the ship was never christened. And two, I could see that the newsreel footage used in the movie dated from the 1930s. The movie tried its best to allow the audience to identify with some of its characters. But due to “A NIGHT TO REMEMBER” being a docudrama, I feel that it failed to give an in-depth study of its more prominent characters . . . making it difficult for me to identify with any of them.

I realize that “A NIGHT TO REMEMBER” was a British production, but I was amazed at the low number of American passengers featured in the cast. The 1953 film, “TITANIC” suffered from a similar malady – the only British characters I could recall were members of the crew. I do remember at least three Americans in the 1958 movie – Molly Brown; Benjamin Guggenheim, portrayed by Harold Goldblatt and a third passenger, whose name escapes me. I was satisfied with McGuire’s performance as Molly Brown and the nameless actor who portrayed the third American passenger. But Goldblatt portrayed Guggenheim as a member of the British upper class in both attitude and accent. It almost seemed as if the filmmakers wanted Guggenheim to be viewed as a British gentleman, instead of an American one.

Walter Lord’s book made it clear that one of the last songs performed by Titanic’s band was NOT “Nearer My God to Thee”. Yet, the filmmakers chose to perpetrate this myth in the movie by having the remaining passengers and crew sing the song en masse before the ship began to sink in earnest. This pious attitude continued in a scene aboard the R.M.S. Carpathia, in which the survivors listened to a religious sermon. Instead of projecting an air of melancholy or despair, the survivors, thanks to Ward Baker, seemed to project an air of the British stiff upper lip cliche. I feel that a melancholic air among the survivors would have made the scene seem more human.

I cannot deny that “A NIGHT TO REMEMBER” is a first-rate look at the sinking of the R.M.S. Titanic. More importantly, the movie and especially the visual effects still hold up very well after half-a-century. But the movie possesses flaws that make it difficult for me to regard it as the best Titanic movie ever made. Perhaps . . . there is no best Titanic movie. Just bad or well made ones.

“Being Pure to Ian Fleming’s James Bond”

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“BEING PURE TO IAN FLEMING’S JAMES BOND”

Lately, there has been a great deal of talk about EON Productions being pure to the James Bond novels written by Ian Fleming. Demands that Michael G. Wilson and Barbara Broccoli adhere closely to the novels have increased on many Bond forums. And I cannot help but wonder what has brought about the increasing number of demands.

Certain Bond fans have demanded the following: 

*The Bond franchise should avoid political correctness altogether.

*Bond should smoke on screen.

*M should be a man.

*Felix Leiter should be a white blond Texan, as described in the novels.

There are probably more demands, but the above are the ones I tend to encounter on the forums. I have also read demands that the Bond movies should either stick to the fantasy-adventure elements first introduced in “GOLDFINGER”or should stick to being tight spy thrillers like “FROM RUSSIA WITH LOVE”. In regard to the style of the Bond stories, I personally prefer tight spy thrillers like “CASINO ROYALE”“FROM RUSSIA WITH LOVE”“FOR YOUR EYES ONLY”and “THE LIVING DAYLIGHTS”. However, if a Bond movie with a fantasy-adventure style of storytelling is well written, I can be very tolerant of it. In fact, there are one or two of them that are favorites of mine – “THUNDERBALL”“THE SPY WHO LOVED ME” and “GOLDENEYE”.

Now, in regard to the demands I had listed earlier, here are my responses to them:

*The Bond franchise should avoid political correctness altogether – Why? Why should the Bond franchise stay mired in the political incorrectness of the past? I have always had the impression that EON Productions made sure that the Bond films kept up with the times. I have no problem with James Bond remaining sexist. That is the man’s character. But I would have a problem if the movies maintained some old-fashioned view on women, non-whites or non-British characters. In 1962’s “DR. NO”, there is a scene on Crab Key in which Bond ordered Quarrel to pick up his shoes. Every time I see that scene, I wince. Even for 1962 that seemed a bit too much, especially since the Civil Rights movement was going on at the time. Hell, in the same year, “THE MANCHURIAN CANDIDATE” featured a black psychiatrist working with U.S. Army intelligence. Many Bond fans have a problem with a Bond leading lady being a secret agent or someone capable of being an action character. I find this idea laughable. Are these people threatened by the idea of a woman being capable of shooting a gun or martial arts? Do they feel that such a character in a Bond movie would threatened their sense of well-being or their view of Bond as invincible and one-of-a-kind? I do not demand that all Bond women be spies or some kind of action figure. But I do not see the harm that they mix it up every now and then. In the end, I would find the idea of non-British and non-white characters being portrayed as inferior characters or the idea of Bond female leading ladies being nothing more than eye candy and bed warmers for Bond in all of the movies, repellent and a good excuse to avoid a Bond movie in the future.  In the end, these sexist moviegoers got their wish in the recent “SKYFALL”, when competent female MI-6 agent named Eve became secretary Miss Moneypenny at the end of the movie . . . on the grounds that she could not handle being a field agent.  This act pissed me off so much that I almost felt inclined to throw a shoe at the movie screen in anger.

*Bond should smoke on screen – Again, why? Why does Bond have to smoke on screen? What is the big deal? Personally, I could not care less. Connery smoked, but not that often and I barely noticed. I can say the same about Lazenby. As far as I know, Moore only smoked cigars in his first two movies. Dalton smoked in one scene of his first Bond movie. Did Brosnan smoked? If so, I do not remember . . . and I do not care. And I do not recall seeing Craig’s Bond smoking. In other words, the idea of Bond as a smoker can go either way with me. I simply feel that it is a matter that is not a big deal.

*M should be a man – The United Kingdom has had a female monarch for the past sixty-one years. For a period of ten or eleven years, it had a female Prime Minister. And MI-6 – until recently – was led by a woman. Why in the hell should gender matter in regard to M’s role? Are those who are demanding that M return to being a man are telling us that only a man can be an authority figure? This is the 21st century! That idea is ridiculous! Hell, it was ridiculous when Queen Elizabeth I ruled England back in the 16th century as one of the country’s greatest monarchs. I have also encountered complaints about M (Dench) castigating Bond whenever he screwed up. They act as if she did not have the right to lecture him. What nonsense! Dench is not the first M to castigate Bond. Bernard Lee’s “M” did it in “GOLDFINGER” after Bond had screwed up his assignment in Miami. He was bitchy with Bond in “DIAMONDS ARE FOREVER”, following the conclusion of the latter’s revenge search for Blofield. And Lee did it again in “THE MAN WITH THE GOLDEN GUN” when Roger Moore’s Bond and Lieutenant Hip lost that solar power device – “Solex agitator”. Robert Brown’s M castigated Timothy Dalton’s Bond in their two movies together. So why have certain fans decided to complain about Dench’s M doing the same during her tenure in the Bond franchise? Was it because they could not deal with Bond being castigated by a female authority figure? And why on earth is it necessary for M to be a man?  Unfortunately, EON Productions heeded the fans and replaced Judi Dench’s M – in the most gruesome and politically incorrect way possible – with a male M now portrayed by Ralph Fiennes.  The Bond franchise has taken another step backward.

*Felix Leiter should be a white blond Texan, as described in the novels – What in the hell? Why on earth is it necessary for Felix Leiter to be a blond, white Texan? Because he was one in the Fleming novels? So what? In the 44-year history of the Bond franchise, has the movie version of Felix Leiter EVER been a blond, white Texan? I certainly do not recall one. John Terry, who portrayed Leiter in “THE LIVING DAYLIGHTS”, was born and raised in Florida, if that would help. But he certainly was not a blond. I do not even know if Rik Van Nutter of “THUNDERBALL” was a blond or simply prematurely gray. Neither Jack Lord, Norman Burton, Cec Linder or David Hedison were tall, lanky blonds from Texas. In fact, none of these actors have ever used a Texas accent in portraying Leiter. But they have all been white. Is that the problem? Are they upset that the latest actor to portray Leiter, Jeffrey Wright, was an American black? Well another black American actor, Bernie Casey, portrayed Leiter in the 1983 unofficial Bond movie, “NEVER SAY NEVER AGAIN”. I do not recall any outrage over his casting. However, I do believe there should have been one. Although good-looking, Mr. Casey did not strike me as a very good actor. Since Felix Leiter has NEVER been portrayed as a lanky blond white Texan in the Bond film franchise’s 50-year history, I see no reason why EON Productions should consider one now.

As for being a Fleming purist, I can honestly say that I am not one. Quite frankly, aside from a few titles like “From Russia With Love”“Thunderball” and “On Her Majesty’s Secret Service”, I am not a real fan of Ian Fleming’s writing. And I do not consider those three novels as the best example of action or noir literature. Although Fleming seemed to have had a talent for characterization and picturesque settings, I do not think that most of his narratives were that hot. In fact, his plots seemed to be the weakest part about his writing. I do not think that a Fleming plot is needed for a Bond movie to be great. As for the battle between the fantasy-adventure elements and the spy thriller elements, EON Productions have switched back and forth between the two styles. In fact, so has Ian Fleming. The switch between the two styles can be viewed as one aspect in which EON Productions has been “pure” to the novels.

And this all brings me back to this demand that EON Productions be pure to the Fleming novels. I am not saying that many of these “purist” fans stop posting complaints about the differences between the novels and the movies. Hell, they have every right to express their opinions. But if they are going to post these complaints for the world to see, then fans such as myself have the right to express why I do not agree with them. Just as these same “purists” have the right to express their disagreement with this article – which I suspect will soon happen.

I have one last question to ask – since when has EON Productions ever been completely “pure” to the novels? Was it in“ON HER MAJESTY’S SECRET SERVICE”, the 1969 adaptation of Fleming’s 1963 novel? Well, there are some differences between the novel and the movie. One, the literary Tracy is a blond. The movie Tracy (Diana Rigg) obviously is a brunette. And in the movie, Bond is portrayed by an Australian actor, whose accent popped up every now and then. If EON Productions has never been completely “pure” to the novels – aside from changing back and forth between using fantasy elements and thriller elements – why on earth should it start now?